Quotes about bronze (84 quotes) | Quotes of famous people

“With a bronze mirror, one can see whether he is properly attired; with history as a mirror, one can understand the rise and fall of a nation; with men as a mirror, one can see whether he is right or wrong. Now I've lost my faithful mirror by the death of Weizheng.”

Emperor Taizong of Tang (598–649) emperor of the Tang Dynasty

Quoted in: Yanqing Vanessa Ong et al. Memories unfolded: a guide to memories at Old Ford Factory, 2008, p. 50
Quoted regarding his advisor.Few men in history would be so frank and honest with their monarch and when Weizheng died, Taizong was overwhelmed with grief. The Emperor said to his ministers,

Death , Men , Faith , History

“And may my bronze name / touch always her thousand fingers / grow brighter with her weeping / until I am fixed like a galaxy / and memorized / in her secret and fragile skies.”

Leonard Cohen book Let Us Compare Mythologies

Source: Let Us Compare Mythologies

Secret

“I have made a monument more lasting than bronze.”
Exegi monumentum aere perennius

Horace book Odes

Book III, ode xxx, line 1
Odes (c. 23 BC and 13 BC)

“Some say cavalry and others claim
infantry or a fleet of long oars
is the supreme sight on the black earth.
I say it is

the one you love. And easily proved.
Didn't Helen, who far surpassed all
mortals in beauty, desert the best
of men, her king,

and sail off to Troy and forget
her daughter and her dear parents? Merely
Aphrodite's gaze made her readily bend
and led her far

from her path. These tales remind me now
of Anaktoria who isn't here,
yet I
for one

would rather see her warm supple step
and the sparkle in her face than watch all
the chariots in Lydia and foot soldiers armored
in glittering bronze.”

Sappho (-630–-570 BC) ancient Greek lyric poet

Fragment 16 Voigt
The Willis Barnstone translations, Supreme Sight on the Black Earth

Love , Men , Beauty , Parent

“If you want someone to be ignored, then build a life-size bronze statue of them and stick it in the middle of town…”

Banksy pseudonymous England-based graffiti artist, political activist, and painter

Source: Wall and Piece (2005)

Life

“New lesson, class. Most monsters will vaporize when sliced with a celestial bronze sword. This change is perfectly normal, and will happen to you right now if you don't BACK OFF!" - Percy”

Rick Riordan book The Battle of the Labyrinth

Source: The Battle of the Labyrinth

Change

“Jumping out a window five hundred feet above ground is not usually my idea of fun. Especially when I'm wearing bronze wings and flapping my arms like a duck.”

Rick Riordan book The Battle of the Labyrinth

Source: The Battle of the Labyrinth

Idea

“!-- Your kind letter of the 25th ult., and the express package containing the bronze medal of -->Mr. Clay, during my whole political life, I have loved and revered as a teacher and leader.”

Abraham Lincoln (1809–1865) 16th President of the United States

Letter to Daniel Ullmann (1 February 1861); quoted in "Why Abraham Lincoln Was a Whig" by Daniel Walker Howe, The Journal of the Abraham Lincoln Association, Volume 16, Issue 1 (Winter 1995) http://quod.lib.umich.edu/j/jala/2629860.0016.105?view=text;rgn=main; also in We Have the War Upon Us: The Onset of the Civil War, November 1860-April 1861 (2013) by William J. Cooper, p. 72 http://books.google.com/books?id=meYLTCRlHaQC&pg=PA72&lpg=PA72&dq=Lincoln+%22I+have+loved+and+revered%22&source=bl&ots=A-QLTNlkSN&sig=F0MdGo6rkAVKc3tIQSs0Xp4AdSY&hl=en&sa=X&ei=fmpQUv22LpCi4APhj4HoDQ&ved=0CC8Q6AEwAQ#v=onepage&q=Lincoln%20%22I%20have%20loved%20and%20revered%22&f=false
1860s

Love , Life , Teachers

“Ordinary men died, men of iron were taken prisoner: I only brought back with me men of bronze.”

Napoleon I of France (1769–1821) French general, First Consul and later Emperor of the French

Statement of 1812, quoted in Napoleon's Cavalry and its Leaders (1978) by David Johnson

Les hommes ordinaires ont succombé, disait-il; les hommes de fer ont été faits prisonniers; je ne ramène avec moi que les hommes de bronze.

