The real younger creators are learning the difference between surface and depth, between exterior semblances, and the underlying substances. Both Whitman and Cezanne stand together in the name of one common purpose, freedom from characteristics not one's own. They have taught the creators of this time to know what classicism really is, that it is the outline of all things that endure. They have both shown that it is not idiosyncrasy alone which creates originality, that idiosyncrasy is but the husk of personal penetration, that it is in no way the constituent essential for genius. For genius is nothing but the name for higher perception, the greater degree of understanding. Cezanne's fine landscapes and still-lifes, and Whitman's majestic line with its gripping imagery are one and the same thing, for it reaches the same height in the mind. They walk together out of a vivid past, these two geniuses, opening the corridors to a possibly vivid future for the artists of now, and to come. They are the gateway for our modern esthetic development, the prophets of the new time. They are most of all, the primitives of the way they have begun, they have voiced most of all the imperative need of essential personalism, of direct expression out of direct experience, with an eye to nothing but quality and proportion as conceived by them. Their dogmas were both simple in the extreme, and of immense worth to us in their respective spheres. We may think of them as the giants of the beginning of the twentieth century, with the same burning desire to enlarge the general scope of vision, and the finer capacity for individual experience. ALBERT P. RYDER