"The notion of style has long been the art historian's principal mode of classifying works of art. By style he selects and shapes the history of art."

“The universe has a finite velocity which limits not only the spread of its events, but also the speed of our perceptions. The moment of actuality slips too fast by the slow, coarse net of our senses.”

“The history of art... resembles a broken but much-repaired chain made of string and wire to connect the occasional jeweled links surviving as physical evidences of the invisible original sequence of prime objects.”

“However useful it is for pedagogical purposes, the biological metaphor of style as a sequence of life-stages was historically misleading, for it bestowed upon the flux of events the shapes and behavior of organisms.”

“Let us suppose that the idea of art can be expanded to embrace the whole range of man-made things, including all tools and writing in addition to the useless, beautiful, and poetic things of the world. By this view the universe of man-made things simply coincides with the history of art. It then becomes urgent to devise better ways to devise better ways of considering everything men have made. This we may achieve sooner by proceeding from art rather than from use, for if we depart from use alone, all useless things are overlooked, but if we take the desirableness of things as our point of departure, then useful objects are properly seen as things we value more or less dearly.”

“The historian's special contribution is the discovery of the manifold shapes of time. The aim of the historian, regardless of his specialty in erudition, is to portray time. He is committed to the detection and description of the shape of time.”

“Although inanimate things remain our most tangible evidence that the old human past really existed, the conventional metaphors used to describe this visible past are mainly biological.”