If you don’t understand you cannot master

Women’s clothes of the twenties (feather boas, fringed and beaded dresses, etc.)

We are better able to enjoy a fantasy as fantasy when it is not our own.

Today’s art, with its insistence on coolness, its refusal of what it considers to be sentimentality, its spirit of exactness, its sense of ‘research’ and ‘problems’, is closer to the spirit of science than of art in the old-fashioned sense.

What is extravagant in an inconsistent or an unpassionate way is not Camp. Neither can anything be Camp that does not seem to spring from an irrepressible, a virtually uncontrolled sensibility. Without passion, one gets pseudo-Camp – what is merely decorative, safe, in a word, chic. On the barren edge of Camp lie a number of attractive things: the

consciousness and sensibility,

Character is understood as a state of continual incandescence – a person being one, very intense thing.

Camp is a solvent of morality. It neutralizes moral indignation, sponsors playfulness.

In Camp there is often something démesuré in the quality of the ambition, not only in the style of the work itself. Gaudí’s lurid and beautiful buildings in Barcelona are Camp not only because of their style but because they reveal – most notably in the Cathedral of the Sagrada Família – the ambition on the part of one man to do what it takes a