The general truthfulness of his observations may readily be tested by any one of normal vision who will carefully observe the actual appearance of the surfaces of a round sugar bowl, for example, when placed in the light of a window. It will be found that certain planes are as flat as the table, that others present the appearance of dents and hollows, and the more clearly this is perceived the more grotesque will the object appear as compared with the preconceived image of it established in our minds by the unconscious interaction of the sense of touch and sight. We know that, scientifically regarded, there is no such thing as a round surface, that what appears to be such is simply the closely adjusted juxtaposition of infinitesimal planes that are each perfectly flat. And the very fact that painters refer to the surface of a figure as _planes_ is indicative of a partial recognition of this basic characteristic of structure. Nevertheless, both artists and laymen persist in speaking of the roundness of a torso, for example, when in reality, if we could disassociate the _sense_ of roundness from the _appearance_ of roundness as did Cézanne, we would find large surfaces of spheroids quite flat. Therein lies the real secret of the art of Cézanne who is the first of realists. In a sense, “Cubism” is a misleading term, for, in the first place, “Cubist” pictures are not painted in cubes, but in all sorts of angles and curves; in the second place, the theory does not call for angles. The theory being the expression of emotion in line and color, there is no conceivable reason why cubes and angles should be used to the exclusion of curves, swirls, sweeps, dashes. On the contrary, of all forms, cubes and angles would seem to be the most inappropriate for emotional expression, since they are peculiarly suggestive of the geometrical and the matter-of-fact. “Curvism” or “Swirlism” would describe the movement just as well, save that for the time being angles are very much in evidence. Picabia says that “Cubism” is a misnomer for the movement. He says: