“We may further explain our idea by a comparison drawn from the evolution of music. “Not only have we radically abandoned the motive fully developed according to its determined and, therefore, artificial equilibrium, but we suddenly and purposely intersect each motive with one or more other motives of which we never give the full development but merely the initial, central, or final notes. “As you see, there is with us not merely variety, but chaos and clashing of rhythms, totally opposed to one another, which we nevertheless assemble into a new harmony. “We thus arrive at what we call the _painting of states of mind_. “One may remark, also, in our pictures spots, lines, zones of colour which do not correspond to any reality, but which, in accordance with a law of our interior mathematics, musically prepare and enhance the emotion of the spectator. “We thus create a sort of emotive ambience, seeking by intuition the sympathies and the links which exist between [Illustration: RUSSOLO Rebellion] the exterior (concrete) scene and the interior (abstract) emotion. Those lines, those spots, those zones of colour, apparently illogical and meaningless, are the mysterious keys to our pictures. “Conclusion: Our futurist painting embodies three new conceptions of painting: “1. That which solves the question of volumes in a picture, as opposed to the liquefaction of objects favoured by the vision of the impressionists. “2. That which leads us to translate objects according to the _force lines_ which distinguish them, and by which is obtained an absolutely new power of objective poetry. “3. That (the natural consequence of the other two) which would give the emotional ambience of a picture, the synthesis of the various abstract rhythms of every object, from which there springs a fount of pictural lyricism hitherto unknown.” * * * * * The explanations of two pictures are as follows: “Leave-taking,” by Boccioni: “In the midst of the confusion of departure, the mingled concrete and abstract sensations are translated into force lines and rhythms in quasi-musical harmony: mark the undulating lines and the chords made up of the combinations of figures and objects. The prominent elements, such as the number of the engine, its profile shown in the upper part of the picture, its wind-cutting forepart in the center, symbolical of parting, indicate the features of the scene that remain indelibly impressed upon the mind.” “Rebellion,” by Russolo: “The collision of two forces, that of the revolutionary element made up of enthusiasm and red lyricism against the force of inertia and reactionary resistance of tradition. The angles are the vibratory waves of the former force in motion. The perspective of the houses is destroyed just as a boxer is bent double by receiving a blow in the wind.” * * * * *