But this is a low estimate of the great art of painting, for it is
simply one of man's means of expression, just as music or poetry is. The
artist learns to compose his pictures, to draw his forms, to lay on his
colors, just as the poet learns the meanings of words, rhetorical
figures, and the laws of harmony and rhythm, or the musician his notes
and scales and harmonies of sound."

"I see this is a new thought to you," continued he, after a moment spent
in studying the faces about him. "Let us follow it. What is the use of
this preparation of study in art, poetry, or music? Is it solely for the
perfection of itself? We often hear nowadays the expression, 'art for
art's sake,' and by some it is accounted a grand thought and a noble
rallying-cry for artists. And so it truly is if the very broadest and
highest possible meaning is given to the word 'art.' If it means the
embodying of some noble, beautiful, soul-moving thought in a form that
can be seen and understood, and means nothing less than this, then it is
indeed a worthy motto. But to too many, I fear, it means only the
painting of beauty for beauty's sake. That is, the thought embodied, the
message to some soul, which every picture ought to contain, and which
every noble picture that is worthy to live _must_ contain, becomes of
little or no value compared with the play of color and light and form.

"Let me explain further," he went on, even more earnestly. "Imagine that
we are looking at a picture, and we admire exceedingly the perfection of
drawing its author has displayed,--the wonderful breadth of
composition,--the harmony of color-masses. The moment is full of keen
enjoyment for us; but the vital thing, after all, is, what impression
shall we take away with us. Has the picture borne us any message? Has it
been either an interpretation or a revelation of something? Shall we
remember it?"