Pornographic representations are sexually explicit and rich in anatomical detail, Scruton points out, whereas works of erotic art rely on suggestion and, instead of focusing on certain body parts, will try to capture the individuality, personality, and subjectivity of the represented person. In Titian’s Venus of Urbino (1538), for instance, it is not the sexual organs but the face, as “window to the soul,” that provides the focus of attention (1986: 154, 2005: 11, 2009: 149). A pornographic image, by contrast, “is like a magic wand that turns subjects into objects, people into things—and thereby disenchants them, destroying the source of their beauty” (2009: 163). As part of his project to rehabilitate beauty as the central aesthetic and artistic category, Scruton also appeals to the distinction between “the nude” and “the naked” made famous by Kenneth Clark (1956). The artistic nude constitutes, as the subtitle of Clark’s book indicates, a “Study in Ideal Form”: the body is beautifully shaped and framed by the conventions of art. The people in pornographic images are not nude, but naked. They are deprived of clothes, and as such exposed in an embarrassing way. Furthermore, while the Titian nude retains a detached serenity, pornography arouses the viewer, which is always “an aesthetic defect, a “fall” into another kind of interest than that which has beauty as its target” (2009: 160).