I think that one of the things is that, if you are going to decide to be a painter, you have got to decide that you are not going to be afraid of making a fool of yourself. I think another thing is to be able to find subjects which really absorb you to try and do. I feel that without a subject you automatically go back into decoration because you haven't got the subject which is always eating into you to bring it back - and the greatest art always returns you to the vulnerability of the human situation.
A principal fruit of friendship, is the ease and discharge of the fullness and swellings of the heart, which passions of all kinds do cause and induce.
Mahomet made the people believe that he would call a hill to him, and from the top of it offer up his prayers for the observers of his law. The people assembled: Mahomet called the hill to come to him again and again; and when the hill stood still, he was never a whit abashed, but said, 'If the hill will not come to Mahomet, Mahomet will go to the hill.'
First therefore let us seek the dignity of knowledge in the archetype or first platform, which is in the attributes and acts of God, as far as they are revealed to man and may be observed with sobriety; wherein we may not seek it by the name of Learning; for all Learning is Knowledge acquired, and all Knowledge in God is original: and therefore we must look for it by another name, that of Wisdom or Sapience, as the Scriptures call it.
...neither is it possible to discover the more remote and deeper parts of any science, if you stand but upon the level of the same science, and ascend not to a higher science.
The first question concerning the Celestial Bodies is whether there be a system, that is whether the world or universe compose together one globe, with a center, or whether the particular globes of earth and stars be scattered dispersedly, each on its own roots, without any system or common center.
One always starts work with the subject, no matter how tenuous it is, and one constructs an artificial structure by which one can trap the reality of the subject-matter that one has started from.