Another error is an impatience of doubt and haste to assertion without due and mature suspension of judgment. For the two ways of contemplation are not unlike the two ways of action commonly spoken of by the ancients; the one plain and smooth in the beginning, and in the end impassable; the other rough and troublesome in the entrance, but after a while fair and even. So it is in contemplation; if a man will begin with certainties, he shall end in doubts; but if he will be content to begin with doubts, he shall end in certainties.
But the greatest error of all the rest is the mistaking or misplacing of the last or farthest end of knowledge: for men have entered into a desire of learning and knowledge, sometimes upon a natural curiosity and inquisitive appetite; sometimes to entertain their minds with variety and delight; sometimes for ornament and reputation; and sometimes to enable them to victory of wit and contradiction; and most times for lucre and profession; and seldom sincerely to give a true account of their gift of reason, to the benefit and use of men.
Moreover, the works already known are due to chance and experiment rather than to sciences; for the sciences we now possess are merely systems for the nice ordering and setting forth of things already invented; not methods of invention or directions for new works.
In every great time there is some one idea at work which is more powerful than any other, and which shapes the events of the time and determines their ultimate issues.
If you want to convey fact, this can only ever be done through a form of distortion. You must distort to transform what is called appearance into image.
A picture should be a re-creation of an event rather than an illustration of an object; but there is no tension in the picture unless there is a struggle with the object.