Every one who has a heart, however ignorant of architecture he may be, feels the transcendent beauty and poetry of the mediaeval churches.

But if anyone supposes that there was no commercial fraud in the Middle Ages, let him study the commercial legislation of England for that period, and his mind will be satisfied, if he has a mind to be satisfied and not only a fancy to run away with him.

Personality is lower than partiality.

There is a spell in mediaeval Art which has had power to bewitch some people into trying, or wishing to try, or fancying that they wish to try or making believe to fancy that they wish to try, to bring back the Middle Ages.

Never had there been such an attempt to make conquest the servant of civilization. About keeping India there is no question. England has a real duty there.

The novelist must look on humanity without partiality or prejudice. His sympathy, like that of the historian, must be unbounded, and untainted by sect or party.

There are the manufacturing multitudes of England; they must have work, and find markets for their work; if machines and the Black Country are ugly, famine would be uglier still.

The Romans, we are told, were by nature a peculiarly warlike race.

Whatever things may have been in their origin, they are what they are, both in themselves and in regard to their indications respecting other beings or influences the existence of which may be implied in theirs.

Who can doubt that between the English and the French, between the Scotch and the Irish, there are differences of character which have profoundly affected and still affect the course of history?

Every one who has a heart, however ignorant of architecture he may be, feels the transcendent beauty and poetry of the mediaeval churches.

America is supposed to be given over to ugliness. There are a good many ugly things there and the ugliest are the most pretentious.

It is evident that in the period designated as that of the kings, when Rome commenced her career of conquest, she was, for that time and country, a great and wealthy city.

Above all nations is humanity.

We must also be permitted to bear in mind that evolution, though it may explain everything else, cannot explain itself.

That Rome was comparatively great and wealthy is certain.

The Roman legions were formed in the first instance of citizen soldiers, who yet had been made to submit to a rigid discipline, and to feel that in that submission lay their strength.

Art is expression, and to have high expression you must have something high to express.

If it were a real effort to live in the Middle Ages, your life would be one perpetual prevarication.

I heard Thackeray thank Heaven for the purity of Dickens. I thanked Heaven for the purity of a greater than Dickens - Thackeray himself.

Dante himself is open to the suspicion of partiality: it is said, not without apparent ground, that he puts into hell all the enemies of the political cause, which, in his eyes, was that of Italy and God.

The novelist must ground his work in faithful study of human nature.

The natural barriers between England and Scotland were not sufficient to prevent the extension of the Saxon settlements and kingdoms across the border.

Rome was great in arms, in government, in law.

No student of history can fail to see the moral interest of the Middle Ages, any more than an artist can fail to see their aesthetic interest.

The materials of the novelist must be real; they must be gathered from the field of humanity by his actual observation.

It is needless to say how great has been the influence of the doctrine of Evolution, or rather perhaps of the method of investigation to which it has given birth, upon the study of history, especially the history of institutions.

The insular arrogance of the English character is a commonplace joke.

As to London we must console ourselves with the thought that if life outside is less poetic than it was in the days of old, inwardly its poetry is much deeper.

Yet for my part, deeply as I am moved by the religious architecture of the Middle Ages, I cannot honestly say that I ever felt the slightest emotion in any modern Gothic church.

In addressing a task, one almost always has several possible options, sometimes only a few, and they may all be practical and functional. But they lack the aesthetic aspect that raises it to architecture.

People can inhabit anything. And they can be miserable in anything and ecstatic in anything. More and more I think that architecture has nothing to do with it. Of course, that's both liberating and alarming.

The organizational architecture is really that a centipede walks on hundred legs and one or two don't count. So if I lose one or two legs, the process will go on, the organization will go on, the growth will go on.

The intellectual architecture means focusing on doing great work instead of focusing on agency politics.

Architecture is not an inspirational business, it's a rational procedure to do sensible and hopefully beautiful things; that's all.

The new architecture of transparency and lightness comes from Japan and Europe.

Every man's work, whether it be literature, or music or pictures or architecture or anything else, is always a portrait of himself.

All architecture is great architecture after sunset; perhaps architecture is really a nocturnal art, like the art of fireworks.

My interest in architecture has always been sculptural. Most of my photography is of architecture.

I see architecture not as Gropius did, as a moral venture, as truth, but as invention, in the same way that poetry or music or painting is invention.

Japanese traditional architecture is created based on these conditions. This is the reason you have a very high degree of connection between the outside and inside in architecture.

I studied architecture in New York. So, really I was very moved, like everyone else, to try to contribute something that has that resonance and profundity of it means to all of us.

Architecture in general is frozen music.

But those musics do not address the larger kind of architecture in time that classical music does, whatever each one of us knows that classical music must mean.

To create architecture is to put in order. Put what in order? Function and objects.

The team architecture means setting up an organization that helps people produce that great work in teams.

French architecture always manages to combine the most magnificent underlying themes of architecture; like Roman design, it looks to the community.

What is being called the UN 'gender architecture' is more like a shack. Women need a bigger global house if equality is ever to become a reality.

Any architectural project we do takes at least four or five years, so increasingly there is a discrepancy between the acceleration of culture and the continuing slowness of architecture.