recourse to natural form or representation, he will on all hands
be hailed as a great innovator, as a champion of the freedom of
art. Until such time, it is the duty of those to whom his work
has spoken, to bear their testimony. Otherwise he may be
condemned as one who has invented a shorthand of his own, and who
paints pictures which cannot be understood by those who have not
the key of the cipher. In the meantime also it is important that
his position should be recognized as a legitimate, almost
inevitable outcome of Post-Impressionist tendencies. Such is the
recognition this Introduction strives to secure.


MICHAEL T. H. SADLER



REFERENCE



Those interested in the ideas and work of Kandinsky and his
fellow artists would do well to consult:

DER BLAUE REITER, vol. i. Piper Verlag, Munich, 10 mk. This
sumptuous volume contains articles by Kandinsky, Franz Marc,
Arnold Schonberg, etc., together with some musical texts and
numerous reproductions--some in colour--of the work of the
primitive mosaicists, glass-painters, and sculptors, as well as
of more modern artists from Greco to Kandinsky, Marc, and their
friends. The choice of illustrations gives an admirable idea of