So we find one principle being applied alike by conscious and unconscious methods. With this difference, that whereas the movement, growth and unity attained by the unconscious method is organic that reached by the conscious method is mechanical. It is the difference between the natural growth of a plant and the artificial manufacture of one. The first is a process whereby the life flow organizes itself. The second a process of eliminating the life flow. The one is mediumistic and spontaneous, the other is volitional and mechanical. What, it may be asked, is this principle or law? Briefly it is the law of spiral growth and progression traceable in all natural phenomena. It is a law which actuates human nature at its best and which shapes all work done in the finer way. If we wish to see how it operates we cannot do better than symbolize it in the form of a motion-curve starting from a point in space and expanding in ever-widening curves. Thus: This law may be found completely applied to one picture or it may be traced running through a succession of pictures, each a part of a creative unity, the whole manifesting the growth and development curve of the artist. In the first case the picture would have an organic unity of its own. In it the fluid motion would be seen coming to fruition from the initial point of feeling to its fullest statement as vision at the highest pressure of fluid expression. Thus: In the second case, each period of the artist’s work represent a section of the development-curve. By placing the sections together it is possible to view his work as a whole and to construct the course of development which he has undergone. And we can tell by the widest sweep of the curve precisely where he stands and how much he has detached himself from the world of solids. Thus: Needless to say, this motion-curve may be applied as a standard of art-criticism. Indeed it is the business of art critics to experience this curve in themselves and to apply it to all works of art. So far as I know it has never been applied. When it is it will transform art criticism. For it will enable the critic to judge whether a work is an inevitable growth of a movement inherent in the artist,—and to value it rightly and fully in its relation to this movement,—or whether it is merely a bit of clever brain juggling.