“The regeneration of a sinner is an evidence of power in the highest sphere — moral nature; with the highest prerogative — to change nature; and operating to the highest result — not to create originally, which is great; but to create anew, which is greater.”

The Glorious Vision and the Way of the Cross, of Witness Lee - By Living Stream Ministry, ISBN 978-0-87083-479-0

The Education of Henry Adams (1907)
Context: p>His superiority was, indeed, real and incontestable; he was the classical ornament of the anti-slavery party; their pride in him was unbounded, and their admiration outspoken.The boy Henry worshipped him, and if he ever regarded any older man as a personal friend, it was Mr. Sumner. The relation of Mr. Sumner in the household was far closer than any relation of blood. None of the uncles approached such intimacy. Sumner was the boy's ideal of greatness; the highest product of nature and art. The only fault of such a model was its superiority which defied imitation. To the twelve-year-old boy, his father, Dr. Palfrey, Mr. Dana, were men, more or less like what he himself might become; but Mr. Sumner was a different order — heroic.</p

quote on using 'poor' materials, he used in his 'Arte Povera' works
1945 - 1970
Source: 'Res no és mesquí', La pràctica de l'art, Antoni Tàpies, Barcelona: Ariel, 1970; as quoted in: 'Tàpies: From Within', June ─ November, 2013 - Presse Release, Museu Nacional d'Art de Catalunya (MNAC ), p. 13, note 14

The Life of Edward Jenner M.D. Vol. 2 (1838) by John Baron, p. 447

Four Screenplays of Ingmar Bergman (1960).
Context: People ask what are my intentions with my films — my aims. It is a difficult and dangerous question, and I usually give an evasive answer: I try to tell the truth about the human condition, the truth as I see it. This answer seems to satisfy everyone, but it is not quite correct. I prefer to describe what I would like my aim to be. There is an old story of how the cathedral of Chartres was struck by lightning and burned to the ground. Then thousands of people came from all points of the compass, like a giant procession of ants, and together they began to rebuild the cathedral on its old site. They worked until the building was completed — master builders, artists, labourers, clowns, noblemen, priests, burghers. But they all remained anonymous, and no one knows to this day who built the cathedral of Chartres.
Regardless of my own beliefs and my own doubts, which are unimportant in this connection, it is my opinion that art lost its basic creative drive the moment it was separated from worship. It severed an umbilical cord and now lives its own sterile life, generating and degenerating itself. In former days the artist remained unknown and his work was to the glory of God. He lived and died without being more or less important than other artisans; 'eternal values,' 'immortality' and 'masterpiece' were terms not applicable in his case. The ability to create was a gift. In such a world flourished invulnerable assurance and natural humility. Today the individual has become the highest form and the greatest bane of artistic creation.
The smallest wound or pain of the ego is examined under a microscope as if it were of eternal importance. The artist considers his isolation, his subjectivity, his individualism almost holy. Thus we finally gather in one large pen, where we stand and bleat about our loneliness without listening to each other and without realizing that we are smothering each other to death. The individualists stare into each other's eyes and yet deny the existence of each other.
We walk in circles, so limited by our own anxieties that we can no longer distinguish between true and false, between the gangster's whim and the purest ideal. Thus if I am asked what I would like the general purpose of my films to be, I would reply that I want to be one of the artists in the cathedral on the great plain. I want to make a dragon's head, an angel, a devil — or perhaps a saint — out of stone. It does not matter which; it is the sense of satisfaction that counts.
Regardless of whether I believe or not, whether I am a Christian or not, I would play my part in the collective building of the cathedral.

Sermon preach at St. Marys, December 10, 1661, in Twelve Sermons Preached Upon Several Occasions (1727), Vol. 3, p. 140

Vol. 3, Ch. XV, The Americans
Essays: Scientific, Political, and Speculative (1891)

Source: Drenai series, Legend, Pt 1: Against the Horde, Ch. 4

Crossing the Rubicon
Focus Fourteen