Ingres was one of those artists to whom the outline was something sacred and magical, and the reason is that it was the means of reconciling the major conflict in his art, the conflict between abstraction and sensibility.

Sweeping, confident articles on the future seem to me, intellectually, the most disreputable of all forms of public utterance.

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.

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

Fine colour implies a unified relationship, in which each part is subordinate to the whole, and the transitions between them are felt to be as precious and beautiful as the colours themselves. In fact, the colours themselves must be continuously modified and broken as part of the transition.

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.

Those who wish, in the interest of morality, to reduce Leonardo, that inexhaustible source of creative power, to a neutral or sexless agency, have a strange idea of doing service to his reputation.