their art has developed on lines widely different from our own, none the
less, when the surprise at its newness has worn off and we begin to
understand it, we find it conforms to very much the same sense of
harmony.

But apart from the feelings connected directly with the means of
expression, there appears to be much in common between all the arts in
their most profound expression; there seems to be a common centre in our
inner life that they all appeal to. Possibly at this centre are the
great primitive emotions common to all men. The religious group, the
deep awe and reverence men feel when contemplating the great mystery of
the Universe and their own littleness in the face of its vastness--the
desire to correspond and develop relationship with the something outside
themselves that is felt to be behind and through all things. Then there
are those connected with the joy of life, the throbbing of the great
life spirit, the gladness of being, the desire of the sexes; and also
those connected with the sadness and mystery of death and decay, &c.

The technical side of an art is, however, not concerned with these
deeper motives but with the things of sense through which they find
expression; in the case of painting, the visible universe.

The artist is capable of being stimulated to artistic expression by all
things seen, no matter what; to him nothing comes amiss. Great pictures
have been made of beautiful people in beautiful clothes and of squalid
people in ugly clothes, of beautiful architectural buildings and the
ugly hovels of the poor. And the same painter who painted the Alps
painted the Great Western Railway.

The visible world is to the artist, as it were, a wonderful garment, at