ts call
the latter "static"). They say they stand on the extreme promontory of
the centuries. Why, they ask, should we look behind us, when we have
to break into the mysterious portals of the impossible? Time and space
died yesterday. Already we live in the absolute, since we have already
created speed, eternal and ever present. This rigmarole of metaphysics
betrays the influence of the Henri Bergson philosophy, the philosophy
of rhythm and rhythmic motion. It is just as original; _i. e._, not
original at all. Mother Earth is still spinning through space at the
gait originally imparted to her by the sun's superior force. Mankind
on her outer rind spins with her. Because we have invented steam and
electric cars, we must not arrogate to ourselves the discovery of
speed. What has speed to do with painting on a flat surface, painting
in two dimensions of space? Wait a bit! We are coming to the
application of rhythm to paint.

The Futurists wish to glorify war--the only health-giver of the
world--militarism, patriotism, the destructive arm of the anarchist,
the beautiful ideas that kill, the contempt for woman. They wish to
destroy the museums, the libraries (unlucky Mr. Carnegie!), to fight
moralism, feminism, and all opportunistic and utilitarian measures.
Museums are for them cemeteries of art; to admire an old picture is to
pour our sensitiveness into a funeral urn, instead of casting it
forward in violent gushes of creation and action. So set fire to the
shelves of libraries! Deviate the course of canals to flood the
cellars of museums! Seize pickaxes and hammers! Sap the foundations of
the antique cities! "We stand upon the summit of the world and once
more we cast our challenge to the stars." Thus F. T. Marinetti, editor
of _Poesia_.

The manifesto of the new crowd is too lengthy to reproduce; but here
are a few of its tenets:

1st: That imitation must be despised, and all originality glorified.
(How novel!)

2d: That it is essential to rebel against the tyranny of the terms
"harmony" and "good taste" as being too elastic expressions, by the
help of which it is easy to demolish the works of Rembrandt, of Goya,
and of Rodin.

3d: That the art-critics are useless or harmful.

4th: That all subjects previously used must be swept aside in order to
express our whirling life of steel, of pride, of fever, and of speed.

5th: That the name of "madman" with which it is attempted to gag all
innovators, should be looke