The only way we ever really know any of the masters, the real geniuses, is by knowing their style. Suppose you hear a strain of music that you have never heard before, but in just a minute you say, "that's Brahms," or "that's Beethoven." How do you know? That's their style, the way they do it. No one else does it quite that way. We had quite a controversy some time ago when somebody gave two wonderful Rembrandts to the art museum in Detroit. So we all went and ooohed and ah-h-d and thought they were wonderful. Then a couple of Philistines came in and said, "Fakes." What do you mean fakes? "They are not originals." How do you know. So the press had a great time and we all took sides. Then they sent for a couple of experts. Now, an expert is just somebody from way off, you know. They got two fellows from New York, and they came and studied it and they pondered and they finally came and said, "Yes, they are fakes. This copyist just didn't make the mistakes that Rembrandt always made." A style in mistakes.

We know the great masters by their style.