of the mental associations connected with appearances, according to
his temperament. But neither position can neglect the other without
fatal loss. The picture of form and colour will never be able to escape
the associations connected with visual things, neither will the picture
all for subject be able to get away from its form and colour. And it is
wrong to say "If he paints the mountain faithfully from the form and
colour point of view it will suggest all those other associations to
those who want them," unless, as is possible with a simple-minded
painter, he be unconsciously moved by deeper feelings, and impelled to
select the significant things while only conscious of his paint. But the
chances are that his picture will convey the things he was thinking
about, and, in consequence, instead of impressing us with the grandeur
of the mountain, will say something very like "See what a clever painter
I am!" Unless the artist has painted his picture under the influence of
the deeper feelings the scene was capable of producing, it is not likely
anybody will be so impressed when they look at his work.

And the painter deeply moved with high ideals as to subject matter, who
neglects the form and colour through which he is expressing them, will
find that his work has failed to be convincing. The immaterial can only
be expressed through the material in art, and the painted symbols of the
picture must be very perfect if subtle and elusive meanings are to be
conveyed. If he cannot paint the commonplace aspect of our mountain, how
can he expect to paint any expression of the deeper things in it? The
fact is, both positions are incomplete. In all good art the matter
expressed and the manner of its expression are so intimate as to have
become one. The deeper associations connected with the mountain are only
matters for art in so far as they affect its appearance and take shape
as form and colour in the mind of the artist, informing the whole
process of the painting, even to the brush strokes. As in a good poem,
it is impossible to consider the poetic idea apart from the words that
express it: they are fired together at its creation.

Now an expression by means of one of our different sense perceptions
does not constitute art, or the boy shouting at the top of his voice,
giving expression to his delight in life but making a horrible noise,
would be an artist. If his expression is to be adequate to convey his
feeling to others, there