It follows then that we must not make any particular demands upon him. We must not come with our own ideas of what he ought to give us. If we do, we shall be an obstruction between him and that ideal universal audience to which he would address himself. We shall be tempting him, with our egotistical demands, to comply with them. But these demands we are always making; and that is why the relation between the artist and any actual public is usually nowadays wrong. I was once looking at Tintoret's 'Crucifixion' in the Scuola di San Rocco with a lady, and she said to me--'That isn't my idea of a horse.' 'No'--I answered--'it's Tintoret's. If it were your idea of a horse, why should you look at it? You look at a picture to get the artist's idea.' But that isn't the truth about art either. The artist doesn't try to substitute his own particular for yours. He tries to communicate to you that universal which he has experienced, because it is to him a universal, not his own, but all men's, and he wishes to realize it by sharing it with all men. His faith, though he may never have consciously expressed it to himself, is in this universal which, because it is a universal, can be communicated to all men. His effort is based on that faith. He speaks because he believes all men can hear, if they will. So the effort of the audience must be to hear and not to distract him with their particular demands. They must not, for instance, demand that he shall remind them of what they have found pleasant in actual life. They must not complain of him that he does not paint pretty women for them, or compose bright cheerful tunes. They are not to him particular persons to be tickled according to their particular tastes, but mankind to whom he wishes to communicate the universal he has experienced.