additions to English edition of Helmholtz, “Sensation of Tone,” p. 556.
[58] “History of Music,” Nauman, Vol. I, p. 10.
[59] Ibid., Vol. I, p. 12.
[60] By Mr. A. W. Rimington, Professor of Fine Arts at Queen’s College,
London. See his book, “Color Music.”
[61] “On the Laws of Japanese Painting,” by Bowie, p. 55.
[62] “On the Basis of Japanese Painting,” Bowie, pp. 77-79.
[63] Signor Marinetti is the founder of the school; he is not a
painter, but a writer, editor of “Poesia.” He is a young man and
is followed by a small band of young enthusiastic writers, poets,
musicians, painters, sculptors, whose innovations strike even the
cubists as wild extravagances. In fact, Futurism and Cubism have
very little in common except innovation; both are revolutionary but
otherwise diametrically opposed in many of their aims and theories.
[64] Before seeing any of the Futurist literature and influenced only
by developments in the printing of newspapers and periodicals in
America, the writer caused a book on an economic subject to be printed
in such a manner that, so far as possible, each page displayed on
its face its contents. The attempt was made to so break up the pages
and so use italics and capitals that the task of the reader would
be lightened. The attempt attracted the very favorable attention of
reviewers, several remarking that “the arts of the advertiser had been
used to display the ideas”--and that was true.
[65] From an article by Ray Nyst, a Belgian critic in “La Belgique
Artistique et Libraire.”
[66] Writer in “The Times-Democrat,” New Orleans.