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causes man, and, since the dawn of historic times no European 
artist has dared to do that. The new artists must have an ideal 
beauty which will no longer be merely the proud expression of 
the species, but the expression of the universe, in so far as it has 
been humanized in the light. It is the art of painting new 
ensembles with elements not borrowed from visual realities, but 
created entirely by the artist and endowed by him with a power 
ful reality. 
The works of the Orphic Artists must present simultaneously 
a pure aesthetic charm, a construction which strikes beneath the 
surface and a sublime significance,—that is to say, the subject. 
It is pure art. 
The light from the works of Picasso contains this art, which 
Robert Delaunay invents on his side and for which Fernand 
Leger, Francis Picabia and Marcel Duchamp also strive. 
Instinctive Cubism, the art of painting new ensembles bor 
rowed not from visual reality but from suggestions made to the 
artist by instinct and intuition, has long tended to orphism. The 
instinctive artists lack lucidity and artistic faith. Instinctive 
Cubism includes a very great number of artists. It sprang from 
the French Impressionism and now this movement extends all 
over Europe. 
The Art of today clothes its creations with an imposing and 
monumental aspect, which surpasses in this respect everything 
that has been conceived by the artists of our age. Ardent in pur 
suit of beauty, it is noble, energetic, and the reality which it 
brings us is marvelously clear. 
I love the art of today because above all else I love the light, 
and all men love light,—above all else Man invented fire. 
(to be concluded) 
GUILLAUME APOLLINAIRE