The production of Joan during the Great War and its aftermath as a figure of what I am calling virtuous transmasculinity offered her gender comportment – gallant chivalry, courage, fortitude, and self-sacrifice – as a noble way of being queer. Joan’s youth – she was only 19 when she died – made her a powerful symbol of martyred innocence to the young Allied soldiers fighting at Verdun and the Somme. Viewed as a paragon of virtue at least 1400, when Christine de Pisan praised her for doing what 5000 men could not do by saving France, Joan of Arc, Joan became the “perfect” World War I propaganda tool, according to recent film historians, because she embodied the nobility of sacrifice, and linked the deaths of soldiers to abstract ideals of “eternal greatness.” Joan’s transmasculine saintliness helped bring together traditional discourses of virtue with newer discourses of sexology and psychoanalysis, including the work of Freud, who increasingly sought to reconcile a wider range of sexual and gender behavior with the greater good, and whose famous text about lesbian desire and transmasculine chivalry, “Psychogenesis of a Case of Homosexuality in a Woman,” was published the same year Joan was canonized.