Nature and art: The material and the workmanship. There is no beauty unaided, no excellence that does not sink to the barbarous, unless saved by art: It redeems the bad and perfects the good. Because nature commonly forsakes us at her best, take refuge in art. The best in nature is raw without art, and the excellent is lacking if it lacks culture. Without cultivation everyone is a clown and needs polish, fine attributes notwithstanding.

It is a great mortification to the vanity of man, that his utmost art and industry can never equal the meanest of nature's productions, either for beauty or value. Art is only the under-workman, and is employed to give a few strokes of embellishment to those pieces, which come from the hand of the master

Nature does not create works of art. It is we, and the faculty of interpretation peculiar to the human mind, that see art.

When we speak of the aim and Art observable in Shakespeare's works, we must not forget that Art belongs to Nature; that it is, so to speak, self-viewing, self-imitating, self-fashioning Nature. The Art of a well-developed genius is far different from the Artfulness of the Understanding, of the merely reasoning mind. Shakspeare was no calculator, no learned thinker; he was a mighty, many-gifted soul, whose feelings and works, like products of Nature, bear the stamp of the same spirit; and in which the last and deepest of observers will still find new harmonies with the infinite structure of the Universe; concurrences with later ideas, affinities with the higher powers and senses of man. They are emblematic, have many meanings, are simple and inexhaustible, like products of Nature; and nothing more unsuitable could be said of them than that they are works of Art, in that narrow mechanical acceptation of the word.

This is atheism: for every indication of contrivance, every manifestation of design which existed in the watch, exists in the works of nature, with the difference of the side of nature of being greater and more, and that in a degree which exceeds all computation. I mean that the contrivances of nature surpass the contrivances of art, in the complexity, subtlety, and curiosity of the mechanism; and still more, if possible, do they go beyond them in number and variety; yet in a multitude of cases, are not less evidently mechanical, not less evidently contrivances, not less evidently accommodated to their end, or suited to their office than are the most perfect production of human ingenuity.

To solve the question, 'What should art be?' will be to solve the contradiction between rational being and the blind force of nature, to fathom the most abnormal relationship between man and nature, to solve the question of the subordination of rational being to blind force. Will nature always remain blind and, in its blindness, a destructive force, while art remains the creation of nothing but dead imitations? Will this division be temporary, or will it last for ever? Perfection lies in the unity of nature and art.

All things are artificiall, for Nature is the Art of God

There is no nature which is inferior to art, the arts imitate the nature of things.

The idea that any art is achieved 'intuitively' is a dehumanization of the brains, effort, and the traditions of the artist, and a classification of said artist as subhuman. It is those supposed incapable of intelligence, training, or connection with a tradition who are described as working by instinct or intuition.

Art is contemplation. It is the pleasure of the mind which searches into nature and which there divines the spirit by which Nature herself is animated. It is the joy of the intellect which sees clearly into the Universe and which recreates it, with conscientious vision. Art is the most sublime mission of man, since it is the expression of thought seeking to understand the world and to make it understood.

"Now a work of art is a work of nature, but it is a work of human nature. It is a work of the mind: and it's a work of the mind in circumstances for an occasion which, to which, for which, and which it may be supremely natural and simple and effective.

"The Nature of Art" December 19, 1954"

And as the ideal in the whole of Nature moves in an infinite process toward an Absolute Perfection, we may say that art is in strict truth the apotheosis of Nature. Art is thus at once the exaltation of the natural toward its destined supernatural perfection, and the investiture of the Absolute Beauty with the reality of natural existence. Its work is consequently not a means to some higher end, but is itself a final aim; or, as we may otherwise say, art is its own end. It is not a mere recreation for man, a piece of by-play in human life, but is an essential mode of spiritual activity, the lack of which would be a falling short of the destination of man. It is itself part and parcel of man's eternal vocation.

Art is a demonstration of which nature is the proof.

Art and the ability to comprehend it are more dependent on kinds of mental imagery and the ability to manipulate mental images than on intelligence.