Miscellanies

The scene was in every way delightful; he stood there, a miniature Mephistopheles, mocking the majority! He was like a brilliant surgeon lecturing to a class composed of subjects destined ultimately for dissection, and solemnly assuring them how valuable to science their maladies were, and how absolutely uninteresting the slightest symptoms of health on their part would be. In fairness to the audience, however, I must say that they seemed extremely gratified at being rid of the dreadful responsibility of admiring anything, and nothing could have exceeded their enthusiasm when they were told by Mr. Whistler that no matter how vulgar their dresses were, or how hideous their surroundings at home, still it was possible that a great painter, if there was such a thing, could, by contemplating them in the twilight and half closing his eyes, see them under really picturesque conditions, and produce a picture which they were not to attempt to understand, much less dare to enjoy. Then there were some arrows, barbed and brilliant, shot off, with all the speed and splendour of fireworks, and the archæologists, who spend their lives in verifying the birthplaces of nobodies, and estimate the value of a work of art by its date or its decay; at the art critics who always treat a picture as if it were a novel, and try and find out the plot; at dilettanti in general and amateurs in particular; and (O mea culpa!) at dress reformers most of all. ‘Did not Velasquez paint crinolines? What more do you want?’

Having thus made a holocaust of humanity, Mr. Whistler turned to nature, and in a few moments convicted her of the Crystal Palace, Bank holidays, and a general overcrowding of detail, both in omnibuses and in landscapes, and then, in a passage of singular beauty, not unlike one that occurs in Corot’s letters, spoke of the artistic value of dim dawns and dusks, when the mean facts of life are lost in exquisite and evanescent effects, when common things are touched with mystery and transfigured with beauty, when the warehouses become as palaces and the tall chimneys of the factory seem like campaniles in the silver air.

Finally, after making a strong protest against anybody but a painter judging of painting, and a pathetic appeal to the audience not to be lured by the æsthetic movement into having beautiful things about them, Mr. Whistler concluded his lecture with a pretty passage about Fusiyama on a fan, and made his bow to an audience which he had succeeded in completely fascinating by his wit, his brilliant paradoxes, and, at times, his real eloquence. Of course, with regard to the value of beautiful surroundings I differ entirely from Mr. Whistler. An artist is not an isolated fact; he is the resultant of a certain milieu and a certain entourage, and can no more be born of a nation that is devoid of any sense of beauty than a fig can grow from a thorn or a rose blossom from a thistle. That an artist will find beauty in ugliness, le beau dans l’horrible, is now a commonplace of the schools, the argot of the atelier, but I strongly deny that charming people should be condemned to live with magenta ottomans and Albert-blue curtains in their rooms in order that some painter may observe the side-lights on the one and the values of the other. Nor do I accept the dictum that only a painter is a judge of painting. I say that only an artist is a judge of art; there is a wide difference. As long as a painter is a painter merely, he should not be allowed to talk of anything but mediums and megilp, and on those subjects should be compelled to hold his tongue; it is only when he becomes an artist that the secret laws of artistic creation are revealed to him. For there are not many arts, but one art merely – poem, picture and Parthenon, sonnet and statue – all are in their essence the same, and he who knows one knows all. But the poet is the supreme artist, for he is the master of colour and of form, and the real musician besides, and is lord over all life and all arts; and so to the poet beyond all others are these mysteries known; to Edgar Allan Poe and to Baudelaire, not to Benjamin West and Paul Delaroche. However, I should not enjoy anybody else’s lectures unless in a few points I disagreed with them, and Mr. Whistler’s lecture last night was, like everything that he does, a masterpiece. Not merely for its clever satire and amusing jests will it be remembered, but for the pure and perfect beauty of many of its passages – passages delivered with an earnestness which seemed to amaze those who had looked on Mr. Whistler as a master of persiflage merely, and had not known him as we do, as a master of painting also. For that he is indeed one of the very greatest masters of painting is my opinion. And I may add that in this opinion Mr. Whistler himself entirely concurs.

THE RELATION OF DRESS TO ART: A NOTE IN BLACK AND WHITE ON MR. WHISTLER’S LECTURE

(Pall Mall Gazette, February 28, 1885.)

