The second step was to apply this same principle to form, the actual dependence upon the object (literal to representation) disappearing, and the means of expression becoming purely subjective. After working for sometime in this way, I no longer observed in the old way, and not only began to think _subjectively_, but also to remember certain sensations _purely through their form and color_, that is by certain shapes, planes, light, or character lines determined by the meeting of such planes. With the introduction of the line motif the expression grew more plastic, and the struggle with the means became less evident. [Illustration: DOVE Based on Leaf Forms and Spaces] Referring to the painting reproduced he said: It is a choice of three colors, red, yellow, and green, and three forms selected from trees and the spaces between them that to me were expressive of the movement of the thing which I felt. As to going further and explaining what I felt, that would be quite as stupid as to play on an instrument before deaf persons. The deaf person is simply not sensitive to sound and cannot appreciate; and a person who is not sensitive to form and color as such would be quite as helpless. The majority of people seem to be in the position of deaf persons. They see others listening intently, and apparently enjoying something, and because they fail to hear, they at once draw the false conclusion that the trouble is with the instrument or the performers. In November last a group of young Americans held an exhibition of very modern work in The MacDowell Club in New York. The exhibitors were Oliver Chaffee, Konrad Cramer, Andrew Dasburg, Grace Johnson, Arthur Lee, Henry L. McFee, Paul Rohland, William Zorach. IV A FUTILE PROTEST The Cubist pictures in the Salon d’Automne, 1912, was the occasion of the following letter from M. Lempué, painter and doyen du Conseil municipal de la Ville de Paris, addressed M. Bérard, Sous-Secrétaire d’Etat des Beaux-Arts.[32] If the voice of a municipal counsellor could reach you, I would beg you, would pray you to go and take a turn around the Autumn Salon. Go there, sir, and although you are a minister, I trust that you will come away as much disgusted as are many people whom I know, and I hope, also, that you will say to yourself in an undertone: “Have I indeed the right to loan a public building to a lot of malefactors who conduct themselves in the world of art as do the _apaches_ in ordinary life?”