Mémoires du colonel Combe sur les campagnes de Russie 1812, de Saxe 1813, de France 1814 et 1815. Paris 1853. p. 184 books.google https://books.google.de/books?id=KhlYAAAAcAAJ&pg=PA184

Men

“Annabeth laced her fingers through his. In the light of his bronze sword, her face was beautiful.
'We're together,' she reminded him. 'We'll get through this.”

Rick Riordan book The House of Hades

Source: The House of Hades

Beauty , Light

“What in the world are you thinking?” She sounded pretty flustered.
“I try not to think,” Leo admitted. “It interferes with being nuts. Just concentrate on moving that Celestial bronze. Echo, you ready?”

Rick Riordan The Mark of Athena

Source: The Mark of Athena

World , Thinking

“Yes!" Narissus unslung his bow and grabbed an arrow from his dusty quiver. "The first one who get that bronze, I will like youas much as I like me. I might even kiss you, right after I kiss my reflection!"

"Oh my gods!" the nymphs squealed.”

Rick Riordan The Mark of Athena

Source: The Mark of Athena

God , Kiss

“When two people are at one in their inmost hearts, they shatter even the strength of iron or bronze.”

Cassandra Clare book Clockwork Prince

Source: The Infernal Devices, Clockwork Princess (2013), p. 564, inscription on the back of Tessa's jade pendant

People , Heart

“Convince yourself that you are working in clay, not marble, on paper not eternal bronze: Let that first sentence be as stupid as it wishes.”

Jacques Barzun (1907–2012) Historian

Stupidity

“Percy hefted a bronze grenade. ‘I hope you labelled these right.’
He yelled, ‘Die, Romans!’ and lobbed the grenade over the wall.”

Rick Riordan book The Blood of Olympus

Source: The Blood of Olympus

Hope

“Annabeth came up to me. She was dressed in black camouflage with her Celestial bronze knife strapped to her arm and her laptop bag slung over her shoulder—ready for stabbing or surfing the Internet, whichever came first.”

Rick Riordan book The Last Olympian

Source: The Last Olympian

“Destroy it?' Leo was appalled. 'You've got a life-size bronze dragon, and you want to destroy it?'
'It breathes fire,' Nyssa explained. 'It's deadly and out of control.'
'But it's a dragon!”

Rick Riordan book The Lost Hero

Source: The Lost Hero

Life

“Oh, he's not like that," said Favonius.

Jason flinched. "You can read my mind?"

"I don't need to." Favonius tossed his bronze hoop in the air. "has the wrong impression of Cupid… until they meet him.”

Rick Riordan book The House of Hades

Source: The House of Hades

Reading

“Darab Khan who had been sent with a strong force to punish the Rajputs of Khandela and to demolish the great temple of the place, attacked the place on the 8th March/5th Safar, and slew the three hundred and odd men who made a bold defence, not one of them escaping alive. [16 October 1678] The temples of Khandela and Sanula and all other temples in the neighbourhood were demolished…'On Sunday, the 25th May/24th Rabi. S., Khan Jahan Bahadur came from Jodhpur, after demolishing the temples and bringing with himself some cart-loads of idols, and had audience of the Emperor, who highly praised him and ordered that the idols, which were mostly jewelled, gold en, silver y, bronze, copper or stone, should be cast in the yard (jilaukhanah) of the Court and under the steps of the Jam'a mosque, to be trodden on. They remained so for some time and at last their very names were lost' [25 May 1679]…Ruhullah Khan and Ekkataz Khan went to demolish the great temple in front of the Rana's palace, which was one of the rarest buildings of the age and the chief cause of the destruction of life and property of the despised worshippers Twenty machator Rajputs who were sitting in the temple vowed to give up their lives; first one of them came out to fight, killed some and was then himself slain, then came out another and so on, until every one of the twenty perished, after killing a large number of the imperialists including the trusted slave, Ikhlas. The temple was found empty. The hewers broke the images…..”

