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But Art Not Only Exploits The Variety Of Appearances, It Also Affirms The Validity Of Individual Outlook And Thereby Admits A Further Dimension Of Variety. Since The Shapes Of Art Do Not Primarily Bear Witness To The Objective Nature Of The Things For Which They Stand, They Can Reflect Individual Interpretation And Invention.

The Clarification Of Visual Forms And Their Organization In Integrated Patterns As Well As The Attribution Of Such Forms To Suitable Objects Is One Of The Most Effective Training Grounds Of The Young Mind.

The Arts, As A Reflection Of Human Existence At Its Highest, Have Always And Spontaneously Lived Up To This Demand Of Plenitude. No Mature Style Of Art In Any Culture Has Ever Been Simple.

Both Art And Science Are Bent On The Understanding Of The Forces That Shape Existence, And Both Call For A Dedication To What Is. Neither Of Them Can Tolerate Capricious Subjectivity Because Both Are Subject To Their Criteria Of Truth. Both Require Precision, Order, And Discipline Because No Comprehensible Statement Can Be Made Without These. Both Accept The Sensory World As What The Middle Ages Called Signatura Regrum, The Signature Of Things, But In Quite Different Ways.

Orderliness By Itself Is Not Sufficient To Account For The Nature Of Organized Systems In General Or For Those Created By Man In Particular. Mere Orderliness Leads To Increasing Impoverishment And Finally To The Lowest Possible Level Of Structure, No Longer Clearly Distinguishable From Chaos, Which Is The Absence Of Order. A Counterprinciple Is Needed, To Which Orderliness Is Secondary. It Must Supply What Is To Be Ordered.