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along he called out to him. They made room. The dinner
was frugal, a plate of soup, a dish of meat, fruit, cheese, and
half a bottle of wine; but Philip paid no attention to what
he ate. He took note of the men at the table. Flanagan was
there again: he was an American, a short, snub-nosed youth
with a jolly face and a laughing mouth. He wore a Norfolk
jacket of bold pattern, a blue stock round his neck, and a
tweed cap of fantastic shape. At that time impressionism
reigned in the Latin Quarter, but its victory over the older
schools was still recent; and Carolus-Duran, Bouguereau,
and their like were set up against Manet, Monet, and Degas.
To appreciate these was still a sign of grace. Whistler was an
influence strong with the English and his compatriots, and
the discerning collected Japanese prints. The old masters
were tested by new standards. The esteem in which Raphael
had been for centuries held was a matter of derision to wise
young men. They offered to give all his works for Velasquez’
head of Philip IV in the National Gallery. Philip found that
a discussion on art was raging. Lawson, whom he had met
at luncheon, sat opposite to him. He was a thin youth with
a freckled face and red hair. He had very bright green eyes.
As Philip sat down he fixed them on him and remarked sud-
denly:
‘Raphael was only tolerable when he painted other peo-
ple’s pictures. When he painted Peruginos or Pinturichios
he was charming; when he painted Raphaels he was,’ with a
scornful shrug, ‘Raphael.’
Lawson spoke so aggressively that Philip was taken
aback, but he was not obliged to answer because Flanagan

Of Human Bondage