‘How can you possibly paint these ugly three-cornered hats?’ asked a reckless art critic once of Sir Joshua Reynolds. ‘I see light and shade in them,’ answered the artist. ‘Les grands coloristes,’ says Baudelaire, in a charming article on the artistic value of frock coats, ‘les grands coloristes savent faire de la couleur avec un habit noir, une cravate blanche, et un fond gris.’

‘Art seeks and finds the beautiful in all times, as did her high priest Rembrandt, when he saw the picturesque grandeur of the Jews’ quarter of Amsterdam, and lamented not that its inhabitants were not Greeks,’ were the fine and simple words used by Mr. Whistler in one of the most valuable passages of his lecture. The most valuable, that is, to the painter: for there is nothing of which the ordinary English painter needs more to be reminded than that the true artist does not wait for life to be made picturesque for him, but sees life under picturesque conditions always – under conditions, that is to say, which are at once new and delightful. But between the attitude of the painter towards the public and the attitude of a people towards art, there is a wide difference. That, under certain conditions of light and shade, what is ugly in fact may in its effect become beautiful, is true; and this, indeed, is the real modernité of art: but these conditions are exactly what we cannot be always sure of, as we stroll down Piccadilly in the glaring vulgarity of the noonday, or lounge in the park with a foolish sunset as a background. Were we able to carry our chiaroscuro about with us, as we do our umbrellas, all would be well; but this being impossible, I hardly think that pretty and delightful people will continue to wear a style of dress as ugly as it is useless and as meaningless as it is monstrous, even on the chance of such a master as Mr. Whistler spiritualising them into a symphony or refining them into a mist. For the arts are made for life, and not life for the arts.

Nor do I feel quite sure that Mr. Whistler has been himself always true to the dogma he seems to lay down, that a painter should paint only the dress of his age and of his actual surroundings: far be it from me to burden a butterfly with the heavy responsibility of its past: I have always been of opinion that consistency is the last refuge of the unimaginative: but have we not all seen, and most of us admired, a picture from his hand of exquisite English girls strolling by an opal sea in the fantastic dresses of Japan? Has not Tite Street been thrilled with the tidings that the models of Chelsea were posing to the master, in peplums, for pastels?

Whatever comes from Mr Whistler’s brush is far too perfect in its loveliness to stand or fall by any intellectual dogmas on art, even by his own: for Beauty is justified of all her children, and cares nothing for explanations: but it is impossible to look through any collection of modern pictures in London, from Burlington House to the Grosvenor Gallery, without feeling that the professional model is ruining painting and reducing it to a condition of mere pose and pastiche.

Are we not all weary of him, that venerable impostor fresh from the steps of the Piazza di Spagna, who, in the leisure moments that he can spare from his customary organ, makes the round of the studios and is waited for in Holland Park? Do we not all recognise him, when, with the gay insouciance of his nation, he reappears on the walls of our summer exhibitions as everything that he is not, and as nothing that he is, glaring at us here as a patriarch of Canaan, here beaming as a brigand from the Abruzzi? Popular is he, this poor peripatetic professor of posing, with those whose joy it is to paint the posthumous portrait of the last philanthropist who in his lifetime had neglected to be photographed, – yet he is the sign of the decadence, the symbol of decay.

For all costumes are caricatures. The basis of Art is not the Fancy Ball. Where there is loveliness of dress, there is no dressing up. And so, were our national attire delightful in colour, and in construction simple and sincere; were dress the expression of the loveliness that it shields and of the swiftness and motion that it does not impede; did its lines break from the shoulder instead of bulging from the waist; did the inverted wineglass cease to be the ideal of form; were these things brought about, as brought about they will be, then would painting be no longer an artificial reaction against the ugliness of life, but become, as it should be, the natural expression of life’s beauty. Nor would painting merely, but all the other arts also, be the gainers by a change such as that which I propose; the gainers, I mean, through the increased atmosphere of Beauty by which the artists would be surrounded and in which they would grow up. For Art is not to be taught in Academies. It is what one looks at, not what one listens to, that makes the artist. The real schools should be the streets. There is not, for instance, a single delicate line, or delightful proportion, in the dress of the Greeks, which is not echoed exquisitely in their architecture. A nation arrayed in stove-pipe hats and dress-improvers might have built the Pantechnichon possibly, but the Parthenon never. And finally, there is this to be said: Art, it is true, can never have any other claim but her own perfection, and it may be that the artist, desiring merely to contemplate and to create, is wise in not busying himself about change in others: yet wisdom is not always the best; there are times when she sinks to the level of common-sense; and from the passionate folly of those – and there are many – who desire that Beauty shall be confined no longer to the bric-à-brac of the collector and the dust of the museum, but shall be, as it should be, the natural and national inheritance of all, – from this noble unwisdom, I say, who knows what new loveliness shall be given to life, and, under these more exquisite conditions, what perfect artist born? Le milieu se renouvelant, l’art se renouvelle.

