“What is the relief?” asked Gudrun.
“Alto relievo.”
“And at what height?”
It was very interesting to Gudrun to think of his making the great granite frieze for a great granite factory in Cologne. She got from him some notion of the design. It was a representation of a fair, with peasants and artisans in an orgy of enjoyment, drunk and absurd in their modern dress, whirling ridiculously in roundabouts, gaping at shows, kissing and staggering and rolling in knots, swinging in swing-boats, and firing down shooting galleries, a frenzy of chaotic motion.
There was a swift discussion of technicalities. Gudrun was very much impressed.
“But how wonderful, to have such a factory!” cried Ursula. “Is the whole building fine?”
“Oh yes,” he replied. “The frieze is part of the whole architecture. Yes, it is a colossal thing.”
Then he seemed to stiffen, shrugged his shoulders, and went on:
“Sculpture and architecture must go together. The day for irrelevant statues, as for wall pictures, is over. As a matter of fact sculpture is always part of an architectural conception. And since churches are all museum stuff, since industry is our business, now, then let us make our places of industry our art—our factory-area our Parthenon, ecco!”
Ursula pondered.