what this last generation has been doing with the statues.
These works, which had stood in innocent nakedness for ages,
are all fig-leaved now. Yes, every one of them.
Nobody noticed their nakedness before, perhaps; nobody can
help noticing it now, the fig-leaf makes it so conspicuous.
But the comical thing about it all, is, that the fig-leaf
is confined to cold and pallid marble, which would be still
cold and unsuggestive without this sham and ostentatious
symbol of modesty, whereas warm-blood paintings which do
really need it have in no case been furnished with it.

At the door of the Uffizzi, in Florence, one is confronted
by statues of a man and a woman, noseless, battered, black with
accumulated grime--they hardly suggest human beings
--yet these ridiculous creatures have been thoughtfully and
conscientiously fig-leaved by this fastidious generation.
You enter, and proceed to that most-visited little
gallery that exists in the world--the Tribune--and there,
against the wall, without obstructing rag or leaf,
you may look your fill upon the foulest, the vilest,
the obscenest picture the world possesses--Titian's Venus.
It isn't that she is naked and stretched out on a bed--no,
it is the attitude of one of her arms and hand. If I
ventured to describe that attitude, there would be a fine
howl--but there the Venus lies, for anybody to gloat
over that wants to--and there she has a right to lie,
for she is a work of art, and Art has its privileges.
I saw young girls stealing furtive glances at her; I saw
young men gaze long and absorbedly at her; I saw aged,
infirm men hang upon her charms with a pathetic interest.