any way be considered as a reasonable
likeness of this particular Square.

A French artist also selecting this portion of London for a picture,
determined at once that it would be more becoming, not to say
diplomatic, to paint only one end of the low stone wall surrounding the
Square; yet entertaining doubts afterwards that it might not perhaps be
recognised, he added the central stone cupola of the National Gallery,
appearing over all like a hastily bestowed blessing, but covered the
remaining space upon his canvas with imaginary stalls of glowing
flowers, and even more imaginary flower-sellers. His picture was
greatly admired, and very much resembled the Market Square in Havre
upon a Monday morning.

A Spanish artist chancing to pass the same way, likewise hastily
completed a picture of Trafalgar Square as he wished to see it, adding
by way of a decorative effect a lattice-work of trellised vines like
unto his beloved vineyards of Andalusia. Dwarf oranges grew in
profusion and hung their coloured golden globes over the squat stone
walls. A brilliant Southern sun beat upon both, baking the walls
red-hot and ripening the oranges at one and the same time. This
picture the artist named Trafalgar Square when the Sun Shines.

A Cubist painter, not to be outdone with regard to his point of view of
such a subject, covered an immense canvas with wonderful heaving
squares of ochre and green, viewed from a background suggesting endless
mud. This suggestion, however, may have been in the nature of a small
tribute to the usual condition of the London streets. This production
which the Cubist artist was optimistic enough to name simply Trafalgar
Square, was instantly bought by a famous geologist, who to this day
indulges in the beautiful belief that he possesses the only indication
of what this particular portion of the world was like before ever the
earth was made.

Last of all arrived a Futurist painter, who painted _everything_ in
Trafalgar Square, and nothing that did _not_ appear in it. The
painter, however, selected a really wonderful aspect of the Square,
seen from a most strange angle, a sort of bird's-eye view of it, which
could only have been obtained from a balloon. So remarkable was the
perspective that the entire Square, as seen in the picture, appeared as
if it were being gradually drawn sideways up to Heaven. The great
Nelson column and all the four lions could be viewed simultaneously,
and the artist h