minds first took flight.

With Gauguin the case is different. The generation of his
disciples which followed him--I put it thus to distinguish them
from his actual pupils at Pont Aven, Serusier and the rest--
carried the tendency further. One hesitates to mention Derain,
for his beginnings, full of vitality and promise, have given
place to a dreary compromise with Cubism, without visible future,
and above all without humour. But there is no better example of
the development of synthetic symbolism than his first book of
woodcuts.

[Footnote: L'Enchanteur pourrissant, par Guillaume Apollinaire,
avec illustrations gravees sur bois par Andre Derain. Paris,
Kahnweiler, 1910.]

Here is work which keeps the merest semblance of conventional
form, which gives its effect by startling masses of black and
white, by sudden curves, but more frequently by sudden angles.

[Footnote: The renaissance of the angle in art is an interesting
feature of the new movement. Not since Egyptian times has it been
used with such noble effect. There is a painting of Gauguin's at
Hagen, of a row of Tahitian women seated on a bench, that
consists entirely of a telling design in Egyptian angles. Cubism
is the result of this discovery of the angle, blended with the
influence of Cezanne.]

In the process of the gradual abandonment of natural form the
"angle" school is paralleled by the "curve" school, which also