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.

A racist system inevitably destroys and damages human beings; it brutalizes and dehumanizes them, blacks and whites alike.

One musn't overrate the culture of what used to be called "top people" before the wars. They had charming manners, but they were as ignorant as swans.

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

The history of art cannot be properly understood without some reference to the history of science. In both we are studying the symbols by which man affirms his mental scheme, and these symbols, be they pictorial or mathematical, a fable or formula, will reflect the same changes.

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.