It is always reminding us of the body which piety bids us to forget.

Painters and sculptors glorify that which saints and ascetics have mortified.

The masterpieces of Titian and Correggio, for example, lead the soul away from compunction, away from penitence, away from worship even, to dwell on the delight of youthful faces, blooming colour, graceful movement, delicate emotion[5].

Nor is this all: religious motives may be misused for what is worse than merely sensuous suggestiveness.

The masterpieces of the Bolognese and Neapolitan painters, while they pretend to quicken compassion for martyrs in their agony, pander to a bestial blood-lust lurking in the darkest chambers of the soul[6].