Camille Odissot succeed with your ball-room frescoes?"
"I have no idea. Very ill, I dare say."
"Yes, it is a curious thing that we do not succeed in fresco. The grace is gone out of it; modern painters have not the lightness of touch necessary; they are used to masses of colour, and they use the palette knife as a mason the trowel. The art too, like the literature of our time, is all detail; the grand suggestive vagueness of the Greek drama and of the Umbrian frescoes are lost to us under a crowd of elaborated trivialities; perhaps it is because art has ceased to be spiritual or tragic, and is merely domestic or melodramatic; the Greeks knew neither domesticity nor melodrama, and the early Italian painters were imbued with a faith which, if not so virile as the worship of the Phidian Zeus, yet absorbed them and elevated them in a degree impossible in the tawdry Sadduceeism of our own day. By the way, when the weather is milder you must go to Orvieto; you have never been there, I think; it is the Prosodion of Signorelli. What a fine Pagan he was at heart! He admired masculine
