 The painting of pictures, the scrape of the bow upon strings, the chanting or inscription of a poem are, for Croce, only contingently related to the work of art, that is, to the expressed intuition. By this Croce does not mean to say that for example the painter could get by without paint in point of fact; the impossibility of say the existence of Leonardo’s Last Supper without his having put paint on the wall of Santa Maria delle Grazie not an impossibility in principle, but it is a factual impossibility, like that of a man jumping to the Moon. What he is doing is always driven by the intuition, and thereby making it possible for others to have the intuition (or rather, an intuition). First, the memory—though only contingently—often requires the physical work to sustain or develop the intuition. Second, the physical work is necessary for the practical business of the communication of the intuition.