mentioning this," cai now that you won't mind
panion; and he' said it in a way that made clear that he was fully aware that his mentioning it would put us at once in a temper. This form of expression is ever the expedient of those who desire to start something," and who me evitably succeed. The in question was "realism in axt,"" and he had done his best to convey that the subject was one never to be dis cessed before the ladies, and a topic well-calculated to throw moral uprs into a frenzy, tuff and nonsense," we had replied! "Steff and nonsense." "And then, fearing that we had not made ourself plain, wp added, succinctly, Rubbish." Our companion had thereupon demanded conerete illu tration of the harmlessness of realism in art, Being by nature obliging, we put before him three As you come south along North Szechuen Road, you ultimately approach a noble public edifice. Even the slowest riesha coolie will even tually bring you there. It is not a temple of the Buses, but a temple that sometimes amuses; but this only by permitting the imagination full sway as to its true function, Atop of this noble edifice three sculptured figures whose identity la a matter of dispute, The group consists of one male and two females. Some contend that these represent we out of the three disgraces, and that the gentleman jin the ease is intended to be the average patron of a cabaret seated, Detween "two "vine"-consuming dance partners. But this cannot be the intention, as the two ladies axe wearing far' les" than the boldest ance partner would dare, The reader has heard of the adage, "La unit porte conseil." If he' will meander in the neighbourhood of the group between the hours of midnight and 4 na, when all else 22Jis hushed, he will hear one sculptured lady demand of the malo, What's become of that registered letter 1 posted a month ago?" while the other Indy querulously asks, 'Shall [ever get that parcel which someone says she sent mo ast spring?" To both of which the central figure replies, "If you don't like it, write to the papers.'
This, dear render, is realism in art, and what's the harm in itt Now for example two, Axt comprehends painting as well fas sculpture, Pai in turn, includes sign pai that of portraits. It ix with the former we have to do; 4 moveable and one that invites and at the same time prevents acceptance of the invitation, We are on Museum Rowd, going North, At least, we should like to be going. We are unable to, how: ever; and the obstruction is a bit of art. Directly before us is the tail end of: a huge lorry, on which we fare exhorted to "keep moving with the Tractable Transport. Ca., tele Phone such and such and so and so." This invitation is most artistically extended. One can easily vee that it must have taken some Chinese a full half hour to letter it. And such an alluring tion! "IL is obvious that it one is to keep moving with some-the something, itself, must In this case, it refuses to, Why, we are unable to. deform being to the rear of the invita which occupies at least two-thirds of the width of the street. pressed by the excellence of the inscribed sentiments, though these are partly obscured by the fumes of a tremendous exhaust. We alternate. ly-curse and bless these fumes. The first because they make us cough, the second, because they are a welcome offset to the garlic which the riesha coolie has eaten, Thus, we cough, read the invitation, and courb. Just as we decide to' telephone such and such and so and 50 to learn precisely how one moves with the Tractable Transport Ca. when itis not moving, it moves, Only a fow fect, however; and we instruct the ricthu coolie to take us under it, over it, or around it. We don't care which, so long as we are no longer confronted by this example of realism.
There are, two phases involved in the third. The first comprises (Continwed en Page 261.)
Text read from the printed page and cleaned; old type leaves the occasional error.