Art does not compete with nature; it is a statement of the spirit and intention of nature in the artist's own terms. The test of the work is not apparent and superficial likeness, but truth. Art idealizes in the measure that it disengages the truth. In this aspect of it the work is ideal as distinct from merely actual. There is a practice in art which draws its standard of beauty, its ideal, not from nature but from other art, and which seeks to "improve nature" by the combination of arbitrarily chosen elements and by the modification of natural truth to fit a preconceived formula. The Eclectics of Bologna, in the seventeenth century, sought to combine Raphael's perfection of drawing and composition, Michelangelo's sublimity and his mastery of the figure, and Correggio's sweet sentiment and his supremacy in the rendering of light and shade, fondly supposing thus that the sum of excellent parts is equivalent to an excellence of the whole. This is false idealism. The Greeks carried their research for certain truths of the human form to the point of perfection and complete realization. The truth of the Greeks was mistaken by the pseudo-classicists and misapplied. Thus Delacroix exclaimed ironically, "In order to present an ideal head of a negro, our teachers make him resemble as far as possible the profile of Antinöus, and then say, 'We have done our utmost; if, nevertheless, we fail to make the negro beautiful, then we ought not to introduce into our pictures such a freak of nature, the squat nose and thick lips, which are so unendurable to the eyes.'" True idealism treats everything after its own kind, making it more intensely itself than it is in the play of nature; the athlete is more heroically an athlete, the negro more vividly a negro. True idealism seeks to express the tendency by virtue of which an object is what it is. The abstraction which art effects is not an unreality but a higher reality. It is not the mere type, that art presents, for the type as such does not exist in nature. The individual is not lost but affirmed by this reference to the inner principle of its being. A good portrait has in it an element of caricature; the difference between portraiture and caricature is the difference between emphasis and exaggeration. Art is not the falsification of nature, but the fuller realization of it. It is the interpretation of nature's truth, the translation of it, divined by the artist, into simpler terms to be read and understood by those of less original insight. The deeper the penetration into the life-force and shaping principle of nature, the greater is the measure of truth.