Miss Harrison's second example is eminently calculated to give a shock to the conventional ideas generally entertained, for, as she herself says, if there is a statue in the world which apparently represents "art for art's sake" it is that of the Apollo Belvedere. Much discussion has taken place as to what Apollo is supposed to be doing in this famous statue. "There is only one answer. We do not know." Miss Harrison, however, thinks that as he is poised on tiptoe he may be in the act of taking flight from the earth. Eventually, after discussing the matter at some little length, she appears to come to the audacious conclusion which, in spite of its hardy irreverence, may very probably be true, that as Apollo was, after all, only an early Jack-in-the-Green, he has been artistically represented in marble by some sculptor of genius in that capacity. Finally, before leaving this very interesting and instructive work, it may be noted that Miss Harrison quotes a remarkable passage from Athenaeus (xiv. 26), which certainly affords strong confirmation of her view that in the eyes of ancient authors there was an intimate connection between art and dancing, and therefore, inasmuch as dancing was ritualistic, between art and ritual. "The statues of the craftsmen of old times," Athenaeus says, "are the relics of ancient dancing." It is greatly to be hoped that Miss Harrison will continue the study of this subject, and that she will eventually give to the world the results of her further inquiries. [Footnote 104: _Ancient Art and Ritual._ By Miss Jane Harrison. London: Williams and Norgate. 1s.] XXIV PORTUGUESE SLAVERY _"The Spectator," August 16, 23, 30, 1913_