Post-Impressionism he stood aside from the fighting elements of that period and went his own way. Cezanne's work is frankly clumsy and heavy handed. I think he had some natural defects which prevented his ever being able to acquire the facility in handling his materials that a much inferior talent to his, quickly picks up ; by persistence and sincerity he made a virtue of his infirmity, until he arrived at a very individual way of expressing himself, especially in his still life and landscapes. Roughly speaking, when the Impressionists had lost themselves in a mist of theory about light, he brought them back to solid earth again. He is always spoken of with great respect by both Impressionists and Post- Impressionists, as a sort of father of their movements. It is a curious fact, however, that I don't know of a single " dictum " by him on art; he remains chiefly an influence, and is supposed to be the uniting bond between both movements. When one comes down to the latest exponents of this creed of self- expression at any cost, I confess myself more puzzled and at a loss to explain them fully. Matisse and some of the others, as Picasso for instance, may be quite sincere, but from what I have seen of their work they seem to be playing chiefly with the surface qualities of men who have done the spade work and made discoveries for themselves. Cubism may have something to do with that mathematical genius who could conceive a system of mathematics, in which two and two made thirteen, but I am without the power of understanding it ; and the number of those who are ever likely to do so or to find value in such a system is about the same in the one as in the other. As for the Futurists, they seem to have attempted a means of expression, which denies sight, and endeavours to express in paint, which presupposes sight, a number of facts or fancies, in succession, which will never convey a " whole." And a " whole " is what sight demands, so I am unable to imagine they are likely to convince any but the very simple minded or cranks like themselves. The appearance of the Second Post Impressionist Exhibition at the Grafton Galleries rather confirms me in these opinions. Only modern ideals of " getting there quick " can have made this sort of exhibition possible. One more than suspects that these things would be just as banal as the academic work they attack, if they ever became as common ; and they are much easier to do. This second exhibition is full of short cuts, which are not even" the longest way round " but seem to leave their followers each in his own little 3 1'7-