Speaking, however, from his own passionless pedestal, Mr. Whistler, in pointing out that the power of the painter is to be found in his power of vision, not in his cleverness of hand, has expressed a truth which needed expression, and which, coming from the lord of form and colour, cannot fail to have its influence. His lecture, the Apocrypha though it be for the people, yet remains from this time as the Bible for the painter, the masterpiece of masterpieces, the song of songs. It is true he has pronounced the panegyric of the Philistine, but I fancy Ariel praising Caliban for a jest: and, in that he has read the Commination Service over the critics, let all men thank him, the critics themselves, indeed, most of all, for he has now relieved them from the necessity of a tedious existence. Considered, again, merely as an orator, Mr. Whistler seems to me to stand almost alone. Indeed, among all our public speakers I know but few who can combine so felicitously as he does the mirth and malice of Puck with the style of the minor prophets.

KEATS’S SONNET ON BLUE

(Century Guild Hobby Horse, July 1886.)

During my tour in America I happened one evening to find myself in Louisville, Kentucky. The subject I had selected to speak on was the Mission of Art in the Nineteenth Century, and in the course of my lecture I had occasion to quote Keats’s Sonnet on Blue as an example of the poet’s delicate sense of colour-harmonies. When my lecture was concluded there came round to see me a lady of middle age, with a sweet gentle manner and a most musical voice. She introduced herself to me as Mrs. Speed, the daughter of George Keats, and invited me to come and examine the Keats manuscripts in her possession. I spent most of the next day with her, reading the letters of Keats to her father, some of which were at that time unpublished, poring over torn yellow leaves and faded scraps of paper, and wondering at the little Dante in which Keats had written those marvellous notes on Milton. Some months afterwards, when I was in California, I received a letter from Mrs. Speed asking my acceptance of the original manuscript of the sonnet which I had quoted in my lecture. This manuscript I have had reproduced here, as it seems to me to possess much psychological interest. It shows us the conditions that preceded the perfected form, the gradual growth, not of the conception but of the expression, and the workings of that spirit of selection which is the secret of style. In the case of poetry, as in the case of the other arts, what may appear to be simply technicalities of method are in their essence spiritual, not mechanical, and although, in all lovely work, what concerns us is the ultimate form, not the conditions that necessitate that form, yet the preference that precedes perfection, the evolution of the beauty, and the mere making of the music, have, if not their artistic value, at least their value to the artist.

It will be remembered that this sonnet was first published in 1848 by Lord Houghton in his Life, Letters, and Literary Remains of John Keats. Lord Houghton does not definitely state where he found it, but it was probably among the Keats manuscripts belonging to Mr. Charles Brown. It is evidently taken from a version later than that in my possession, as it accepts all the corrections, and makes three variations. As in my manuscript the first line is torn away, I give the sonnet here as it appears in Lord Houghton’s edition.

ANSWER TO A SONNET ENDING THUS:

Dark eyes are dearer far
Than those that make the hyacinthine bell.[5 - ‘Make’ is of course a mere printer’s error for ‘mock,’ and was subsequently corrected by Lord Houghton. The sonnet as given in The Garden of Florence reads ‘orbs’ for ‘those.’]

By J. H. REYNOLDS

Blue! ’Tis the life of heaven, – the domain
Of Cynthia, – the wide palace of the sun, —
The tent of Hesperus and all his train, —
The bosomer of clouds, gold, grey and dun.
Blue! ’Tis the life of waters – ocean
And all its vassal streams: pools numberless
May rage, and foam, and fret, but never can
Subside if not to dark-blue nativeness.
Blue! gentle cousin of the forest green,
Married to green in all the sweetest flowers,
Forget-me-not, – the blue-bell, – and, that queen
Of secrecy, the violet: what strange powers
Hast thou, as a mere shadow! But how great,
When in an Eye thou art alive with fate!

