in silence, in stillness and solid-ity, and in hinting at movement and emotions with a hint that scarcely shows.

— Will human beings, then, given the difference of the idea of beauty in the various civilizations and the difference of the ways of expressing it, agree, I wonder, on which is the most glorious painting??

As for the painting or the artistic piece, whether it be painting or sculpture, its spiritual value — or the value of the human being in it — does not go back to what the painting represents of war stories or religious stories, political sto-ries, or other tales told with some or with much genius — no; the artistic or human value in it goes back to the style and the ways particular to each art, woven tightly together with the vitality and the feeling of the artist in the depths of his soul in show-ing forth the faith, philosophy, sciences, and aims of the age in which he lives, and to the choice of ways and success in them to the degree of perfection — and to the proportions of the artistic piece, each affecting the other — and to its vitality, expressive of a sensibility which is the daughter of the thought, emotion, feeling, culture, and personality of the artist himself — and it is ignorance, utter ignorance, to appraise the painting for its subject only.

— If it represents a battle, the subject is a trivial thing with respect to art; it pleases the common crowd and does not con-vince the elect — for the common run of people take comfort in the subject because it represents something, exactly as they would take comfort in the same subject were it a photograph; there is no difference for them, save that the one is the work of a human hand and the other the work of a machine...

— The elect, however, go in their search beyond the subject; they go to the art, and this means

to the particular ways and styles and the inventions in the artist's expression of his feeling, his faith, and his aims — and when-ever an artist in some painting succeeds in expressing not only his own feeling, faith, and aims, but the feeling, aims, faith, and sciences of an entire nation, that painting is among the greatest of paintings — a chef-d'oeuvre — whether it represented a military parade, or a religious story, or a beautiful view, or a still life, or anything else. Most of Cézanne's paintings represent either Mont Sainte-Victoire or a few apples scattered among vessels; and most of Braque's subjects are nothing but a pitcher, or a table, or a fish on a plate, or other such trivial subjects.

The idea of art for art's sake is an unacceptable idea — acceptable only when it means man for man's sake. For whether the artistic piece goes back to the Pharaohs or to the Greeks, to the Byzantine or to the Gothic,

to the age of the Renaissance or to the romantics, the sublime among them is the painting in which is summed up everything the priest, the scholar, and the poet wished to say in a given age — it is the painting that gives the best expression to the feeling and aims of a nation, refusing every value that the artist does not live together with his nation. Knowing that every age has its styles, and every age its way of living, and every age its different sciences and different creeds.

— Will human beings, then, agree on the most glorious painting among the various civilizations, I wonder?

— Every state has its men, and every age a beauty which the artist discovers, if he is an artist — and we must not confuse the amateur of art with the genuine artist. The amateur is a person who does not differ from the artist in sincerity and perseverance; he differs from him in the power of creation.

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Klim

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For the growth of infants and children and the strengthening of their bones, teeth, and muscles, together with increasing their strength and activity at school and at play, there is nothing better than Klim

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Klim, the favorite food for feeding children

Klim — its special method of packing keeps it sound

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Klim — the purest of milk

The favorite brand in all parts of the world

Copr. 1950 Borden Co. Internat'l Copr. Reserved

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