Art Quotes (680 quotes)
… to the bourgeois ... art and science appear not as creative opposites but as eternal antagonists.
In Studies in a Dying Culture (1938).
…comparing the capacity of computers to the capacity of the human brain, I’ve often wondered, where does our success come from? The answer is synthesis, the ability to combine creativity and calculation, art and science, into whole that is much greater than the sum of its parts.
In How Life Imitates Chess: Making the Right Moves, from the Board to the Boardroom (2007), 4.
…the simplicity, the indispensableness of each word, each letter, each little dash, that among all artists raises the mathematician nearest to the World-creator; it establishes a sublimity which is equalled in no other art,—Something like it exists at most in symphonic music.
As quoted in Robert E. Moritz, 'Meaning, Methods and Mission of Modern Mathematics', The Scientific Monthly (May 1928), 26, No. 5, 424.
'Tis certain that a serious attention to the sciences and liberal arts softens and humanizes the temper, and cherishes those fine emotions in which true virtue and honor consist. It rarely, very rarely happens that a man of taste and learning is not, at least, an honest man, whatever frailties may attend him.
Essay XVIII, 'The Sceptic', Essays and Treatises on Several Subjects (1742, New ed. 1767), Vol. 1, 193.
“Healing,” Papa would tell me, “is not a science, but the intuitive art of wooing Nature.”
From 'The Art of Healing' (1969), Epistle to a Godson: And Other Poems (1972), 7. (Auden’s father was a physician.) The memorial poem was written on the death of his friend, Dr. David Protetch.
[Alchemists] enrich the ears of men with vain words, but empty their Pockets of their Money. Whence it appears to be no Art, but a Composition of Trifles, and inventions of mad brains.
In The Vanity of the Arts and Sciences (1530), translation (1676), 313.
[Audubon’s works are] the most splendid monuments which art has erected in honor of ornithology.
Introduction by Jas. Grant Wilson's to John James Audubon and Lucy Audubon (editor), The Life of John James Audubon: the Naturalist (1869), iv.
[Hermetic philosophy (Alchemy) was the only Art which might be able] to complete and bring to light not only medicine but also a universal Philosophy.
…quaeque sola non Medicinam tantum, sed et universam Philosophiam valde perficere et illustrare possit.
…quaeque sola non Medicinam tantum, sed et universam Philosophiam valde perficere et illustrare possit.
Original Latin in The Theological Works of Isaac Barrow (1859), 46. Translation, with citation, in B.J.T. Dobbs, The Foundations of Newton's Alchemy (1983), 96.
[Ignorance] of the principle of conservation of energy … does not prevent inventors without background from continually putting forward perpetual motion machines… Also, such persons undoubtedly have their exact counterparts in the fields of art, finance, education, and all other departments of human activity… persons who are unwilling to take the time and to make the effort required to find what the known facts are before they become the champions of unsupported opinions—people who take sides first and look up facts afterward when the tendency to distort the facts to conform to the opinions has become well-nigh irresistible.
From Evolution in Science and Religion (1927), 58-59. An excerpt from the book including this quote appears in 'New Truth and Old', Christian Education (Apr 1927), 10, No. 7, 394-395.
[In 1909,] Paris was the center of the aviation world. Aeronautics was neither an industry nor even a science; both were yet to come. It was an “art” and I might say a “passion”. Indeed, at that time it was a miracle. It meant the realization of legends and dreams that had existed for thousands of years and had been pronounced again and again as impossible by scientific authorities. Therefore, even the brief and unsteady flights of that period were deeply impressive. Many times I observed expressions of joy and tears in the eyes of witnesses who for the first time watched a flying machine carrying a man in the air.
In address (16 Nov 1964) presented to the Wings Club, New York City, Recollections and Thoughts of a Pioneer (1964), 5.
[In the case of research director, Willis R. Whitney, whose style was to give talented investigators as much freedom as possible, you may define “serendipity” as] the art of profiting from unexpected occurrences. When you do things in that way you get unexpected results. Then you do something else and you get unexpected results in another line, and you do that on a third line and then all of a sudden you see that one of these lines has something to do with the other. Then you make a discovery that you never could have made by going on a direct road.
Quoted in Guy Suits, 'Willis Rodney Whitney', National Academy of Sciences, Biographical Memoirs (1960), 355.
[Jethro Tull] was the first Englishman—perhaps the first writer, ancient and modern—who has attempted, with any tolerable degree of success, to reduce the art of agriculture to certain and uniform principles; and it must be acknowledged that he has done more towards establishing a rational and practical method of husbandry than all the writers who have gone before him.
In Letter (18 Oct 1764), signed only “D.Y.” from Hungerford, in Sylvanus Urban (ed.), 'Observations on the late Improvements in Agriculture', The Gentleman’s Magazine (Nov 1764), 525.
[May] this civic and social landmark [the Washington, D.C., Jewish Community Center] ... be a constant reminder of the inspiring service that has been rendered to civilization by men and women of the Jewish faith. May [visitors] recall the long array of those who have been eminent in statecraft, in science, in literature, in art, in the professions, in business, in finance, in philanthropy and in the spiritual life of the world.
Speech upon laying the cornerstone of the Jewish Community Center, Washington, D.C. (3 May 1925). In William J. Federer, A Treasury of Presidential Quotations (2004), 240.
[On gold, silver, mercury, platinum, palladium, rhodium, iridium, osmium:] As in their physical properties so in their chemical properties. Their affinities being weaker, (the noble metals) do not present that variety of combinations, belonging to the more common metals, which renders them so extensively useful in the arts; nor are they, in consequence, so necessary and important in the operations of nature. They do not assist in her hands in breaking down rocks and strata into soil, nor do they help man to make that soil productive or to collect for him its products.
From 13th Lecture in 1818, in Bence Jones, The Life and Letters of Faraday (1870), Vol. 1, 254.
[Saint-Gaudens and Matthew Arnold] felt a railway train as power; yet they, and all other artists, constantly complained that the power embodied in a railway train could never be embodied in art. All the steam in the world could not, like the Virgin, build Chartres.
After viewing the Palace of Electricity at the 1900 Trocadero Exposition in Paris. In The Education of Henry Brooks Adams: An Autobiography (1918), 388.
[T]he rapt philosopher, and he who contemplates a work of art, inhabit a world with an intense and peculiar significance of its own; that significance is unrelated to the significance of life.
In Art (1913), 26.
[The body of law] has taxed the deliberative spirit of ages. The great minds of the earth have done it homage. It was the fruit of experience. Under it men prospered, all the arts flourished, and society stood firm. Every right and duty could be understood because the rules regulating each had their foundation in reason, in the nature and fitness of things; were adapted to the wants of our race, were addressed to the mind and to the heart; were like so many scraps of logic articulate with demonstration. Legislation, it is true occasionally lent its aid, but not in the pride of opinion, not by devising schemes inexpedient and untried, but in a deferential spirit, as a subordinate co-worker.
From biographical preface by T. Bigelow to Austin Abbott (ed.), Official Report of the Trial of Henry Ward Beecher (1875), Vol. 1, xii.
[The earth’s rocks] were so arranged, in their formation, that they should best serve Man’s purposes. The strata were subjected to metamorphism, and so crystallized, that he might be provided with the most perfect material for his art, his statues, temples, and dwellings; at the same time, they were filled with veins, in order to supply him with gold and silver and other treasures. The rocks were also made to enclose abundant beds of coal and iron ore, that Man might have fuel for his hearths and iron for his utensils and machinery. Mountains were raised to temper hot climates, to diversify the earth’s productiveness, and, pre-eminently, to gather the clouds into river-channels, thence to moisten the fields for agriculture, afford facilities for travel, and supply the world with springs and fountains.
In 'Concluding Remarks', A Text-book of Geology: Designed for Schools and Academies (1863), 338.
[The] subjective [historical] element in geologic studies accounts for two characteristic types that can be distinguished among geologists: one considering geology as a creative art, the other regarding geology as an exact science.
In 'The Scientific Character of Geology', The Journal of Geology (Jul 1961), 69, No. 4, 453.
“Ye, sire,” I seide,
“By so no man were greved,
Alle the sciences under sonne,
And alle sotile craftes,
Ich wolde ich knewe and kouthe
Kyndely in myn harte.”
“Yes, sir,” I said, “so long as no one minds. All science under the sun, and all subtle arts. Were it possible, I would know and hold naturally within my heart!”
“By so no man were greved,
Alle the sciences under sonne,
And alle sotile craftes,
Ich wolde ich knewe and kouthe
Kyndely in myn harte.”
“Yes, sir,” I said, “so long as no one minds. All science under the sun, and all subtle arts. Were it possible, I would know and hold naturally within my heart!”
In William Langland and B. Thomas Wright (ed.) The Vision and Creed of Piers Ploughman (1842), 297. Modern translation by Terrence Tiller in Piers Plowman (1981, 1999), 157.
[Describing the effects of over-indulgence in wine:]
But most too passive, when the blood runs low
Too weakly indolent to strive with pain,
And bravely by resisting conquer fate,
Try Circe's arts; and in the tempting bowl
Of poisoned nectar sweet oblivion swill.
Struck by the powerful charm, the gloom dissolves
In empty air; Elysium opens round,
A pleasing frenzy buoys the lightened soul,
And sanguine hopes dispel your fleeting care;
And what was difficult, and what was dire,
Yields to your prowess and superior stars:
The happiest you of all that e'er were mad,
Or are, or shall be, could this folly last.
But soon your heaven is gone: a heavier gloom
Shuts o'er your head; and, as the thundering stream,
Swollen o'er its banks with sudden mountain rain,
Sinks from its tumult to a silent brook,
So, when the frantic raptures in your breast
Subside, you languish into mortal man;
You sleep, and waking find yourself undone,
For, prodigal of life, in one rash night
You lavished more than might support three days.
A heavy morning comes; your cares return
With tenfold rage. An anxious stomach well
May be endured; so may the throbbing head;
But such a dim delirium, such a dream,
Involves you; such a dastardly despair
Unmans your soul, as maddening Pentheus felt,
When, baited round Citheron's cruel sides,
He saw two suns, and double Thebes ascend.
But most too passive, when the blood runs low
Too weakly indolent to strive with pain,
And bravely by resisting conquer fate,
Try Circe's arts; and in the tempting bowl
Of poisoned nectar sweet oblivion swill.
Struck by the powerful charm, the gloom dissolves
In empty air; Elysium opens round,
A pleasing frenzy buoys the lightened soul,
And sanguine hopes dispel your fleeting care;
And what was difficult, and what was dire,
Yields to your prowess and superior stars:
The happiest you of all that e'er were mad,
Or are, or shall be, could this folly last.
But soon your heaven is gone: a heavier gloom
Shuts o'er your head; and, as the thundering stream,
Swollen o'er its banks with sudden mountain rain,
Sinks from its tumult to a silent brook,
So, when the frantic raptures in your breast
Subside, you languish into mortal man;
You sleep, and waking find yourself undone,
For, prodigal of life, in one rash night
You lavished more than might support three days.
A heavy morning comes; your cares return
With tenfold rage. An anxious stomach well
May be endured; so may the throbbing head;
But such a dim delirium, such a dream,
Involves you; such a dastardly despair
Unmans your soul, as maddening Pentheus felt,
When, baited round Citheron's cruel sides,
He saw two suns, and double Thebes ascend.
The Art of Preserving Health: a Poem in Four Books (2nd. ed., 1745), Book IV, 108-110.
Ars longa, vita brevis.
Art is long, life is short.
Art is long, life is short.
Aphorisms, i. The original was written in Greek. This Latin translation, by Seneca (De Brevitate Vitae, 1.1), is in John Bartlett, Familiar Quotations (1905), 6, footnote 3. The sense is generally taken to be, 'Life is short, but to learn a profession (an art) takes a long time.'
Dans l’étude de la nature, comme dans la pratique de l’art, il n’est pas donné a l’homme d’arriver au but sans laisser des traces des fausses routes qu’il a tenues.
In the study of nature, as in the practice of art, it is not given to man to achieve the goal without leaving a trail of dead ends he had pursued.
In the study of nature, as in the practice of art, it is not given to man to achieve the goal without leaving a trail of dead ends he had pursued.
French version in Encyclopédie Méthodique (1786), Vol. 1, Introduction, iv. English by Webmaster assisted by Google Translate.
Der bis zur Vorrede, die ihn abweist, gelangte Leser hat das Buch für baares Geld gekauft und frägt, was ihn schadlos hält? – Meine letzte Zuflucht ist jetzt, ihn zu erinnern, daß er ein Buch, auch ohne es gerade zu lesen, doch auf mancherlei Art zu benutzen weiß. Es kann, so gut wie viele andere, eine Lücke seiner Bibliothek ausfüllen, wo es sich, sauber gebunden, gewiß gut ausnehmen wird. Oder auch er kann es seiner gelehrten Freundin auf die Toilette, oder den Theetisch legen. Oder endlich er kann ja, was gewiß das Beste von Allem ist und ich besonders rathe, es recensiren.
The reader who has got as far as the preface and is put off by that, has paid money for the book, and wants to know how he is to be compensated. My last refuge now is to remind him that he knows of various ways of using a book without precisely reading it. It can, like many another, fill a gap in his library, where, neatly bound, it is sure to look well. Or he can lay it on the dressing-table or tea-table of his learned lady friend. Or finally he can review it; this is assuredly the best course of all, and the one I specially advise.
The reader who has got as far as the preface and is put off by that, has paid money for the book, and wants to know how he is to be compensated. My last refuge now is to remind him that he knows of various ways of using a book without precisely reading it. It can, like many another, fill a gap in his library, where, neatly bound, it is sure to look well. Or he can lay it on the dressing-table or tea-table of his learned lady friend. Or finally he can review it; this is assuredly the best course of all, and the one I specially advise.
In Preface, written at Dresden in August 1818, first German edition, Die Welt als Wille und Vorstellung, 4 Bücher nebst einem Anhange der die Kritik der Kentischen Philosophie (1819), xv-xvi. As translated by E.F.J. Payne in The World as Will and Representation (1958, 1969), Vol. 1, xvii. In the preface, Schopenhauer is joking that some readers of his book may find his work does not interest them.
Die Mathematiker sind eine Art Franzosen. Spricht man zu ihnen, so übersetzen sie alles in ihre eigene Sprache, und so wird es alsobald etwas ganz anderes.
Mathematicians are a kind of Frenchmen. Whenever you say anything or talk to them, they translate it into their own language, and right away it is something completely different.
Mathematicians are a kind of Frenchmen. Whenever you say anything or talk to them, they translate it into their own language, and right away it is something completely different.
Quoted by Christiane Senn-Fennell, 'Oral and Written Communication', in Ian Westbury et al. (eds.), Teaching as a Reflective Practice (2000), 225.
Die Politik ist keine Wissenschaft, wie viele der Herren Professoren sich einbilden, sondern eine Kunst, sie ist ebensowenig.
Politics is not a science, as many of the professors imagine, but an art, it is just like that.
Politics is not a science, as many of the professors imagine, but an art, it is just like that.
Original German in Otto von Bismarck, Horst Kohl, Bismarckreden: 1847-1895 (1899), 255. As quoted in translation in William Roscoe Thayer 'Cavour and Bismarck', The Atlantic (Mar 1909), 103, 343.
Die Wissenschaft ist ein Land, welches die Eigenschaft hat, um so mehr Menschen beherbergen zu können, je mehr Bewohner sich darin sammeln; sie ist ein Schatz, der um so grösser wird, je mehr man ihn teilt. Darum kann jeder von uns in seiner Art seine Arbeit tun, und die Gemeinsamkeit bedeutet nicht Gleichförmigkeit.
Science is one land, having the ability to accommodate even more people, as more residents gather in it; it is a treasure that is the greater the more it is shared. Because of that, each of us can do his work in his own way, and the common ground does not mean conformity.
Science is one land, having the ability to accommodate even more people, as more residents gather in it; it is a treasure that is the greater the more it is shared. Because of that, each of us can do his work in his own way, and the common ground does not mean conformity.
Speaking (in German) at the Banquet to Past Presidents, the Chemical Society, as published in William Crookes (ed.) The Chemical News (16 Dec 1898), 78, 298. Also used as epigraph, in Paul Walden, Wilhelm Ostwald (1904), 1. Translation by Webmaster.
Error has made man so deep, sensitive, and inventive that he has put forth such blossoms as religions and arts. Pure knowledge could not have been capable of it.
Human, All-To-Human, Vol. 1, 44-45. (1878), 140. In Willard Huntington Wright, What Nietzsche Taught? (1917), 78.
In artibus et scientiis, tanquam in metalli fodinis, omnia novis operibus et ulterioribus progressibus circumstrepere debent
But arts and sciences should be like mines, where the noise of new works and further advances is heard on every side.
But arts and sciences should be like mines, where the noise of new works and further advances is heard on every side.
Original Latin as in Novum Organum, Book 1, XC, collected in The Works of Francis Bacon (1826), Vol. 8, 50-51. As translated by James Spedding and Robert Leslie Ellis in The Works of Francis Bacon (1863), 127.
