“Why, the simultaneity of the plastic states of mind in the art? That is our intoxicating object, you know.”
“Oh, that! Ah, yes—yes, quite so. I thought it was that.” Nigel looked knowing, and shook his head wisely.
Under this treatment the young Italian became very animated.
“You were right! You see, it is ze expansion of coloured forms in space, combined with the co-penetration of plastic masses which forms what we call futurism.”
“Oh yes, of course,” said Nigel. “It would be. I mean to say—well!—almost anyone would guess that, wouldn’t they?”
Semolini turned to Bertha, talking more and more quickly, and gesticulating with a little piece of bread and butter in his right hand. “It is ze entire liberation from the laws of logical perspective that makes movement—the Orphic cubism—if you will allow me to say so!”
“Oh, certainly,” smiled Bertha. “Do say so!”
“Orphic cubism! I say! Isn’t that a bit strong before a lady?” murmured Nigel.
Semolini laughed heartily without understanding a word, and continued to address himself to Bertha, whose eyes looked sympathetic. “It is painting, pure painting—painting new masses with elements borrowed chiefly from the reality of mental vision!” cried the artist.
“Funny! Just what I was going to say!” said Nigel.