For, ultimately, the spectator can determine whether a design is good or bad only by discovering whether or no it moves him. Having made that discovery he can go on to criticise in detail; but the beginning of all aesthetic judgment and all criticism is emotion. It is after I have been left cold that I begin to notice that defective organisation of forms which I call bad design. And here, in my judgments about particular designs, I am still on pretty sure ground: it is only when I attempt to account for the moving power of certain combinations that I get into the world of conjecture. Nevertheless, I believe that mine are no bad guesses at truth, and that on the same hypothesis we can account for the difference between good and bad drawing. Design is the organisation of forms: drawing is the shaping of the forms themselves. Clearly there is a point at which the two commingle, but that is a matter of no present importance. When I say that drawing is bad, I mean that I am not moved by the contours of the forms that make up the work of art. The causes of bad drawing and bad design I believe to be similar. A form is badly drawn when it does not correspond with a part of an emotional conception. The shape of every form in a work of art should be imposed on the artist by his inspiration. The hand of the artist, I believe, must be guided by the necessity of expressing something he has felt not only intensely but definitely. The artist must know what he is about, and what he is about must be, if I am right, the translation into material form of something that he felt in a spasm of ecstasy. Therefore, shapes that merely fill gaps will be ill-drawn. Forms that are not dictated by any emotional necessity, forms that state facts, forms that are the consequences of a theory of draughtsmanship, imitations of natural objects or of the forms of other works of art, forms that exist merely to fill spaces--padding in fact,--all these are worthless. Good drawing must be inspired, it must be the natural manifestation of that thrill which accompanies the passionate apprehension of form.