In scientia veritas, in arte honestas.
In science truth, in art honour.
In science truth, in art honour.
In Jon R. Stone, The Routledge Dictionary of Latin Quotations (2005), 170.
L’art d’enseigner n’est que l’art d’éveiller la curiosité des jeunes âmes pour la satisfaire ensuite.
The whole art of teaching is only the art of awakening the natural curiosity of young minds for the purpose of satisfying it afterwards.
The whole art of teaching is only the art of awakening the natural curiosity of young minds for the purpose of satisfying it afterwards.
The Crime of Sylvestre Bonnard (1894) translated by Lafcadio Hearn, in The Works of Anatole France in an English Translation (1920), 198.
L’art du chercheur c’est d’abord de se trouver un bon patron.
The researcher’s art is first of all to find himself a good boss.
The researcher’s art is first of all to find himself a good boss.
Cited in Review of Advice to a Young Scientist by P. B. Medawar. In Max Perutz, Is Science Necessary?: Essays on Science and Scientists (1991), 194.
L’Art est fait pour troubler, la Science rassure.
Art is meant to disturb, science reassures.
Art is meant to disturb, science reassures.
From the original French, “L’Art est fait pour troubler, la Science rassure,” in Pensées sur l’Art. As translated by S. Appelbaum in Georges Braque Illustrated Notebooks: 1917-1955 (1971), 10. Also seen elsewhere translated as, “Art upsets, science reassures” or “Art is meant to upset people, science reassures them.”
La civilisation, c'est l'art de se créer des besoins inutiles.
Civilization is the art of creating useless needs.
Civilization is the art of creating useless needs.
In Recueil d'Œuvres de Léo Errera: Botanique Générale (1908), 198. Google translation by Webmaster.
Nicht Kunst und Wissenschaft allein,
Geduld will bei dem Werke sein.
Not Art and Science serve alone; Patience must in the work be shown.
Geduld will bei dem Werke sein.
Not Art and Science serve alone; Patience must in the work be shown.
Lines for character Mephistopheles in Faust I. As translated by Bayard Taylor in Lilian Dalbiac, Dictionary of Quotations (German) (1909, 256. Also translated as “Not art and science only, but patience will be required for the work”, in James Wood, Dictionary of Quotations from Ancient and Modern, English and Foreign Sources (1893), 298, No. 11.
Notatio naturae, et animadversio perperit artem
Art is born of the observation and investigation of nature.
Art is born of the observation and investigation of nature.
In Jon R. Stone, The Routledge Dictionary of Latin Quotations (2005), 78.
Note: This quote is by French playwright Henri Becque. It is widely seen attributed, incorrectly, to Henri Becquerel.
Decisiveness is often the art of timely cruelty.
Decisiveness is often the art of timely cruelty.
This is NOT a quote by Henri Becquerel. It is in fact by French playwright Henri Becque (1837-1899). Because of the many erroneous attributions found on the web, it is included here help the diligent searcher find a correct reference. See Robert Andrews, The Concise Columbia Dictionary of Quotations (1989), 74. Please contact Webmaster if you know the primary print source.
Of Cooking. This is an art of various forms, the object of which is to give ordinary observations the appearance and character of those of the highest degree of accuracy. One of its numerous processes is to make multitudes of observations, and out of these to select only those which agree, or very nearly agree. If a hundred observations are made, the cook must be very unhappy if he cannot pick out fifteen or twenty which will do for serving up.
Reflections on the Decline of Science in England (1830). In Calyampudi Radhakrishna Rao, Statistics and Truth (1997), 84.
Or any science under sonne,
The sevene artz and alle,
But thei ben lerned for oure Lordes love
Lost is al the tyme.
Every science under the sun, including the Seven Arts,
Unless learned for love of Our Lord, is only time lost.
The sevene artz and alle,
But thei ben lerned for oure Lordes love
Lost is al the tyme.
Every science under the sun, including the Seven Arts,
Unless learned for love of Our Lord, is only time lost.
In William Langland and B. Thomas Wright (ed.) The Vision and Creed of Piers Ploughman (1842), 212. An associated Note on p.539 lists: “The seven arts studied in the schools were very famous throughout the middle ages. They were grammar, dialectics, rhetoric, music, arithmetic, geometry, astronomy; and were included in the following memorial distich:—
“Gram, loquitur, Dia. vera docet, Rliet. verba colorat,
Mus. canit, Ar. numerat, Geo. ponderat, As. colit astra.”
Modern translation by Terrence Tiller in Piers Plowman (1981, 1999), 109.
“Gram, loquitur, Dia. vera docet, Rliet. verba colorat,
Mus. canit, Ar. numerat, Geo. ponderat, As. colit astra.”
Modern translation by Terrence Tiller in Piers Plowman (1981, 1999), 109.
Philosophia vero omnium mater artium.
Philosophy is true mother of the arts [of science].
Philosophy is true mother of the arts [of science].
Tusculanarum Disputationum Book 1. In Hoyt's New Cyclopedia of Practical Quotations as revised and expanded by Kate Louise Roberts (1922), 691.
Wer Wissenschaft und Kunst besitzt,
Hat auch Religion;
Wer jene beiden nicht besitzt,
Der habe Religion
He who possesses science and art,
Possesses religion as well;
He who possesses neither of these,
Had better have religion.
Hat auch Religion;
Wer jene beiden nicht besitzt,
Der habe Religion
He who possesses science and art,
Possesses religion as well;
He who possesses neither of these,
Had better have religion.
'Gedichte' in Goethes Werke (1948, 1952), Vol. 1, 367. Cited in Max Jammer, Einstein and Religion (2002), 79.
Where faith commences, science ends. Both these arts of the human mind must be strictly kept apart from each other. Faith has its origin in the poetic imagination; knowledge, on the other hand, originates in the reasoning intelligence of man. Science has to pluck the blessed fruits from the tree of knowledge, unconcerned whether these conquests trench upon the poetical imaginings of faith or not.
In Ernst Haeckel and E. Ray Lankester (trans.), The History of Creation (1880), Vol. 1, 9.
~~[No known source]~~ The human foot is a masterpiece of engineering and a work of art.
Webmaster has as yet found no primary source, and strongly doubts the authenticity of this quote. Can you help? For such an early author, evidence of this quote should abound, but it does not. It is viral on the web, but Webmaster has so far found no instance with a valid citation. This dubious quote is included here to associate with this caution.
1. Universal CHEMISTRY is the Art of resolving mixt, compound, or aggregate Bodies into their Principles; and of composing such Bodies from those Principles. 2. It has for its Subject all the mix’d, compound, and aggregate Bodies that are and resolvable and combinable and Resolution and Combination, or Destruction and Generation, for its Object. 3. Its Means in general, are either remote or immediate; that is, either Instruments or the Operations themselves. 4. Its End is either philosophical and theoretical; or medicinal, mechanical, œconomical, and practical. 5. Its efficient Cause is the Chemist.
In Philosophical Principles of Universal Chemistry: Or, The Foundation of a Scientifical Manner of Inquiring Into and Preparing the Natural and Artificial Bodies for the Uses of Life: Both in the Smaller Way of Experiment, and the Larger Way of Business (1730), 1. Footnote to (1.): “The justness of this Definition will appear from the scope and tenour of the Work; though it is rather adapted to the perfect, than the present imperfect state of Chemistry….” Footnote to (4): “Hence universal Chemistry is commodiously resolved into several Parts or Branches, under which it must be distinctly treated to give a just notion of its due extent and usefulness. For tho’ in common acceptation of the word, Chemistry is supposed to relate chiefly to the Art of Medicine, as it supplies that Art with Remedies, this in reality is but a very small part of its use, compared with the rest; numerous other Arts, Trades, and mechanical Employments, Merchandize itself, and all natural Philosophy, being as much, and some of them more, concern’d therewith….”
A contemporary poet has characterized this sense of the personality of art and of the impersonality of science in these words,—“Art is myself; science is ourselves.”
From An Introduction to the Study of Experimental Medicine (1865), as translated by Henry Copley Greene (1957), 43. The poet referred to was Victor Hugo, writing in William Shakespeare (1864).
A fateful process is set in motion when the individual is released “to the freedom of his own impotence” and left to justify his existence by his own efforts. The autonomous individual, striving to realize himself and prove his worth, has created all that is great in literature, art, music, science and technology. The autonomous individual, also, when he can neither realize himself nor justify his existence by his own efforts, is a breeding call of frustration, and the seed of the convulsions which shake our world to its foundations.
In The Passionate State of Mind (1955), 18.
A few days ago, a Master of Arts, who is still a young man, and therefore the recipient of a modern education, stated to me that until he had reached the age of twenty he had never been taught anything whatever regarding natural phenomena, or natural law. Twelve years of his life previously had been spent exclusively amongst the ancients. The case, I regret to say, is typical. Now we cannot, without prejudice to humanity, separate the present from the past.
'On the Study of Physics', From a Lecture delivered in the Royal Institution of Great Britain in the Spring of 1854. Fragments of Science for Unscientific People: A Series of Detached Essays, Lectures, and Reviews (1892), Vol. 1, 284-5.
A first step in the study of civilization is to dissect it into details, and to classify these in their proper groups. Thus, in examining weapons, they are to be classed under spear, club, sling, bow and arrow, and so forth; among textile arts are to be ranged matting, netting, and several grades of making and weaving threads; myths are divided under such headings as myths of sunrise and sunset, eclipse-myths, earthquake-myths, local myths which account for the names of places by some fanciful tale, eponymic myths which account for the parentage of a tribe by turning its name into the name of an imaginary ancestor; under rites and ceremonies occur such practices as the various kinds of sacrifice to the ghosts of the dead and to other spiritual beings, the turning to the east in worship, the purification of ceremonial or moral uncleanness by means of water or fire. Such are a few miscellaneous examples from a list of hundreds … To the ethnographer, the bow and arrow is the species, the habit of flattening children’s skulls is a species, the practice of reckoning numbers by tens is a species. The geographical distribution of these things, and their transmission from region to region, have to be studied as the naturalist studies the geography of his botanical and zoological species.
In Primitive Culture (1871), Vol. 1, 7.
A fool’s brain digests philosophy into folly, science into superstition, and art into pedantry. Hence University education.
In 'Maxims for Revolutionists: Education', in Man and Superman (1903), 230.
A good work of visual art carries a person who is capable of appreciating it out of life into ecstasy.
In Art (1913), 29-30
A graduate with a science degree asks: 'Why does it work?'
A graduate with an engineering degree asks: 'How does it work?'
A graduate with an accounting degree asks: 'How much will it cost?'
A graduate with an arts degree asks: 'Do you want fries with that?'
A graduate with an engineering degree asks: 'How does it work?'
A graduate with an accounting degree asks: 'How much will it cost?'
A graduate with an arts degree asks: 'Do you want fries with that?'
In Geoff Tibballs, The Mammoth Book of Humor (2000), 83.
A little science is something that they must have. I should like my nephews to know what air is, and water; why we breathe, and why wood burns; the nutritive elements essential to plant life, and the constituents of the soil. And it is no vague and imperfect knowledge from hearsay I would have them gain of these fundamental truths, on which depend agriculture and the industrial arts and our health itself; I would have them know these things thoroughly from their own observation and experience. Books here are insufficient, and can serve merely as aids to scientific experiment.
A mathematical point is the most indivisble and unique thing which art can present.
Letters, 21. 1817. In Robert Édouard Moritz, Memorabilia Mathematica (1914), 295.
A modern branch of mathematics, having achieved the art of dealing with the infinitely small, can now yield solutions in other more complex problems of motion, which used to appear insoluble. This modern branch of mathematics, unknown to the ancients, when dealing with problems of motion, admits the conception of the infinitely small, and so conforms to the chief condition of motion (absolute continuity) and thereby corrects the inevitable error which the human mind cannot avoid when dealing with separate elements of motion instead of examining continuous motion. In seeking the laws of historical movement just the same thing happens. The movement of humanity, arising as it does from innumerable human wills, is continuous. To understand the laws of this continuous movement is the aim of history. … Only by taking an infinitesimally small unit for observation (the differential of history, that is, the individual tendencies of man) and attaining to the art of integrating them (that is, finding the sum of these infinitesimals) can we hope to arrive at the laws of history.
War and Peace (1869), Book 11, Chap. 1.
A peculiar beauty reigns in the realm of mathematics, a beauty which resembles not so much the beauty of art as the beauty of nature and which affects the reflective mind, which has acquired an appreciation of it, very much like the latter.
From Berliner Monatsberichte (1867), 395. As translated in Robert Édouard Moritz, Memorabilia Mathematica; Or, The Philomath’s Quotation-book (1914), 185.
A popular cliche in philosophy says that science is pure analysis or reductionism, like taking the rainbow to pieces; and art is pure synthesis, putting the rainbow together. This is not so. All imagination begins by analyzing nature.
In The Ascent of Man (1973).
A professor … may be to produce a perfect mathematical work of art, having every axiom stated, every conclusion drawn with flawless logic, the whole syllabus covered. This sounds excellent, but in practice the result is often that the class does not have the faintest idea of what is going on. … The framework is lacking; students do not know where the subject fits in, and this has a paralyzing effect on the mind.
In A Concrete Approach to Abstract Algebra (1959), 1-2.
A reasonable content for general education today, then, seems to me to be as follows: First, a command of the principal linguistic tools essential to the pursuit of either science or art. Second, a familiarity with the scientific method and with its principal applications to both physical and social problems. And third, appreciation and practice of the arts, including literature. Furthermore, these three fields should be so integrated toward a common purpose that the question of their relative importance would not even arise. One does not ask which is the most important leg of a tripod.
In 'Education in a Scientific Age', Can Science Save Us? (1947, 2nd ed. 1961), 74-75.
A rose is the visible result of an infinitude of complicated goings on in the bosom of the earth and in the air above, and similarly a work of art is the product of strange activities in the human mind.
In Since Cezanne (1922), 40.
A science or an art may be said to be “useful” if its development increases, even indirectly, the material well-being and comfort of men, it promotes happiness, using that word in a crude and commonplace way.
In A Mathematician's Apology (1940, 2012), 115.
A theory is a supposition which we hope to be true, a hypothesis is a supposition which we expect to be useful; fictions belong to the realm of art; if made to intrude elsewhere, they become either make-believes or mistakes.
As quoted by William Ramsay, in 'Radium and Its Products', Harper’s Magazine (Dec 1904), 52. The first part, about suppositions, appears in a paper read by G. Johnson Stoney to the American Philosophical Society, Philadelphia (3 Apr 1903), printed in 'On the Dependence of What Apparently Takes Place in Nature Upon What Actually Occurs in the Universe of Real Existences', Proceedings of the American Philosophical Society Held at Philadelphia for Promoting Useful Knowledge (Apr-May 1903) 42, No. 173, 107. If you know a primary source for the part on fictions and mistakes, please contact Webmaster.
Aeroplanes are not designed by science, but by art in spite of some pretence and humbug to the contrary. I do not mean to suggest that engineering can do without science, on the contrary, it stands on scientific foundations, but there is a big gap between scientific research and the engineering product which has to be bridged by the art of the engineer.
In John D. North, 'The Case for Metal Construction', The Journal of the Royal Aeronautical Society, (Jan 1923), 27, 11.
After a certain high level of technical skill is achieved, science and art tend to coalesce in esthetics, plasticity, and form. The greatest scientists are always artists as well.
Remark (1923) as recalled in Archibald Henderson, Durham Morning Herald (21 Aug 1955) in Einstein Archive 33-257. Quoted in Alice Calaprice, The Quotable Einstein (1996), 171.
Agriculture is the foundation of manufactures, since the productions of nature are the materials of art.
In The History of the Decline and Fall of the Roman Empire (1841), Vol. 1, 33.
Alchemy is the art that separates what is useful from what is not by transforming it into its ultimate matter and essence.
In Labyrinthus Medicorum. Cap. V. Von dem Buch der alchimei, wie on dasselbig der
arzt kein arzt sein mag. Ed. Sudhoff, vol. XI, 188-189. As cited in Walter Pagel, Paracelsus: An Introduction to Philosophical Medicine in the Era of the Renaissance (2nd rev. ed., 1982), 113.
Alchemy. The link between the immemorial magic arts and modern science. Humankind’s first systematic effort to unlock the secrets of matter by reproducible experiment.
In Good Words to You (1987), 6.
Alchymy, or Chymistry, is …
An Art which good men bate, and most men blame,
Which her admirers practice to their shame,
Whose plain Impostures, easie to perceive,
Not onely others, but themselves deceive.
An Art which good men bate, and most men blame,
Which her admirers practice to their shame,
Whose plain Impostures, easie to perceive,
Not onely others, but themselves deceive.
In The Vanity of Arts and Sciences (1676), 312.