    Feb. 1818.
In the Athenæum of the 3rd of June 1876, appeared a letter from Mr. A. J. Horwood, stating that he had in his possession a copy of The Garden of Florence in which this sonnet was transcribed. Mr. Horwood, who was unaware that the sonnet had been already published by Lord Houghton, gives the transcript at length. His version reads hue for life in the first line, and bright for wide in the second, and gives the sixth line thus:

With all his tributary streams, pools numberless,

a foot too long: it also reads to for of in the ninth line. Mr. Buxton Forman is of opinion that these variations are decidedly genuine, but indicative of an earlier state of the poem than that adopted in Lord Houghton’s edition. However, now that we have before us Keats’s first draft of his sonnet, it is difficult to believe that the sixth line in Mr. Horwood’s version is really a genuine variation. Keats may have written,

Ocean
His tributary streams, pools numberless,

and the transcript may have been carelessly made, but having got his line right in his first draft, Keats probably did not spoil it in his second. The Athenæum version inserts a comma after art in the last line, which seems to me a decided improvement, and eminently characteristic of Keats’s method. I am glad to see that Mr. Buxton Forman has adopted it.

As for the corrections that Lord Houghton’s version shows Keats to have made in the eighth and ninth lines of this sonnet, it is evident that they sprang from Keats’s reluctance to repeat the same word in consecutive lines, except in cases where a word’s music or meaning was to be emphasised. The substitution of ‘its’ for ‘his’ in the sixth line is more difficult of explanation. It was due probably to a desire on Keats’s part not to mar by any echo the fine personification of Hesperus.

It may be noticed that Keats’s own eyes were brown, and not blue, as stated by Mrs. Proctor to Lord Houghton. Mrs. Speed showed me a note to that effect written by Mrs. George Keats on the margin of the page in Lord Houghton’s Life (p. 100, vol. i.), where Mrs. Proctor’s description is given. Cowden Clarke made a similar correction in his Recollections, and in some of the later editions of Lord Houghton’s book the word ‘blue’ is struck out. In Severn’s portraits of Keats also the eyes are given as brown.

The exquisite sense of colour expressed in the ninth and tenth lines may be paralleled by

The Ocean with its vastness, its blue green,

of the sonnet to George Keats.

THE AMERICAN INVASION

(Court and Society Review, March 23, 1887.)

A terrible danger is hanging over the Americans in London. Their future and their reputation this season depend entirely on the success of Buffalo Bill and Mrs. Brown-Potter. The former is certain to draw; for English people are far more interested in American barbarism than they are in American civilisation. When they sight Sandy Hook they look to their rifles and ammunition; and, after dining once at Delmonico’s, start off for Colorado or California, for Montana or the Yellow Stone Park. Rocky Mountains charm them more than riotous millionaires; they have been known to prefer buffaloes to Boston. Why should they not? The cities of America are inexpressibly tedious. The Bostonians take their learning too sadly; culture with them is an accomplishment rather than an atmosphere; their ‘Hub,’ as they call it, is the paradise of prigs. Chicago is a sort of monster-shop, full of bustle and bores. Political life at Washington is like political life in a suburban vestry. Baltimore is amusing for a week, but Philadelphia is dreadfully provincial; and though one can dine in New York one could not dwell there. Better the Far West with its grizzly bears and its untamed cow-boys, its free open-air life and its free open-air manners, its boundless prairie and its boundless mendacity! This is what Buffalo Bill is going to bring to London; and we have no doubt that London will fully appreciate his show.

