André Maurois (1885–1967) French writer
Un Art de Vivre (The Art of Living) (1939), The Art of Loving
Source: A Short History Of The English Law (First Edition) (1912), Chapter XIX, Modern Civil Procedure, p. 360
André Maurois (1885–1967) French writer
Un Art de Vivre (The Art of Living) (1939), The Art of Loving
“The nineteenth century believed in science but the twentieth century does not.”
Gertrude Stein (1874–1946) American art collector and experimental writer of novels, poetry and plays
Wars I Have Seen (1945)
Colin Wilson (1931–2013) author
Introductory Essay, p. xiv
The Encyclopedia of Modern Murder 1962-1983 (1983)
Ronald Reagan (1911–2004) American politician, 40th president of the United States (in office from 1981 to 1989)
Address to the Republican State Central Committee Convention (7 September 1973)
1970s
Giuseppe Tomasi di Lampedusa (1896–1957) Sicilian writer and prince
Martin Seymour-Smith Guide to Modern World Literature (London: Hodder & Stoughton, 1975) vol. 3, p. 30.
Criticism
Carroll Quigley (1910–1977) American historian
Source: The Evolution of Civilizations (1961) (Second Edition 1979), Chapter 4, Historical Analysis, p. 123
John G. Bennett (1897–1974) British mathematician and author
Source: The Dramatic Universe: Man and his nature (1966), p. 7
Edward Witten (1951) American theoretical physicist
in a NOVA interview Viewpoints on String Theory, Edward Witten http://www.pbs.org/wgbh/nova/elegant/view-witten.html, July 2003.
William Burges (1827–1881) English architect
Source: Art applied to industry: a series of lectures, 1865, p. 9; Partly cited in: The New Encyclopaedia Britannica: Macropaedia (19 v.) Encyclopaedia Britannica, 1983. p. 514
Context: At present the fashion appears to have set in in favour of two very distinct styles. One is a very impure and bastard Italian, which is used in most large secular buildings; and the other is a variety of the architecture of the thirteenth century, often, I am sorry to say, not much purer than its rival, especially in the domestic examples, although its use is principally confined to ecclesiastical edifices. It is needless to say that the details of these two styles are as different from each other as light from darkness, but still we are expected to master both of them. But it is most sincerely to be hoped that in course of time one or both of them will disappear, and that we may get something of our own of which we need not be ashamed. This may, perhaps, take place in the twentieth century, it certainly, as far as I can see, will not occur in the nineteenth.