Aurangzeb (1618–1707) Sixth Mughal Emperor

Maasir-i-alamgiri, translated into English by Sir Jadu-Nath Sarkar, Calcutta, 1947, pp. 107-120, also quoted in part in Shourie, Arun (2014). Eminent historians: Their technology, their line, their fraud. Noida, Uttar Pradesh, India : HarperCollins Publishers. Different translation: “Darab Khan was sent with a strong force to punish the Rajputs of Khandela and demolish the great temple of that place.” (M.A. 171.) “He attacked the place on 8th March 1679, and pulled down the temples of Khandela and Sanula and all other temples in the neighbourhood.”(M.A. 173.) Sarkar, Jadunath (1972). History of Aurangzib: Volume III. App. V.
Quotes from late medieval histories, 1670s

Life , Strong , Fight , Age

“Reason will not decide at last; the sword will decide.
The sword: an obsolete instrument of bronze or steel,
formerly used to kill men, but here
In the sense of a symbol.”

Robinson Jeffers (1887–1962) American poet

"Contemplation of The Sword" (1938)

Men , Sense

“Who wants to brave those bronze beauties
Lying in the sun.
With their long soft hair falling
Flying as they run.
Oh they smile so shy
And they flirt so well
And they lay you down so fast
Till you look straight up and say
Oh lord, am I really here at last?”

Bob Seger (1945) American singer-songwriter

Fire Lake.
Song lyrics, Against the Wind (1980)

Smile , Beauty , Lying , Sun

“Wind is a flowing wave of air, moving hither and thither indefinitely. It is produced when heat meets moisture, the rush of heat generating a mighty current of air. That this is the fact we may learn from bronze eolipiles, and thus by means of a scientific invention discover a divine truth lurking in the laws of the heavens. Eolipiles are hollow bronze balls, with a very small opening through which water is poured into them. Set before a fire, not a breath issues from them before they get warm; but as soon as they begin to boil, out comes a strong blast due to the fire. Thus from this slight and very short experiment we may understand and judge of the mighty and wonderful laws of the heavens and the nature of winds.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book I, Chapter VI, Sec. 2

Truth , Law , Understanding , Nature

“Once, I made a kind of sculpture of a flag in bronze: it was an edition of three, I think. One of them was given on some occasion to President Kennedy. I became very upset that this was happening. It was given on Flag Day! (he laughs). It seemed to me to be such a terrible thing to happen. I complained bitterly to my very good friend John Cage, [the composer]. He said: "Don't let it worry you. Just consider it as a pun on your work."”

Jasper Johns (1930) American artist

he laughs
Jasper Johns Interviewed/ Jasper Johns interviewed Part II, Peter Fuller, Art Montly, London, August/September 1978
1970s

Thinking

“Your men are brave men, And you have won. I can live with that, Earl of Bronze — a poor man would I be if I could not.”

David Gemmell book Legend

Source: Drenai series, Legend, Pt 1: Against the Horde, Ch. 31

Men

“The idea for [his sculpture] 'The Warrior' came to me at the end of 1952 or very early in 1953. It was evolved from a pebble I found on the seashore in the summer of 1952, and which reminded me of the stump of a leg, amputated at the hip. Just as Leonardo says somewhere in his notebooks that a painter can find a battle scene in the lichen marks on a wall, so this gave me the start of The Warrior idea. First I added the body, leg and one arm and it became a wounded warrior, but at first the figure was reclining. A day or two later I added a shield and altered its position and arrangement into a seated figure and so it changed from an inactive pose into a figure which, though wounded, is still defiant... The head has a blunted and bull-like power but also a sort of dumb animal acceptance and forbearance of pain... The figure may be emotionally connected (as one critic has suggested) with one’s feelings and thoughts about England during the crucial and early part of the last war. The position of the shield and its angle gives protection from above. The distance of the shield from the body and the rectangular shape of the space enclosed between the inside surface of the shield and the concave front of the body is important... This sculpture is the first single and separate male figure that I have done in sculpture and carrying it out in its final large scale was almost like the discovery of a new subject matter; the bony, edgy, tense forms were a great excitement to make... Like the bronze 'Draped Reclining Figure' of 1952-3 I think 'The Warrior' has some Greek influence, not consciously wished…”

Henry Moore (1898–1986) English artist

Quote from Moore's letter, (15 Jan. 1955); as cited in Henry Moore on Sculpture: a Collection of the Sculptor's Writings and Spoken Words, ed. Philip James, MacDonald, London 1966, p. 250
1940 - 1955

Pain , War , Feeling , Idea

“September 11 was a day of de-Enlightenment. Politics stood revealed as a veritable Walpurgis Night of the irrational. And such old, old stuff. The conflicts we now face or fear involve opposed geographical arenas, but also opposed centuries or even millennia. It is a landscape of ferocious anachronisms: nuclear jihad in the Indian subcontinent; the medieval agonism of Islam; the Bronze Age blunderings of the Middle East.”

