[Raphael's] great superiority is due to the instinctive sense which, in him, seems to desire to shatter form. Form is, in his figures, what it is in ourselves, an interpreter for the communication of ideas and sensations, an exhaustless source of poetic inspiration. Every figure is a world in itself, a portrait of which the original appeared in a sublime vision, in a flood of light, pointed to by an inward voice, laid bare by a divine finger which showed what the sources of expression had been in the whole past life of the subject.
All poetry like every work of art proceeds from a swift vision of things.
Thinking is seeing.... Every human science is based on deduction, which is a slow process of seeing by which we work up from the effect to the cause; or, in a wider sense, all poetry like every work of art proceeds from a swift vision of things.
To stroll is a science, it is the gastronomy of the eye. To walk is to vegetate, to stroll is to live.... To stroll is to enjoy, it is to assume a mind-set, it is to admire the sublime pictures of unhappiness, of love, of joy, of graceful or grotesque portraits; it is to plunge one's vision to the depths of a thousand existences: young, it is to desire everything; old, it is to live the life of the young, to marry their passions.
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