The theory of the Futurists is vividly illustrated in the following note to a picture called “The Street Enters the House.” “The dominating sensation is that which one would experience on opening a window: all life, the noises of the street rush in at the same time as the movement and reality of the objects outside. The painter does not limit himself to what he sees in the square frame of the window as would a simple photographer, but he also reproduces what he would see by looking out on every side from the balcony.” To the layman this attitude is almost incomprehensible. For instance, the Cubist, Pierre Dumont, says of his picture, “The Cathedral at Rouen”: One must not expect to find in this picture an exact representation of the cathedral at Rouen, but rather my idea, my personal perception, of this cathedral as I see it. In painting my picture I did not paint from a fixed point and always from the same point, but I studied the cathedral and surroundings from all points of view and obtained a personal conception of it, which I reproduced on my canvas. I only included the details which struck me most forcibly, and thought it necessary to break up the monotony of the roofs in the first plan by one of the most beautiful details of the cathedral--a statue of a saint, who is certainly not in his right place as far as the eye is concerned, but does really occupy the place which he occupies in my conception of what was before me. * * * * * That a painter should deliberately attempt to show on one canvas features of all sides of a building, strikes the layman--and many artists--as a “crazy” attempt to achieve the impossible; but it is _not impossible_, as a moment’s reflection shows. It is, of course, easy to show all sides and all details of a building, interior and exterior, on one sheet or canvas, by drawing or painting, one after another, in panorama effect--that is done in every architect’s drawing-room. It is also equally possible to _superimpose_ these detached drawings one over the other and _see_ or _feel_ the outlines _through_. That is, the drawing or photograph of the exterior of a cathedral may be so made as to show in outline or shadowy substance the altar within. Illustrations along these lines are common in fiction--ghostly, shadowy, mystical effects, effects secured only by treating stones and walls and human beings as _semi-transparent_. In this way every feature of a cathedral that strikes the artist, whether on the outside or inside, whether a feature so permanent as a statue or so fleeting as a wedding ceremony, may be indicated in his picture. By suppressing every detail save the most striking, what purports to be the picture of a cathedral may appear to be fragments of spires, bronze doors, statues, altars, lights, processions, the brilliant color of a priest’s robe, the white note of a bridal veil.