I would by all means have men beware, lest ?sop's pretty fable of the fly that sate [sic] on the pole of a chariot at the Olympic races and said, 'What a dust do I raise,' be verified in them. For so it is that some small observation, and that disturbed sometimes by the instrument, sometimes by the eye, sometimes by the calculation, and which may be owing to some real change in the heaven, raises new heavens and new spheres and circles.
Antiquities, or remnants of history, are, as was said, tanquam tabula naufragii: when industrious persons, by an exact and scrupulous diligence and observation, out of monuments, names, words, proverbs, traditions, private records and evidences, fragments of stories, passages of books that concern not story, and the like, do save and recover somewhat from the deluge of time.
I had rather believe all the Fables in the Legend, and the Talmud, and the Alcoran, then that this universall Frame, is without a Minde. And therefore, God never wrought Miracle, to convince Atheisme, because his Ordinary Works Convince it. It is true, that a little Philosophy inclineth Mans Minde to Atheisme; But depth in Philosophy, bringeth Mens Mindes about to Religion.
The dignity of this end of endowment of man's life with new commodity appeareth by the estimation that antiquity made of such as guided thereunto ; for whereas founders of states, lawgivers, extirpators of tyrants, fathers of the people, were honoured but with the titles of demigods, inventors ere ever consecrated among the gods themselves.
We see then how far the monuments of wit and learning are more durable than the monuments of power, or of the hands. For have not the verses of Homer continued twenty-five hundred years or more, without the loss of a syllable or letter; during which time infinite palaces, temples, castles, cities have been decayed and demolished?
Those herbs which perfume the air most delightfully, not passed by as the rest, but, being trodden upon and crushed, are three; that is, burnet, wild thyme and watermints. Therefore, you are to set whole alleys of them, to have the pleasure when you walk or tread.
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.
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