al design. And anything more different in spirit from the
genuine primitive than the irreverent anarchy and flouting of all
refinement in the work of some of these new primitives, it would be
difficult to imagine. But much of the work of the movement has undoubted
artistic vitality, and in its insistence on design and selection should
do much to kill "realism" and the "copying nature" theory of a few years
back.

Although it is perfectly true that the feelings and ideas that impel the
artist may sooner or later find their own expression, there are a great
many principles connected with the arranging of lines, tones, and
colours in his picture that it is difficult to transgress without
calamity. At any rate the knowledge of some of them will aid the artist
in gaining experience, and possibly save him some needless fumbling.

But don't for one moment think that anything in the nature of rules is
going to take the place of the initial artistic impulse which must come
from within. This is not a matter for teaching, art training being only
concerned with perfecting the means of its expression.

[Illustration: Plate XXX.

A STUDY FOR A PICTURE OF "ROSALIND AND ORLANDO"

_Ros._ "He calls us back; my pride fell with my fortunes."]

It is proposed to treat the subject from the material side of line and
tone only, without any reference to subject matter, with the idea of
trying to find out something about the expressive qualities line and
tone are capable of yielding unassociated with visual things. What use
can be made of any such knowledge to give expression to the emotional
life of the artist is not our concern, and is obviously a matter for the
individual to decide for himself.

* * * * *

There is at the basis of every picture a structure of lines and masses.
They may not be very obvious, and may be hidden under the most broken of
techniques, but they will always be found underlying the planning of any
painting. Some may say that the lines are only the boundaries of the
masses, and others that the masses are only the spaces between the
lines. But whichever way you care to look at it, there are particular
emotional qualities analogous to music that affect us in lines and line
arrangements and also in tone or mass arrangements. And any power a
picture may have to move us will be largely due to the rhythmic
significance of this original planning. These qualities, as has already
been state