keep out the rain, he is not yet an artist. But the moment he begins to
consider his work with some feeling, and arranges the relative sizes of
his walls and roof so that they answer to some sense he has for
beautiful proportion, he has become an artist, and his hut has some
architectural pretensions. Now if his hut is of wood, and he paints it
to protect it from the elements, nothing necessarily artistic has been
done. But if he selects colours that give him pleasure in their
arrangement, and if the forms his colour masses assume are designed with
some personal feeling, he has invented a primitive form of decoration.

And likewise the savage who, wishing to illustrate his description of a
strange animal he has seen, takes a piece of burnt wood and draws on the
wall his idea of what it looked like, a sort of catalogue of its
appearance in its details, he is not necessarily an artist. It is only
when he draws under the influence of some feeling, of some pleasure he
felt in the appearance of the animal, that he becomes an artist.

Of course in each case it is assumed that the men have the power to be
moved by these things, and whether they are good or poor artists will
depend on the quality of their feeling and the fitness of its
expression.

[Illustration: Plate IV.

STUDY ON TISSUE-PAPER IN RED CHALK FOR FIGURE OF BOREAS]


The purest form of this "rhythmic expression of feeling" is music. And
as Walter Pater shows us in his essay on "The School of Giorgione,"
"music is the type of art." The others are more artistic as they