All frescoes are as high finished as miniatures or enamels, and they are known to be unchangeable; but oil, being a body itself, will drink or absorb very little colour, and changing yellow, and at length brown, destroys every colour it is mixed with, especially every delicate colour. It turns every permanent white to a yellow and brown putty, and has compelled the use of that destroyer of colour, white lead, which, when its protecting oil is evaporated, will become lead again. This is an awful thing to say to oil painters ; they may call it madness, but it is true. All the genuine old little pictures, called cabinet pictures, are in fresco and not in oil. Oil was not used except by blundering ignorance till after Vandyke’s time ; but the art of fresco painting being lost, oil became a fetter to genius and a dungeon to art.
In 'Opinions', The Poems: With Specimens of the Prose Writings of William Blake (1885), 276-277.
All Nature is but Art, unknown to thee;
All Chance, Direction, which thou canst not see;
All Discord, Harmony, not understood;
All partial Evil, universal Good:
And, spite of Pride, in erring Reason’s spite,
One truth is clear, “Whatever IS, is RIGHT.”
All Chance, Direction, which thou canst not see;
All Discord, Harmony, not understood;
All partial Evil, universal Good:
And, spite of Pride, in erring Reason’s spite,
One truth is clear, “Whatever IS, is RIGHT.”
'An Essay on Man' (1733-4), Epistle I. In John Butt (ed.), The Poems of Alexander Pope (1965), 515.
All religions, arts and sciences are branches of the same tree. All these aspirations are directed toward ennobling man’s life, lifting it from the sphere of mere physical existence and leading the individual towards freedom.
'Moral Decay', Out of My Later Years (1937, 1995), 9.
All sensitive people agree that there is a peculiar emotion provoked by works of art.
In Art (1913), 6.
All the human culture, all the results of art, science and technology that we see before us today, are almost exclusively the creative product of the Aryan. This very fact admits of the not unfounded inference that he alone was the founder of all higher humanity, therefore representing the prototype of all that we understand by the word 'man.' He is the Prometheus of mankind from whose shining brow the divine spark of genius has sprung at all times, forever kindling anew that fire of knowledge which illuminated the night of silent mysteries and thus caused man to climb the path to mastery over the other beings of the earth ... It was he who laid the foundations and erected the walls of every great structure in human culture.
Mein Kampf (1925-26), American Edition (1943), 290. In William Lawrence Shirer, The Rise and Fall of the Third Reich (1990), 86-87.
All things are artificial, for nature is the art of God.
In Religio Medici (1642, 1754), pt. 1, sec. 16, 42.
Always preoccupied with his profound researches, the great Newton showed in the ordinary-affairs of life an absence of mind which has become proverbial. It is related that one day, wishing to find the number of seconds necessary for the boiling of an egg, he perceived, after waiting a minute, that he held the egg in his hand, and had placed his seconds watch (an instrument of great value on account of its mathematical precision) to boil!
This absence of mind reminds one of the mathematician Ampere, who one day, as he was going to his course of lectures, noticed a little pebble on the road; he picked it up, and examined with admiration the mottled veins. All at once the lecture which he ought to be attending to returned to his mind; he drew out his watch; perceiving that the hour approached, he hastily doubled his pace, carefully placed the pebble in his pocket, and threw his watch over the parapet of the Pont des Arts.
This absence of mind reminds one of the mathematician Ampere, who one day, as he was going to his course of lectures, noticed a little pebble on the road; he picked it up, and examined with admiration the mottled veins. All at once the lecture which he ought to be attending to returned to his mind; he drew out his watch; perceiving that the hour approached, he hastily doubled his pace, carefully placed the pebble in his pocket, and threw his watch over the parapet of the Pont des Arts.
Popular Astronomy: a General Description of the Heavens (1884), translated by J. Ellard Gore, (1907), 93.
Amazing that the human race has taken enough time out from thinking about food or sex to create the arts and sciences.
City Aphorisms, Eighth Selection (1991).
Among all highly civilized peoples the golden age of art has always been closely coincident with the golden age of the pure sciences, particularly with mathematics, the most ancient among them.
This coincidence must not be looked upon as accidental, but as natural, due to an inner necessity. Just as art can thrive only when the artist, relieved of the anxieties of existence, can listen to the inspirations of his spirit and follow in their lead, so mathematics, the most ideal of the sciences, will yield its choicest blossoms only when life’s dismal phantom dissolves and fades away, when the striving after naked truth alone predominates, conditions which prevail only in nations while in the prime of their development.
This coincidence must not be looked upon as accidental, but as natural, due to an inner necessity. Just as art can thrive only when the artist, relieved of the anxieties of existence, can listen to the inspirations of his spirit and follow in their lead, so mathematics, the most ideal of the sciences, will yield its choicest blossoms only when life’s dismal phantom dissolves and fades away, when the striving after naked truth alone predominates, conditions which prevail only in nations while in the prime of their development.
From Die Entwickelung der Mathematik im Zusammenhange mit der Ausbreitung der Kultur (1893), 4. As translated in Robert Édouard Moritz, Memorabilia Mathematica; Or, The Philomath’s Quotation-Book (1914), 191-192. From the original German, “Bei allen Kulturvölkern ist die Blüthezeit der Kunst auch immer zeitlich eng verbunden mit einer Blüthezeit der reinen Wissenschaften, insbesondere der ältesten unter ihnen, der Mathematik.
Dieses Zusammentreffen dürfte auch nicht ein zufälliges, sondern ein natürliches, ein Ergebniss innerer Notwendigkeit sein. Wie die Kunst nur gedeihen kann, wenn der Künstler, unbekümmert um die Bedrängnisse des Daseins, den Eingebungen seines Geistes lauschen und ihnen folgen kann, so kann die idealste Wissenschaft, die Mathematik, erst dann ihre schönsten Blüthen treiben, wenn des Erdenlebens schweres Traumbild sinkt und sinkt und sinkt, wenn das Streben nach der nackten Wahrheit allein bestimmend ist, was nur bei Nationen in der Vollkraft ihrer Entwickelung vorkommt.”
Dieses Zusammentreffen dürfte auch nicht ein zufälliges, sondern ein natürliches, ein Ergebniss innerer Notwendigkeit sein. Wie die Kunst nur gedeihen kann, wenn der Künstler, unbekümmert um die Bedrängnisse des Daseins, den Eingebungen seines Geistes lauschen und ihnen folgen kann, so kann die idealste Wissenschaft, die Mathematik, erst dann ihre schönsten Blüthen treiben, wenn des Erdenlebens schweres Traumbild sinkt und sinkt und sinkt, wenn das Streben nach der nackten Wahrheit allein bestimmend ist, was nur bei Nationen in der Vollkraft ihrer Entwickelung vorkommt.”
Among all the liberal arts, the first is logic, and specifically that part of logic which gives initial instruction about words. … [T]he word “logic” has a broad meaning, and is not restricted exclusively to the science of argumentative reasoning. [It includes] Grammar [which] is “the science of speaking and writing correctly—the starting point of all liberal studies.”
In John of Salisbury and Daniel D. McGarry (trans.), 'Whence grammar gets its name', The Metalogicon (2009), 37. It is footnoted: Isidore, Etym., i, 5, §1.
Among our sensations it is difficult not to confuse what comes from the part of objects with what comes from the part of our senses. … Supposing this, one clearly sees that it is not easy to say much about colors,… and that all one can expect in such a difficult subject is to give some general rules and to derive from them consequences that can be of some use in the arts and satisfy somewhat the natural desire we have to render account of everything that appears to us.
'De la Nature des Couleurs', collected in Oeuvres (1717), 196–197.
Among the memoirs of Kirchhoff are some of uncommon beauty. … Can anything be beautiful, where the author has no time for the slightest external embellishment?—But—; it is this very simplicity, the indispensableness of each word, each letter, each little dash, that among all artists raises the mathematician nearest to the World-creator; it establishes a sublimity which is equalled in no other art, something like it exists at most in symphonic music. The Pythagoreans recognized already the similarity between the most subjective and the most objective of the arts.
In Ceremonial Speech (15 Nov 1887) celebrating the 301st anniversary of the Karl-Franzens-University Graz. Published as Gustav Robert Kirchhoff: Festrede zur Feier des 301. Gründungstages der Karl-Franzens-Universität zu Graz (1888), 28-29, as translated in Robert Édouard Moritz, Memorabilia Mathematica; Or, The Philomath’s Quotation-book (1914), 186. From the original German, “Gerade unter den zuletzt erwähnten Abhandlungen Kirchhoff’s sind einige von ungewöhnlicher Schönheit. … kann etwas schön sein, wo dem Autor auch zur kleinsten äusseren Ausschmückung die Zeit fehlt?–Doch–; gerade durch diese Einfachheit, durch diese Unentbehrlichkeit jedes Wortes, jedes Buchstaben, jedes Strichelchens kömmt der Mathematiker unter allen Künstlern dem Weltenschöpfer am nächsten; sie begründet eine Erhabenheit, die in keiner Kunst ein Gleiches,–Aehnliches höchstens in der symphonischen Musik hat. Erkannten doch schon die Pythagoräer die Aehnlichkeit der subjectivsten und der objectivsten der Künste.”
Among the multitude of animals which scamper, fly, burrow and swim around us, man is the only one who is not locked into his environment. His imagination, his reason, his emotional subtlety and toughness, make it possible for him not to accept the environment, but to change it. And that series of inventions, by which man from age to age has remade his environment, is a different kind of evolution—not biological, but cultural evolution. I call that brilliant sequence of cultural peaks The Ascent of Man. I use the word ascent with a precise meaning. Man is distinguished from other animals by his imaginative gifts. He makes plans, inventions, new discoveries, by putting different talents together; and his discoveries become more subtle and penetrating, as he learns to combine his talents in more complex and intimate ways. So the great discoveries of different ages and different cultures, in technique, in science, in the arts, express in their progression a richer and more intricate conjunction of human faculties, an ascending trellis of his gifts.
The Ascent of Man (1973), 19-20.
An inventor is one who can see the applicability of means to supply demand five years before it is obvious to those skilled in the art.
Aphorism listed Frederick Seitz, The Cosmic Inventor: Reginald Aubrey Fessenden (1866-1932) (1999), 54, being Transactions of the American Philosophical Society, Held at Philadelphia For Promoting Useful Knowledge, Vol. 86, Pt. 6.
Anatomists have ever been engaged in contention. And indeed, if a man has not such a degree of enthusiasm, and love of the art, as will make him impatient of unreasonable opposition and of encroachments upon his discoveries and his reputation, he will hardly become considerable in Anatomy or in any branch of natural knowledge.
Medical Commentaries (1764), Introduction, iii. In Charles Coulston Gillespie (ed.), Dictionary of Scientific Biography (1972), Vol. 6, 569.
And as to the faculties of the mind, setting aside the arts grounded upon words, and especially that skill of proceeding upon generall, and infallible rules, called Science; which very few have, and but in few things; as being not a native faculty, born within us; nor attained, (as Prudence,) while we look after somewhat else.
Leviathan (1651), ed. C. B. Macpherson (1968), Part 1, Chapter 13, 183.
And it has been sarcastically said, that there is a wide difference between a good physician and a bad one, but a small difference between a good physician and no physician at all; by which it is meant to insinuate, that the mischievous officiousness of art does commonly more than counterbalance any benefit derivable from it.
Elements of Medical Logic (1819), 8-9.
And since geometry is the right foundation of all painting, I have decided to teach its rudiments and principles to all youngsters eager for art…
From 'Preface' in Course in the Art of Measurement with Compass and Ruler (1525). As quoted in Stacey Bieler, Albrecht Durer: Artist in the Midst of Two Storms (2017), 189.
And so many think incorrectly that everything was created by the Creator in the beginning as it is seen, that not only the mountains, valleys, and waters, but also various types of minerals occurred together with the rest of the world, and therefore it is said that it is unnecessary to investigate the reasons why they differ in their internal properties and their locations. Such considerations are very dangerous for the growth of all the sciences, and hence for natural knowledge of the Earth, particularly the art of mining, though it is very easy for those clever people to be philosophers, having learnt by heart the three words 'God so created' and to give them in reply in place of all reasons.
About the Layers of the Earth and other Works on Geology (1757), trans. A. P. Lapov (1949), 55.
And why does England thus persecute the votaries of her science? Why does she depress them to the level of her hewers of wood and her drawers of water? Is it because science flatters no courtier, mingles in no political strife? … Can we behold unmoved the science of England, the vital principle of her arts, struggling for existence, the meek and unarmed victim of political strife?
From his review of the book by Charles Babbage, Reflections on the Decline of Science in England(1830). In Quarterly Review, 1830, 43, 323-4.
Any artist or novelist would understand—some of us do not produce their best when directed. We expect the artist, the novelist and the composer to lead solitary lives, often working at home. While a few of these creative individuals exist in institutions or universities, the idea of a majority of established novelists or painters working at the “National Institute for Painting and Fine Art” or a university “Department of Creative Composition” seems mildly amusing. By contrast, alarm greets the idea of a creative scientist working at home. A lone scientist is as unusual as a solitary termite and regarded as irresponsible or worse.
Homage to Gala: The Life of an Independent Scholar (2000), 2.
Any clod can have the facts; having opinions is an art.
McCabe's motto (?) as columnist for San Francisco Chronicle. Margin quote, in Institute of Electrical and Electronics Engineers (IEEE), Computer Group, Computer (1984), 89.
Anyone who has had actual contact with the making of the inventions that built the radio art knows that these inventions have been the product of experiment and work based on physical reasoning, rather than on the mathematicians' calculations and formulae. Precisely the opposite impression is obtained from many of our present day text books and publications.
Attributed.
Archimedes … had stated that given the force, any given weight might be moved, and even boasted, we are told, relying on the strength of demonstration, that if there were another earth, by going into it he could remove this. Hiero being struck with amazement at this, and entreating him to make good this problem by actual experiment, and show some great weight moved by a small engine, he fixed accordingly upon a ship of burden out of the king’s arsenal, which could not be drawn out of the dock without great labor and many men; and, loading her with many passengers and a full freight, sitting himself the while far off with no great endeavor, but only holding the head of the pulley in his hand and drawing the cords by degrees, he drew the ship in a straight line, as smoothly and evenly, as if she had been in the sea. The king, astonished at this, and convinced of the power of the art, prevailed upon Archimedes to make him engines accommodated to all the purposes, offensive and defensive, of a siege. … the apparatus was, in most opportune time, ready at hand for the Syracusans, and with it also the engineer himself.
— Plutarch
In John Dryden (trans.), Life of Marcellus.
Archimedes possessed so high a spirit, so profound a soul, and such treasures of highly scientific knowledge, that though these inventions [used to defend Syracuse against the Romans] had now obtained him the renown of more than human sagacity, he yet would not deign to leave behind him any commentary or writing on such subjects; but, repudiating as sordid and ignoble the whole trade of engineering, and every sort of art that lends itself to mere use and profit, he placed his whole affection and ambition in those purer speculations where there can be no reference to the vulgar needs of life; studies, the superiority of which to all others is unquestioned, and in which the only doubt can be whether the beauty and grandeur of the subjects examined, or the precision and cogency of the methods and means of proof, most deserve our admiration.
— Plutarch
In John Dryden (trans.), Life of Marcellus.
Architecture is of all the arts the one nearest to a science, for every architectural design is at its inception dominated by scientific considerations. The inexorable laws of gravitation and of statics must be obeyed by even the most imaginative artist in building.
In 'The Message of Greek Architecture', The Chautauquan (Apr 1906), 43, 110.
Ars est sine arte, cujus principium est mentiri, medium laborare, et finis mendicare.
The art is devoid of art, whose beginning is falsehood, its middle labour, and its end beggary.
[On the character of the delusive science of alchemy].
The art is devoid of art, whose beginning is falsehood, its middle labour, and its end beggary.
[On the character of the delusive science of alchemy].
In Henry Thomas Riley, Dictionary of Latin Quotations, Proverbs, Maxims, and Mottos (1866), 27.
Art and religion are not professions: they are not occupations for which men can be paid. The artist and the saint do what they have to do, not to make a living, but in obedience to some mysterious necessity. They do not product to live - they live to produce.
In Art (1958), 172.
Art and Religion are, then, two roads by which men escape from circumstance to ecstasy. Between aesthetic and religious rapture there is a family alliance. Art and Religion are means to similar states of mind.
In Art (1913), 92.
Art and religion first; then philosophy; lastly science. That is the order of the great subjects of life, that’s their order of importance.
Dialog by the character Miss Brodie, in The Prime of Miss Jean Brodie (1961, 2004), 23-24.
Art and science coincide insofar as both aim to improve the lives of men and women. The latter normally concerns itself with profit, the former with pleasure. In the coming age, art will fashion our entertainment out of new means of productivity in ways that will simultaneously enhance our profit and maximize our pleasure.
Brecht’s positive vision of theater in the coming age of technology, expressed in Little Organon for the Theater (1949). In The Columbia World of Quotations (1996).
Art and science encounter each other when they seek exactitude.
AS quoted in Gus Kayafas, Estelle Jussim and Harry N. Abrams, Stopping Time: The Photographs of Harold Edgerton (2000), 24.
Art and science have their meeting point in method.
Caxtoniana (1875), 303.
