Let’s go back to the Four Motivations. In the first, if an artist intends for a work of art to serve as a historical document, then he is referencing something that actually happened on the “outside.” Therefore, the objects depicted must conform to the laws of nature. In the second, if an artist intends to represent a religious vision, then the artist will use disegno interno because the work of art will reflect something felt within the mind and heart, internally. In the third scenario, if an artist intends to represent feelings and emotions, then there must be some believable connection to the audience and his/her world, as the artist wants the audience to empathize with the figures and feel what they are feeling. This artist must use elements of disegno esterno for the audience to state “I’ve been there,” or “I know what that person is going through,” but then, like Munch, the artist can begin to distort reality to amplify the emotions and feelings conveyed. And last, in the fourth scenario, if the artist is representing dreams and other fictional realms, then s/he is not bound by the laws of nature and is free to create with disegno interno and pull the images from inside their imagination.