This parrot lingo, a mere stringing together of verbs and nouns, reminds one of the way the little African child was taught to say, dog, man, horse, cow, pump. When at Turin in March, 1910, they threw rotten eggs at Marinetti, in the Chiarella Theatre, the audience was but venting its feelings of indignation because of such silly utterances. Baudelaire, patterning after Poe and Bertrand, fashioned poems in prose and created images of beauty; following him Huysmans added a novel nuance and made the form still more concentrated. But Signor Marinetti--there are no ideas in his prose and his images are nil--writes as if he were using a cable code, a crazy one at that. How far he is responsible for the "aesthetic" of the Futurist art I don't know. If he is responsible at all then he has worked much mischief, for several of the five painters are men of unquestionable ability, skilled brush workers and of an artistic sincerity that is without suspicion. Mind you, I don't say all of the groups; there are charlatans who hang on to the coat-tails of every talented man or are camp-followers in every movement. These five painters: Umberto Boccioni (Milan); Carlo D. Carra (Milan); Luigi Russolo (Milan); Giacomo Balla (Rome), and Gino Severini (Paris) do not paint for money. The pictures in this exhibition are not for sale; indeed, I doubt if the affair pays expenses, for it has travelled far; from Turin and Milan and Rome, to Paris, London, Berlin, Amsterdam. It will be in New York soon, and then look out for a repetition of the Playboy of the Western World scandal. Some of the pictures are very provocative.