HE SUBJECT of the artistic relations between Guillaume ApolliT naire and Giorgio de Chirico is as complex as it is rewarding, involving both direct and indirect influence and extending into at least four different media: poetry, drama, music, and painting. Apollinaire, as is well known, was particularly susceptible to the influence of painters, and his closest friends tended to be artists, rather than writers.1 In his predilection for painting, he helped determine the course of modern French poetry, which has largely reacted against the symbolist preoccupation with music in favor of the more concrete attractions of the visual arts. The concomitant emphasis has been on image rather than sound, metaphor rather than rhythm. Between 1911 and 1915 de Chirico and his brother, Alberto Savinio (Andrea de Chirico), shared an apartment in Paris with their widowed mother. Like his brother, who was a musician and composer, de Chirico soon became a good friend of Apollinaire's. During this period the three men influenced each other and created works which, though utilizing different media, were remarkably similar in inspiration and style. Their relationship might be diagrammed as an equilateral triangle with one person at each corner-each one influencing, and being influenced by, the other two.