Art and science work in quite different ways: agreed. But, bad as it may sound, I have to admit that I cannot get along as an artist without the use of one or two sciences. ... In my view, the great and complicated things that go on in the world cannot be adequately recognized by people who do not use every possible aid to understanding.
Bertolt Brecht, John Willett (trans.), Brecht on Theatre (1964), 73.
Art arises in those strange complexities of action that are called human beings. It is a kind of human behavior. As such it is not magic, except as human beings are magical. Nor is it concerned in absolutes, eternities, “forms,” beyond those that may reside in the context of the human being and be subject to his vicissitudes. Art is not an inner state of consciousness, whatever that may mean. Neither is it essentially a supreme form of communication. Art is human behavior, and its values are contained in human behavior.
In Art Is Action: A Discussion of Nine Arts in a Modern World (1939), 1.
Art creates an incomparable and unique effect, and, having done so, passes on to other things. Nature, upon the other hand, forgetting that imitation can be made the sincerest form of insult, keeps on repeating the effect until we all become absolutely wearied of it.
In 'Decay of Lying', The Writings of Oscar Wilde: Epigrams, Phrases and Philosophies For the Use of the Young (1907), 8.
Art evokes the mystery without which the world would not exist.
John Mitchinson and John Lloyd, If Ignorance Is Bliss, Why Aren't There More Happy People?: Smart Quotes for Dumb Times (2009), 217.
Art gallery? Who needs it? Look up at the swirling silver-lined clouds in the magnificent blue sky or at the silently blazing stars at midnight. How could indoor art be any more masterfully created than God’s museum of nature?
…...
Art has a double face, of expression and illusion, just like science has a double face: the reality of error and the phantom of truth.
'The Lie of the Truth'. (1938) translated by Phil Powrie (1989). In Carol A. Dingle, Memorable Quotations (2000), 61.
Art includes everything that stimulates the desire to live; science, everything that sharpens the desire to know. Art, even the most disinterested, the most disembodied, is the auxiliary of life.
Rémy de Gourmont and Glenn Stephen Burne (ed.), Selected Writings (1966), 170.
Art is an expression of the world order and is, therefore, orderly, organic, subject to mathematical law, and susceptible to mathematical analysis.
In 'The Theosophic View of the Art of Architecture', The Beautiful Necessity, Seven Essays on Theosophy and Architecture (2nd ed., 1922), Preface to the Second Edition, 11.
Art is I; science is we.
In Lily Splane, Quantum Consciousness (2004),307
Art is meant to upset people, science reassures them.
…...
Art is more godlike than science. Science discovers; art creates.
As given, without citation, in Maturin Murray Ballo, Edge-Tools of Speech (1851), 25. Also in a fictional conversation in novel by Baron Edward Bulwer Lytton, Zanoni (1842), 89.
Art is nothing but humanized science.
In Marco Treves, Artists on art, from the XIV to the XX century (1945), 437.
Art is science in the flesh.
In 'Le Coq et l’Arlequin' (Cock and Harlequin), in A Call to Order (1926), 7.
Art is the beautiful way of doing things. Science is the effective way of doing things. Business is the economic way of doing things.
Selected writings of Elbert Hubbard (1928), 101.
Art is the science of human destiny.
In The Strength To Dream: Literature and the Imagination (1961), 197.
Art is the Tree of Life. Science is the Tree of Death.
Annotations to the print (c. 1826-27), Laocoön: Jehovah & His Two Sons, Satan & Adam. An engraving of Laocoön, the well-known classical sculpture, is surrounded with many short, graffiti-like comments. These two sayings are in the blank space to the right of the picture. This was Blake's last illuminated work. Transcribed in William Blake and Edwin John Ellis (ed.), The Poetical Works of William Blake (1906), Vol. 1, 435.
Art is unquestionably one of the purest and highest elements in human happiness. It trains the mind through the eye, and the eye through the mind. As the sun colors flowers, so does art color life.
The Pleasures of Life (1887, 2007), 99.
Art is usually considered to be not of the highest quality if the desired object is exhibited in the midst of unnecessary lumber.
In Mathematics: Queen and Servant of Sciences (1938), 20. Bell is writing about the postulational method and the art of pruning a set of postulates to bare essentials without internal duplication.
Art matures. It is the formal elaboration of activity, complete in its own pattern. It is a cosmos of its own.
In Art Is Action: A Discussion of Nine Arts in a Modern World (1939), 29.
Art requires disrespect!
In William Fifield, 'Pablo Picasso: A Composite Interview', in The Paris Review 32 (Summer-Fall 1964), 66.
Art thou the bird whom Man loves best,
The pious bird with the scarlet breast,
Our little English Robin;
The bird that comes about our doors
When autumn winds are sobbing?
The pious bird with the scarlet breast,
Our little English Robin;
The bird that comes about our doors
When autumn winds are sobbing?
From poem, 'The Redbreast and Butterfly', collected in The Poetical Works of William Wordsworth: Complete in One Volume (1828), 72.
Art, it is said, is not a mirror, but a hammer: it does not reflect, it shapes.
In Literature and Revolution, (1924).
Art, science, discovery and invention, startle and bewilder us at every turn, by their rapid, vast and wonderful achievements. These forces have made men lords where they were vassals, masters where they were slaves, and kings where they were subjects. They have abolished the limitations of time and space and have brought the ends of the earth together.
From speech (20 Nov 1883) delivered to the Bethel Literary and Historical Association, Washington D.C.,'It Moves, or Philosophy of Reform' , collected in The Speeches of Frederick Douglass (2018), 387.
Arts and sciences in one and the same century have arrived at great perfection; and no wonder, since every age has a kind of universal genius, which inclines those that live in it to some particular studies; the work then, being pushed on by many hands, must go forward.
In Samuel Austin Allibone, Prose Quotations from Socrates to Macaulay (1880), 45.
As an antiquary of a new order, I have been obliged to learn the art of deciphering and restoring these remains, of discovering and bringing together, in their primitive arrangement, the scattered and mutilated fragments of which they are composed, of reproducing in all their original proportions and characters, the animals to which these fragments formerly belonged, and then of comparing them with those animals which still live on the surface of the earth; an art which is almost unknown, and which presupposes, what had scarcely been obtained before, an acquaintance with those laws which regulate the coexistence of the forms by which the different parts of organized being are distinguished.
'Preliminary discourse', to Recherches sur les Ossemens Fossiles (1812), trans. R. Kerr Essay on the Theory of the Earth (1813), 1-2.
As an Art, Mathematics has its own standard of beauty and elegance which can vie with the more decorative arts. In this it is diametrically opposed to a Baroque art which relies on a wealth of ornamental additions. Bereft of superfluous addenda, Mathematics may appear, on first acquaintance, austere and severe. But longer contemplation reveals the classic attributes of simplicity relative to its significance and depth of meaning.
In The Skeleton Key of Mathematics (1949), 12.
As soon as somebody demonstrates the art of flying, settlers from our species of man will not be lacking [on the moon and Jupiter]… Given ships or sails adapted to the breezes of heaven, there will be those who will not shrink from even that vast expanse.
(1610) As translated by Edward Rosen in Kepler’s Conversation with Galileo’s Sidereal Messenger (1965), 39.
As soon as the art of Flying is Found out, some of their Nation will make one of the first Colonies, that shall Transplant into that other World.
In A Discovery of a New World, Or, a Discourse: Tending to Prove, that 'tis Probable There May Be Another Habitable World in the Moon (1638, 1684), 159.
As yet, if a man has no feeling for art he is considered narrow-minded, but if he has no feeling for science this is considered quite normal. This is a fundamental weakness.
In Kermit Lansner, Second-Rate Brains: A Factual, Perceptive Report by Top Scientists, Educators, Journalists, and Their Urgent Recommendations (1958), 31. Note: Dr. I.I. Rabi was chairman of President Eisenhower's Science Advisory Committee.
At first he who invented any art that went beyond the common perceptions of man was naturally admired by men, not only because there was something useful in the inventions, but because he was thought wise and superior to the rest. But as more arts were invented, and some were directed to the necessities of life, others to its recreation, the inventors of the latter were always regarded as wiser than the inventors of the former, because their branches of knowledge did not aim at utility.
Metaphysics, 981b, 13-20. In Jonathan Barnes (ed.), The Complete Works of Aristotle (1984), Vol. 2, 1553.
At the Egyptian city of Naucratis there was a famous old god whose name was Theuth; the bird which is called the Ibis was sacred to him, and he was the inventor of many arts, such as arithmetic and calculation and geometry and astronomy and draughts and dice, but his great discovery was the use of letters.
— Plato
In the Phaedrus. Collected in Plato the Teacher (1897), 171. A footnote gives that Naucratis was a city in the Delta of Egypt, on a branch of the Nile.
Attainment and science, retainment and art—the two couples keep to themselves, but when they do meet, nothing else in the world matters.
In Time and Ebb (1947) in Nine Stories(1947), 102.
Behaviorism is the art of pulling habits out of rats.
In Jon Fripp, Michael Fripp and Deborah Fripp, Speaking of Science (2000), 23.
Being a fish out of water is tough, but that’s how you evolve. I think that’s scientifically accurate—I don’t know, I had a liberal arts education.
From Commencement Speech (22 May 2017) at Grinnell College, Iowa. As quoted in Jeff Charis-Carlson, 'Comedian Kumail Nanjiani offers advice for Grinnell grads, takes on Steve King', Des Moines Register (22 May 2017).
Being the most striking manifestation of the art of metal structures by which our engineers have shown in Europe, it [the Eiffel Tower] is one of the most striking of our modern national genius.
English version by Webmaster using Google Translate, from the original French, “Étant la plus saisissante manifestation de l’art des constructions métalliques par lesquelles nos ingénieurs se sont illustrés en Europe, elle est une des formes les plus frappantes de notre génie national moderne.” From interview of Eiffel by Paul Bourde, in the newspaper Le Temps (14 Feb 1887). Reprinted in 'Au Jour le Jour: Les Artistes Contre la Tour Eiffel', Gazette Anecdotique, Littéraire, Artistique et Bibliographique (Feb 1887), 126, and in Gustave Eiffel, Travaux Scientifiques Exécutés à la Tour de 300 Mètres de 1889 à 1900 (1900), 14. Also quoted in review of the Gustave Eiffel’s book La Tour Eiffel (1902), in Nature (30 Jan 1902), 65, 292.
Both science and art have to do with ordered complexity.
In The Griffin (1957), 6, No 10.
Both the man of science and the man of art live always at the edge of mystery, surrounded by it; both always, as to the measure of their creation, have had to do with the harmonization of what is new with what is familiar, with the balance between novelty and synthesis, with the struggle to make partial order in total chaos.
Address at the close of the year-long Bicentennial Celebration of Columbia University (26 Dec 54). Printed in 'Prospects in the Arts and Sciences', Bulletin of the Atomic Scientists (Feb 1955), 52.
Büchsel in his reminiscences from the life of a country parson relates that he sought his recreation in Lacroix’s Differential Calculus and thus found intellectual refreshment for his calling. Instances like this make manifest the great advantage which occupation with mathematics affords to one who lives remote from the city and is compelled to forego the pleasures of art. The entrancing charm of mathematics, which captivates every one who devotes himself to it, and which is comparable to the fine frenzy under whose ban the poet completes his work, has ever been incomprehensible to the spectator and has often caused the enthusiastic mathematician to be held in derision. A classic illustration is the example of Archimedes….
From Die Entwickelung der Mathematik im Zusammenhange mit der Ausbreitung der Kultur (1893), 22. As translated in Robert Édouard Moritz, Memorabilia Mathematica; Or, The Philomath’s Quotation-Book (1914), 186. From the original German, “Wenn Büchsel in seinen Erinnerungen aus dem Leben eines Landgeistlichen erzählt, dass er in der Differentialrechnung von Lacroix Erholung gesucht und geistige Erfrischung ftir seinen Beruf gefunden habe, so erkennen wir darin den grossen Vorzug, den die Beschaftigung mit der Mathematik für jemanden hat, der fern von einer Stadt lebt und auf ihre Kunstgenüsse verzichten muss. Der berückende Zauber der
Mathematik, dem jeder unterliegt, der sich ihr ergiebt, und der dem holden Wahnsinn vergleichbar ist, unter dessen Bann der Dichter sein Work vollendet, ist dem betrachtenden Mitmenschen immer unbegreiflich gewesen und hat den begeisterten Mathematiker oft zum Gespött werden lassen. Als klassisches Beispiel wird jedem Schüler Archimedes…”
But here it may be objected, that the present Earth looks like a heap of Rubbish and Ruines; And that there are no greater examples of confusion in Nature than Mountains singly or jointly considered; and that there appear not the least footsteps of any Art or Counsel either in the Figure and Shape, or Order and Disposition of Mountains and Rocks. Wherefore it is not likely they came so out of God's hands ... To which I answer, That the present face of the Earth with all its Mountains and Hills, its Promontaries and Rocks, as rude and deformed as they appear, seems to me a very beautiful and pleasant object, and with all the variety of Hills, and Valleys, and Inequalities far more grateful to behold, than a perfectly level Countrey without any rising or protuberancy, to terminate the sight: As anyone that hath but seen the Isle of Ely, or any the like Countrey must need acknowledge.
— John Ray
Miscellaneous Discourses Concerning the Dissolution and Changes of the World (1692), 165-6.
But it must not be forgotten that ... glass and porcelain were manufactured, stuffs dyed and metals separated from their ores by mere empirical processes of art, and without the guidance of correct scientific principles.
Familiar Letters on Chemistry (1851), 2.
But most of us, however strict we may be, are apt to apply the epithet “beautiful” to objects that do not provoke that peculiar emotion produced by works of art.
In Art (1913), 12.
But nothing is more estimable than a physician who, having studied nature from his youth, knows the properties of the human body, the diseases which assail it, the remedies which will benefit it, exercises his art with caution, and pays equal attention to the rich and the poor.
A Philosophical Dictionary: from the French? (2nd Ed.,1824), Vol. 5, 239-240.
But the nature of our civilized minds is so detached from the senses, even in the vulgar, by abstractions corresponding to all the abstract terms our languages abound in, and so refined by the art of writing, and as it were spiritualized by the use of numbers, because even the vulgar know how to count and reckon, that it is naturally beyond our power to form the vast image of this mistress called ‘Sympathetic Nature.’
The New Science, bk. 2, para. 378 (1744, trans. 1984).
But there is another alchemy, operative and practical, which teaches how to make the noble metals and colours and many other things better and more abundantly by art than they are made in nature. And science of this kind is greater than all those preceding because it produces greater utilities. For not only can it yield wealth and very many other things for the public welfare, but it also teaches how to discover such things as are capable of prolonging human life for much longer periods than can be accomplished by nature … Therefore this science has special utilities of that nature, while nevertheless it confirms theoretical alchemy through its works.
Opus Tertium [1266-1268], chapter 12, quoted in A. C. Crombie, Augustine to Galileo (1959), Vol. I, 69.
But when great and ingenious artists behold their so inept performances, not undeservedly do they ridicule the blindness of such men; since sane judgment abhors nothing so much as a picture perpetrated with no technical knowledge, although with plenty of care and diligence. Now the sole reason why painters of this sort are not aware of their own error is that they have not learnt Geometry, without which no one can either be or become an absolute artist; but the blame for this should be laid upon their masters, who are themselves ignorant of this art.
In The Art of Measurement (1525). As quoted in Albrecht Dürer and R.T. Nichol (trans.), 'Preface', Of the Just Shaping of Letters (1965), Book 3, 1-2.
Call Archimedes from his buried tomb
Upon the plain of vanished Syracuse,
And feelingly the sage shall make report
How insecure, how baseless in itself,
Is the philosophy, whose sway depends
On mere material instruments—how weak
Those arts, and high inventions, if unpropped
By virtue.
Upon the plain of vanished Syracuse,
And feelingly the sage shall make report
How insecure, how baseless in itself,
Is the philosophy, whose sway depends
On mere material instruments—how weak
Those arts, and high inventions, if unpropped
By virtue.
In 'The Excursion', as quoted in review, 'The Excursion, Being a Portion of the Recluse, a Poem, The Edinburgh Review (Nov 1814), 24, No. 47, 26.
Can one think that because we are engineers, beauty does not preoccupy us or that we do not try to build beautiful, as well as solid and long lasting structures? Aren’t the genuine functions of strength always in keeping with unwritten conditions of harmony? … Besides, there is an attraction, a special charm in the colossal to which ordinary theories of art do not apply.
As translated in Henry Petroski, Remaking the World: Adventures in Engineering (1998), 173. From the original French in interview of Eiffel by Paul Bourde, in the newspaper Le Temps (14 Feb 1887). Quoted in 'Au Jour le Jour: Les Artistes Contre la Tour Eiffel', Gazette Anecdotique, Littéraire, Artistique et Bibliographique (Feb 1887), 126, and in Gustave Eiffel, Travaux Scientifiques Exécutés à la Tour de 300 Mètres de 1889 à 1900 (1900), 14. “Parce que nous sommes des ingénieurs, croit-on donc que la beauté ne nous préoccupe pas dans nos constructions et qu'en même temps que nous faisons solide et durable nous ne nous efforçons pas rletfaire élégant? Est-ce que les véritables conditions de la force ne sont pas toujours conformes aux conditions secrètes de l'harmonie?.… Il y a du reste dans le colossal une attraction, un charme propre auxquels les théories d'art ordinaires ne sont guère applicables.
