“In images of horror, and in a certain terrible greatness, our author comes far behind Chaucer. Whether they were not suited to the genius or the temper of Lydgate, I do not determine; but it is certain that, though they naturally seemed to present themselves, he has almost generally chose to avoid them: yet is there frequently a stiller kind of majesty both in his thought and expression, which makes one of his principal beauties.”

Hopper quoted this from Ralph Waldo Emerson's book Self Reliance, the book he loved throughout his life
1941 - 1967
Source: 'How Edward Hopper Saw the Light', by Joseph Phelan, at Artcyclopedia online

The Golden Man (1954)
Context: "He can look ahead. See what's coming. He can — prethink. Let's call it that. He can see into the future. Probably he doesn't perceive it as the future."
"No," Anita said thoughtfully. "It would seem like the present. He has a broader present. But his present lies ahead, not back. Our present is related to the past. Only the past is certain, to us. To him, the future is certain. And he probably doesn't remember the past, any more than any animal remembers what happened."
"As he develops," Baines said, "as his race evolves, it'll probably expand its ability to prethink. Instead of ten minutes, thirty minutes. Then an hour. A day. A year. Eventually they'll be able to keep ahead a whole lifetime. Each one of them will live in a solid, unchanging world. There'll be no variables, no uncertainty. No motion! They won't have anything to fear. Their world will be perfectly static, a solid block of matter."
"And when death comes," Anita said, "they'll accept it. There won't be any struggle; to them, it'll already have happened."

J. Hanks, trans. (1985), p. 210
The Humiliation of the Word (1981)

"Rome, 9 January"
Without Dogma (1891)

4 Burr. Part IV., 2379.
Dissenting in Millar v Taylor (1769)

Cahiers du Cinema (1960)
Context: The moment always comes when, having collected one's ideas, certain images, an intuition of a certain kind of development — whether psychological or material — one must pass on to the actual realization. In the cinema, as in the other arts, this is the most delicate moment — the moment when the poet or writer makes his first mark on the page, the painter on his canvas, when the director arranges his characters in their setting, makes them speak and move, establishes, through the compositions of his various images, a reciprocal relationship between persons and things, between rhythm of the dialogue and that of the whole sequence, makes the movement of the camera fit in with the psychological situation. But the most crucial moment of all comes when the director gathers from all the people and from everything around him every possible suggestion, in order that his work may acquire a more spontaneous cast, may become more personal and, we might even say — in the broadest sense — more autobiographical.

"Gauss's Abstract of the Disquisitiones Generales circa Superficies Curvas presented to the Royal Society of Gottingen" (1827) Tr. James Caddall Morehead & Adam Miller Hiltebeitel in General Investigations of Curved Surfaces of 1827 and 1825 http://books.google.com/books?id=SYJsAAAAMAAJ& (1902)
Context: In researches in which an infinity of directions of straight lines in space is concerned, it is advantageous to represent these directions by means of those points upon a fixed sphere, which are the end points of the radii drawn parallel to the lines. The centre and the radius of this auxiliary sphere are here quite arbitrary. The radius may be taken equal to unity. This procedure agrees fundamentally with that which is constantly employed in astronomy, where all directions are referred to a fictitious celestial sphere of infinite radius. Spherical trigonometry and certain other theorems, to which the author has added a new one of frequent application, then serve for the solution of the problems which the comparison of the various directions involved can present.

The Education of Henry Adams (1907)

Paragraph 1.
De Motu (1721)