ABOUT CHESTERTON AND BELLOC
It has been one of the less possible dreams of my life to be a painted Pagan God and live upon a ceiling. I crown myself becomingly in stars or tendrils or with electric coruscations (as the mood takes me), and wear an easy costume free from complications and appropriate to the climate of those agreeable spaces. The company about me on the clouds varies greatly with the mood of the vision, but always it is in some way, if not always a very obvious way, beautiful. One frequent presence is G. K. Chesterton, a joyous whirl of brushwork, appropriately garmented and crowned. When he is there, I remark, the whole ceiling is by a sort of radiation convivial. We drink limitless old October from handsome flagons, and we argue mightily about Pride (his weak point) and the nature of Deity. A hygienic, attentive, and essentially anæsthetic Eagle checks, in the absence of exercise, any undue enlargement of our Promethean livers. . . . Chesterton often—but never by any chance Belloc. Belloc I admire beyond measure, but there is a sort of partisan viciousness about Belloc that bars him from my celestial dreams. He never figures, no, not even in the remotest corner, on my ceiling. And yet the divine artist, by some strange skill that my ignorance of his technic saves me from the presumption of explaining, does indicate exactly where Belloc is. A little quiver of the paint, a faint aura, about the spectacular masses of Chester-
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