That Which Seems To Be Wealth May

Sky Is The Part Of Creation In Which Nature Has Done More For The Sake Of Pleasing Man, More For The Sole And Evident Purpose Of Talking To Him And Teaching Him, Than In Any Other Of Her Works, And It Is Just The Part In Which We Least Attend To Her.

There Is But One Question Ultimately To Be Asked Respecting Every Line You Draw, Is It Right Or Wrong? If Right, It Most Assuredly Is Not A "free" Line, But An Intensely Continent, Restrained And Considered Line; And The Action Of The Hand In Laying It Is Just As Decisive, And Just As "free" As The Hand Of A First-rate Surgeon In A Critical Incision.

When Men Are Rightly Occupied, Their Amusement Grows Out Of Their Work, As The Colour-petals Out Of A Fruitful Flower; When They Are Faithfully Helpful And Compassionate, All Their Emotions Become Steady, Deep, Perpetual, And Vivifying To The Soul As The Natural Pulse To The Body. But Now, Having No True Business, We Pour Our Whole Masculine Energy Into The False Business Of Money-making; And Having No True Emotion, We Must Have False Emotions Dressed Up For Us To Play With, Not Innocently, As Children With Dolls, But Guiltily And Darkly.

Men Are More Evanescent Than Pictures, Yet One Sorrows For Lost Friends, And Pictures Are My Friends. I Have None Others. I Am Never Long Enough With Men To Attach Myself To Them; And Whatever Feelings Of Attachment I Have Are To Material Things.

The Names Of Great Painters Are Like Passing-bells: In The Name Of Velasquez You Hear Sounded The Fall Of Spain; .in The Name Of Titian, That Of Venice; In The Name Of Leonardo, That Of Milan; In The Name Of Raphael, That Of Rome. And There Is Profound Justice In This, For In Proportion To The Nobleness Of The Power Is The Guilt Of Its Use For Purposes Vain Or Vile; And Hitherto The Greater The Art, The More Surely Has It Been Used, And Used Solely, For The Decoration Of Pride Or The Provoking Of Sensuality.