All sensitive people agree that there is a peculiar emotion provoked by 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.

A rose is the visible result of an infinitude of complicated goings on in the bosom of the earth and in the air above, and similarly a work of art is the product of strange activities in the human mind.

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

Only reason can convince us of those three fundamental truths without a recognition of which there can be no effective liberty: that what we believe is not necessarily true; that what we like is not necessarily good; and that all questions are open.

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.

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