THAT THE PROPRIETY OR IMPROPRIETY OF SUCH A GATHERING WAS A QUESTION 
THAT WAS TO BE SETTLED BY EVERY MAN IN ACCORDANCE WITH THE CONVICTIONS 
OF PRIVATE JUDGMENTS . 
IN THE REMAINDER OF HIS SPEECH DAVIS SPOKE OF HIS ADMIRATION FOR 
BROWN AND WARNED THOSE WHO TOOK PART IN THE MEETING THAT THEY ARE 
LIABLE TO THE CHARGE THAT THEY ARE SUPPORTING TRAITORS AND UPHOLDING 
MEN WHOM THE LAWS HAVE CONDEMNED . 
HE RECALLED THAT IN RHODE ISLAND A PARTY OPPOSED TO THE STATE'S 
CONDEMNATION OF A MAN ( THOMAS W. DORR ) PROCLAIMED THE STATE'S ACTION 
AS A VIOLATION OF THE LAW OF THE LAND AND THE PRINCIPLES OF HUMAN 
LIBERTY . 
AT THE CLOSE OF DAVIS' SPEECH THE FOLLOWING PREAMBLE AND RESOLUTIONS 
WERE READ BY THE PRESIDENT , AND ON THE QUESTION OF THEIR ADOPTION 
PASSED UNANIMOUSLY : WHEREAS JOHN BROWN HAS CHEERFULLY RISKED HIS LIFE 
IN ENDEAVORING TO DELIVER THOSE WHO ARE DENIED ALL RIGHTS AND IS THIS 
DAY DOOMED TO SUFFER DEATH FOR HIS EFFORTS IN BEHALF OF THOSE WHO HAVE 
NO HELPER : THEREFORE , RESOLVED THAT , WHILE WE MOST DECIDEDLY 
DISAPPROVE THE METHODS HE ADOPTED TO ACCOMPLISH HIS OBJECTS , YET IN 
HIS WILLINGNESS TO DIE IN AID OF THE GREAT CAUSE OF HUMAN FREEDOM , WE 
STILL RECOGNIZE THE QUALITIES OF A NOBLE NATURE AND THE EXERCISE OF A 
SPIRIT WHICH TRUE MEN HAVE ALWAYS ADMIRED AND WHICH HISTORY NEVER 
FAILS TO HONOR . 
RESOLVED THAT HIS WRONGS AND BEREAVEMENTS IN KANSAS , OCCASIONED BY 
THE VIOLENCE AND BRUTALITY OF THOSE WHO WERE INTENT ON THE PROPAGATION 
OF SLAVERY IN THAT TERRITORY , CALL FOR A CHARITABLE JUDGMENT UPON HIS 
RECENT EFFORTS IN VIRGINIA TO UNDERMINE THE DESPOTISM FROM WHICH HE 
HAD SUFFERED , AND COMMEND HIS FAMILY TO THE SPECIAL SYMPATHY AND AID 
OF ALL WHO PITY SUFFERING AND REVERENCE JUSTICE . 
RESOLVED THAT THE ANTI-SLAVERY SENTIMENT IS BECOMING RIPE FOR RESOLUTE 
ACTION . 
RESOLVED , THAT WE FIND IN THIS FEARFUL TRAGEDY AT HARPER'S FERRY A 
REASON FOR MORE EARNEST EFFORT TO REMOVE THE EVIL OF SLAVERY FROM THE 
WHOLE LAND AS SPEEDILY AS POSSIBLE . 
ON THE MORNING FOLLOWING THE PRATT HALL MEETING THE EDITOR OF THE 
PROVIDENCE DAILY JOURNAL WROTE THAT ALTHOUGH THE MEETING WAS MILDER 
AND LESS EXTREME THAN THOSE HELD IN OTHER AREAS FOR SIMILAR PURPOSES , 
IT COULD HAVE BEEN AVOIDED COMPLETELY . 
RATHER THAN BEING DECEIVED , THE EYE IS PUZZLED ; INSTEAD OF SEEING 
OBJECTS IN SPACE , IT SEES NOTHING MORE THAN A PICTURE . 
THROUGH 1911 AND 1912 , AS THE CUBIST FACET-PLANE'S TENDENCY TO ADHERE 
TO THE LITERAL SURFACE BECAME HARDER AND HARDER TO DENY , THE TASK OF 
KEEPING THE SURFACE AT ARM'S LENGTH FELL ALL THE MORE TO 
EYE-UNDECEIVING CONTRIVANCES . 
TO REINFORCE , AND SOMETIMES TO REPLACE , THE SIMULATED TYPOGRAPHY , 
BRAQUE AND PICASSO BEGAN TO MIX SAND AND OTHER FOREIGN SUBSTANCES WITH 
THEIR PAINT ; THE GRANULAR TEXTURE THUS CREATED LIKEWISE CALLED 
ATTENTION TO THE REALITY OF THE SURFACE AND WAS EFFECTIVE OVER MUCH 
LARGER AREAS . 
IN CERTAIN OTHER PICTURES , HOWEVER , BRAQUE BEGAN TO PAINT AREAS IN 
EXACT SIMULATION OF WOOD GRAINING OR MARBLEIZING . 
