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We may suppose that it was this which led El Greco to speak disparagingly of Michelangelo , for even if he did not say ( as was reported of him ) that he could repaint the Last Judgement with more decency and no loss of effect , he unquestionably did say to Pacheco that Michelangelo was a good man , but did n't know how to paint . By c. 1914 he is deafeningly insufferable . I say this against painters who presume to correct the works of nature , those , for example , who depict a one-year-old infant , whose head should be one fifth of its height , and who make it one eighth ; - and while the width of its shoulders is equal to that of the head , they make the head half as wide as the shoulders , and in this way , they endow a small one-year-old child with the proportions of a man of thirty . Indeed , the ground itself makes up much of the white background . I wish he could see us now , looking with awe at this supreme painting . each artistic element in Ad Parnassum is itself a distillation of several ideas and personal experiences . " Little matter : the god gazes at us from every point of his body 's surface . " Picasso was willing to explore the ornamental , such as the strong pattern of the dark gray chair , his imitation wood graining , and even in something as simple as repeating three white approximate rectangles of white paper in a rhythmic fanning , one between us and the chair , the second as the pedestal of the compote , and the third as the light side of the fingerboard of the violin . But I am fairly certain that Botticelli was a man of the finest intelligence which he applied to the subjects of his pictures as well as to their design : that , for example , his St Augustine in the Ognissanti is the result of profound meditation on the Confessions , and that in the Nativity every movement has a meaning which becomes apparent only when we have steeped ourselves in the thought and imagery of his time . He shows us so convincingly how each figure reflects the grief of the tragic scene that we sense the same grief in the cowering figures whose faces are hidden from us . He shows us real people : the man slumped with exhaustion , or intoxication ; the hungry eaters ; the men finishing off their work before their noontime break . He had an unbounded admiration for Goya and I think that there can be no reasonable doubt that he had seen The Third of May in the cellars of the Prado during his short visit to Madrid in 1865 ; the man on the left in the white shirt puts the similarity beyond coincidence . We achieve these ways of being and acting in a complex network of ever widening social experience to which we contribute : who we are in our family ; who we are as individuals in a larger social environment ; what our work will be and , once we have chosen it , how we fare in it ; whether we will marry , and what that choice will mean in relation to the paths of the older and younger generations in our family ; who we have become in our middle years and its relationship to our earlier dreams ; and as we near and enter old age , what our lives have meant , to others and to ourselves . Once more I brood on the curious elements of which it is composed , the intertwined figures , the umbilical draperies , the moonscape and the smile , and wonder how they are connected with one another . Finally , we must allow - or force - ourselves to look past the deadly line of the glittering blade at the pathos of Saint John 's painfully bound body . Goya was born in the age of reason and after his illness he was obsessed by all that could happen to humanity when reason lost control . In other words , DHA concentrations are greater in supplemented preterms than they are in unsupplemented terms , indicating that prematurity itself does not impair DHA accretion . It is not clear whether the keratopathy is a direct result of reduced PAX6 gene dosage in the cornea itself , or due to recurrent corneal trauma secondary to defects such as dry eye caused by loss of PAX6 in other tissues . The two references to the Apocalypse in Botticelli 's inscription remind us that just before the half millennium there was an outbreak of that fear of universal destruction which had afflicted men 's minds five hundred years earlier , and from which we are not altogether free as the year 2000 approaches [ nb - originally published in 1960 . Finally , I return to the mountains , and there I have no doubts , for no one else but Leonardo had the knowledge of rock formation and the interest in aerial perspective to make these magical distances convincing : no one , at any rate , before Turner . I can appreciate the decent enough compositions within which he organizes his little domestic dramas , and the skill with which the optics of space and color demonstrate peripheral phenomena and define subtle conditions of light . And we see ourselves through that distributed eye as pale , limited creatures . The largely conserved gene neighborhood of the EpsH family proteins points to exopolysaccharide biosynthesis and export , yet mutational studies have shown that EpsH did not act on the exopolysaccharide itself .