Four years ago, Salvador Dali renounced his old Freudian nightmares, and hit the sawdust trail toward what he calls "true artistic classicism." One of his first big efforts in this direction was his Port Lligat Madonna (TIME, April 17, 1950), but in shifting from the subconscious to the serene, he tripped over a clutter of surrealist paraphernalia and fell flat.
Last week, in his first London show in 15 years, Dali tried again with a crucifixion entitled Christ of St. John of the Cross. In his latest painting, Dali had cleared away most of the surrealist bric-a-brac, and contented himself with...
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