"The beauty of comfort.. .To compose with curves like that, and angles, and make works of art with them could only make people happy, they maintained, for the only association was one of comfort.. .This pure form of comfort became the comfort of 'pure form.' The 'nothing' part in a painting until then—the part that was not painted but that was there because of the things in the picture which were painted—had a lot of descriptive labels attached to it like 'beauty,' 'lyric,' 'form,' 'profound,' 'space,' 'expression,' 'classic,' 'feeling,' 'epic,' 'romantic,' 'pure,' 'balance,' etc. Anyhow that 'nothing' which was always recognized as a particular something—and as something particular—they generalized, with their book-keeping minds, into circles and squares. They had the innocent idea that the "something" existed 'in spite of' and not 'because of' and that this something was the only thing that truly mattered."