“Whoever estimates the sensible sameness by the verbal identity of their common name will commit the error of mistaking for physical what is only intellectual. …the sensible signification of language is strictly limited by the sensible knowledge of the hearer.”

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: Books, Coningsby (1844), Endymion (1880), Ch. 81. An anecdote is related of Sir Anthony Ashley Cooper (1621–1683), who, in speaking of religion, said, "People differ in their discourse and profession about these matters, but men of sense are really but of one religion." To the inquiry of "What religion?" the Earl said, "Men of sense never tell it", reported in Burnet, History of my own Times, vol. i. p. 175, note (edition 1833).

"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)

Part II. Of the Extent of Sensible Knowledge.
The Physiology of the Senses: Or, How and what We See, Hear, Taste, Feel and Smell (1856)

"Notes on Music and Opera", p. 472
The Dyer's Hand, and Other Essays (1962)

Harold Powers, "Reading Mozart's Music", p.43.

"Nature's Living Masterpieces" in Camera Arts (July 2005)
Context: In exploring the shared language and poetic sensibilities of all animals, I am working toward rediscovering the common ground that once existed when people lived in harmony with animals. The images depict a world that is without beginning or end, here or there, past or present. I hope that the overall effect is an experience of wonder and contemplation, serenity and hope.

Confessions of an English Opium-Eater (1822-1856)

The Principles of Success in Literature (1865)
Context: Literature is at once the cause and the effect of social progress. It deepens our natural sensibilities, and strengthens by exercise our intellectual capacities. It stores up the accumulated experience of the race, connecting Past and Present into a conscious unity; and with this store it feeds successive generations, to be fed in turn by them. As its importance emerges into more general recognition, it necessarily draws after it a larger crowd of servitors, filling noble minds with a noble ambition.