THESE AREAS , BY VIRTUE OF THEIR ABRUPT DENSITY OF PATTERN , STATED 
THE LITERAL SURFACE WITH SUCH NEW AND SUPERIOR FORCE THAT THE 
RESULTING CONTRAST DROVE THE SIMULATED PRINTING INTO A DEPTH FROM 
WHICH IT COULD BE RESCUED -- AND SET TO SHUTTLING AGAIN -- ONLY BY 
CONVENTIONAL PERSPECTIVE ; THAT IS , BY BEING PLACED IN SUCH RELATION 
TO THE FORMS DEPICTED WITHIN THE ILLUSION THAT THESE FORMS LEFT NO 
ROOM FOR THE TYPOGRAPHY EXCEPT NEAR THE SURFACE . 
THE ACCUMULATION OF SUCH DEVICES , HOWEVER , SOON HAD THE EFFECT OF 
TELESCOPING , EVEN WHILE SEPARATING , SURFACE AND DEPTH . 
THE PROCESS OF FLATTENING SEEMED INEXORABLE , AND IT BECAME NECESSARY 
TO EMPHASIZE THE SURFACE STILL FURTHER IN ORDER TO PREVENT IT FROM 
FUSING WITH THE ILLUSION . 
IT WAS FOR THIS REASON , AND NO OTHER THAT I CAN SEE , THAT IN 
SEPTEMBER 1912 BRAQUE TOOK THE RADICAL AND REVOLUTIONARY STEP OF 
PASTING ACTUAL PIECES OF IMITATION-WOODGRAIN WALLPAPER TO A DRAWING ON 
PAPER , INSTEAD OF TRYING TO SIMULATE ITS TEXTURE IN PAINT . 
PICASSO SAYS THAT HE HIMSELF HAD ALREADY MADE HIS FIRST COLLAGE TOWARD 
THE END OF 1911 , WHEN HE GLUED A PIECE OF IMITATION-CANING OILCLOTH 
TO A PAINTING ON CANVAS . 
IT IS TRUE THAT HIS FIRST COLLAGE LOOKS MORE ANALYTICAL THAN BRAQUE'S 
, WHICH WOULD CONFIRM THE DATE HE ASSIGNS IT . 
BUT IT IS ALSO TRUE THAT BRAQUE WAS THE CONSISTENT PIONEER IN THE USE 
OF SIMULATED TEXTURES AS WELL AS OF TYPOGRAPHY ; AND MOREOVER , HE HAD 
ALREADY BEGUN TO BROADEN AND SIMPLIFY THE FACET-PLANES OF ANALYTICAL 
CUBISM AS FAR BACK AS THE END OF 1910 . 
WHEN WE EXAMINE WHAT EACH MASTER SAYS WAS HIS FIRST COLLAGE WE SEE 
THAT MUCH THE SAME THING HAPPENS IN EACH . 
( IT MAKES NO REAL DIFFERENCE THAT BRAQUE'S COLLAGE IS ON PAPER AND 
EKED OUT IN CHARCOAL , WHILE PICASSO'S IS ON CANVAS AND EKED OUT IN 
OIL . 
) BY ITS GREATER CORPOREAL PRESENCE AND ITS GREATER EXTRANEOUSNESS , 
THE AFFIXED PAPER OR CLOTH SERVES FOR A SEEMING MOMENT TO PUSH 
EVERYTHING ELSE INTO A MORE VIVID IDEA OF DEPTH THAN THE SIMULATED 
PRINTING OR SIMULATED TEXTURES HAD EVER DONE . 
BUT HERE AGAIN , THE SURFACE-DECLARING DEVICE BOTH OVERSHOOTS AND 
FALLS SHORT OF ITS AIM . 
FOR THE ILLUSION OF DEPTH CREATED BY THE CONTRAST BETWEEN THE AFFIXED 
MATERIAL AND EVERYTHING ELSE GIVES WAY IMMEDIATELY TO AN ILLUSION OF 
FORMS IN BAS-RELIEF , WHICH GIVES WAY IN TURN , AND WITH EQUAL 
IMMEDIACY , TO AN ILLUSION THAT SEEMS TO CONTAIN BOTH -- OR NEITHER . 
BECAUSE OF THE SIZE OF THE AREAS IT COVERS , THE PASTED PAPER 
ESTABLISHES UNDEPICTED FLATNESS BODILY , AS MORE THAN AN INDICATION OR 
SIGN . 
LITERAL FLATNESS NOW TENDS TO ASSERT ITSELF AS THE MAIN EVENT OF THE 
PICTURE , AND THE DEVICE BOOMERANGS : THE ILLUSION OF DEPTH IS 
RENDERED EVEN MORE PRECARIOUS THAN BEFORE . 
INSTEAD OF ISOLATING THE LITERAL FLATNESS BY SPECIFYING AND 
CIRCUMSCRIBING IT , THE PASTED PAPER OR CLOTH RELEASES AND SPREADS IT 
, AND THE ARTIST SEEMS TO HAVE NOTHING LEFT BUT THIS UNDEPICTED 
FLATNESS WITH WHICH TO FINISH AS WELL AS START HIS PICTURE .