of husband and wife. In the museum at Naples there is the wonderful Greek
treatment of this theme, in sculptured high relief. The sculptor has
chosen the moment of parting. Hermes, the messenger of the gods to recall
Eurydice, has twined his hand gently around the left hand of the woman.
With her right hand she still touches her husband, but the dread instant
is upon them all. The sculptor, representing the persons in three
dimensions, as far as high relief allows, has sufficiently
characterized their faces and figures, and with exquisite sense of rhythm
and balance in his composition has fulfilled every requirement of formal
beauty that marble affords.

In Sir Frederick Leighton's painting of Orpheus and Eurydice and in many
another less famous painter's rendering of the theme, there is likewise
the portrayal of an arrested moment. But the painter represents the
personages and the background in two dimensions. He can separate his
figures more completely than the sculptor, can make their instant of
action more "dramatic," can portray certain objects, such as the
diaphanous robe of Eurydice as she vanishes into mist, which are beyond
the power of the sculptor to represent, and above all he can suggest the
color of the objects themselves, the degree of light and shade, the
"atmosphere" of the whole, in a fashion unapproachable by the rival arts.

The illustration need not be worked out more elaborately here, though the
student may profitably reflect upon the resources of the modern moving
picture--which is a novel combination of the "time" and "space" arts--and
of the mimetic dance, as affording still further opportunities for
expressing the artistic possibilities of the Orpheus story. But the chief
lesson to be learned by one who is attempting in this way to survey the
provinces of the different arts is this: no two of all the artists who
have availed themselves of the Orpheus material have _really had the same