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[rivulet027]

The artist is the creator of beautiful things.

To reveal art and conceal the artist is art's aim.

The critic is he who can translate into another manner or a new material his impression of beautiful things.

The highest, as the lowest, for of criticism is a mode of autobiography.

Those who find ugly meaning in beautiful things are corrupt without being charming. This is a fault.

Those who find beautiful meaing in beautiful things are the cultivated. For these there is hope.

They are the elect to whom beautiful things mean only Beauty.

There is no such thing as a moral or immoral book.

Books are well written, or badly written. That is all.

The nineteenth-century dislike of Realism is the rage of Caliban seeing his own face in a glass.

The nineteenth-century dislike of Romanticism is the rage of Caliban not seeing his own face in a glass.

The moral life of man forms part of the subject matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artisti desires to prove anything. Even things that are ture can be proved.

No artist has ethical sympathies. An ethical sympahty in an artist is an unpardonable mannerisim of style.
Thought and language are to the artist instruments of an art.

Vice and Virtue are to the artist matericals for an art.

Form the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type.

All art is at once surface and symbol.

Those who go beneath the surface do so at their peril

Those who read the symbol do so ar their peril.

It is the spectator, and not life, that art really mirrors.

Diversity of opinion about a work of art shows that the work is new, complex and vital.

When critics disagree thea rtist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely.

All art is quite useless.