A little to the back of the shoulder is a slightly inclined level surface about a foot square; on this surface is the toy figure, an inch high, of a woman in street costume. The figure was probably bought at a toy store, just as the wooden railing and iron grill work might have been picked up at any second-hand shop. The little figure of the woman and the level surface represent some open square that--judging from the diminutive size of the figure--must have been a long distance away, far enough away for a human being to appear no taller than an inch. The entire bust was crudely colored, and one side of the [Illustration: BOCCIONI Head--Houses--Light] face was modelled in downward flowing lines and painted yellow to represent rays of strong sunlight. The figure was ugly in the extreme; the lines were ugly, the coloring ugly, the technic clumsy; but _as an illustration of a theory_ the work was both curious and interesting. * * * * * In the creed of the Futurist are found the following: 1. Sculpture must give life to objects by making sensible _their extension in space_, for no one today can deny that an object continues to where another object begins, and that all things that are about us--automobile, house, tree, street, etc., etc.--traverse our bodies, dividing us into planes and sections, forming an arabesque of curved and straight lines. This traversing of each object by the planes occupied by all other objects is called in the transcendental terminology of Futurism, “_Compenetration of planes_.” (Here Futurist and Cubist again meet.) 2. A Futurist sculptural _composition_ will contain in itself the marvellous mathematical and geometrical elements of modern objects. These objects will not be placed close to the statue, like so many _detached_ explanatory attributes or decorative elements, but according to the laws of the new conception of harmony they will be _embodied_ in the muscular lines of the body. For example, we may see the wheel of an automobile starting out of the body of a chauffeur, the line of a table traversing the head of a man who is reading, and the pages of his book may project through his chest. 3. The abolition complete of the _line finished_ and the _statue isolated_! Throw open the figure like a window and make part of it the surroundings in which it exists. The sidewalk may extend to your table; your head may traverse and include the street, and at the same moment your lamp may unite house to house by its searching rays. The entire world precipitates itself upon us, amalgamates with us, creating a harmony that will not be controlled except by creative intuition. 4. Do not be afraid to go outside one art and receive assistance from others. There is no such thing as painting _alone_, sculpture _alone_, music _alone_, poetry _alone_; there is simply _creation_.