make Chinese images like Gauguin," he said another time. "All nature
must be modelled after the sphere, cone, and cylinder; as for colour,
the more the colours harmonise the more the design becomes precise."
Never a devotee of form--he did not draw from the model--his
philosophy can be summed up thus: Look out for the contrasts and
correspondence of tones, and the design will take care of itself. He
hated "literary" painting and art criticism. He strongly advised
Bernard to stick to his paint and let the pen alone. The moment an
artist begins to explain his work he is done for; painting is
concrete, literature deals with the abstract. He loved music,
especially Wagner's, which he did not understand, but the sound of
Wagner's name was sympathetic, and that had at first attracted him!
Pissarro he admired for his indefatigable labours. Suffering from
diabetes, which killed him, his nervous tension is excusable. He was
in reality an amiable, kind-hearted, religious man. Above all, simple.
He sought for the simple motive in nature. He would not paint a Christ
head because he did not believe himself a worthy enough Christian.
Chardin he studied and had a theory that the big spectacles and visor
which the Little Master (the Velasquez of vegetables) wore had helped
his vision. Certainly the still-life of Cézanne's is the only modern
still-life that may be compared to Chardin's; not Manet, Vollon, Chase
has excelled this humble painter of Aix. He called the Écoles des
Beaux-Arts the "Bozards," and reviled as farceurs the German
secessionists who imitated him. He considered Ingres, notwithstanding
his science, a small painter in comparison with the Venetians and
Spaniards.

A painter by compulsion, a contemplative rather than a creative
temperament, a fumbler and seeker, nevertheless Paul Cézanne has
formed a school, has left a considerable body of work. His optic nerve