With regard to Mrs. Brown-Potter, as acting is no longer considered absolutely essential for success on the English stage, there is really no reason why the pretty bright-eyed lady who charmed us all last June by her merry laugh and her nonchalant ways, should not – to borrow an expression from her native language – make a big boom and paint the town red. We sincerely hope she will; for, on the whole, the American invasion has done English society a great deal of good. American women are bright, clever, and wonderfully cosmopolitan. Their patriotic feelings are limited to an admiration for Niagara and a regret for the Elevated Railway; and, unlike the men, they never bore us with Bunkers Hill. They take their dresses from Paris and their manners from Piccadilly, and wear both charmingly. They have a quaint pertness, a delightful conceit, a native self-assertion. They insist on being paid compliments and have almost succeeded in making Englishmen eloquent. For our aristocracy they have an ardent admiration; they adore titles and are a permanent blow to Republican principles. In the art of amusing men they are adepts, both by nature and education, and can actually tell a story without forgetting the point – an accomplishment that is extremely rare among the women of other countries. It is true that they lack repose and that their voices are somewhat harsh and strident when they land first at Liverpool; but after a time one gets to love these pretty whirlwinds in petticoats that sweep so recklessly through society and are so agitating to all duchesses who have daughters. There is something fascinating in their funny, exaggerated gestures and their petulant way of tossing the head. Their eyes have no magic nor mystery in them, but they challenge us for combat; and when we engage we are always worsted. Their lips seem made for laughter and yet they never grimace. As for their voices, they soon get them into tune. Some of them have been known to acquire a fashionable drawl in two seasons; and after they have been presented to Royalty they all roll their R’s as vigorously as a young equerry or an old lady-in-waiting. Still, they never really lose their accent; it keeps peeping out here and there, and when they chatter together they are like a bevy of peacocks. Nothing is more amusing than to watch two American girls greeting each other in a drawing-room or in the Row. They are like children with their shrill staccato cries of wonder, their odd little exclamations. Their conversation sounds like a series of exploding crackers; they are exquisitely incoherent and use a sort of primitive, emotional language. After five minutes they are left beautifully breathless and look at each other half in amusement and half in affection. If a stolid young Englishman is fortunate enough to be introduced to them he is amazed at their extraordinary vivacity, their electric quickness of repartee, their inexhaustible store of curious catchwords. He never really understands them, for their thoughts flutter about with the sweet irresponsibility of butterflies; but he is pleased and amused and feels as if he were in an aviary. On the whole, American girls have a wonderful charm and, perhaps, the chief secret of their charm is that they never talk seriously except about amusements. They have, however, one grave fault – their mothers. Dreary as were those old Pilgrim Fathers who left our shores more than two centuries ago to found a New England beyond seas, the Pilgrim Mothers who have returned to us in the nineteenth century are drearier still.

Here and there, of course, there are exceptions, but as a class they are either dull, dowdy or dyspeptic. It is only fair to the rising generation of America to state that they are not to blame for this. Indeed, they spare no pains at all to bring up their parents properly and to give them a suitable, if somewhat late, education. From its earliest years every American child spends most of its time in correcting the faults of its father and mother; and no one who has had the opportunity of watching an American family on the deck of an Atlantic steamer, or in the refined seclusion of a New York boarding-house, can fail to have been struck by this characteristic of their civilisation. In America the young are always ready to give to those who are older than themselves the full benefits of their inexperience. A boy of only eleven or twelve years of age will firmly but kindly point out to his father his defects of manner or temper; will never weary of warning him against extravagance, idleness, late hours, unpunctuality, and the other temptations to which the aged are so particularly exposed; and sometimes, should he fancy that he is monopolising too much of the conversation at dinner, will remind him, across the table, of the new child’s adage, ‘Parents should be seen, not heard.’ Nor does any mistaken idea of kindness prevent the little American girl from censuring her mother whenever it is necessary. Often, indeed, feeling that a rebuke conveyed in the presence of others is more truly efficacious than one merely whispered in the quiet of the nursery, she will call the attention of perfect strangers to her mother’s general untidiness, her want of intellectual Boston conversation, immoderate love of iced water and green corn, stinginess in the matter of candy, ignorance of the usages of the best Baltimore society, bodily ailments and the like. In fact, it may be truly said that no American child is ever blind to the deficiencies of its parents, no matter how much it may love them.

Yet, somehow, this educational system has not been so successful as it deserved. In many cases, no doubt, the material with which the children had to deal was crude and incapable of real development; but the fact remains that the American mother is a tedious person. The American father is better, for he is never seen in London. He passes his life entirely in Wall Street and communicates with his family once a month by means of a telegram in cipher. The mother, however, is always with us, and, lacking the quick imitative faculty of the younger generation, remains uninteresting and provincial to the last. In spite of her, however, the American girl is always welcome. She brightens our dull dinner parties for us and makes life go pleasantly by for a season. In the race for coronets she often carries off the prize; but, once she has gained the victory, she is generous and forgives her English rivals everything, even their beauty.

Warned by the example of her mother that American women do not grow old gracefully, she tries not to grow old at all and often succeeds. She has exquisite feet and hands, is always bien chaussée et bien gantée and can talk brilliantly upon any subject, provided that she knows nothing about it.

