Long before being artists, we are artisans; and all fabrication, however rudimentary, lives on likeness and repetition, like the natural geometry which serves as its fulcrum. Fabrication works on models which it sets out to reproduce; and even when it invents, it proceeds, or imagines itself to proceed, by a new arrangement of elements already known. Its principle is that “we must have like to produce like.” In short, the strict application of the principle of finality, like that of the principle of mechanical causality, leads to the conclusion that “all is given.” Both principles say the same thing in their respective languages, because they respond to the same need.

Of all the schools of patience and lucidity, creation is the most effective. It is also the staggering evidence of man's sole dignity: the dogged revolt against his condition, perseverance in an effort considered sterile. It calls for a daily effort, self-mastery, a precise estimate of the limits of truth, measure, and strength. It constitutes an ascesis. All that "for nothing," in order to repeat and mark time. But perhaps the great work of art has less importance in itself than in the ordeal it demands of a man and the opportunity it provides him of overcoming his phantoms and approaching a little closer to his naked reality.

Creation is designed in such a way that it is oriented to worship. It fulfills its purpose and assumes its significance when it is lived, ever new, with a view to worship. Creation exists for the sake of worship. As Saint Benedict said in his Rule: Operi Dei nihil praeponatur

..that famous idea of 'beauty', which is, as everybody says, the goal of the arts. If it is their only goal, what becomes of the men like Rubens, Rembrandt, and all the northern natures generally, who prefer other qualities? Demand purity, In a word beauty.. .In general the men of the north tend less in that direction. The Italian prefers ornament.

The goal of creation is—to please the creation, i.e. the Creator wants to fill us with the very best. And until a man receives all the very perfect and the very best that has been ordained for him by the Creator, he experiences the lack of everything, and this is the sign that he hasn’t yet reached the goal of the creation.

The energy to manufacture Art doesn't come merely from the superficial darshan (philosophy) of objects; nor from mere intellect and knowledge; but it comes from those subtle conscience, which finds emotional caressing from divine experience climbing above bestial eyes. The beast merely looks and remains satisfied, but man tries to touch the heart of everything. The superficial understandings do not satisfy him, in the world containing form-relation and conscience he cannot remain satisfied though philosophy. He tries to connect the things seen and experienced in his mind and outer nature with eternal and true and tries to touch them with the help of relation and support of chief reason.

Why can there not be a new art founded on the only principle which can produce great art—the principle that art is the interpretation or extraction of the essence of beauty in nature, and all else is secondary?

A profound thought is in a constant state of becoming; it adopts the experience of a life and assumes its shape. Likewise, a man's sole creation is strengthened in its successive and multiple aspects: his works. One after another they complement one another, correct or overtake one another, contradict one another, too. If something brings creation to an end, it is not the victorious and illusory cry of the blinded artist: "I have said everything," but the death of the creator which closes his experiences and the book of his genius. That effort, that superhuman consciousness are not necessarily apparent to the reader. There is no mystery in human creation. Will performs this miracle. But at least there is no true creation without a secret. To be true, a succession of works can be but a series of approximations of the same thought. But it is possible to conceive of another type of creator proceeding by juxtaposition. Their words may seem to be devoid of inter-relations, to a certain degree, they are contradictory. But viewed all together, they resume their natural grouping.

Creation exists to be a place for the covenant that God wants to make with man. The goal of creation is the covenant, the love story of God and man.

If you ask today what art is, what its function is, what the meaning of art is and why one should create art, the answer given oftentimes by Western philosophers of art and those who specialize in modern aesthetics is ‘‘art for art’s sake.’’ The modern response is that you just create art for the sake of art; but this was never the answer of traditional civilizations where one created art for both the sake of attainment of inner perfection and for human need in the deepest sense—because the needs of man are not only physical, they are also spiritual. We are as much in need of beauty as of the air that we breathe.

..the wish to produce beautiful things — when that wish is true and profound — falls together with [man's] striving for perfection.

Man is created for a purpose; the object of his existence is to perfect himself. Man is imperfect by nature, because if nature had made him perfect he would have had no wants; and it is only by supplying his wants that utility can be developed. The development of utility is therefore the object of our being, and the attainment of this great end the cause of our existence.