“Nothing that Shakespeare ever invented was to equal Lincoln's invention of himself and, in the process, us.”

Dorothy Thompson’s Political Guide: A Study of American Liberalism and its Relationship to Modern Totalitarian States (1938)
Source: A Study of American Liberalism and its Relationship to Modern Totalitarian States (1938)
p. 27

Source: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 60-61
Alternative translation:
I invent nothing, I rediscover. And the thing seems new because people have generally lost sight of the aim and the means of art ; they take that for an innovation which is nothing but a return to the laws of the great sculpture of long ago. Obviously, I think ; I like certain symbols, I see things in a synthetic way, but it is nature that gives me all that. I do not imitate the Greeks ; I try to put myself in the state of mind of the men who have left us the statues of antiquity. The schools copy their works, but what is of importance is to rediscover their methods. First I made close studies after nature, like "The Bronze Age." Later I understood that art required more breadth — exaggeration, in fact, and my aim was then, after the Burghers of Calais to find ways of exaggerating logically — that is to say, by reasonable amplification of the modeling. That, also consists in the constant reduction of the face to a geometrical figure, and the resolve to sacrifice every part of the face to the synthesis of its aspect. Look what they did in Gothic times. Take the Cathedral of Chartres as an example: one of its towers is massive and without ornamentation, having been neglected in order that the exquisite delicacy of the other could be better seen.
In: Andrew Carnduff Ritchie, ‎John Rewald (1945). Aristide Maillol: With an Introduction and Survey of the Artist's Work in American Collections. p. 19
Context: I invent nothing, I rediscover. And the thing seems new because people have generally lost sight of the aim and the means of art; they take that for an innovation which is nothing but a return to the laws of the great sculpture of long ago. Obviously, I think; I like certain symbols, I see things in a synthetic way, but it is nature that gives me all that. I do not imitate the Greeks; I try to put myself in the spiritual State of the men who hâve left us the antique statues. The 'Ecole' copies their works; the thing that signifies is to recover their method. I began by showing close studies from nature like The Age of Brass. Afterwards I came to understand that art required a little more largeness, a little exaggeration, and my whole aim, from the time of the Burghers, was to find a method of exaggerating logically : that method consists in the deliberate amplification of the modelling. It consists also in the constant reduction of the figure to a geometrical figure, and in the determination to sacrifice any part of a figure to the synthesis of its aspect. See what the Gothic sculptors did. Look at the cathedra! of Chartres; one of the towers is massive and without ornament : they sacrificed it to give value to the exquisite delicacy of the other tower.

Revolt in 2100 (1953)
Context: Take sex away from people. Make it forbidden, evil. Limit it to ritualistic breeding. Force it to back up into suppressed sadism. Then hand the people a scapegoat to hate. Let them kill a scapegoat occasionally for cathartic release. The mechanism is ages old. Tyrants used it centuries before the word "psychology" was ever invented. It works, too.

The Last Years of a Rebel (1967)

To the European Forum Alpbach. http://www.independent.co.uk/news/world/europe/national-borders-are-the-worst-invention-ever-says-ec-chief-jean-claude-juncker-a7204006.html (22 August 2016)
2016

Richter II p. 126 no. 837 books.google http://books.google.de/books?id=A7dUhbBfmzMC&pg=PA126
The Notebooks of Leonardo da Vinci (1883), I Prolegomena and General Introduction to the Book on Painting

Russell T. Davies, responding to the question, "Why do you think people love Doctor Who so much?" on BBC Wales Today (20 July 2004)

Source: The Thirteenth Tale

Source: 1920s, Science and the Modern World (1925), Ch. 6: "The Nineteenth Century"