178 SCIENCE AND ART AND EDUCATION vil 



by the hour together, to Bach's fugues. It is a 

 pleasure which remains with me, I am glad to 

 think ; but, of late years, I have tried to find out 

 the why and wherefore, and it has often occurred 

 to me that the pleasure derived from musical 

 compositions of this kind is essentially of the 

 same nature as that which is derived from pursuits 

 which are commonly regarded as purely intel- 

 lectual. I mean, that the source of pleasure is 

 exactly the same as in most of my problems in 

 morphology that you have the theme in one of 

 the old master's works followed out in all its 

 endless variations, always appearing and always 

 reminding you of unity in variety. So in 

 painting ; what is called " truth to nature " is the 

 intellectual element coming in, and truth to 

 nature depends entirely upon the intellectual 

 culture of the person to whom art is addressed. 

 If you are in Australia, you may get credit for 

 being a good artist I mean among the natives 

 if you can draw a kangaroo after a fashion. But, 

 among men of higher civilisation, the intellectual 

 knowledge we possess brings its criticism into our 

 appreciation of works of art, and we are obliged 

 to satisfy it, as well as the mere sense of beauty 

 in colour and in outline. And so, the higher the 

 culture and information of those whom art 

 addresses, the more exact and precise must be 

 what we call its " truth to nature/' 



If we turn to literature, the same thing is true, 



