Abstract
“These strange signs, which I am unable either to praise or to condemn, remind me of an admirable and useful saying of Carriere's: ‘Think of what it would be like as a statue.”’1In the December, 1908 issue of the Mercure de France, Charles Morice puzzled over a new kind of art which he had no way of knowing would become the major underwriter of the modern tradition as we know it. Sympathetic, but lost for words, Morice serves as an eloquent reminder, as does Apollinaire occasionally, that at that time there was no formalistic critical apparatus for talking about what has since become known as Cubism.
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