expressiveness of the object that the true artist cares to represent; it is its expressiveness, its value for the emotions, that constitutes its beauty. To achieve beauty the representative artist bases his work upon the truth of nature. It is nature that supplies him with his motive,--some glimpse, some fragment, which reveals within itself a harmony. It may be a form, as a tree, a man, a mountain range, the race of clouds across the sky; it may be a color-harmony or "arrangement," in which color rather than form is the dominant interest, as with a landscape or an interior; it may be the effects of light, as the sunshine playing over golden haystacks, or the glint of light on metal, or the sheen of lovely fabrics. Out of the complex of interests and appeals which an object offers, what is the _truth_ of the object? The truth of nature resides not in the accidents of surface but in the essential relations, of which the surface is the manifestation. A birch tree and an apple tree are growing side by side. Their roots strike down into the same soil, their branches are warmed by the same sun, wet by the same rains, and swept by the same winds. The birch tree is always lithe and gracious and feminine; the apple tree is always bent and sternly gnarled like the hand of an old man. The life-force which impels the tree to growth is distinctive to each kind. Within all natural objects, then, a crystal, a tree, a man, there is a shaping principle which determines their essential form. But no two individual apple trees are precisely alike; from the essential form of the tree there are divergences in the single manifestations. Though subject to accident and variation, however, every tree exhibits a characteristic, inviolate _tendency,_ and remains true to the inner life-principle of its being. The "truth" of the apple tree is this distinctive, essential form, by virtue of which it is an apple tree and not some other kind, the form which underlies and allows for all individual variations. What the painter renders on his canvas is not the superficial accidents of some single tree, but by means of that, he seeks to image forth in color and form the tendency of all trees. The truth of an object presents itself to the imagination as design, for this organic, shaping principle of things, expressed in colored myriad forms throughout the endless pageantry of nature, is apprehended by the spirit of man as a harmony; and in the experience of the artist truth identifies itself with beauty.