The Russian School of Painting
refinement, whereas Musatov housed the temperament of a fresco painter. His original and noble style, his silvery quiet colours waited for walls and broad surfaces, to unfold their full power and splendour. Untimely death has snatched away the artist and deprived Russian art of a master whom we could ill spare.
Here our investigation must be concluded. We shall not dwell on the latest phenomenon of Russian painting: the Moscow phantasts and symbolists, Sudeykin, P. Kuznetzov, the two Milioti, and others. Their artistic personalities have not crystallised as yet. One thing can be already said about them: they are all very gifted men, their art is absolutely genuine, and it is highly probable that in the nearest future they will come to hold the central place on the stage of Russian painting. In concluding this book on the Russian School of Painting, let us express the wish that these young artists do not forget the "school." Formed in the period of the wildest confusion in the field of æsthetic theorising, deprived of the guidance of well-tried principles, without either mature knowledge or firm intentions, they are doomed to perish, if they will not understand in time all the falsity of the artistic doctrine which confuses "school" with lack of original-
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