movement by Pollaiuolo especially, and in landscape by Baldovinetti, Pollaiuolo, and Verrocchio--that the great advances of this generation of Florentine painters were made. VIII. [Page heading: REPRESENTATION OF MOVEMENT] Turning our attention first to movement--which, by the way, is not the same as motion, mere change of place--we find that we realise it just as we realise objects, by the stimulation of our tactile imagination, only that here touch retires to a second place before the muscular feelings of varying pressure and strain. I see (to take an example) two men wrestling, but unless my retinal impressions are immediately translated into images of strain and pressure in my muscles, of resistance to my weight, of touch all over my body, it means nothing to me in terms of vivid experience--not more, perhaps, than if I heard some one say "Two men are wrestling." Although a wrestling match may, in fact, contain many genuinely artistic elements, our enjoyment of it can never be quite artistic; we are prevented from completely realising it not only by our dramatic interest in the game, but also, granting the possibility of being devoid of dramatic interest, by the succession of movements being too rapid for us to realise each completely, and too fatiguing, even if realisable. Now if a way could be found of conveying to us the realisation of movement without the confusion and the fatigue of the actuality, we should be getting out of the wrestlers more than they themselves can give us--the heightening of vitality which comes to us whenever we keenly realise life, such as the actuality itself would give us, _plus_ the greater effectiveness of the heightening brought about by the clearer, intenser, and less fatiguing realisation. This is precisely what the artist who succeeds in representing movement achieves: making us realise it as we never can actually, he gives us a heightened sense of capacity, and whatever is in the actuality enjoyable, he allows us to enjoy at our leisure. In words already familiar to us, he _extracts the significance of movements_, just as, in rendering tactile values, the artist extracts the corporeal significance of objects. His task is, however, far more difficult, although less indispensable:--it is not enough that he should extract the values of what at any given moment is an actuality, as is an object, but what at no moment really is--namely movement. He can accomplish his task in only one way, and that is by so rendering the one particular movement that we shall be able to realise all other movements that the same figure may make. "He is grappling with his enemy now," I say of my wrestler. "What a pleasure to be able to realise in my own muscles, on my own chest, with my own arms and legs, the life that is in him as he is making his supreme effort! What a pleasure, as I look away from the representation, to realise in the same manner, how after the contest his muscles will relax, and rest trickle