[Raphael's] great superiority is due to the instinctive sense which, in him, seems to desire to shatter form. Form is, in his figures, what it is in ourselves, an interpreter for the communication of ideas and sensations, an exhaustless source of poetic inspiration. Every figure is a world in itself, a portrait of which the original appeared in a sublime vision, in a flood of light, pointed to by an inward voice, laid bare by a divine finger which showed what the sources of expression had been in the whole past life of the subject.

Passion is born deaf and dumb.

To stroll is a science, it is the gastronomy of the eye. To walk is to vegetate, to stroll is to live.... To stroll is to enjoy, it is to assume a mind-set, it is to admire the sublime pictures of unhappiness, of love, of joy, of graceful or grotesque portraits; it is to plunge one's vision to the depths of a thousand existences: young, it is to desire everything; old, it is to live the life of the young, to marry their passions.

In the first woman we love, we love everything. Growing older, we love the woman only.

When one of those skirt-bearing animals has set herself up above all by permitting herself to be deified, no power on earth can be as proud as she.

Marriage is a fierce battle before which the two partners ask heaven for its blessing, because loving each other is the most audacious of enterprises; the battle is not slow to start, and victory, that is to say freedom, goes to the cleverest.

One of the glories of society is to have created woman where Nature had made only a female; to have created a continuity of desire where Nature thought only of perpetuating the species; and, in fine, to have invented love.