Martin Amis (1949) Welsh novelist

"The voice of the lonely crowd" (2002)

Age , Fear , Night

“Modern physics has thus revealed that every subatomic particle not only performs an energy dance, but also is an energy dance; a pulsating process of creation and destruction. The dance of Shiva is the dancing universe, the ceaseless flow of energy going through an infinite variety of patterns that melt into one another’’. For the modern physicists, then Shiva’s dance is the dance of subatomic matter. As in Hindu mythology, it is a continual dance of creation and destruction involving the whole cosmos; the basis of all existence and of all natural phenomenon. Hundreds of years ago, Indian artists created visual images of dancing Shivas in a beautiful series of bronzes. In our times, physicists have used the most advanced technology to portray the patterns of the cosmic dance.”

Fritjof Capra book The Tao of Physics

Source: The Tao of Physics (1975), p. 244.

Beauty , Nature , Universe , Time

“The great unmentionable evil at the center of our culture is monotheism. From a barbaric Bronze Age text known as the Old Testament, three anti-human religions have evolved — Judaism, Christianity, Islam. These are sky-god religions. They are, literally, patriarchal — God is the Omnipotent Father — hence the loathing of women for 2,000 years in those countries afflicted by the sky-god and his earthly male delegates. The sky-god is a jealous god, of course. He requires total obedience from everyone on earth, as he is in place not for just one tribe but for all creation. Those who would reject him must be converted or killed for their own good. Ultimately, totalitarianism is the only sort of politics that can truly serve the sky-god's purpose.”

Gore Vidal (1925–2012) American writer

"America First? America Last? America at Last?" https://archive.is/20121212151230/www.dce.harvard.edu/pubs/lowell/gvidal.html, Lowell Lecture, Harvard University (20 April 1992)
1990s

Women , God , Age , Religion

““How… how can”—savagely, he slashed an arm down before him in absolute negation of all he saw—“such be? How could God allow it?”
“God? You fool—there is no God!”
The words struck Faust like a great bronze clapper, shattering the crusted certainties of a lifetime, reverberating, setting up echoes that washed back and forth through his being in slowly lessening waves, leaving no atom unshaken, no belief untouched. There was no God. He knew this for the truth, recognized it as such on an almost physical level, for it summed up everything he had ever thought or reasoned. It resolved a thousand doubts. It left no question unanswered. There was no God! Everything was possible now. Nothing was forbidden.”

Michael Swanwick book Jack Faust

Source: Jack Faust (1997), Chapter 2, “Revelations” (pp. 30-31)

God , Truth , Fools , Question

“The city of Taneshar is highly venerated by Hindus. The idol of that place is called Cakrasvamin, i. e. the owner of the cakra, a weapon which we have already described. It is of bronze, and is nearly the size of a man. It is now lying in the hippodrome in Ghazna, together with the Lord of Somanath, which is a representation of the penis of Mahadeva, called Linga.”

Mahmud of Ghazni (971–1030) Sultan of Ghazni

E.C. Sachau (tr.), Alberuni's India, New Delhi Reprint, 1983 p. 117.
Quotes from Muslim medieval histories

Lying

“Martin Luther once observed that your “god” is that which you most fear to lose. More recently, Paul Tillich defined a “god” as an “Ultimate Concern.” For the influential citizens and decision makers of the Late Bronze Age, the “Ultimate Concerns” they most feared losing were power and prosperity, and the political apparatus that was believed to guarantee both. For the elite, these concerns took precedence over almost every other consideration. Like many modern folk, they found it impossible to conceive of the reality of the divine apart from some social system of coercion and force. To worship Baal and Asherah was to affirm the supreme value that power and wealth played in making all human life and experience meaningful.This sort of pagan religious ideology almost inevitably sows the seeds of its own demise. Where power and wealth are the predominant concerns and sacred ends, society dissolves into a self-destructive struggle to obtain them. And the more widely held such a religious ideology, the more widespread the violence will likely be, destroying especially those who most faithfully embrace it.”

