HE art development of the human race is a fascinating study, and one that has long engaged the attention of some of our most pro found philosophers. Whence springs the love of beauty, and the desire for its reproduction or imitation in the work of human hands? The answer seems obvious, whether it is regarded from a standpoint interior or exterior to man. If interior, man is a spiritual being with power to dis cern all beauty, and Nature, with her multiform manifestations of beauty, is but the complement of that spiritual nature, given to him to afford exercise for the faculties of his soul. On the other hand if the subject is regarded as exterior to man then the beauty of Nature must be regarded as the exterior objects that develop within him a love for the beautiful. Once a sunrise, a sunset, a flower, strikes man's inner vision and awakens a love for its rare appearance, he experiences the dawn of the art instinct, and its development is merely a question of time. The instinct once aroused and development begun it becomes as natural to seek to imitate as it is to observe. The power of the artist transfixes the beauty of the moment and makes it a permanent joy. He carries over the glory of today into all the tomorrows. But it is essential that the artist be a good and faithful worshiper at the shrine of Nature. Morning, noon, evening, and through the silent watches of the night he must reverently remain at his post.
