himself, expands at the same rate in the scope and power of his
thinking. Words are the materials out of which he weaves the fabric of
life, and the pattern depends upon the content of his words.

=Illustrations from art.=--The child can spell the word "art" and can
repeat the words of the book by way of a memorized definition, but he
cannot define the word with even a fair degree of intelligence. He
cannot know the meaning of the word until its significance becomes
objectified in his life processes. This requires time, and thought, and
experiences with books, with people, and with galleries. In short, he
must live art before he can define the word; and his living art invests
the word with content. The word will grow just as he grows in his
conception of art. At first, he may denominate as art the simple little
daubs of pictures that he makes with the teacher's hand guiding his
brush. But, later on, as he gains a larger conception, these things will
appear puerile if not silly. The time may come when he can read the
thoughts of the masters as expressed in their masterpieces. Then, and
only then, will he be able to define the word.

=Michael Angelo.=--At the age of fifteen, Michael Angelo wrought the
Mask of the Satyr, which would not be considered a work of art if that
were the only product of his chisel. What he did later was the
fulfillment of the prophecy embodied in the Mask. At the age of eighty,
he produced the Descent from the Cross, which glorifies the Duomo in
Florence. In between these productions, we find his David, his Moses,
the Sistine Ceiling, with many others scarcely less notable. He rose to
a higher and higher conception of art as he lived art more and more
fully, and his execution kept pace with the expansion of his conception.
He gave content to the word both for himself and for the world until now
we associate, in our thinking, art with his name. He himself is now, in