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 of composition. After this, the poetic impulse which had inspired the symbolist works of his youth suddenly re-awakened in him, provoking a reaction from the realism which then had the upper hand in his production. But at the same time, there appeared a remarkable change in his susceptibilities. The slightly abstract spirituality of his younger days gave place to an entirely sensuous vision of life and Nature, and flesh and blood began to speak in their vibrant tones. Nudes emerge from interiors filled with an intoxicating atmosphere of carnal passion. Colour, which here too illuminates, assumes a greater importance, and the charm of chiaroscuro, obtained by the play of pen-and-ink, is enhanced by penetrating and subtle harmonies. The blue of the bird of paradise contrasts vividly with the gold of brocade; the waxen lustre of camelia blossoms stands out against soft, heavy draperies. The artist’s fantasy now knew no limits, and his vision of fair women’s forms was removed from the warm atmosphere of the studio to the open air, amid landscapes real or imagined. At the same time, the engraver’s tool became his favourite instrument. He collected his “Etchings” and had them published by Jan Štenc, at Prague, with a preface by M. Camille Mauclair. Etchings such as “The Morning Hunt” or “A Summer Night” show the fine creative mood, the serenity of soul which their author had then attained and which was never to leave him again. The cycle of small etchings with the simple title of “Summer” records immediate impressions of the countryside, during the blazing days of a sunlit summer. Švabinský then turned aside for a brief spell to decorative work: like Preisler, he decorated a room in the Prague City Hall, executing an open air group of Czech poets, painters and composers. After this he returned to his love for the brush, painting the “,” so rich in its colour-scheme, and with all his family, an admirable group portrait. Gradually, we come