I have not attempted to overthrow old systems, but have pointed out their
faults while trying to present a consistent scheme of art study. The
intention has been to reveal the sources of power; to show the student how
to look within for the greatest help; to teach him not to depend on
externals, not to lean too much on anything or anybody. Each subject has
been treated suggestively rather than exhaustively, pointing out ways of
enlargement and wide application. If some subjects have seemed to receive
rather scant attention it is not because I am indifferent to them, but
because I did not wish to depart from the special theme of the book; some
of these will be considered in future writings. The book will have
accomplished its purpose if I have made clear the character and meaning of
art structure—if the student can see that out of a harmony of two lines
may grow a Parthenon pediment or a Sorbonne hemicycle; out of the rude
dish of the Zuni a Sung tea‐bowl, out of the totem‐pole a Michelangelo’s
“Moses”; that anything in art is possible when freedom is given to the
divine gift APPRECIATION.