_And so we return to Mr. Beatty’s contention that the artist has succeeded when he has imitated the truth and beauty of nature. The word imitation might seem to limit the artist’s personal vision, which must be his very own. How very different this personal vision can be came vividly before me when I visited the Prado in Madrid. In one room are seen the immortal works of Velasquez, among which are the portraits of Philip IV and his consort; and in an adjoining room are portraits of this same Philip and his queen by Rubens, the Fleming, who happened to be temporarily in Madrid on a diplomatic mission. The Spaniard saw his sovereigns in all their splendor, but with a solemn dignity, dark haired and sallow complexioned. While the man from Antwerp saw the forms more round and amiable, the hair and flesh more blond and colourful, and unconsciously injected the blood of the Netherlands into the veins of his Spanish sitters._ _Notwithstanding this personal expression, the predilection of a Rubens for the more florid colours, of a Velasquez for the more subdued, sober notes found in nature, it remains true that the end sought by both is the representation of character as it exists in nature._ GARI MELCHERS. _Belmont, Falmouth, Virginia, January 5, 1922._ * * * * * “_The realities of Nature surpass our most ambitious dreams._” AUGUSTE RODIN _Argument_ My purpose in writing this treatise is to establish, if this be found possible, a foundation for the belief that the art of the painter and sculptor is imitative, not creative; that the great masterpieces of art which have withstood the test of time rest firmly upon the supreme expression of character and beauty as these qualities are revealed in man and nature; that it is the mission of art to reveal and make plain these rare and lovely qualities. The truthful representation of these qualities constitutes a common factor which binds all great works together, a fact that is realized in every national gallery of art. I have chosen to base my argument not upon theory or opinion but upon the evidence of eminent painters and sculptors who have produced great works of art. Not many able artists have recorded their opinions touching the philosophy of art. On the other hand, writers in abundance have undertaken to define art. A few early and some modern philosophers have given profound thought to the subject and bequeathed to us their opinions. Painters and sculptors, with few exceptions, however, have confined their efforts to searching for, and revealing by their art, beauty and character. More is the pity, because opinion supported by achievement is always more valuable than judgment which rests solely upon theory or observation.