George E. Mendenhall (1916–2016) American academic

Ancient Israel’s Faith and History: An Introduction the Bible in Context (2001)

Life , God , Age , Fear

“This Don Giovanni had heat, passion and total commitment from everyone involved under dynamic, dramatic direction of conductor Metodi Matakiev. The Don was Lithuanian baritone Vytautas Juozapaitis, a highly physical, Douglas Fairbanks / Errol Flynn kind of Don. Tall, dark, quite handsome, a really sexy beast possessed of a bronze colored voice of power and some suavity, completely at ease on stage, and finally a Don who actually ENJOYS to the hilt the life of a promiscuous hedonist. He was close to irresistible.”

Vytautas Juozapaitis (1963) Lithuanian opera singer

William Fregosi, Opera - L (September 24, 2003) http://www.opera.lt/DesktopDefault.aspx?tabID=538-

Life , Color , Passion

“I became aware of Louise Bourgeois in my first or second year at Brighton Art College. One of my teachers, Stuart Morgan, curated a small retrospective of her work at the Serpentine, and both he and another teacher, Edward Allington, saw something in her, and me, and thought I should be aware of her. I thought the work was wonderful. It was her very early pieces, The Blind Leading the Blind, the wooden pieces and some of the later bronze works. Biographically, I don't really think she has influenced me, but I think there are similarities in our work. We have both used the home as a kind of kick-off point, as the space that starts the thoughts of a body of work. I eventually got to meet Louise in New York, soon after I made House. She asked to see me because she had seen a picture of House in the New York Times while she was ironing it one morning, so she said. She was wonderful and slightly kind of nutty; very interested and eccentric. She drew the whole time; it was very much a salon with me there as her audience, watching her. I remember her remarking that I was shorter than she was. I don't know if this was true but she was commenting on the physicality of making such big work and us being relatively small women. When you meet her you don't know what's true, because she makes things up. She has spun her web and drawn people in, and eaten a few people along the way.”

Rachel Whiteread (1963) British sculptor

Rachel Whiteread, " Kisses for Spiderwoman http://www.theguardian.com/artanddesign/2007/oct/14/art2," The Guardian, 14 Oct. 2007: on Louise Bourgeois

Women , People , Art , Way

“The Chinese early learned to work in metals; bronze occurs in the 11th-10th centuries B. C., useful iron from about 500 B. C. At a later period they made brass… True porcelain was first made about A. D. 600. They were probably in possession of mercury at an early date, and learnt how to decompose cinnabar into mercury and sulphur, and recompose it from these materials.”

J. R. Partington (1886–1965) British chemist

A Short History of Chemistry (1937)

Learning

“Gentlemen, if ever a generation will come after us which is so weak and soft-hearted that it doesn't understand our task, then indeed the whole of National Socialism has been in vain. To the contrary, in my opinion one should bury bronze plates on which it is recorded that we have had the courage to carry out this great and so necessary work.”

Odilo Globocnik (1904–1945) SS officer

To Kurt Gerstein, 17 August 1942. Quoted in "God, Greed, and Genocide: The Holocaust through the Centuries" - Page 101 - by Arthur Grenke - 2005.

Courage , Understanding , Heart

“At the end of the bronze age a residue of Greek tribes stayed behind in Southern Macedonia[…] one of these, the "Makedones" occupied Aegae and expanded into the coastal plain of lower Macedonia which became the Kingdom of Macedon; their descendants were the Macedonians proper of the classical period and they worshipped Greek gods. The other Greek tribes became intermingled in upper Macedonia with Illyrians, Paeonians and Thracians[…] in the early 5th century the royal house of Macedon, the Temenidae was recognised as Greek by the Presidents of the Olympic Games. Their verdict was and is decisive. It is certain that the Kings considered themselves to be of Greek descent from Heracles son of Zeus. "Macedonian" was a strong dialect of very early Greek which was not intelligible to contemporary Greeks.”