Can we ring the bells backward? Can we unlearn the arts that pretend to civilize, and then burn the world? There is a march of science; but who shall beat the drums for its retreat?
Letter to George Dyer (20 Dec 1830). In Charles Lamb and Thomas Noon Talfourd (Ed.), Works: Including His Most Interesting Letters, (1867), 168.
Chemistry has the same quickening and suggestive influence upon the algebraist as a visit to the Royal Academy, or the old masters may be supposed to have on a Browning or a Tennyson. Indeed it seems to me that an exact homology exists between painting and poetry on the one hand and modern chemistry and modern algebra on the other. In poetry and algebra we have the pure idea elaborated and expressed through the vehicle of language, in painting and chemistry the idea enveloped in matter, depending in part on manual processes and the resources of art for its due manifestation.
Attributed.
Chemistry is an art that has furnished the world with a great number of useful facts, and has thereby contributed to the improvement of many arts; but these facts lie scattered in many different books, involved in obscure terms, mixed with many falsehoods, and joined to a great deal of false philosophy; so that it is not great wonder that chemistry has not been so much studied as might have been expected with regard to so useful a branch of knowledge, and that many professors are themselves but very superficially acquainted with it. But it was particularly to be expected, that, since it has been taught in universities, the difficulties in this study should have been in some measure removed, that the art should have been put into form, and a system of it attempted—the scattered facts collected and arranged in a proper order. But this has not yet been done; chemistry has not yet been taught but upon a very narrow plan. The teachers of it have still confined themselves to the purposes of pharmacy and medicine, and that comprehends a small branch of chemistry; and even that, by being a single branch, could not by itself be tolerably explained.
John Thomson, An Account of the Life, Lectures and Writings of William Cullen, M.D. (1832), Vol. 1, 40.
Chemistry is the science or study of those effects and qualities of matter which are discovered by mixing bodies variously together, or applying them to one another with a view to mixture, and by exposing them to different degrees of heat, alone, or in mixture with one another, in order to enlarge our knowledge of nature, and to promote the useful arts.
From the first of a series of lectures on chemistry, collected in John Robison (ed.), Lectures on the Elements of Chemistry: Delivered in the University of Edinburgh (1807), Vol. 1, 11.
Chemistry is the study of the effects of heat and mixture, with a view of discovering their general and subordinate laws, and of improving the useful arts.
This is an editor’s shorter restatement of the definition given by Black in the first of a series of lectures on chemistry, collected in John Robison (ed.), Lectures on the Elements of Chemistry: Delivered in the University of Edinburgh (1807), Vol. 1, 11, footnote. For the definitions as given by Black, see elsewhere on this web page.
Chemistry: that most excellent child of intellect and art.
From presidential address to 1953 conference of Science Masters Association, Oxford, part of the Centenary Celbrations of the Chemical Society of London. As quoted in Charles Alfred Coulson, Science and Christian Belief (1956), 51.
Chess is a unique cognitive nexus, a place where art and science come together in the human mind and are then refined and improved by experience.
In How Life Imitates Chess: Making the Right Moves, from the Board to the Boardroom (2007), 4.
Children are to be guided to make a beginning in all the arts and sciences without interference with their spontaneity, the instinct of imitation being so used as to give them order without constraining them.
In Friedrich Fröbel and Josephine Jarvis (trans.), 'American Preface', The Education of Man (1885), vi.
Chymia, or Alchemy and Spagyrism, is the art of resolving compound bodies into their principles and of combining these again.
Fundamenta Chymiae (1720). Trans. J. R. Partington, A History of Chemistry (1961), Vol. 2, 664.
Chymistry. … An art whereby sensible bodies contained in vessels … are so changed, by means of certain instruments, and principally fire, that their several powers and virtues are thereby discovered, with a view to philosophy or medicine.
An antiquated definition, as quoted in Samuel Johnson, entry for 'Chymistry' in Dictionary of the English Language (1785). Also in The Quarterly Journal of Science, Literature, and the Arts (1821), 284, wherein a letter writer (only identified as “C”) points out that this definition still appeared in the, then, latest Rev. Mr. Todd’s Edition of Johnson’s Dictionary, and that it showed “very little improvement of scientific words.” The letter included examples of better definitions by Black and by Davy. (See their pages on this website.)
Considerable obstacles generally present themselves to the beginner, in studying the elements of Solid Geometry, from the practice which has hitherto uniformly prevailed in this country, of never submitting to the eye of the student, the figures on whose properties he is reasoning, but of drawing perspective representations of them upon a plane. ...I hope that I shall never be obliged to have recourse to a perspective drawing of any figure whose parts are not in the same plane.
Quoted in Adrian Rice, 'What Makes a Great Mathematics Teacher?' The American Mathematical Monthly, (June-July 1999), 540.
Cookery is become an art, a noble science; cooks are gentlemen.
Anatomy of Melancholy (16th Ed., 1838), 148.
Dance … is life, or becomes it, in a way that other arts cannot attain. It is not in stone, or words or tones, but in our muscles. It is a formulation of their movements.
In Art Is Action: A Discussion of Nine Arts in a Modern World (1939), 56.
Debate is an art form. It is about the winning of arguments. It is not about the discovery of truth. There are certain rules and procedures to debate that really have nothing to do with establishing fact–which creationists have mastered. Some of those rules are: never say anything positive about your own position because it can be attacked, but chip away at what appear to be the weaknesses in your opponent’s position. They are good at that. I don’t think I could beat the creationists at debate. I can tie them. But in courtrooms they are terrible, because in courtrooms you cannot give speeches. In a courtroom you have to answer direct questions about the positive status of your belief. We destroyed them in Arkansas. On the second day of the two-week trial we had our victory party!
…...
Democracy is the art and science of running the circus from the monkey-cage.
A Mencken Chrestomathy (1949), 622.
Descartes constructed as noble a road of science, from the point at which he found geometry to that to which he carried it, as Newton himself did after him. ... He carried this spirit of geometry and invention into optics, which under him became a completely new art.
A Philosophical Dictionary: from the French? (2nd Ed.,1824), Vol. 5, 110.
Descriptive science is powerless to portray for me the bird or the flower or the friend I love; only art and literature can do that. Science deals with fixed concepts, art with fluid concepts.
From essay, 'A Prophet of the Soul', Under the Apple-Trees (1916), 210.
Detail is the heart of realism, and the fatty degeneration of art.
In Art (1958), 149.
Does it not seem as if Algebra had attained to the dignity of a fine art, in which the workman has a free hand to develop his conceptions, as in a musical theme or a subject for a painting? It has reached a point where every properly developed algebraical composition, like a skillful landscape, is expected to suggest the notion of an infinite distance lying beyond the limits of the canvas.
In 'Lectures on the Theory of Reciprocants', Lecture XXI, American Journal of Mathematics (Jul 1886), 9, No. 3, 136.
Domesticated biotechnology, once it gets into the hands of housewives and children, will give us an explosion of diversity of new living creatures … New lineages will proliferate to replace those that monoculture farming and deforestation have destroyed. Designing genomes will be a personal thing, a new art form as creative as painting or sculpture. Few of the new creations will be masterpieces, but a great many will bring joy to their creators and variety to our fauna and flora.
In 'Our Biotech Future', The New York Review of Books (2007). As quoted and cited in Kenneth Brower, 'The Danger of Cosmic Genius', The Atlantic (Dec 2010).
Dreams are true interpreters of our inclinations; but there is art required to categorize and understand them.
In The Works of Michael de Montaigne (1849), 536.
During human progress, every science is evolved out of its corresponding art.
Education: Intellectual, Moral and Physical (1861), 77.
During my span of life science has become a matter of public concern and the l'art pour l'art standpoint of my youth is now obsolete. Science has become an integral and most important part of our civilization, and scientific work means contributing to its development. Science in our technical age has social, economic, and political functions, and however remote one's own work is from technical application it is a link in the chain of actions and decisions which determine the fate of the human race. I realized this aspect of science in its full impact only after Hiroshima.
— Max Born
My Life & My Views (1968), 49.
Early Greek astronomers, derived their first knowledge from the Egyptians, and these from the Chaldeans, among whom the science was studied, at a very early period. Their knowledge of astronomy, which gave their learned men the name of Magi, wise men, afterwards degenerated into astrology, or the art of consulting the position of the stars to foretel events—and hence sprung the silly occupation of sooth saying, for which the Chaldeans were noted to a proverb, in later ages.
In Elements of Useful Knowledge (1806), Vol. 1, 8-9. Note “foretel” is as printed in this text.
Electricity is but yet a new agent for the arts and manufactures, and, doubtless, generations unborn will regard with interest this century, in which it has been first applied to the wants of mankind.
In Preface to the Third Edition ofElements of Electro-Metallurgy: or The Art of Working in Metals by the Galvanic Fluid (1851), viii.
ELECTRICITY, n. The power that causes all natural phenomena not known to be caused by something else. It is the same thing as lightning, and its famous attempt to strike Dr. Franklin is one of the most picturesque incidents in that great and good man's career. The memory of Dr. Franklin is justly held in great reverence, particularly in France, where a waxen effigy of him was recently on exhibition, bearing the following touching account of his life and services to science:
Monsieur Franqulin, inventor of electricity. This illustrious savant, after having made several voyages around the world, died on the Sandwich Islands and was devoured by savages, of whom not a single fragment was ever recovered.
Electricity seems destined to play a most important part in the arts and industries. The question of its economical application to some purposes is still unsettled, but experiment has already proved that it will propel a street car better than a gas jet and give more light than a horse.
Monsieur Franqulin, inventor of electricity. This illustrious savant, after having made several voyages around the world, died on the Sandwich Islands and was devoured by savages, of whom not a single fragment was ever recovered.
Electricity seems destined to play a most important part in the arts and industries. The question of its economical application to some purposes is still unsettled, but experiment has already proved that it will propel a street car better than a gas jet and give more light than a horse.
The Cynic's Word Book (1906), 87. Also published later as The Devil's Dictionary.
ENGINEER, in the military art, an able expert man, who, by a perfect knowledge in mathematics, delineates upon paper, or marks upon the ground, all sorts of forts, and other works proper for offence and defence. He should understand the art of fortification, so as to be able, not only to discover the defects of a place, but to find a remedy proper for them; as also how to make an attack upon, as well as to defend, the place. Engineers are extremely necessary for these purposes: wherefore it is requisite that, besides being ingenious, they should be brave in proportion. When at a siege the engineers have narrowly surveyed the place, they are to make their report to the general, by acquainting him which part they judge the weakest, and where approaches may be made with most success. Their business is also to delineate the lines of circumvallation and contravallation, taking all the advantages of the ground; to mark out the trenches, places of arms, batteries, and lodgments, taking care that none of their works be flanked or discovered from the place. After making a faithful report to the general of what is a-doing, the engineers are to demand a sufficient number of workmen and utensils, and whatever else is necessary.
In Encyclopaedia Britannica or a Dictionary of Arts and Sciences (1771), Vol. 2, 497.
Engineering is more closely akin to the arts than perhaps any other of the professions; first, because it requires the maximum of natural aptitude and of liking for the work in order to offset other factors; second, because it demands, like the arts, an almost selfless consecration to the job; and, third, because out of the hundreds who faithfully devote themselves to the task, only a few are destined to receive any significant reward—in either money or fame.
As coauthor with Frank W. Skinner, and Harold E. Wessman, 'Foreward', Vocational Guidance in Engineering Lines (1933), vi.
Engineering is not merely knowing and being knowledgeable, like a walking encyclopedia; engineering is not merely analysis; engineering is not merely the possession of the capacity to get elegant solutions to non-existent engineering problems; engineering is practicing the art of the organizing forces of technological change ... Engineers operate at the interface between science and society.
In Bert Scalzo, et al., Database Benchmarking: Practical Methods for Oracle & SQL Server (2007), 37.
Engineering is the art of construction; but to limit it to this would be to restrict its meaning much within the range of the ordinary use of the word. In a broader sense, engineering includes all operations whose object is the utilization of the forces of nature in the interests of man.
From Address to the International Engineering Congress of the Columbia Exposition, Chicago, 1893. Published in Transactions of the American Society of Civil Engineers (Oct 1893), 120. Reprinted in 'Fundamental Units of Measure', Smithsonian Report for 1893 (1894), 135.
Engineering is the art of directing the great sources of power in nature for the use and convenience of man.
(1828) At a meeting of the Council of the Institution of Civil Engineers of Great Britain (29 Dec 1827), by resolution, Honorary Member Thomas Tredgold was asked for a description of what a Civil Engineer is, in order that it could be put in the petition for a charter. (As cited by F.R. Hutton, in 'The Field of the Mechanical Engineer', The Engineering Digest (1908), Vol. 3 , 10.) The wording was repeated in the Charter of the Institution. (Reported in 'Society of Civil Engineers', The Gentleman's Magazine (1828), 143, 628.) The quote is excerpted from the longer definition therein.
Engineering is the art of directing the great sources of power in nature for the use and the convenience of people. In its modern form engineering involves people, money, materials, machines, and energy. It is differentiated from science because it is primarily concerned with how to direct to useful and economical ends the natural phenomena which scientists discover and formulate into acceptable theories. Engineering therefore requires above all the creative imagination to innovate useful applications of natural phenomena. It seeks newer, cheaper, better means of using natural sources of energy and materials.
In McGraw Hill, Science and Technology Encyclopedia
Engineering is the art of organizing and directing men and controlling the forces and materials of nature for the benefit of the human race.
1907
Engineering is the art or science of making practical.
The Existential Pleasures of Engineering (1976), x.
Engineering is the art or science of utilizing, directing or instructing others in the utilization of the principles, forces, properties and substance of nature in the production, manufacture, construction, operation and use of things ... or of means, methods, machines, devices and structures ...
(1920}
Engineering is the professional art of applying science to the optimum conversion of the resources of nature to the uses of humankind.
— ASCE
In American Society of Civil Engineers, Engineering Issues (1964), 90-92, 49. Other sources attribute, without citation, to Ralph J. Smith (1962).
Engineering is the science and art of efficient dealing with materials and forces … it involves the most economic design and execution … assuring, when properly performed, the most advantageous combination of accuracy, safety, durability, speed, simplicity, efficiency, and economy possible for the conditions of design and service.
As coauthor with Frank W. Skinner, and Harold E. Wessman, Vocational Guidance in Engineering Lines (1933), 6.
Engineering…is both an art and a science, and as a science it consists for the most part of mathematics applied to physics and mechanics. It is of necessity, therefore, a measuring science, and a congress of engineers ought, in the nature of things, to be interested in anything relating to progress in metrology.
From Address to the International Engineering Congress of the Columbia Exposition, Chicago, 1893. Published in Transactions of the American Society of Civil Engineers (Oct 1893), 120. Reprinted in 'Fundamental Units of Measure', Smithsonian Report for 1893 (1894), 135.
Essentially only one thing in life interests us: our psychical constitution, the mechanism of which was and is wrapped in darkness. All human resources, art, religion, literature, philosophy and historical sciences, all of them join in bringing lights in this darkness. But man has still another powerful resource: natural science with its strictly objective methods. This science, as we all know, is making huge progress every day. The facts and considerations which I have placed before you at the end of my lecture are one out of numerous attempts to employ a consistent, purely scientific method of thinking in the study of the mechanism of the highest manifestations of life in the dog, the representative of the animal kingdom that is man's best friend.
'Physiology of Digestion', Nobel Lecture (12 Dec 1904). In Nobel Lectures: Physiology or Medicine 1901-1921 (1967), 134
Every art should become science, and every science should become art.
In Friedrich Schlegel, translated by Ernst Behler and Roman Struc, Dialogue on Poetry and Literary Aphorisms (1797, trans. 1968), 132.
Every great anthropologic and paleontologic discovery fits into its proper place, enabling us gradually to fill out, one after another, the great branching lines of human ascent and to connect with the branches definite phases of industry and art. This gives us a double means of interpretation, archaeological and anatomical. While many branches and links in the chain remain to be discovered, we are now in a position to predict with great confidence not only what the various branches will be like but where they are most like to be found.
In Henry Fairfield Osborn, 'Osborn States the Case For Evolution', New York Times (12 Jul 1925), XX1
Every science begins as philosophy and ends as art.
In The Story of Philosophy (1926, 1961), 2.
Every science touches art at some points—every art has its scientific side.
In Armand Trousseau and John Rose Cormack (trans.), Lectures on Clinical Medicine: Delivered at the Hôtel-Dieu, Paris (1869), Vol. 2, 40.
Every work of science great enough to be well remembered for a few generations affords some exemplification of the defective state of the art of reasoning of the time when it was written; and each chief step in science has been a lesson in logic.
