Children who are treated as if they are uneducable almost invariably become uneducable.

Over and above the political, economic, sociological, and international implications of racial prejudices, their major significance is that they place unnecessary burdens upon human beings.

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.

Only the bad artists of the nineteenth century were frightened by the invention of photography; the good ones all welcomed it and used it.

No nude, however abstract, should fail to arouse in the spectator some vestige of erotic feeling, even if it be only the faintest shadow - and if it does not do so it is bad art and false morals.

Ruskin's much-derided moral theory of art was part of an attempt to show that this human activity, which we value so highly, engaged the whole of human personality. His insistence on the sanctity of nature was part of an attempt to develop Goethe's intuition that form cannot be put together in the mind by an additive process, but is to be deduced from the laws of growth in living organisms, and their resistance to the elements.

The various parts of the body cannot be perceived as simple units and have no clear relationship to one another. In almost every detail the body is not the shape that art has led us to believe it should be.