Perhaps in no other art are the workmen as little acquainted with their handicaps and with the scientific facts which would aid them as in painting. Painters, of course, may not agree as to this statement, but if they wish to see how much of the science of light, color, lighting, and vision they are unacquainted with, let them invade the book-shelves. If they think they know the facts of nature let them paint a given scene and then inquire of the scientist regarding the relative values (brightnesses) in the actual scene. They will usually be amazed to learn that they cannot paint the lights and shadows of nature excepting in the feeblest manner. The range of contrast represented by their entire palette is many thousand times less than the range of values in nature. In fact exclusive of nature's primary light-sources, such as the sun, she sometimes exhibits a range of brightness in a landscape a million times greater than the painter can produce with black and white pigments. This suggests that the artist is justified in using any available means for overcoming the handicap and among his tools, visual illusions are perhaps the most powerful. A painting in the broadest sense is an illusion, for it strives to present the three-dimensional world upon plane areas of two dimensions. Through representation or imitation it creates an illusion. If the artist's sensibility has been capable of adequate selection, his art will transmit, by means of and through the truths of science, from the region of perception to the region of emotion. Science consists of knowing; art consists of doing. If the artist is familiar with the facts of light, color, lighting, and vision, he will possess knowledge that can aid him in overcoming the great obstacles which are ever-present. A glimpse of visual illusions should strengthen him in his resolution to depend upon visual perception, but he can utilize these very illusions. He can find a use for facts as well as anyone. Facts as well as experience will prepare him to do his work best.