'The Fixation of Belief (1877). In Justus Buchler, The Philosophy of Pierce (1940), 6.
Every writer must reconcile, as best he may, the conflicting claims of consistency and variety, of rigour in detail and elegance in the whole. The present author humbly confesses that, to him, geometry is nothing at all, if not a branch of art.
Concluding remark in preface to Treatise on Algebraic Plane Curves (1931), x.
Facts do not “speak for themselves”; they are read in the light of a theory. Creative thought, in science as much as in the arts, is the motor of changing opinion.
In Perspectives in Biological Medicine (1985).
First follow Nature, and your judgment frame
By her just standard, which is still the same:
Unerring nature, still divinely bright,
One clear, unchanged, and universal light,
Life, force, and beauty must to all impart,
At once the source, and end, and test of art.
By her just standard, which is still the same:
Unerring nature, still divinely bright,
One clear, unchanged, and universal light,
Life, force, and beauty must to all impart,
At once the source, and end, and test of art.
#039;Essay On Criticism#039;, Miscellaneous Poems and Translations: by Several Hands (1720), 38.
First of all a natural talent is required; for when Nature opposes, everything else is in vain; but when Nature leads the way to what is most excellent, instruction in the art takes place...
The Genuine Works of Hippocrates, trans. Francis Adams (1886), Vol. 2, 284.
For chemistry is no science form’d à priori; ’tis no production of the human mind, framed by reasoning and deduction: it took its rise from a number of experiments casually made, without any expectation of what follow’d; and was only reduced into an art or system, by collecting and comparing the effects of such unpremeditated experiments, and observing the uniform tendency thereof. So far, then, as a number of experimenters agree to establish any undoubted truth; so far they may be consider'd as constituting the theory of chemistry.
From 'The Author's Preface', in A New Method of Chemistry (1727), vi.
Form your life humanly, and you have done enough: but you will never reach the height of art and the depth of science without something divine.
Idea 68. In Friedrich Schlegel, translated by Ernst Behler and Roman Struc, Dialogue on Poetry and Literary Aphorisms (trans. 1968), 155.
Fractal is a word invented by Mandelbrot to bring together under one heading a large class of objects that have [played] … an historical role … in the development of pure mathematics. A great revolution of ideas separates the classical mathematics of the 19th century from the modern mathematics of the 20th. Classical mathematics had its roots in the regular geometric structures of Euclid and the continuously evolving dynamics of Newton. Modern mathematics began with Cantor’s set theory and Peano’s space-filling curve. Historically, the revolution was forced by the discovery of mathematical structures that did not fit the patterns of Euclid and Newton. These new structures were regarded … as “pathological,” .… as a “gallery of monsters,” akin to the cubist paintings and atonal music that were upsetting established standards of taste in the arts at about the same time. The mathematicians who created the monsters regarded them as important in showing that the world of pure mathematics contains a richness of possibilities going far beyond the simple structures that they saw in Nature. Twentieth-century mathematics flowered in the belief that it had transcended completely the limitations imposed by its natural origins.
Now, as Mandelbrot points out, … Nature has played a joke on the mathematicians. The 19th-century mathematicians may not have been lacking in imagination, but Nature was not. The same pathological structures that the mathematicians invented to break loose from 19th-century naturalism turn out to be inherent in familiar objects all around us.
Now, as Mandelbrot points out, … Nature has played a joke on the mathematicians. The 19th-century mathematicians may not have been lacking in imagination, but Nature was not. The same pathological structures that the mathematicians invented to break loose from 19th-century naturalism turn out to be inherent in familiar objects all around us.
From 'Characterizing Irregularity', Science (12 May 1978), 200, No. 4342, 677-678. Quoted in Benoit Mandelbrot, The Fractal Geometry of Nature (1977, 1983), 3-4.
Franklin brought down the lightning, Morse made it a bearer of dispatches, and in answer to the increasing human demands of progressive human nature, Daguerre has taught the god of day to deck the world with pictures far beyond the art of ancient masters.
In Henry Louis Gates, Jr. (ed.), The Portable Frederick Douglass (2016), 350.
From that night on, the electron—up to that time largely the plaything of the scientist—had clearly entered the field as a potent agent in the supplying of man's commercial and industrial needs… The electronic amplifier tube now underlies the whole art of communications, and this in turn is at least in part what has made possible its application to a dozen other arts. It was a great day for both science and industry when they became wedded through the development of the electronic amplifier tube.
The Autobiography of Robert A. Millikan (1951), 136.
From the physician, as emphatically the student of Nature, is expected not only an inquiry into cause, but an investigation of the whole empire of Nature and a determination of the applicability of every species of knowledge to the improvement of his art.
In 'An Inquiry, Analogical and Experimental, into the Different Electrical conditions of Arterial and Venous Blood', New Orleans Medical and Surgical Journal (1853-4), 10, 584-602 & 738-757. As cited in George B. Roth, 'Dr. John Gorrie—Inventor of Artificial Ice and Mechanical Refrigeration', The Scientific Monthly (May 1936) 42 No. 5, 464-469.
Further, it will not be amiss to distinguish the three kinds and, as it were, grades of ambition in mankind. The first is of those who desire to extend their own power in their native country, a vulgar and degenerate kind. The second is of those who labor to extend the power and dominion of their country among men. This certainly has more dignity, though not less covetousness. But if a man endeavor to establish and extend the power and dominion of the human race itself over the universe, his ambition (if ambition it can be called) is without doubt both a more wholesome and a more noble thing than the other two. Now the empire of man over things depends wholly on the arts and sciences. For we cannot command nature except by obeying her.
From Novum Organum (1620), Book 1, Aphorism 129. Translated as The New Organon: Aphorisms Concerning the Interpretation of Nature and the Kingdom of Man), collected in James Spedding, Robert Ellis and Douglas Heath (eds.), The Works of Francis Bacon (1857), Vol. 4, 114.
Genius is supposed to be a power of producing excellences which are put of the reach of the rules of art: a power which no precepts can teach, and which no industry can acquire.
From 'A Discourse Delivered to the Students of the Royal Academy, on the Distribution of Prizes' (10 Dec 1774), in Seven Discourses Delivered in the Royal Academy (1778), 202-203.
Geology is intimately related to almost all the physical sciences, as is history to the moral. An historian should, if possible, be at once profoundly acquainted with ethics, politics, jurisprudence, the military art, theology; in a word, with all branches of knowledge, whereby any insight into human affairs, or into the moral and intellectual nature of man, can be obtained. It would be no less desirable that a geologist should be well versed in chemistry, natural philosophy, mineralogy, zoology, comparative anatomy, botany; in short, in every science relating to organic and inorganic nature. With these accomplishments the historian and geologist would rarely fail to draw correct and philosophical conclusions from the various monuments transmitted to them of former occurrences.
Principles of Geology (1830-3), Vol. 1, 2-3.
Geometry is founded in mechanical practice, and is nothing but that part of universal mechanics which accurately proposes and demonstrates the art of measuring.
In Principia (1687), Preface, translated by Andrew Motte (1729), in Florian Cajori (ed.), Sir Isaac Newton's Mathematical Principles of Natural Philosophy (1934), xvii.
Given one has before oneself a strong, healthy, youth rich in spirited blood and a powerless, weak, cachectic old man scarcely capable of breathing. If now the physician wishes to practise the rejuvenating art on the latter, he should make silver tubes which fit into each other: open then the artery of the healthy person and introduce one of the tubes into it and fasten it into the artery; thereupon he opens also the artery of the ill person...
[First detailed description of blood transfusion (1615)]
[First detailed description of blood transfusion (1615)]
In N.S.R. Maluf, 'History of Blood Transfusion', Journal of the History of Medicine and Allied Sciences (1954), 9, No. 1, 59.
God put a secret art into the forces of Nature so as to enable it to fashion itself out of chaos into a perfect world system.
Universal Natural History and Theory of the Heavens (1755), editted and translated by William Hastie in Kant's Cosmogony (1900), 27.
Goethe's devil is a cultivated personage and acquainted with the modern sciences; sneers at witchcraft and the black art even while employing them, and doubts most things, nay, half disbelieves even his own existence.
In James Wood, Dictionary of Quotations from Ancient and Modern, English and Foreign Sources (1893), 128:24.
Gold and iron at the present day, as in ancient times, are the rulers of the world; and the great events in the world of mineral art are not the discovery of new substances, but of new and rich localities of old ones.
Lecture (26 Npv 1851), to the London Society of Arts, 'The General Bearing of the Great Exhibition on the Progress of Art and Science', collected in Lectures on the Results of the Great Exhibition of 1851' (1852), 3.
Gradually, … the aspect of science as knowledge is being thrust into the background by the aspect of science as the power of manipulating nature. It is because science gives us the power of manipulating nature that it has more social importance than art. Science as the pursuit of truth is the equal, but not the superior, of art. Science as a technique, though it may have little intrinsic value, has a practical importance to which art cannot aspire.
In The Scientific Outlook (1931, 2009), xxiv.
Great innovations, whether in art or literature, in science or in nature, seldom take the world by storm. They must be understood before they can be estimated, and must be cultivated before they can be understood.
In Tertiary History of the Grand Cañon District: With Atlas (1882), 142.
Great science is an art.
In Leonard and Thelma Spinrad, Speaker's Lifetime Library (1979), 220.
Guided only by their feeling for symmetry, simplicity, and generality, and an indefinable sense of the fitness of things, creative mathematicians now, as in the past, are inspired by the art of mathematics rather than by any prospect of ultimate usefulness.
In The Queen of the Sciences (1938), 2.
Happy is he who bears a god within himself, an ideal of beauty, and obeys him: an ideal of art, an ideal of the virtues of the Gospel. These are the living springs of great thoughts and great actions. All are illuminated by reflections of the sublime.
Speech (27 Apr 1882) on his reception into the Académie Française, as translated in Maurice Benjamin Strauss, Familiar Medical Quotations (1968), 490.
He that desireth to acquire any art or science seeketh first those means by which that art or science is obtained.
In An Apology For the True Christian Divinity (1825), 15.
He who is ignorant of the art of arithmetic is but half a man.
As quoted in, without source, in John Holmes Agnew, 'Pleasures, Objects, and Advantages of Literature Indicated', The Eclectic Museum of Foreign Literature, Science and Art (Dec 1843), 499. Reprinted from Frazier’s Magazine. The quote alone is seen earlier, attributed to only “a writer of other times” in Ezra Sampson, The Brief Remarker on the Ways of Man (1818), 411.
He who posseses science and art, has religion; he who possesses neither science nor art, let him get religion.
Quoted in Miguel De Unamuno, Tragic Sense of Life (1913), translated by John Ernest Crawford Flitch (1954), 210.
He who would do good to another must do it in Minute Particulars: General Good is the plea of the scoundrel, hypocrite, and flatterer, For Art and Science cannot exist but in minutely organized particulars.
He who would do good to another must do it in Minute Particulars: General Good is the plea of the scoundrel, hypocrite, and flatterer, For Art and Science cannot exist but in minutely organized particulars.
Higher Mathematics is the art of reasoning about numerical relations between natural phenomena; and the several sections of Higher Mathematics are different modes of viewing these relations.
In Higher Mathematics for Students of Chemistry and Physics (1902), Prologue, xvii.
How can cosmic religious feeling be communicated from one person to another, if it can give rise to no definite notion of a God and no theology? In my view, it is the most important function of art and science to awaken this feeling and keep it alive in those who are receptive to it.
…...
How often people speak of art and science as though they were two entirely different things, with no interconnection. An artist is emotional, they think, and uses only his intuition; he sees all at once and has no need of reason. A scientist is cold, they think, and uses only his reason; he argues carefully step by step, and needs no imagination. That is all wrong. The true artist is quite rational as well as imaginative and knows what he is doing; if he does not, his art suffers. The true scientist is quite imaginative as well as rational, and sometimes leaps to solutions where reason can follow only slowly; if he does not, his science suffers.
'Prometheus.' The Roving Mind (1983), Chap 25.
Humanities are inseparable from human creations, whether these be philosophic, scientific, technical, or artistic and literary. They exist in everything to which men have imparted their virtues or vices, their joys or sufferings. There are blood and tears in geometry as well as in art, blood and tears but also innumerable joys, the purest that men can experience themselves or share with others.
In A History of Science: Hellenistic Science and Culture in the Last Three Centuries B.C. (1959), ix.
I agree with Schopenhauer that one of the most powerful motives that attracts people to science and art is the longing to escape from everyday life.
Quoted, without citation in Bulletin of the Atomic Scientists (Feb 1959), 85. If you know a primary source, please contact Webmaster.
I am interested in mathematics only as a creative art.
In A Mathematician’s Apology (1940, reprint with Foreward by C.P. Snow 1992), 115.
I believe with Schopenhauer that one of the strongest motives that lead men to art and science is escape from everyday life with its painful crudity and hopeless dreariness, from the fetters of one’s own ever shifting desires. A finely tempered nature longs to escape from personal life into the world of objective perception and thought; this desire may be compared with the townsman’s irresistible longing to escape from his noisy, cramped surroundings into the silence of high mountains, where the eye ranges freely through the still, pure air and fondly traces out the restful contours apparently built for eternity.
Address at The Physical Society, Berlin (1918) for Max Planck’s 60th birthday, 'Principles of Research', collected in Essays in Science (1934) 2.
I do ... humbly conceive (tho' some possibly may think there is too much notice taken of such a trivial thing as a rotten Shell, yet) that Men do generally rally too much slight and pass over without regard these Records of Antiquity which Nature have left as Monuments and Hieroglyphick Characters of preceding Transactions in the like duration or Transactions of the Body of the Earth, which are infinitely more evident and certain tokens than any thing of Antiquity that can be fetched out of Coins or Medals, or any other way yet known, since the best of those ways may be counterfeited or made by Art and Design, as may also Books, Manuscripts and Inscriptions, as all the Learned are now sufficiently satisfied, has often been actually practised; but those Characters are not to be Counterfeited by all the Craft in the World, nor can they be doubted to be, what they appear, by anyone that will impartially examine the true appearances of them: And tho' it must be granted, that it is very difficult to read them, and to raise a Chronology out of them, and to state the intervalls of the Times wherein such, or such Catastrophies and Mutations have happened; yet 'tis not impossible, but that, by the help of those joined to ' other means and assistances of Information, much may be done even in that part of Information also.
Lectures and Discourses of Earthquakes (1668). In The Posthumous Works of Robert Hooke, containing his Cutlerian Lectures and other Discourses read at the Meetings of the Illustrious Royal Society (1705), 411.
I do believe that a scientist is a freelance personality. We’re driven by an impulse which is one of curiosity, which is one of the basic instincts that a man has. So we are … driven … not by success, but by a sort of passion, namely the desire of understanding better, to possess, if you like, a bigger part of the truth. I do believe that science, for me, is very close to art.
From 'Asking Nature', collected in Lewis Wolpert and Alison Richards (eds.), Passionate Minds: The Inner World of Scientists (1997), 197.
I do not conceive of any manifestation of culture, of science, of art, as purposes in themselves. I think the purpose of science and culture is man.
In G. Barry Golson (ed.) The Playboy Interview (1981), 254.
I have indeed lived and worked to my taste either in art or science. What more could a man desire? Knowledge has always been my goal. There is much that I shall leave behind undone…but something at least I was privileged to leave for the world to use, if it so intends…As the Latin poet said I will leave the table of the living like a guest who has eaten his fill. Yes, if I had another life to spend, I certainly would not waste it. But that cannot be, so why complain?
Letter to R. C. Craw, quoted in Tuatara (1984) Vol. 27 (1): 5-7
I have never looked upon ease and happiness as ends in themselves–this critical basis I call the ideal of a pigsty. The ideals that have lighted my way, and time after time have given me new courage to face life cheerfully, have been Kindness, Beauty, and Truth. Without the sense of kinship with men of like mind, without the occupation with the objective world, the eternally unattainable in the field of art and scientific endeavors, life would have seemed empty to me. The trite objects of human efforts–possessions, outward success, luxury–have always seemed to me contemptible.
In 'What I Believe,' Forum and Century (1930).
I have no patience with the doctrine of “pure science,”—that science is science only as it is uncontaminated by application in the arts of life: and I have no patience with the spirit that considers a piece of work to be legitimate only as it has direct bearing on the arts and affairs of men. We must discover all things that are discoverable and make a record of it: the application will take care of itself.
In 'The Survey Idea in Country Life', collected in John Phelan, Readings in Rural Sociology (1920), 480.
I have no right to consider anything a work of art to which I cannot react emotionally; and I have no right to look for the essential quality in anything that I have not felt to be a work of art.
In Art (1913), 9.
I imagined in the beginning, that a few experiments would determine the problem; but experience soon convinced me, that a very great number indeed were necessary before such an art could be brought to any tolerable degree of perfection.
Upon pursuing the ''
Upon pursuing the ''
Preface to An Essay on Combustion with a View to a New Art of Dyeing and Painting (1794), iii. In Marilyn Bailey Ogilvie and Joy Dorothy Harvey, The Biographical Dictionary of Women in Science (2000), 478.
