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.

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.

Being a cover artist is not like being a real artist. That's just copying what someone else did.

The artist need not know very much; best of all let him work instinctively and paint as naturally as he breathes or walks.

What an artist learns matters little. What he himself discovers has a real worth for him, and gives him the necessary incitement to work.

Beauty, like truth, is relative to the time when one lives and to the individual who can grasp it. The expression of beauty is in direct ratio to the power of conception the artist has acquired.

I'm inspired by nature. Other artist's work is important for developing my perception.

There is only one position for an artist anywhere; and that is upright.

The difference between a bad artist and a good one is: the bad artist seems to copy a great deal; the good one really does.

To say that an artist sells out means that an artist is making a conscious choice to compromise his music, to to weaken his music for the sake of commercial gain.

What do you say when someone has truly inspired you? How do you express to an artist how deeply their work has affected you?

An original artist is unable to copy. So he has only to copy in order to be original.

When I say artist I mean the man who is building things - creating molding the earth - whether it be the plains of the west - or the iron ore of Penn. It's all a big game of construction - some with a brush - some with a shovel - some choose a pen.

You have to find what makes you stable in the storm. Then, no matter what's happening round you, no matter what the hype or the publicity, you can still manage to make leaps in your work as an artist.

The key to the mystery of a great artist is that for reasons unknown, he will give away his energies and his life just to make sure that one note follows another... and leaves us with the feeling that something is right in the world.

I've always felt that if one was going to take seriously this vocation as an artist, you have to get beyond that decorative facade.

Art is a private thing, the artist makes it for himself; a comprehensible work is the product of a journalist. We need works that are strong, straight, precise, and forever beyond understanding.

The most colorful section of a bookstore is the display of SF books, with art by people like Wayne Barlow, who is a terrific artist.

Arguably, no artist grows up: If he sheds the perceptions of childhood, he ceases being an artist.

Let not a man do what his sense of right bids him not to do, nor desire what it forbids him to desire. This is sufficient. The skillful artist will not alter his measures for the sake of a stupid workman.

I so much appreciate it when anybody tries to make something and tries to be an artist - I'm happy to see the work.