Henry Adams on Beauty

"I know of nothing useful in life except what is beautiful or creates beauty."

"The artists and donors and priests forgot nothing which, in their judgment could set off the authority, elegance and refinement of the Queen of Heaven; even the young ladies-in-waiting are there, figured by the twelve Virtues and the fourteen Beatitudes; and indeed, though men are plenty and some of them are handsome, women give the tone, the charm, and mostly the intelligence. The court of Mary is feminine, and its charms are Grace and Love; perhaps even more grace than love, in a social sense, if you look at Beauty and Friendship among Beatitudes."

"The pathetic interest of the drama deepens with every new expression, but at least you can learn from it that your parents in the nineteenth century were not to blame for losing the sense of unity in art. As early as the fourteenth century, signs of unsteadiness appeared, and, before the eighteenth century, unity became only a reminiscence. The old habit of centralising a strain at one point, and then dividing and subdividing it, and distributing it on visible lines of support to a visible foundation, disappeared in architecture soon after 1500, but lingered in theology two centuries longer, and even, in very old-fashioned communities, far down to our own time; but its values were forgotten, and it survived chiefly as a stock jest against the clergy. The passage between the two epochs is as beautiful as the Slave of Michael Angelo; but, to feel its beauty, you should see it from above, as it came from its radiant source. Truth, indeed, may not exist; science avers it to be only a relation; but what men took for truth stares one everywhere in the eye and begs for sympathy."