I know with sure and certain knowledge that a man’s work is nothing but this slow trek to rediscover, through the detours of art, those two or three great and simple images in whose presence his heart first opened.
In Lyrical and Critical Essays (1967), 14.
I like to look at mathematics almost more as an art than as a science; for the activity of the mathematician, constantly creating as he is, guided though not controlled by the external world of the senses, bears a resemblance, not fanciful I believe but real, to the activity of an artist, of a painter let us say. Rigorous deductive reasoning on the part of the mathematician may be likened here to technical skill in drawing on the part of the painter. Just as no one can become a good painter without a certain amount of skill, so no one can become a mathematician without the power to reason accurately up to a certain point. Yet these qualities, fundamental though they are, do not make a painter or mathematician worthy of the name, nor indeed are they the most important factors in the case. Other qualities of a far more subtle sort, chief among which in both cases is imagination, go to the making of a good artist or good mathematician.
From 'Fundamental Conceptions and Methods in Mathematics', Bulletin American Mathematical Society (1904), 9, 133. As cited in Robert Édouard Moritz, Memorabilia Mathematica; Or, The Philomath’s Quotation-Book (1914), 182.
I read … that geometry is the art of making no mistakes in long calculations. I think that this is an underestimation of geometry. Our brain has two halves: one is responsible for the multiplication of polynomials and languages, and the other half is responsible for orientation of figures in space and all the things important in real life. Mathematics is geometry when you have to use both halves.
In S.H. Lui, 'An Interview with Vladimir Arnol’d', Notices of the AMS (Apr 1997) 44, No. 4, 438. Reprinted from the Hong Kong Mathematics Society (Feb 1996).
I think a strong claim can be made that the process of scientific discovery may be regarded as a form of art. This is best seen in the theoretical aspects of Physical Science. The mathematical theorist builds up on certain assumptions and according to well understood logical rules, step by step, a stately edifice, while his imaginative power brings out clearly the hidden relations between its parts. A well constructed theory is in some respects undoubtedly an artistic production. A fine example is the famous Kinetic Theory of Maxwell. ... The theory of relativity by Einstein, quite apart from any question of its validity, cannot but be regarded as a magnificent work of art.
Responding to the toast, 'Science!' at the Royal Academy of the Arts in 1932.)
Responding to the toast, 'Science!' at the Royal Academy of the Arts in 1932.)
Quoted in Lawrence Badash, 'Ernest Rutherford and Theoretical Physics,' in Robert Kargon and Peter Achinstein (eds.) Kelvin's Baltimore Lectures and Modern Theoretical Physics: Historical and Philosophical Perspectives (1987), 352.
I think, considering what they have had to fight against, that women have been wonderful. I see no end to their development in science, as in the arts and professions and in business, if they have the will to work.
In Genevieve Parkhurst, 'Dr. Sabin, Scientist: Winner Of Pictorial Review’s Achievement Award', Pictorial Review (Jan 1930), 71.
I venture to maintain, that, if the general culture obtained in the Faculty of Arts were what it ought to be, the student would have quite as much knowledge of the fundamental principles of Physics, of Chemistry, and of Biology, as he needs, before he commenced his special medical studies. Moreover, I would urge, that a thorough study of Human Physiology is, in itself, an education broader and more comprehensive than much that passes under that name. There is no side of the intellect which it does not call into play, no region of human knowledge into which either its roots, or its branches, do not extend; like the Atlantic between the Old and the New Worlds, its waves wash the shores of the two worlds of matter and of mind; its tributary streams flow from both; through its waters, as yet unfurrowed by the keel of any Columbus, lies the road, if such there be, from the one to the other; far away from that Northwest Passage of mere speculation, in which so many brave souls have been hopelessly frozen up.
'Universities: Actual and Ideal' (1874). In Collected Essays (1893), Vol. 3, 220.
I was reading in an article on Bizet not long ago that music has ceased to be an art and has become a science—in which event it must have a mathematical future!
In letter to H.E. Krehbiel (1887), collected in Elizabeth Bisland The Writings of Lafcadio Hearn (1922), Vol. 14, 8.
I wept when I saw the color of the sea—how can a mere color make one cry? Or moonlight, or the luminescence of the sea in a pitch black night? … But if there is one thing which is more worthy of our admiration than natural beauty, it is the art of men who have conquered this never-ending sea so Fully in a struggle that has been going since the time of the Phoenicians.
In an article 'Voyage of a German Professor to Eldorado' describing his summer 1905 travels for a series of lectures at Berkeley in America. As quoted in, George Greenstein, 'The Bulldog: A Profile of Ludwig Boltzmann', The American Scholar (1 Jan 1999), 102.
I will be moving through the book as if on a train looking out at the beautiful landscape of the Arts.
An opinion posted on yougov.com (13 Jan 2017) describing reading a novel set after the Russian Revolution with much historical background, stimulating the reader’s interest on the literature, painting and performing arts of the time.
I would have you to observe that the difficulty & mystery which often appear in matters of science & learning are only owing to the terms of art used in them, & if many gentlemen had not been rebuted by the uncouth dress in which science was offered to them, we must believe that many of these who now shew an acute & sound judgement in the affairs of life would also in science have excelled many of those who are devoted to it & who were engaged in it only by necessity & a phlegmatic temper. This is particularly the case with respect to chemistry, which is as easy to be comprehended as any of the common affairs of life, but gentlemen have been kept from applying to it by the jargon in which it has been industriously involved.
Cullen MSS, No. 23, Glasgow University library. In A. L. Donovan, Philosophical Chemistry In the Scottish Enlightenment: The Doctrines and Discoveries of Wllliam Cullen and Joseph Black (1975), 111.
I would not want to generalize to the extent that adversity is the only road to effective innovative science, or art, but the progress of science is often spectacularly disorderly. James Joyce once commented that he survived by “cunning and exile”.
In 'Homo Scientificus According to Beckett', collected in William Beranek, Jr. (ed.),Science, Scientists, and Society, (1972), 135-. Excerpted in Ann E. Kammer, Science, Sex, and Society (1979), 278.
If any layman were to ask a number of archaeologists to give, on the spur of the moment, a definition of archaeology, I suspect that such a person might find the answers rather confusing. He would, perhaps, sympathize with Socrates who, when he hoped to learn from the poets and artisans something about the arts they practised, was forced to go away with the conviction that, though they might themselves be able to accomplish something, they certainly could give no clear account to others of what they were trying to do.
Opening statement in lecture at Columbia University (8 Jan 1908), 'Archaeology'. Published by the Columbia University Press (1908).
If it were always necessary to reduce everything to intuitive knowledge, demonstration would often be insufferably prolix. This is why mathematicians have had the cleverness to divide the difficulties and to demonstrate separately the intervening propositions. And there is art also in this; for as the mediate truths (which are called lemmas, since they appear to be a digression) may be assigned in many ways, it is well, in order to aid the understanding and memory, to choose of them those which greatly shorten the process, and appear memorable and worthy in themselves of being demonstrated. But there is another obstacle, viz.: that it is not easy to demonstrate all the axioms, and to reduce demonstrations wholly to intuitive knowledge. And if we had chosen to wait for that, perhaps we should not yet have the science of geometry.
In Gottfried Wilhelm Leibnitz and Alfred Gideon Langley (trans.), New Essays Concerning Human Understanding (1896), 413-414.
If it were customary to send daughters to school like sons, and if they were then taught the natural sciences, they would learn as thoroughly and understand the subtleties of all the arts and sciences as well as sons. And by chance there happen to be such women, for, as I touched on before, just as women have more delicate bodies than men, weaker and less able to perform many tasks, so do they have minds that are freer and sharper whenever they apply themselves.
The Book of the City of Ladies (1405), part 1, section 27. Trans. Earl Jeffrey Richards (1982), 63.
If mankind is to profit freely from the small and sporadic crop of the heroically gifted it produces, it will have to cultivate the delicate art of handling ideas. Psychology is now able to tell us with reasonable assurance that the most influential obstacle to freedom of thought and to new ideas is fear; and fear which can with inimitable art disguise itself as caution, or sanity, or reasoned skepticism, or on occasion even as courage.
'The Commemoration of Great Men', Hunterian Oration, Royal College of Surgeons (15 Feb 1952) British Medical Journal (20 Feb 1932), 1, 317-20. The Collected Papers of Wilfred Trotter, FRS (1941), 30.
If politics is the art of the possible, research is surely the art of the soluble. Both are immensely practical-minded affairs.
In 'The Act of Creation', a book review (of Arthur Koestler’s book, The Act of Creation) in New Statesman (19 Jun 1964). Collected in The Strange Case of the Spotted Mice and Other Classic Essays on Science (1996), 42. Also collected in Medawar’s The Art of the Soluble: Creativity and Originality in Science (1967), 7.
If someone separated the art of counting and measuring and weighing from all the other arts, what was left of each (of the others) would be, so to speak, insignificant.
— Plato
Philebus 55e. Trans. R. W. Sharples.
If the love of surgery is a proof of a person’s being adapted for it, then certainly I am fitted to he a surgeon; for thou can’st hardly conceive what a high degree of enjoyment I am from day to day experiencing in this bloody and butchering department of the healing art. I am more and more delighted with my profession.
Letter to his father (1853). In John Vaughan, 'Lord Lister', The Living Age (1918), 297, 361. Reprinted from The Fortnightly Review (1918), 109, 417- .
If thou art able, O stranger, to find out all these things and gather them together in your mind, giving all the relations, thou shalt depart crowned with glory and knowing that thou hast been adjudged perfect in this species of wisdom.
From a letter to Eratosthenes, the chief librarian at Alexandria, containing the Cattle Problem, an exceedingly difficult calculation involving huge numbers (which was not solved exactly until the use of a supercomputer in 1981). In David J. Darling, The Universal Book of Mathematics (2004), 23. The debate by scholars regarding whether Archimedes is the true author is in T. L. Heath (ed.), The Works of Archimedes (1897), xxxiv.
If two masters of the same art differ in their statement of it, in all likelihood the insoluble problem lies midway between them.
In The Maxims and Reflections of Goethe (1906), 186.
If Watson and I had not discovered the [DNA] structure, instead of being revealed with a flourish it would have trickled out and that its impact would have been far less. For this sort of reason Stent had argued that a scientific discovery is more akin to a work of art than is generally admitted. Style, he argues, is as important as content. I am not completely convinced by this argument, at least in this case.
What Mad Pursuit (1990), 76.
If we view mathematical speculations with reference to their use, it appears that they should be divided into two classes. To the first belong those which furnish some marked advantage either to common life or to some art, and the value of such is usually determined by the magnitude of this advantage. The other class embraces those speculations which, though offering no direct advantage, are nevertheless valuable in that they extend the boundaries of analysis and increase our resources and skill. Now since many investigations, from which great advantage may be expected, must be abandoned solely because of the imperfection of analysis, no small value should be assigned to those speculations which promise to enlarge the field of anaylsis.
In Novi Comm. Petr., Vol. 4, Preface.
If you ask ... the man in the street ... the human significance of mathematics, the answer of the world will be, that mathematics has given mankind a metrical and computatory art essential to the effective conduct of daily life, that mathematics admits of countless applications in engineering and the natural sciences, and finally that mathematics is a most excellent instrumentality for giving mental discipline... [A mathematician will add] that mathematics is the exact science, the science of exact thought or of rigorous thinking.
Address (28 Mar 1912), Michigan School Masters' Club, Ann Arbor, 'The Humanization of the Teaching of Mathematics. Printed in Science (26 Apr 1912). Collected in The Human Worth of Rigorous Thinking: Essays and Addresses (1916), 65-66.
If you want to do big things, you’ve got to have big ideas … And not much is bigger than a whale.
Explaining his artist’s passion to paint, throughout the world, numerous huge murals showcasing whales. As quoted in M.J. Prest, 'Ocean View: The Face of Philanthropy', Chronicle of Philanthropy (28 Oct 2004), 17, No. 2.
Improvements in industry can be left to chance in the hope that someone, sometime, will think of something useful. that some good invention will show up. The other way is to organize so that new knowledge shall always be coming from the researches in the fundamental sciences and engineering arts on which business is based. From that steady stream will arise inventions and new methods. This is the way of Bell Laboratories.
From a Bell Telephone System advertisement, 'The Search That Never Ends', placed, for example, in Life Magazine (17 Jan 1944), 33.
In a purely technical sense, each species of higher organism—beetle, moss, and so forth, is richer in information than a Caravaggio painting, Mozart symphony, or any other great work of art. Consider the typical case of the house mouse, Mus musculus. Each of its cells contains four strings of DNA, each of which comprises about a billion nucleotide pairs organized into a hundred thousand structural nucleotide pairs, organized into a hundred thousand structural genes. … The full information therein, if translated into ordinary-sized printed letters, would just about fill all 15 editions of the Encyclopaedia Britannica published since 1768.
'The Biological Diversity Crisis: A Challenge to Science', Issues in Science and Technology (Fall 1985), 2:1, 22. Reprinted in Nature Revealed: Selected Writings, 1949-2006 (2006), 622.
In all spheres of science, art, skill, and handicraft it is never doubted that, in order to master them, a considerable amount of trouble must be spent in learning and in being trained. As regards philosophy, on the contrary, there seems still an assumption prevalent that, though every one with eyes and fingers is not on that account in a position to make shoes if he only has leather and a last, yet everybody understands how to philosophize straight away, and pass judgment on philosophy, simply because he possesses the criterion for doing so in his natural reason.
From Phänomenologie des Geistes (1807) as translated by J.B. Baillie in 'Preface', The Phenomenology of Mind (1910), Vol. 1, 67.
In early times, medicine was an art, which took its place at the side of poetry and painting; to-day, they try to make a science of it, placing it beside mathematics, astronomy, and physics.
In Armand Trousseau and John Rose Cormack (trans.), Lectures on Clinical Medicine: Delivered at the Hôtel-Dieu, Paris (1869), Vol. 2, 40.
In general, art has preceded science. Men have executed great, and curious, and beautiful works before they had a scientific insight into the principles on which the success of their labours was founded. There were good artificers in brass and iron before the principles of the chemistry of metals were known; there was wine among men before there was a philosophy of vinous fermentation; there were mighty masses raised into the air, cyclopean walls and cromlechs, obelisks and pyramids—probably gigantic Doric pillars and entablatures—before there was a theory of the mechanical powers. … Art was the mother of Science.
Lecture (26 Nov 1851), to the London Society of Arts, 'The General Bearing of the Great Exhibition on the Progress of Art and Science', collected in Lectures on the Results of the Great Exhibition of 1851' (1852), 7-8.
In my opinion the English excel in the art of writing text-books for mathematical teaching; as regards the clear exposition of theories and the abundance of excellent examples, carefully selected, very few books exist in other countries which can compete with those of Salmon and many other distinguished English authors that could be named.
In Projective Geometry (1886), Preface.
In my work on Fossil Bones, I set myself the task of recognizing to which animals the fossilized remains which fill the surface strata of the earth belong. ... As a new sort of antiquarian, I had to learn to restore these memorials to past upheavals and, at the same time, to decipher their meaning. I had to collect and put together in their original order the fragments which made up these animals, to reconstruct the ancient creatures to which these fragments belonged, to create them once more with their proportions and characteristics, and finally to compare them to those alive today on the surface of the earth. This was an almost unknown art, which assumed a science hardly touched upon up until now, that of the laws which govern the coexistence of forms
of the various parts in organic beings.
Discours sur les révolutions du globe, (Discourse on the Revolutions of the Surface of the Globe), originally the introduction to Recherches sur les ossemens fossiles des quadrupèdes (1812). Translated by Ian Johnston from the 1825 edition. Online at Vancouver Island University website.
In our time this search [for extraterrestrial life] will eventually change our laws, our religions, our philosophies, our arts, our recreations, as well as our sciences. Space, the mirror, waits for life to come look for itself there.
…...
In primitive art you will find no accurate representation: you will find only significant form. Yet no other art moves us so profoundly.
In Art (1913), 22.
In pure mathematics we have a great structure of logically perfect deductions which constitutes an integral part of that great and enduring human heritage which is and should be largely independent of the perhaps temporary existence of any particular geographical location at any particular time. … The enduring value of mathematics, like that of the other sciences and arts, far transcends the daily flux of a changing world. In fact, the apparent stability of mathematics may well be one of the reasons for its attractiveness and for the respect accorded it.
In Fundamentals of Mathematics (1941), 463.
In reality, I have sometimes thought that we do not go on sufficiently slowly in the removal of diseases, and that it would he better if we proceeded with less haste, and if more were often left, to Nature than is the practice now-a-days. It is a great mistake to suppose that Nature always stands in need of the assistance of Art. If that were the case, site would have made less provision for the safety of mankind than the preservation of the species demands; seeing that there is not the least proportion between the host of existing diseases and the powers possessed by man for their removal, even in those ages wherein the healing art was at the highest pitch, and most extensively cultivated.
As quoted by Gavin Milroy in 'On the Writings of Sydenham', The Lancet (14 Nov 1846), 524.
