Lastly, I would address one general admonition to all: that they consider what are the true ends of knowledge, and that they seek it not either for pleasure of the mind, or for contention, or for superiority to others, or for profit, or fame, or power, or any of these inferior things: but for the benefit and use of life; and that they perfect and govern it in charity.
Very few people have a natural feeling for painting, and so, of course, they naturally think that painting is an expression of the artist's mood. But it rarely is. Very often he may be in greatest despair and be painting his happiest paintings.
For first of all we must prepare a Natural and Experimental History, sufficient and good; and this is the foundation of all; for we are not to imagine or suppose, but to discover, what nature does or may be made to do.
It cannot be that axioms established by argumentation should avail for the discovery of new works, since the subtlety of nature is greater many times over than the subtlety of argument. But axioms duly and orderly formed from particulars easily discover the way to new particulars, and thus render sciences active.
In things that are tender and unpleasing, it is good to break the ice by some one whose words are of less weight, and to reserve the more weighty voice to come in as by chance.
No artist knows in his own lifetime whether what he does will be the slightest good, because it takes at least seventy-five to a hundred years before the thing begins to sort itself out.
Great art is deeply ordered. Even if within the order there may be enormously instinctive and accidental things, nevertheless they come out of a desire for ordering and for returning fact onto the nervous system in a more violent way.