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And not only the National Gallery, but the galleries of France and
Italy, and even Germany herself. Perhaps Germany first of all, for
there would be a piquancy in thus employing the cherished possessions
of the foe. Could not something be done, for example, with the famous
wax bust, the glory of the Kaiser Friedrich Collection, into which
LEONARDO DA VINCI, as a finishing touch, crammed an early Victorian
waistcoat before delivering the masterpiece to its owner? A really
ingenious organiser should be able to make telling use of that,
perhaps with a play on the word "investment." But meanwhile LEONARDO
would, I am sure, be only too willing to suppress his sensitive
feelings and assist his fellow-countrymen in their stand on the Piave
by contributing "Monna Lisa." Some such words as these would serve:
"Why is she smiling that satisfied smile?" "Because she has bought a
nice little packet of War Bonds and thus insured a comfortable old
age." At the same time TITIAN could help to save his Venice by lending
the "Venus" from the Uffizi. "Why is this lady so naked?" "Because she
neglected to invest in War Bonds, and thus had nothing with which
to buy clothes later on." Or, if a French or English picture were
preferred, INGRES' "La Source," from the Louvre, or LEIGHTON'S "Bath
of Psyche" from the National Gallery, could be used with the same
touching legend. But I feel that TITIAN should have the first chance.
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