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world’s affairs is indicated. New endocrinals. Fresh artisans.”

      This particular entry in the notebook is dated April 7, 2027. It is one of the earliest appearances of what presently became a current phrase, “change of régime”.

      The preoccupations of Theotocopulos with the physical and mental aspects of love, his extraordinary knack of linking physiological processes with the highest emotional developments, need not concern us here, important as they are in the history of æsthetic analysis. For a year or so he is concentrated upon his great “Desire Frieze” in the Refectory of the Art Library at Barcelona, and he thinks no more of politics. He likes the architects with whom he is associated; he approves of the developments at Barcelona, and he is given a free hand. “These fellows do as they like,” he remarks. “A great change from all those damned committees, ‘sanctioning’ this or asking you to ‘reconsider’ that.” Then he comes under the influence of that very original young woman from Argentina, also in her way a great artist, Juanita Mackail. Sketches of her, memoranda of poses and gestures, introduce her. Then he remarks: “This creature thinks.” So far he has never named her. Then she appears as “J” and becomes more and more frequent.

      “There is something that frightens me about a really intelligent woman. Was it Poe or De Quincey — it must have been De Quincey — who dreamt of a woman with breasts that suddenly opened and became eyes? Horrid! To find you are being looked at like that.”

      Following this a page has been torn out by him, the only page he ever tore out, and we are left guessing about it.

      An abrupt return to political speculation in the notebooks follows. A number of entries begin, “J says”, or end, “This is J’s idea.”

      Then some pages later he repeats: “This creature thinks. Do I? Only with my fingers. Language is too abstract for me. Or is it true, as she says, that I am mentally lazy. MENTALLY LAZY— after I had been talking continuously to her for three hours!

      “It seems all my bright little thoughts don’t amount to anything compared with the stuff these social psychologists are doing. I have a lot to learn. I suppose J would schoolmistress anybody.”

      The notebooks keep the fragile grace and mental vigour of Juanita Mackail alive to this day. She was the sort of woman who would have been a socialist revolutionary in the nineteenth century, a commissar in Early Soviet Russia or a hard worker for the Modern State in the middle twentieth century. Now she was giving all the time her strongly decorative idiosyncrasy left free to the peculiar politics of the period. It is plain that before she met Theotocopulos she was already politically minded. She had had a feeling that the world was in some way not going right, but her clear perception of what had to be done about it came only with her liaison with him. The notebooks with their frankness and brutality tell not only a very exceptional love story, but what is perhaps inseparable from every worthwhile love story, a mutual education. Theotocopulos was her first and only lover. To begin with he had treated her as casually as he had treated the many other women in his life, and then it is plain that, as he began to find her out, his devotion to her became by degrees as great or greater than her devotion to him.

      He studied her. He made endless notes about her. We know exactly how she affected him. How he affected her we are left to guess, but it is plain that for her there was at once the magnificence of his gifts and the appeal of his wayward childishness. The former overwhelmed her own. It is plain in her surviving work. The earlier work is the best. He asks twice, “Am I swamping J? Her stuff is losing character. She is borrowing my eyes. That last cartoon. Am I to blame? It WAS such lovely stuff. Once upon a time.” And he writes: “This maternity specialization is Nature’s meanest trick on women. If they are not going to be mothers, if they CAN’T be mothers, why on earth should they be saturated with motherhood? Why should J think more about getting me a free hand to do what I please than she does about her own work? She does. I haven’t asked her. Or have I, in some unconscious way, asked her? No, it’s just her innate vicious mothering. I am her beloved son and lover and the round world is my brother, and every day her proper work deteriorates and she gets more political and social-psychological on our account.”

      From that point onward the trend of these notebooks towards politics becomes very strong. The early volumes express the resentments of an isolated man of extreme creative power who finds himself singlehanded and powerless in an unsympathetically ordered world. The late show that same individuality broadening to a conception of the whole world as plastic material, sustained by a sense of understanding and support, coming into relationship and cooperation with an accumulating movement of kindred minds. At last it is not so much Theotocopulos who thinks as the awakening æsthetic consciousness of the world community.

      “The change of régime has to be like a chick breaking out of its egg. The shell has to be broken. BUT THE SHELL HAD TO BE THERE. Let us be just. There is proportion in time as well as in space. If the shell is broken too soon there is nothing to be done but make a bad omelette. But if it isn’t broken at the proper time, the chick dies and stinks.”

      The forty-seventh notebook is devoted almost entirely to a replanning of the subject of his early animadversions, the Ligurian coast. That notebook proved to be so richly suggestive that to-day some of his sketches seem to be actual drawings of present conditions, the treatment of the Monaco headland for example, and the reduction of the terraces. But his dreams of orange-groves are already quaint, because he knew nothing of the surprises in tree form that the experimental botanists were preparing. The forty-ninth booknote is also devoted to planning. “Plans for a world,” he writes on the first page. “Contributions.” He seems to have amused himself with this book at irregular intervals. There are some brilliant anticipations in it and also some incredible fantasies. Occasionally, like every prophet, he finds detail too much for him and lapses into burlesque.

      There is a very long note of a very modern spirited discussion about individuality which he had with Juanita when apparently they were staying together at Montserrat. The notes are the afterthoughts of this talk, “shots at statement” as he would have called them, and they bring back to the reader a picture of that vanished couple who strolled just sixty years ago among the tumbled rocks and fragrant shrubs beneath the twisted pines of that high resort, both of them so acutely responsive to the drift of ideas that made the ultimate revolution — she intent and critical, holding on to her argument against his plunging suggestions, like someone who flies a kite in a high wind.

      “The individual is for the species; but equally the species is for the individual.

      “Man lives for the State in order to live by and through — and in spite of — the State.

      “Life is a pendulum that swings between service and assertion. Resist, obey, resist, obey.

      “Order, discipline, health, are nothing except to make the world safe for the æsthetic life.”

      “We are Stoics that we may be Epicureans.”

      “Exercise and discipline are the cookery but not the meal of life.

      “Here as ever — PROPORTION. But how can proportion be determined except æsthetically?

      “The core of life is wilfulness.”

      So they were thinking in 2046. Have we really got very much further to-day?

      7. The Declaration of Mégève

       Table of Contents

      Theotocopulos and his Juanita were present at the Conference at Mégève which wound up the second World Council. They both seem to have been employed upon the decoration of the temporary town that was erected for this purpose on those upland meadows. The notebooks, in addition to some very beautiful designs for metal structures, contain sketches of various members of the Council and some brilliant impressions of crowd effects in the main pavilion. There is also a sketch of a painting Theotocopulos afterwards made; it appears in all our picture-books of history: the tall presence of old Antoine Ayala, standing close to the aeroplane in which he departed for his

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