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Lately we have seen a hot dispute in which, unless I mistake, both these gentlemen took a hand, raging round a figure of Christ by Mr. Epstein. For me the only interesting fact that emerged from this controversy was that, apparently, most of the disputants had not so much as heard of the greatest living sculptor I mean Maillol, of course.

Certainly, with the art of Maillol clearly in his mind, it is inconceivable that one so discriminating as the critic of the Nation should have said, as I think he did say, that Mr. Epstein now stands for European sculpture as Rodin stood before him. Not only is Maillol quite obviously superior to Mr. Epstein; in the opinion of many he is a better artist than Rodin.

It included such names as Derain, Picasso, Vlaminck, Marchand, Friesz, Maillol, Duncan Grant: one need not be laudator temporis acti to feel that the men of the new generation are on a smaller scale. This merely confirms my often expressed notion that the decade 1875-85 produced a prodigious quantity of greatly gifted babies.

Cézanne, of course, created far greater things than any Impressionist painter; and Gaugin, Van Gogh, Matisse, Rousseau, Picasso, de Vlaminck, Derain, Herbin, Marchand, Marquet, Bonnard, Duncan Grant, Maillol, Lewis, Kandinsky, Brancuzi, von Anrep, Roger Fry, Friesz, Goncharova, L'Hôte, are Rolands for the Olivers of any other artistic period.

Aristide Maillol is so obviously the best sculptor alive that to people familiar with his work there is something comic about those discussions in which are canvassed the claims of Mestrovic and Epstein, Archipenko and Bourdelle. These have their merits; but Maillol is a great artist.

Bonnard and Vuillard, unlike Aristide Maillol, though being sensitive and intelligent artists who make the most of whatever serves their turn they have taken what they wanted from the atmosphere in which they work, are hardly to be counted of Cézanne's descendants.

Leave behind you Fysher's, where the smirking monsieur fills the red upholstery with big-spending American hinds by warbling into their liquored bodies cocoa butter ballades of love and passion, and come over to the untufted Maillol's. And hear Maillol sing for the price of a beer. Maillol's lyrics are not for the American virgin: but, at that, they sing laughter in place of Fysher lech.