It would follow that 'significant form' was form behind which we catch a sense of ultimate reality.

The starting-point for all systems of aesthetics must be the personal experience of a peculiar emotion. The objects that provoke this emotion we call works of art.

Let the artist have just enough to eat, and the tools of this trade: ask nothing of him. Materially make the life of the artist sufficiently miserable to be unattractive, and no-one will take to art save those in whom the divine daemon is absolute.

The representative element in a work of art may or may not be harmful, but it is always irrelevant. For to appreciate a work of art, we must bring with us nothing from life, no knowledge of its affairs and ideas, no familiarity with its emotions.

It would follow that 'significant form' was form behind which we catch a sense of ultimate reality.

What quality is shared by all objects that provoke our aesthetic emotions? Only one answer seems possible— significant form. In each, lines and colors combined in a particular way; certain forms and relations of forms, stir our aesthetic emotions. These relations and combinations of lines and colors, these aesthetically moving forms, I call ‘Significant Form’; and ‘Significant Form’ is the one quality common to all works of visual art.

Art and religion are, then, two roads by which men escape from circumstance to ecstacy.