In science men have discovered an activity of the very highest value in which they are no longer, as in art, dependent for progress upon the appearance of continually greater genius, for in science the successors stand upon the shoulders of their predecessors; where one man of supreme genius has invented a method, a thousand lesser men can apply it. … In art nothing worth doing can be done without genius; in science even a very moderate capacity can contribute to a supreme achievement.
Essay, 'The Place Of Science In A Liberal Education.' In Mysticism and Logic: and Other Essays (1919), 41.
In Science the paramount appeal is to the Intellect—its purpose being instruction; in Art, the paramount appeal is to the Emotions—its purpose being pleasure.
In The Principles of Success in Literature (1901), 63.
In science, as in art, and, as I believe, in every other sphere of human activity, there may be wisdom in a multitude of counsellors, but it is only in one or two of them. And in scientific inquiry, at any rate, it is to that one or two that we must look for light and guidance.
'The Progress of Science'. Collected essays (1898), Vol. 1, 57.
In scientific matters ... the greatest discoverer differs from the most arduous imitator and apprentice only in degree, whereas he differs in kind from someone whom nature has endowed for fine art. But saying this does not disparage those great men to whom the human race owes so much in contrast to those whom nature has endowed for fine art. For the scientists' talent lies in continuing to increase the perfection of our cognitions and on all the dependent benefits, as well as in imparting that same knowledge to others; and in these respects they are far superior to those who merit the honour of being called geniuses. For the latter's art stops at some point, because a boundary is set for it beyond which it cannot go and which has probably long since been reached and cannot be extended further.
The Critique of Judgement (1790), trans. J. C. Meredith (1991), 72.
In the arts of life main invents nothing; but in the arts of death he outdoes Nature herself, and produces by chemistry and machinery all the slaughter of plague, pestilence and famine. … There is nothing in Man's industrial machinery but his greed and sloth: his heart is in his weapons.
Play, Man and Superman: A Comedy and a Philosophy (1903)
In the past, history has been devoted chiefly to the exploits of heroes and the story of wars; but history is now being speedily reorganized and rewritten upon a scientific basis, to exhibit the growth of culture in all its grand departments. History itself is now a science, and is no longer an art in which men exploit in rhetorical paragraphs.
From address (1 Oct 1884), at inauguration of the Corcoran School of Science and Arts, Columbian University, Washington, D.C. Published in 'The Larger Import of Scientific Education', Popular Science Monthly (Feb 1885), 26, 454.
In the world’s history certain inventions and discoveries occurred of peculiar value, on account of their great efficiency in facilitating all other inventions and discoveries. Of these were the art of writing and of printing, the discovery of America, and the introduction of patent laws. The date of the first … is unknown; but it certainly was as much as fifteen hundred years before the Christian era; the second—printing—came in 1436, or nearly three thousand years after the first. The others followed more rapidly—the discovery of America in 1492, and the first patent laws in 1624.
Lecture 'Discoveries, Inventions and Improvements' (22 Feb 1860) in John George Nicolay and John Hay (eds.), Complete Works of Abraham Lincoln (1894), Vol. 5, 109-10.
In this world [of art] the emotions of life find no place.
In Art (1913), 27.
Indeed the modern developments of mathematics constitute not only one of the most impressive, but one of the most characteristic, phenomena of our age. It is a phenomenon, however, of which the boasted intelligence of a “universalized” daily press seems strangely unaware; and there is no other great human interest, whether of science or of art, regarding which the mind of the educated public is permitted to hold so many fallacious opinions and inferior estimates.
In Lectures on Science, Philosophy and Arts (1908), 8.
Indeed, we need not look back half a century to times which many now living remember well, and see the wonderful advances in the sciences and arts which have been made within that period. Some of these have rendered the elements themselves subservient to the purposes of man, have harnessed them to the yoke of his labors and effected the great blessings of moderating his own, of accomplishing what was beyond his feeble force, and extending the comforts of life to a much enlarged circle, to those who had before known its necessaries only.
From paper 'Report of the Commissioners Appointed to Fix the Site of the University of Virginia' (Dec 1818), reprinted in Annual Report of the Board of Visitors of the University of Virginia for the Fiscal Year Ending May 31, 1879 (1879), 10. Collected in Commonwealth of Virginia, Annual Reports of Officers, Boards, and Institutions of the Commonwealth of Virginia, for the Year Ending September 30, 1879 (1879).
Industry is best at the intersection of science and art.
In Alan R. Earls and Nasrin Rohani, Polaroid (2005), 20.
Inspiration in the field of science by no means plays any greater role, as academic conceit fancies, than it does in the field of mastering problems of practical life by a modern entrepreneur. On the other hand, and this also is often misconstrued, inspiration plays no less a role in science than it does in the realm of art.
From a Speech (1918) presented at Munich University, published in 1919, and collected in 'Wissenschaft als Beruf', Gessammelte Aufsätze zur Wissenschaftslehre (1922), 524-525. As given in H.H. Gerth and C. Wright-Mills (translators and eds.), 'Science as a Vocation', Max Weber: Essays in Sociology (1946), 136.
Inspiration plays no less a role in science than it does in the realm of art. It is a childish notion to think that a mathematician attains any scientifically valuable results by sitting at his desk with a ruler, calculating machines or other mechanical means. The mathematical imagination of a Weierstrass is naturally quite differently oriented in meaning and result than is the imagination of an artist, and differs basically in quality. But the psychological processes do not differ. Both are frenzy (in the sense of Plato’s “mania”) and “inspiration.”
From a Speech (1918) presented at Munich University, published in 1919, and collected in 'Wissenschaft als Beruf', Gessammelte Aufsätze zur Wissenschaftslehre (1922), 524-525. As given in H.H. Gerth and C. Wright-Mills (translators and eds.), 'Science as a Vocation', Max Weber: Essays in Sociology (1946), 136.
Inventions and discoveries are of two kinds. The one which we owe to chance, such as those of the mariner’s compass, gunpowder, and in general almost all the discoveries we have made in the arts. The other which we owe to genius: and here we ought to understand by the word discovery, a new combination, or a new relation perceived between certain objects or ideas. A person obtains the title of a man of genius, if the ideas which result from this combination form one grand whole, are fruitful in truths, and are of importance with respect to mankind.
From the original French, “Les inventions ou les découvertes sont de deux espèces. Il en est que nous devons au hazard; telles sont la boussole, la poudre à canon, & généralement presque toutes les découvertes que nous avons faites dans les arts. Il en est d'autres que nous devons au génie: &, par ce mot de découverte, on doit alors entendre une nouvelle combinaison, un rapport nouveau aperçu entre certains objets ou certaines idées. On obtient le titre d'homme de génie, si les idées qui résultent de ce rapport forment un grand ensemble, sont fécondes en vérités & intéressantes pour l'humanité,” in 'Du Génie', L’Esprit (1758), Discourse 4, 476. English version from Claude Adrien Helvétius and William Mudford (trans.), 'Of Genius', De l’Esprit or, Essays on the Mind and its several Faculties (1759), Essay 4, Chap. 1, 241-242.
IODINE
It was Courtois discover'd Iodine
(In the commencement of this century),
Which, with its sisters, bromine and chlorine,
Enjoys a common parentage - the sea;
Although sometimes 'tis found, with other things,
In minerals and many saline springs.
But yet the quantity is so minute
In the great ocean, that a chemist might,
With sensibilities the most acute,
Have never brought this element to light,
Had he not thought it were as well to try
Where ocean's treasures concentrated lie.
And Courtois found that several plants marine,
Sponges, et cetera, exercise the art
Of drawing from the sea its iodine
In quantities sufficient to impart
Its properties; and he devised a plan
Of bringing it before us - clever man!
It was Courtois discover'd Iodine
(In the commencement of this century),
Which, with its sisters, bromine and chlorine,
Enjoys a common parentage - the sea;
Although sometimes 'tis found, with other things,
In minerals and many saline springs.
But yet the quantity is so minute
In the great ocean, that a chemist might,
With sensibilities the most acute,
Have never brought this element to light,
Had he not thought it were as well to try
Where ocean's treasures concentrated lie.
And Courtois found that several plants marine,
Sponges, et cetera, exercise the art
Of drawing from the sea its iodine
In quantities sufficient to impart
Its properties; and he devised a plan
Of bringing it before us - clever man!
Discursive Chemical Notes in Rhyme (1876) by the Author of the Chemical Review, a B.
It [mathematics] is in the inner world of pure thought, where all entia dwell, where is every type of order and manner of correlation and variety of relationship, it is in this infinite ensemble of eternal verities whence, if there be one cosmos or many of them, each derives its character and mode of being,—it is there that the spirit of mathesis has its home and its life.
Is it a restricted home, a narrow life, static and cold and grey with logic, without artistic interest, devoid of emotion and mood and sentiment? That world, it is true, is not a world of solar light, not clad in the colours that liven and glorify the things of sense, but it is an illuminated world, and over it all and everywhere throughout are hues and tints transcending sense, painted there by radiant pencils of psychic light, the light in which it lies. It is a silent world, and, nevertheless, in respect to the highest principle of art—the interpenetration of content and form, the perfect fusion of mode and meaning—it even surpasses music. In a sense, it is a static world, but so, too, are the worlds of the sculptor and the architect. The figures, however, which reason constructs and the mathematic vision beholds, transcend the temple and the statue, alike in simplicity and in intricacy, in delicacy and in grace, in symmetry and in poise. Not only are this home and this life thus rich in aesthetic interests, really controlled and sustained by motives of a sublimed and supersensuous art, but the religious aspiration, too, finds there, especially in the beautiful doctrine of invariants, the most perfect symbols of what it seeks—the changeless in the midst of change, abiding things hi a world of flux, configurations that remain the same despite the swirl and stress of countless hosts of curious transformations.
Is it a restricted home, a narrow life, static and cold and grey with logic, without artistic interest, devoid of emotion and mood and sentiment? That world, it is true, is not a world of solar light, not clad in the colours that liven and glorify the things of sense, but it is an illuminated world, and over it all and everywhere throughout are hues and tints transcending sense, painted there by radiant pencils of psychic light, the light in which it lies. It is a silent world, and, nevertheless, in respect to the highest principle of art—the interpenetration of content and form, the perfect fusion of mode and meaning—it even surpasses music. In a sense, it is a static world, but so, too, are the worlds of the sculptor and the architect. The figures, however, which reason constructs and the mathematic vision beholds, transcend the temple and the statue, alike in simplicity and in intricacy, in delicacy and in grace, in symmetry and in poise. Not only are this home and this life thus rich in aesthetic interests, really controlled and sustained by motives of a sublimed and supersensuous art, but the religious aspiration, too, finds there, especially in the beautiful doctrine of invariants, the most perfect symbols of what it seeks—the changeless in the midst of change, abiding things hi a world of flux, configurations that remain the same despite the swirl and stress of countless hosts of curious transformations.
In 'The Universe and Beyond', Hibbert Journal (1904-1906), 3, 314.
It amounts to a truism to say that progress in the practical arts of medicine in any of its branches, whether preventive or curative, only comes from the growth of accurate knowledge as it accumulates in the laboratories and studies of the various sciences.
From Norman Lockyer Lecture delivered before the British Science Guild (19 Nov 1929), 'Medical Research: The Tree and the Fruit', in The British Medical Journal (30 Nov 1929), Vol. 2, No. 3595, 995.
It be urged that the wild and uncultivated tree, hitherto yielding sour and bitter fruit only, can never be made to yield better; yet we know that the grafting art implants a new tree on the savage stock, producing what is most estimable in kind and degree. Education, in like manner, engrafts a new man on the native stock, and improves what in his nature was vicious and perverse into qualities of virtue and social worth.
From paper 'Report of the Commissioners Appointed to Fix the Site of the University of Virginia', included in Annual Report of the Board of Visitors of the University of Virginia for the Fiscal Year Ending May 31, 1879 (1879), 10. Collected in Commonwealth of Virginia, Annual Reports of Officers, Boards, and Institutions of the Commonwealth of Virginia, for the Year Ending September 30, 1879 (1879).
It is a melancholy experience for a professional mathematician to find him writing about mathematics. The function of a mathematician is to do something, to prove new theorems, to add to mathematics, and not to talk about what he or other mathematicians have done. Statesmen despise publicists, painters despise art-critics, and physiologists, physicists, or mathematicians have usually similar feelings; there is no scorn more profound, or on the whole more justifiable, than that of men who make for the men who explain. Exposition, criticism, appreciation, is work for second-rate minds.
In A Mathematician's Apology (1940, reprint with Foreward by C.P. Snow 1992), 61 (Hardy's opening lines after Snow's foreward).
It is a strange feeling which comes over one as he stands in the centre of the tunnel, and knows that a mighty river is rolling on over his head, and that great ships with their thousands of tons burthen, sail over him. ... There is no single work of Art in London (with the exception of St. Paul's Cathedral) which excites so much curiosity and admiration among foreigners as the Tunnel. Great buildings are common to all parts of Europe, but the world has not such another Tunnel as this. There is something grand in the idea of walking under a broad river—making a pathway dry and secure beneath ships and navies!
[About visiting Brunel's Thames Tunnel, the first in the world under a navigable waterway.]
[About visiting Brunel's Thames Tunnel, the first in the world under a navigable waterway.]
What I Saw in London: or, Men and Things in the Great Metropolis (1853), 168-169.
It is above all the duty of the methodical text-book to adapt itself to the pupil’s power of comprehension, only challenging his higher efforts with the increasing development of his imagination, his logical power and the ability of abstraction. This indeed constitutes a test of the art of teaching, it is here where pedagogic tact becomes manifest. In reference to the axioms, caution is necessary. It should be pointed out comparatively early, in how far the mathematical body differs from the material body. Furthermore, since mathematical bodies are really portions of space, this space is to be conceived as mathematical space and to be clearly distinguished from real or physical space. Gradually the student will become conscious that the portion of the real space which lies beyond the visible stellar universe is not cognizable through the senses, that we know nothing of its properties and consequently have no basis for judgments concerning it. Mathematical space, on the other hand, may be subjected to conditions, for instance, we may condition its properties at infinity, and these conditions constitute the axioms, say the Euclidean axioms. But every student will require years before the conviction of the truth of this last statement will force itself upon him.
In Methodisches Lehrbuch der Elementar-Mathemalik (1904), Teil I, Vorwort, 4-5.
It is admitted by all that a finished or even a competent reasoner is not the work of nature alone; the experience of every day makes it evident that education develops faculties which would otherwise never have manifested their existence. It is, therefore, as necessary to learn to reason before we can expect to be able to reason, as it is to learn to swim or fence, in order to attain either of those arts. Now, something must be reasoned upon, it matters not much what it is, provided it can be reasoned upon with certainty. The properties of mind or matter, or the study of languages, mathematics, or natural history, may be chosen for this purpose. Now of all these, it is desirable to choose the one which admits of the reasoning being verified, that is, in which we can find out by other means, such as measurement and ocular demonstration of all sorts, whether the results are true or not. When the guiding property of the loadstone was first ascertained, and it was necessary to learn how to use this new discovery, and to find out how far it might be relied on, it would have been thought advisable to make many passages between ports that were well known before attempting a voyage of discovery. So it is with our reasoning faculties: it is desirable that their powers should be exerted upon objects of such a nature, that we can tell by other means whether the results which we obtain are true or false, and this before it is safe to trust entirely to reason. Now the mathematics are peculiarly well adapted for this purpose, on the following grounds:
1. Every term is distinctly explained, and has but one meaning, and it is rarely that two words are employed to mean the same thing.
2. The first principles are self-evident, and, though derived from observation, do not require more of it than has been made by children in general.
3. The demonstration is strictly logical, taking nothing for granted except self-evident first principles, resting nothing upon probability, and entirely independent of authority and opinion.
4. When the conclusion is obtained by reasoning, its truth or falsehood can be ascertained, in geometry by actual measurement, in algebra by common arithmetical calculation. This gives confidence, and is absolutely necessary, if, as was said before, reason is not to be the instructor, but the pupil.
5. There are no words whose meanings are so much alike that the ideas which they stand for may be confounded. Between the meaning of terms there is no distinction, except a total distinction, and all adjectives and adverbs expressing difference of degrees are avoided.
1. Every term is distinctly explained, and has but one meaning, and it is rarely that two words are employed to mean the same thing.
2. The first principles are self-evident, and, though derived from observation, do not require more of it than has been made by children in general.
3. The demonstration is strictly logical, taking nothing for granted except self-evident first principles, resting nothing upon probability, and entirely independent of authority and opinion.
4. When the conclusion is obtained by reasoning, its truth or falsehood can be ascertained, in geometry by actual measurement, in algebra by common arithmetical calculation. This gives confidence, and is absolutely necessary, if, as was said before, reason is not to be the instructor, but the pupil.
5. There are no words whose meanings are so much alike that the ideas which they stand for may be confounded. Between the meaning of terms there is no distinction, except a total distinction, and all adjectives and adverbs expressing difference of degrees are avoided.
In On the Study and Difficulties of Mathematics (1898), chap. 1.