achieve an artistic expansion of space. The combination of both
means of extension in harmony or concord is one of the richest
and most powerful elements in purely artistic composition.



VII. THEORY



From the nature of modern harmony, it results that never has
there been a time when it was more difficult than it is today to
formulate a complete theory, [Footnote: Attempts have been made.
Once more emphasis must be laid on the parallel with music. For
example, cf. "Tendances Nouvelles," No. 35, Henri Ravel: "The
laws of harmony are the same for painting and music."] or to lay
down a firm artistic basis. All attempts to do so would have one
result, namely, that already cited in the case of Leonardo and
his system of little spoons. It would, however, be precipitate to
say that there are no basic principles nor firm rules in
painting, or that a search for them leads inevitably to
academism. Even music has a grammar, which, although modified
from time to time, is of continual help and value as a kind of
dictionary.

Painting is, however, in a different position. The revolt from
dependence on nature is only just beginning. Any realization of
the inner working of colour and form is so far unconscious. The
subjection of composition to some geometrical form is no new idea
(cf. the art of the Persians). Construction on a purely abstract