Magic Locker Sectory 04
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As soon as the armies were quartered for the winter, the Romans sent an embassy to Pyrrhus to negotiate the ransom or exchange of prisoners. The embassadors were received by Pyrrhus in the most distinguished manner; and his interviews with C. Fabricius, who was at the head of the embassy, form one of the most famous stories in Roman history. Fabricius was a fine specimen of the sturdy Roman character. He cultivated his farm with his own hands, and, like his contemporary Curius, was celebrated for his incorruptible integrity. The king attempted in vain to work upon his cupidity and his fears. He steadily refused the large sums of money offered by Pyrrhus; and when an elephant, concealed behind him by a curtain, waved his trunk over his head, Fabricius remained unmoved. Such respect did his conduct inspire, that Pyrrhus attempted to persuade him to enter into his service and accompany him to Greece. The object of the embassy failed. The king refused to exchange the prisoners; but, to show them his trust in their honor, he allowed them to go to Rome in order to celebrate the Saturnalia, stipulating that they were to return to Tarentum if the Senate would not accept the terms which he had previously offered through Cineas. The Senate remained firm in their resolve, and all the prisoners returned to Pyrrhus, the punishment of death having been denounced against those who should remain in the city.

This does not in the least apply to groups of people who are genuinely and keenly interested in art of any kind, and form a congenial circle in which they discuss, frankly and enthusiastically, methods of work, the books, ideas, pictures, and music which interest them. That is quite a different thing, a real fortress of enthusiasm in the midst of Meshech and Kedar. What makes it base and morbid is the desire to exclude for the sake of exclusion; to indulge in solitary raptures, hoping to be overheard; to keep the tail of the eye upon the public; to attempt to mystify; and to trade upon the inquisitive instinct of human beings, the natural desire, that is, to know what is going on within any group that seems to have exciting business of its own.

Space would fail me if I now sought to carry you off to the cave of Altamira, near Santander, in the north-west of Spain. Here you might see at its best a still later style of rock-painting, which deserts mere black and white for colour-shading of the most free description. Indeed, it is almost too free, in my judgment; for, though the control of the artist over his rude material is complete, he is inclined to turn his back on real life, forcing the animal forms into attitudes more striking than natural, and endowing their faces sometimes, as it seems to me, with almost human expressions. Whatever may be thought of the likelihood of these beasts being portrayed to look like men, certain it is that in the painted caves of this period the men almost invariably have animal heads, as if they were mythological beings, half animal and half human; or else--as perhaps is more probable--masked dancers. At one place, however--namely, in the rock shelter of Cogul near Lerida, on the Spanish side of the Pyrenees, we have a picture of a group of women dancers who are not masked, but attired in the style of the hour. They wear high hats or chignons, tight waists, and bell-shaped skirts. Really, considering that we thus have a contemporary fashion-plate, so to say, whilst there are likewise the numerous stencilled hands elsewhere on view, and even, as I have seen with my own eyes at Niaux in the sandy floor, hardened over with stalagmite, the actual print of a foot, we are brought very near to our palaeolithic forerunners; though indefinite ages part them from us if we reckon by sheer time.

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