"And you are wise, sir, for it is a puzzler, and many have cracked their heads over it. But have we not been here long enough? We can pursue our researches into the higher realms of art to-morrow."
A beam from the Angel's lustrous eyes fell on a lady at the next table. "Yes, perhaps we had better go," he sighed.
V
"And so it is through the fields of true art that we shall walk this morning?" said the Angel Æthereal.
"Such as they are in this year of Peace 1947," responded his dragoman, arresting him before a statue; "for the development of this hobby has been peculiar since you were here in 1910, when the childlike and contortionist movement was just beginning to take hold of the British."
"Whom does this represent?" asked the Angel.
"A celebrated publicist, recently deceased at a great age. You see him unfolded by this work of multiform genius, in every aspect known to art, religion, nature, and the population. From his knees downwards he is clearly devoted to nature, and is portrayed as about to enter his bath. From his waist to his knees he is devoted to religion—mark the complete disappearance of the human aspect. From his neck to his waist he is devoted to public affairs; observe the tweed coat, the watch chain, and other signs of practical sobriety. But the head is, after all, the crown of the human being, and is devoted to art. This is why you cannot make out that it is a head. Note its pyramidal severity, its cunning little ears, its box-built, water-tightal structure. The hair you note to be in flames. Here we have the touch of beauty—the burning shrub. In the whole you will observe that aversion from natural form and the single point of view, characteristic of all twentieth-century æsthetics. The whole thing is a very great masterpiece of childlike contortionism. To do things as irresponsibly as children and contortionists—what a happy discovery of the line of least resistance in art that was! Mark, by the way, this exquisite touch about the left hand."
"It appears to be deformed," said the Angel, going a step nearer.
"Look closer still," returned his dragoman, "and you will see that it is holding a novel of the great Russian, upside down. Ever since that simple master who so happily blended the childlike with the contortionist became known in this country they have been trying to go him one better, in letters, in painting, in sculpture, and in music, refusing to admit that he was the last cry; and until they have beaten him this movement simply cannot cease; it may therefore go on for ever, for he was the limit. That hand symbolises the whole movement."