N. G. L. Hammond (1907–2001) British classical scholar

"A History of Greece to 323 BC", Cambridge University, 1986 (p 516)

God , Age , Game , Intelligence

“One [nymph], the naiad of the spring, was just emerging from the limpid water as Hylas drew near. And there, with the full moon shining on him from a clear sky, she saw him in all his radiant beauty and alluring grace. Her heart was flooded by desire; she had a struggle to regain her scattered wits. But Hylas now leant over to one side to dip his ewer in; and as soon as the water was gurgling loudly round the ringing bronze she threw her left arm round his neck in her eagerness to kiss his gentle lips. Then with her right hand she drew his elbow down and plunged him in midstream.”

Apollonius of Rhodes book Argonautica

Source: Argonautica (3rd century BC), Book I. Preparation and Departure, Line 1228–1239

Beauty , Spring , Kiss , Water

““Three days after this, the king entered Jhain at midday and occupied the private apartment of the rai… He then visited the temples, which were ornamented with elaborate work in gold and silver. Next day he went again to the temples, and ordered their destruction, as well as of the fort, and set fire to the palace, and ‘thus made hell of paradise’… While the soldiers sought every opportunity of plundering, the Shah was engaged in burning the temples, and destroying the idols. There were two bronze idols of Brahma each of which weighed more than a thousand mans. These were broken into pieces and the fragments distributed amongst the officers, with orders to throw them down at the gates of the Masjid on their return.”65”

Amir Khusrow (1253–1325) Indian poet, writer, musician and scholar

About Sultan Jalalu’d -Din Khalji (AD 1290-1296) in Jhain (Rajasthan) Elliot and Dowson, History of India as told by its own historians, Vol. III, p. 542.
Miftahu'l-Futuh

Hell

“Alau’d-din at this time held the territory of Karra, and with the permission of the Sultan he marched to Bhailsan (Bhilsa). He captured some bronze idols which the Hindus worshipped and sent them on carts with a variety of rich booty as presents to the Sultan. The idols were laid before the Badaun gate for true believers to tread upon…”

Ziauddin Barani (1285–1357) Indian Muslim historian and political thinker (1285–1357)

About Sultan Jalalu’d-Din Khalji (AD 1290-1296) conquests in Vidisha (Madhya Pradesh) Elliot and Dowson, History of India as told by its own historians, Vol. III, p. 148
Tarikh-i-Firuz Shahi

Time

“Ba'athism died in Iraq last week. The sight of the oversized bronze head of Saddam rolling in the dust and being beaten with shoes by exuberant Iraqis is perhaps the most important image of Iraqi politics of the last 50 years. It was the end of the republic of fear. Two Iraqis with whom I was camping out in Washington, D. C., woke me up at 5 a. m. that day so we could watch the images of a free Iraq. Tears rolled down our cheeks uncontrollably.”

Kanan Makiya (1949) American orientalist

"Thank you, America", New York Post (April 15, 2003)

Fear , Shoe , Tear

“We’re living in a Dark Age of macroeconomics. Remember, what defined the Dark Ages wasn’t the fact that they were primitive — the Bronze Age was primitive, too. What made the Dark Ages dark was the fact that so much knowledge had been lost, that so much known to the Greeks and Romans had been forgotten by the barbarian kingdoms that followed.”

Paul Krugman (1953) American economist

"A Dark Age of Macroeconomics" http://krugman.blogs.nytimes.com/2009/01/27/a-dark-age-of-macroeconomics-wonkish/, 27 January 2009
The Conscience of a Liberal blog

Age , Knowledge

“The monument outlasting bronze was promised well by bards of old.”

Francis Turner Palgrave (1824–1897) English poet and critic

The Ancient And Modern Muses

“Count not the cost of honour to the dead!
The tribute that a mighty nation pays
To those who loved her well in former days
Means more than gratitude for glories fled;
For every noble man that she hath bred,
Lives in the bronze and marble that we raise,
Immortalised by art's immortal praise,
To lead our sons as he our fathers led.”

Henry Van Dyke (1852–1933) American diplomat

National Monuments, st. 1 (February 1905).

