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 basis is a slow business, and at first seemingly blind and aimless. The artist must train not only his eye but also his soul, so that he can test colours for themselves and not only by external impressions. If we begin at once to break the bonds which bind us to nature, and devote ourselves purely to combination of pure colour and abstract form, we shall produce works which are mere decoration, which are suited to neckties or carpets. Beauty of Form and Colour is no sufficient aim by itself, despite the assertions of pure aesthetes or even of naturalists, who are obsessed with the idea of "beauty." It is because of the elementary stage reached by our painting that we are so little able to grasp the inner harmony of true colour and form composition. The nerve vibrations are there, certainly, but they get no further than the nerves, because the corresponding vibrations of the spirit which they call forth are too weak. When we remember, however, that spiritual experience is quickening, that positive science, the firmest basis of human thought, is tottering, that dissolution of matter is imminent, we have reason to hope that the hour of pure composition is not far away.