“And look at this,” Lypiatt went on. He took down the canvas that was clamped to the easel and held it out for her inspection. It was one of Casimir’s abstract paintings: a procession of machine-like forms rushing up diagonally from right to left across the canvas, with as it were a spray of energy blowing back from the crest of the wave towards the top right-hand corner. “In this painting,” he said, “I symbolize the Artist’s conquering spirit—rushing on the universe, making it its own.” He began to declaim: “Look down, Conquistador, There on the valley’s broad green floor, There lies the lake, the jewelled cities gleam, Chalco and Tlacopan Awaiting the coming Man; Look down on Mexico, Conquistador, Land of your golden dream. Or the same idea in terms of music——” and Lypiatt dashed to the piano and evoked a distorted ghost of Scriabin. “You see?” he asked feverishly, when the ghost was laid again and the sad cheap jangling had faded again into silence. “You _feel_? The artist rushes on the world, conquers it, gives it beauty, imposes a moral significance.” He returned to the picture. “This will be fine when it’s finished,” he said. “Tremendous. You feel the wind blowing there, too.” And with a pointing finger he followed up the onrush of the forms. “The great southwester driving them on. ‘Like leaves from an enchanter fleeing.’ Only not chaotically, not in disorder. They’re blown, so to speak, in column of four—by a conscious wind.” He leaned the canvas against the table and was free again to march and brandish his conquering fists. “Life,” he said, “life—that’s the great, essential thing. You’ve got to get life into your art, otherwise it’s nothing. And life only comes out of life, out of passion and feeling; it can’t come out of theories. That’s the stupidity of all this chatter about art for art’s sake and the æsthetic emotions and purely formal values and all that. It’s only the formal relations that matter; one subject is just as good as another—that’s the theory. You’ve only got to look at the pictures of the people who put it into practice to see that it won’t do. Life comes out of life. You must paint with passion and the passion will stimulate your intellect to create the right formal relations. And to paint with passion, you must paint things that passionately interest you, moving things, human things. Nobody, except a mystical pantheist, like Van Gogh, can seriously be as much interested in napkins, apples and bottles as in his lover’s face, or the resurrection, or the destiny of man. Could Mantegna have devised his splendid compositions if he had painted arrangements of Chianti flasks and cheeses instead of Crucifixions, martyrs and triumphs of great men? Nobody but a fool could believe it. And could I have painted that portrait if I hadn’t loved you, if you weren’t killing me?” Ah, Bonomelli and illustrious Cinzano!