Her sense of humour keeps her from the tragedy of a grande passion, and, as there is neither romance nor humility in her love, she makes an excellent wife. What her ultimate influence on English life will be it is difficult to estimate at present; but there can be no doubt that, of all the factors that have contributed to the social revolution of London, there are few more important, and none more delightful, than the American Invasion.

SERMONS IN STONES AT BLOOMSBURY: THE NEW SCULPTURE ROOM AT THE BRITISH MUSEUM

(Pall Mall Gazette, October 15, 1887.)

Through the exertions of Sir Charles Newton, to whom every student of classic art should be grateful, some of the wonderful treasures so long immured in the grimy vaults of the British Museum have at last been brought to light, and the new Sculpture Room now opened to the public will amply repay the trouble of a visit, even from those to whom art is a stumbling-block and a rock of offence. For setting aside the mere beauty of form, outline and mass, the grace and loveliness of design and the delicacy of technical treatment, here we have shown to us what the Greeks and Romans thought about death; and the philosopher, the preacher, the practical man of the world, and even the Philistine himself, cannot fail to be touched by these ‘sermons in stones,’ with their deep significance, their fertile suggestion, their plain humanity. Common tombstones they are, most of them, the work not of famous artists but of simple handicraftsmen, only they were wrought in days when every handicraft was an art. The finest specimens, from the purely artistic point of view, are undoubtedly the two stelai found at Athens. They are both the tombstones of young Greek athletes. In one the athlete is represented handing his strigil to his slave, in the other the athlete stands alone, strigil in hand. They do not belong to the greatest period of Greek art, they have not the grand style of the Phidian age, but they are beautiful for all that, and it is impossible not to be fascinated by their exquisite grace and by the treatment which is so simple in its means, so subtle in its effect. All the tombstones, however, are full of interest. Here is one of two ladies of Smyrna who were so remarkable in their day that the city voted them honorary crowns; here is a Greek doctor examining a little boy who is suffering from indigestion; here is the memorial of Xanthippus who, probably, was a martyr to gout, as he is holding in his hand the model of a foot, intended, no doubt, as a votive offering to some god. A lovely stele from Rhodes gives us a family group. The husband is on horseback and is bidding farewell to his wife, who seems as if she would follow him but is being held back by a little child. The pathos of parting from those we love is the central motive of Greek funeral art. It is repeated in every possible form, and each mute marble stone seems to murmur χαιρε. Roman art is different. It introduces vigorous and realistic portraiture and deals with pure family life far more frequently than Greek art does. They are very ugly, those stern-looking Roman men and women whose portraits are exhibited on their tombs, but they seem to have been loved and respected by their children and their servants. Here is the monument of Aphrodisius and Atilia, a Roman gentleman and his wife, who died in Britain many centuries ago, and whose tombstone was found in the Thames; and close by it stands a stele from Rome with the busts of an old married couple who are certainly marvellously ill-favoured. The contrast between the abstract Greek treatment of the idea of death and the Roman concrete realisation of the individuals who have died is extremely curious.

Besides the tombstones, the new Sculpture Room contains some most fascinating examples of Roman decorative art under the Emperors. The most wonderful of all, and this alone is worth a trip to Bloomsbury, is a bas-relief representing a marriage scene. Juno Pronuba is joining the hands of a handsome young noble and a very stately lady. There is all the grace of Perugino in this marble, all the grace of Raphael even. The date of it is uncertain, but the particular cut of the bridegroom’s beard seems to point to the time of the Emperor Hadrian. It is clearly the work of Greek artists and is one of the most beautiful bas-reliefs in the whole Museum. There is something in it which reminds one of the music and the sweetness of Propertian verse. Then we have delightful friezes of children. One representing children playing on musical instruments might have suggested much of the plastic art of Florence. Indeed, as we view these marbles it is not difficult to see whence the Renaissance sprang and to what we owe the various forms of Renaissance art. The frieze of the Muses, each of whom wears in her hair a feather plucked from the wings of the vanquished sirens, is extremely fine; there is a lovely little bas-relief of two cupids racing in chariots; and the frieze of recumbent Amazons has some splendid qualities of design. A frieze of children playing with the armour of the god Mars should also be mentioned. It is full of fancy and delicate humour.