[21] “Paul Gauguin,” by Michael Puy, “L’Art Décoratif,” April, 1911. [22] “Revolution in Art,” by Frank Rutter, 32-33. Now that the great Swedish dramatist, and pessimist, is becoming known to the English-speaking world, these words of Gauguin’s are singularly interesting--and just. [23] See “Paul Gauguin,” by Armand Seguin, “L’Occident,” March, April, and May, 1903. [24] “Souvenirs of Paul Cézanne,” by Emile Bernard, p. 36. [25] See “Laws of Japanese Painting,” Henry P. Bowie, by long odds the best book in English on the subject. [26] See “La Jeune Peinture Française,” pas. André Salmon, pp. 18, 19. [27] “La Jeune Peinture Française,” André Salmon, p. 19. [28] From an article and interview by C. T. MacChesney, printed in the “New York Times,” March 9, 1913. [29] See “Le Jeune Peinture Française,” André Salmon, 1912. [30] “Der Blaue Reiter,” p. 5. [31] See “Der Blaue Reiter,” pp. 17, 18. [32] “L’Art Décoratif,” Nov. 1912. [33] See “The New Spirit in Drama and Art,” by Huntley Carter. [34] This and the following chronological information are from “Les Peintres ‘Cubistes,’” by Guillaume Apollinare, 22 _et seq._ [35] “Les Peintres ‘Cubistes,’” pp. 24-26. [36] “Das Neue Bild,” Otto Fischer, pp. 12-13. [37] See “The Mask,” Vol. VI, pp. 64-75. [38] “Les Peintres ‘Cubistes,’” Guillaume Apollinare, p. 15. [39] “Is It Art? Post-Impressionism, Cubism, Futurism,” by J. N. Laurvik. The sub-title is obviously confusing, since Post-Impressionism includes all the developments following Impressionism. [40] “Delight; the Soul of Art,” p. 9 et seq. [41] “Delight; the Soul of Art,” lecture V, “Delight in Labor.” [42] From “An Interview with Francois Picabia,” in the “New York Tribune.” [43] J. N. Laurvik, in “Boston Evening Transcript.” [44] “Cubism,” Gleizes and Metzinger (Eng. Edition). [45] “Das Neue Bild,” by Otto Fischer, pp. 22, 23. [46] “Das Neue Bild,” p. 34. [47] It was purchased by Mr. Alfred Stieglitz. [48] Roger Fry in “The Nation,” August 2, 1913. [49] Second edition, Munich, R. Piper & Co., 1912. [50] “Der Sturm,” Berlin. [51] See pages 87-88 for quotation from “Delight; the Soul of Art.” [52] It should be stated that the brilliant colors of the original are very inadequately shown in the reproduction for the reason the painting is so large it does not reproduce well so small. [53] “The History of Music,” Emil Nauman, Vol. 1, p. 7 _et seq._ [54] See “Sensations of Tone,” Helmholtz, Eng., Edit., p. 258. [55] Helmholtz, p. 258. [56] Ibid., p. 265. [57] For a scientific investigation of Siamese and Japanese scales, see additions to English edition of Helmholtz, “Sensation of Tone,” p. 556. [58] “History of Music,” Nauman, Vol. I, p. 10. [59] Ibid., Vol. I, p. 12. [60] By Mr. A. W. Rimington, Professor of Fine Arts at Queen’s College, London. See his book, “Color Music.” [61] “On the Laws of Japanese Painting,” by Bowie, p. 55. [62] “On the Basis of Japanese Painting,” Bowie, pp. 77-79.