The nude does not simply represent the body, but relates it, by analogy, to all structures that have become part of our imaginative experience.

Gargoyles were the complement to saints; Leonardo's caricatures were complementary to his untiring search for ideal beauty. And gargoyles were the expression of all the passions, the animal forces, the Caliban gruntings and groanings which are left in human nature when the divine has been poured away. Leonardo was less concerned than his Gothic predecessors with the ethereal parts of our nature, and so his caricatures, in their expression of passionate energy, merge imperceptibly into the heroic.

No nude, however abstract, should fail to arouse in the spectator some vestige of erotic feeling... The desire to grasp and be united with another human is so fundamental a part of our nature that our judgement of what is known as 'pure form' is inevitably influenced by it, and one of the difficulties of the nude as a subject for art is that these instincts cannot be hidden.

The Cathedrals were built to the glory of God; New York was built to the glory of Mammon.

Lives devoted to Beauty seldom end well.

We can destroy ourselves by cynicism and disillusion, just as effectively as by bombs.

People sometimes tell me that they prefer barbarism to civilisation. I doubt if they have given it a long enough trial. Like the people of Alexandria, they are bored by civilisation; but all the evidence suggests that the boredom of barbarism is infinitely greater.