FOR SOME time two related issues have been hanging around this discussion of intention. One is the question of how far we are really going to penetrate into the intentional fabric of painters living in cultures or periods remote from our own. The other is the question of whether we can in any sense or degree verify or validate our explanations. I shall discuss these in order. But it will be better to work to an example culturally more distant from us than Picasso or even Chardin, and I shall …