Dynamic wealth depends upon the number of articulations brought into play; the fewer articulations an actor uses, the more closely he approaches the puppet.
A portion of a whole cannot be seriously appreciated by any one ignorant of the constitution of that whole.
An abstract having been made of the modes of execution which the artist should learn before handling a subject, two things are first of all requisite:
- 1. To know what he is to seek in that subject itself;
- 2. To know how to find what he seeks.
Is not the essential principle of art the union of truth, beauty and good? Are its action and aim anything but a tendency toward the realization of these three terms?