and remarkable case, take the onslaught made by Ruskin upon the works of
Whistler. You will remember that a libel action ensued and that these
pictures were gravely reasoned about by barristers and surveyed by
jurymen to assess their merits...

In the end it is the indefensible truth that lasts; it lasts because it
works and serves. People come to it and remain and attract other
understanding and enquiring people.

Now when I say I make my beliefs and that I cannot prove them to you and
convince you of them, that does not mean that I make them wantonly and
regardless of fact, that I throw them off as a child scribbles on a
slate. Mr. Ruskin, if I remember rightly, accused Whistler of throwing a
pot of paint in the face of the public,--that was the essence of his
libel. The artistic method in this field of beliefs, as in the field of
visual renderings, is one of great freedom and initiative and great
poverty of test, but of no wantonness; the conditions of rightness are
none the less imperative because they are mysterious and indefinable. I
adopt certain beliefs because I feel the need for them, because I feel
an often quite unanalyzable rightness in them; because the alternative
of a chaotic life distresses me. My belief in them rests upon the fact
that they WORK for me and satisfy my desire for harmony and beauty. They
are arbitrary assumptions, if you will, that I see fit to impose upon my
universe.

But though they are arbitrary, they are not necessarily individual. Just
so far as we all have a common likeness, just so far can we be brought
under the same imperatives to think and believe.

And though they are arbitrary, each day they stand wear and tear, and