The sixteen persons about us in a moving omnibus are _in turn_ and _at the same time_, one, ten, four, three; they are immobile and yet move; they go, come, bounding along the street, suddenly lost in the sun, then return seated before you, like _so many symbols persistent of universal vibration_. How often it happens that upon the cheek of the person with whom we are talking we see the horse that passes far away at the end of the street. Our bodies become parts of the seat upon which we rest and the seat becomes part of us. The omnibus merges in the houses that it passes, and the houses mix with the bus and become part of it. 6. The construction of pictures up to this time has been stupidly traditional. Painters have always shown things and persons _before_ us. We place the spectator _in the midst_ of the picture. Heretofore we have looked at pictures; it is the idea of the Futurist that we should look _through_ them, that the pictures should give us _new visions_ of life and things, new sensations, new emotions. We declare: That one should hate every form of imitation and glorify every form of originality. That it is necessary to revolt against the tyranny of the words “harmony” and “good taste,” expressions too elastic and with which one might easily condemn the works of Rembrandt, Goya, and Rodin. That art critics are useless and detrimental. That it is necessary to brush aside all the subjects already used, in order to adequately express our turbulent life of steel, of pride, of feverish rapidity. That the name madmen applied to all innovators shall be considered a title of honor. That the universal force must be shown in painting as a _sensation dynamic_. Above all, sincerity and purity are required in the portrayal of nature. That movement and light destroy the materiality of objects. We are opposed to the use of those bituminous colors by which it is attempted to secure the effect of time on modern pictures. We are opposed to the superficial and elementary archaism based on the flat tints and linear manner of the Egyptians, which makes painting puerile and grotesque. We are opposed to the false modernism of the Secessionists and Independents who have built up new “schools” as pontifical as the old. The nude in painting is as nauseous as adultery in literature. To explain this last article: There is nothing immoral in our eyes, it is the monotony of nudity that we fight against. Painters possessed of the desire to display on canvas the bodies of the women with whom they are in love have transformed picture exhibitions into galleries of portraits of disreputables. We demand for the next ten years the absolute suppression of the nude in painting.