[Footnote: So-called indecent pictures are either incapable of causing vibrations of the soul (in which case they are not art) or they are so capable. In the latter case they are not to be spurned absolutely, even though at the same time they gratify what nowadays we are pleased to call the "lower bodily tastes."] Therefore a picture is not necessarily "well painted" if it possesses the "values" of which the French so constantly speak. It is only well painted if its spiritual value is complete and satisfying. "Good drawing" is drawing that cannot be altered without destruction of this inner value, quite irrespective of its correctness as anatomy, botany, or any other science. There is no question of a violation of natural form, but only of the need of the artist for such form. Similarly colours are used not because they are true to nature, but because they are necessary to the particular picture. In fact, the artist is not only justified in using, but it is his duty to use only those forms which fulfil his own need. Absolute freedom, whether from anatomy or anything of the kind, must be given the artist in his choice of material. Such spiritual freedom is as necessary in art as it is in life. [Footnote: This freedom is man's weapon against the Philistines. It is based on the inner need.] Note, however, that blind following of scientific precept is less blameworthy than its blind and purposeless rejection. The former produces at least an imitation of material objects which may be of some use. [Footnote: Plainly, an imitation of nature, if made by the hand of an artist, is not a pure reproduction. The voice of the soul will in some degree at least make itself heard. As contrasts one may quote a landscape of Canaletto and those sadly famous heads by Denner.--(Alte Pinakothek, Munich.)] The latter is an artistic betrayal and brings confusion in its train. The former leaves the spiritual atmosphere empty; the latter poisons it. Painting is an art, and art is not vague production, transitory and isolated, but a power which must be directed to the improvement and refinement of the human soul--to, in fact, the raising of the spiritual triangle. If art refrains from doing this work, a chasm remains unbridged, for no other power can take the place of art in this activity. And at times when the human soul is gaining greater strength, art will also grow in power, for the two are inextricably connected and complementary one to the other. Conversely, at those times when the soul tends to be choked by material disbelief, art becomes purposeless and talk is heard that art exists for art's sake alone. [Footnote: This cry "art for art's sake," is really the best ideal such an age can attain to. It is an unconscious protest against materialism, against the demand that everything should have a use and practical value. It is further proof of the indestructibility of art and of the human soul, which can never be killed but only temporarily smothered.]