Students of the symbolist movement rarely enjoy the luxury of being able to identify the fixed iconographic sources employed in earlier art; instead they must draw inferences from allusions to traditional emblems that are often veiled or transformed in the quest for a more personal, intimate content. Jules Prown equates the spume that ascends behind the entangled couple in TheLife Line (fig. 9), for example, with aspirations towards immateriality and transubstantiation. Salvation in the spiritual, as well as in the physical, sense results from a collective confrontation with the elements undertaken by both the seaman and those on shore who operate the breeches buoy.
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