_In his very convincing and lucid treatise on the fundamental principles of art, John W. Beatty gives us a most absorbing theme to follow--the relation of art to nature, as expressed in their own words by artists themselves, of different times and creeds; with, too, the opinions of philosophers and men of letters._ _Himself a well-known painter, Mr. Beatty has been for almost thirty years the enlightened Director of Fine Arts of the Carnegie Institute, where, alone in our whole country, are held annually International Exhibitions of Art. Much of his life has thus been spent in intimate association with the very best painters and sculptors of our generation, and his and their opinions and observations are here to be read with much pleasure and profit by every one interested in art._ _Mr. Beatty is quite right when he says, “Not many able artists have recorded their opinions.” In conversation, or on the impulse of the moment they may often speak with great beauty and clarity of expression, but nearly always tersely and to the point. On the other hand, the man of letters is more given to analysis and finds more words, and more beautiful ones, to express his meaning._ _Analysis is perhaps a dangerous thing for the craftsman to toy with. He must approach nature directly and simply, with concentration that is absolute. He dissects only that particular fragment of nature which is before him, and that unconsciously. The precious sensation of closeness to nature is so fleeting and so fickle, so often not there at all, and so frightened, that it is easily scared away by the cold voice of the man with a rule to follow. The ever changing aspect of nature, be it man or landscape, makes the first impression quickly recorded in the thumb-box sketch, or with a dozen lines on the back of an envelope, an invaluable document. Again and again in the painting of a picture we refer with respect to this first strong impression of nature._ _The words_ character _and_ beauty _are many times repeated in this book. Both terms are definite and yet how elastic! Rembrandt is the preëminent example of the complex meaning of the word beauty; many of his models he found in the Ghetto and among his friends and neighbors, or, for lack of a model, he painted himself. Surely he has proved to us that only that which has character is truly beautiful; and we must also feel in the presence of Rembrandt’s works, his absolute fidelity to truth._ _On a certain occasion I was in Rodin’s studio when reference was made to some harsh criticism of one of his nudes. After listening with impatience Rodin shrugged his shoulders and said: “Why find fault with me? they should find fault with nature!”_