was no daughter of Minos. The daughter of heathenesse and the early church she was; doomed to torturing visions and scourgings, and the wrangling of soul with flesh. The venerable Theseus might have been victorious Charlemagne, and Phædra's maidens belonged rather in the train of Blanche of Castile than at the Cretan court. In the earlier studies Hippolytus had been done with a more pagan suggestion, but in each successive drawing the glorious figure had been deflowered of something of its serene unconsciousness; until, in the canvas under the skylight, he appeared a very Christian knight. This male figure, and the face of Phædra, painted with such magical preservation of tone under the heavy shadow of the veil, were plainly Treffinger's highest achievements of craftsmanship. By what labour he had reached the seemingly inevitable composition of the picture—with its twenty figures, its plenitude of light and air, its restful distances seen through white porticoes—countless studies bore witness.
From James's attitude toward the picture, MacMaster could well conjecture what the painter's had been. This picture was always uppermost in James's mind; its custodianship formed, in his
