作者 ／ 法蘭莎‧吉露 Giroud, Francoise (弗朗索瓦斯吉魯)
出版日期 ／ 2007/09
顯然是造形藝術 (Plastic Arts)的誤會。
她把frieze 誤以為一定是"飾帶雕塑"，其實KLIMT的《貝多芬 Frieze》是繪畫 (如下，羅丹說是Beethoven fresco 貝多芬的壁畫)，也不是用來裝飾的。
口譯者Berta Zuckerkandl ，究竟是藝評家the art critic,如下英文，或是 上面引書說的記者呢？
最大誤會的是Rodin與Klimt的對話內容，《被愛的藝術: 愛爾瑪‧馬勒與五大名人的情史 》的作者可能也有誤會：
The two artists - Rodin 62, and at the peak of his fame, Klimt just about to turn 40 - went to a café in the Prater garden. According to the art critic, Berta Zuckerkandl, they sat down "beside two remarkably beautiful young women at whom Rodin gazed enchantedly.
"That afternoon, slim and lovely vamps came buzzing around Klimt and Rodin, those two fiery lovers," Zuckerkandl recalled.
"Rodin leaned over and to Klimt and said, 'I have never before experienced such an atmosphere - your tragic and magnificent Beethoven fresco, your unforgettable, temple-like exhibition, and now this garden, these women, this music. What is the reason for it all?' And Klimt slowly nodded his beautiful head, and answered only one word: 'Austria.'"
https://www.telegraph.co.uk/culture/art/.../Gustav-Klimt-a-life-devoted-to-women.htmlMay 10, 2008 - ... and to meet the artist whose monumental work, the Beethoven Frieze, was at the heart of the display: Gustav Klimt. The two artists - Rodin 62, and at the peak of his fame, Klimt just about to turn 40 - went to a café in the Prater garden. According to the art critic, Berta Zuckerkandl, they sat down "beside two ...