“The quantitative investigations of Black on the burning of lime and magnesia alba, in which the balance (previously characterized by the French chemist Jean Rey as "an instrument for clowns") was applied at every turn, led to the rejection of a hypothetical "principle of causticity," and replaced it by a "sensible ingredient of a sensible body," fixed air.”

"One culture and the new sensibility", p. 296
Against Interpretation and Other Essays (1966)
Context: Art today is a new kind of instrument, an instrument for modifying consciousness and organizing new modes of sensibility. And the means for practicing art have been radically extended.... Painters no longer feel themselves confined to canvas and paint, but employ hair, photographs, wax, sand, bicycle tires, their own toothbrushes and socks. Musicians have reached beyond the sounds of the traditional instruments to use tampered instruments and (usually on tape) synthetic sounds and industrial noises.

J. R. Partington, Higher Mathematics for Chemical Students (1911)

"A Dissertation on the Doctrine of Ideas, &c."
The Philosophical and Mathematical Commentaries of Proclus on the First Book of Euclid's Elements Vol. 1 (1788)

A Proper Gentleman, 1977

Source: Dream Park (1981), Chapter 2, “A Stroll Through Old Los Angeles” (p. 13)

Source: Art on the Edge, (1975), pp. 64-65, "Olitski, Kelly, Hamilton: Dogma and Talent"

Detail
The Note-Books of Samuel Butler (1912), Part IX - A Painter's Views on Painting
Context: One reason why it is as well not to give very much detail is that, no matter how much is given, the eye will always want more; it will know very well that it is not being paid in full. On the other hand, no matter how little one gives, the eye will generally compromise by wanting only a little more. In either case the eye will want more, so one may as well stop sooner or later. Sensible painting, like sensible law, sensible writing, or sensible anything else, consists as much in knowing what to omit as what to insist upon.

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book II, Chapter V "Lime" Sec. 1
Context: With regard to lime we must be careful that it is burned from a stone which, whether soft or hard, is in any case white. Lime made of close-grained stone of the harder sort will be good in structural parts; lime of porous stone, in stucco. After slaking it, mix your mortar, if using pitsand, in the proportions of three parts of sand to one of lime; if using river or sea-sand, mix two parts of sand with one of lime. These will be the right proportions for the composition of the mixture. Further, in using river or sea-sand, the addition of a third part composed of burnt brick, pounded up and sifted, will make your mortar of a better composition to use.

Source: Short fiction, Home is the Hangman (1975), p. 138