Love , Art , Dead , Gratitude

“For centuries we have labored under the illusion that Western Christianity was something that could be exported, and only recent events have at last made it obvious to us how vain and futile have been the labors and zeal of devoted missionaries for five centuries. When Cortez and his small but valiant band of iron men conquered the empire of the Aztecs, he was immediately followed by a train of earnest and devoted missionaries, chiefly Franciscans, who began to preach the Christian gospel to the natives. And they soon sent back home, with innocent enthusiasm, glowing accounts of the conversions they had effected. You can feel their sincerity, their piety, their ardor, and their joy in the pages of Father Sagun, Father Torquemada, and many others. And for their sake I am glad that the poor Franciscans never suspected how small a part they had really played in the religious conversions that gave them such joy. Far more effective than their words and their book had been the Spanish cannon that had breached the Aztec defenses and the ruthless Spanish soldiers who had slain the Aztec priests at their altars and toppled the Aztec idols from the sacrificial pyramids. The Aztecs accepted Christianity as a cult, not because their hearts were touched by doctrines of love and mercy, but because Christianity was the religion of the White men whose bronze cannon and mail-clad warriors made them invincible.”

Revilo P. Oliver (1908–1994) American philologist

"What We Owe Our Parasites", speech (June 1968); Free Speech magazine (October and November 1995)
1960s

Love , Men , Books , Religion

“.. because his applying paint to it [the sculpture 'Painted Bronze, two painted ale cans', created by the American pré-Pop Art artist Jasper Johns ] was absolutely mechanical or, at least, as close to the printed thing as possible. It was not an act of painting; actually, the printing [or painting? ] was just like printing except it was made by hand by him. That doesn’t add a thing to it.”

Marcel Duchamp (1887–1968) French painter and sculptor

it's just the idea of imitating the beer can that is important.
Quote from 'Some late thoughts of Marcel Duchamp', an interview with Jeanne Siegel, p. 21; as quoted in 'The New York school – the painters & sculptors of the fifties' Irving Sandler, Harper & Row, Publishers, 1978, p. 194
posthumous

Art , Idea , Beer , Painting

“Skirting the rocks at the forest edge
With a running flame from ledge to ledge,
Or swaying deeper in shadowy glooms,
A smoldering fire in her dusky blooms;
Bronzed and molded by wind and sun,
Maddening, gladdening every one
With a gypsy beauty full and fine,—
A health to the crimson columbine!”

Elaine Goodale Eastman (1863–1953) American novelist, poet

Columbine; reported in Hoyt's New Cyclopedia Of Practical Quotations (1922), p. 124.

Health , Beauty , Sun

“When the Dark comes rising, six shall turn it back,
Three from the circle, three from the track;
Wood, bronze, iron; water, fire, stone;
Five will return, and one go alone.”

Susan Cooper (1935) English fantasy writer

Source: The Dark Is Rising (1965-1977), The Dark Is Rising (1973), Chapter 3 “The Sign-Seeker” (p. 45)

Water

“I might have preferred iron, but bronze will do. It won't rust. And, this time I hope, the head will stay on.”

Margaret Thatcher (1925–2013) British stateswoman and politician

" Statue of Margaret Thatcher unveiled at British Parliament http://legacy.utsandiego.com/news/world/20070221-1456-britain-thatcher-statue.html", Associated Press, 21 February 2007.
On the unveiling of a statue of her in the Members' Lobby of the House of Commons. Baroness Thatcher referred to a previous marble statue which was decapitated http://news.bbc.co.uk/1/hi/england/2091200.stm in 2002.
Post-Prime Ministerial

Hope , Time

“Petrie found that certain types of pottery were characteristic of a particular phase of the Bronze Age, whereas other styles were found only a phase of the Iron Age, or only during the Hellenistic or Greek periods.”

Jeffrey H. Schwartz (1948) American anthropologist

Source: What the Bones Tell Us (1997), Ch. 1

Age

“We have the richest language that ever a people has accreted, and we use it as if it were the poorest. We hoard up our infinite wealth of words between the boards of dictionaries and in speech dole out the worn bronze coinage of our vocabulary. We are the misers of philological history. And when we can save our pennies and pass the counterfeit coin of slang, we are as happy as if we heard a blind beggar thank us for putting a pewter sixpence into his hat.”

William J. Locke book The Morals of Marcus Ordeyne

The Morals of Marcus Ordeyne (1905), p. 97.

People , History , Wealth , Happiness

“Rolf Halbritter coughed from the dust the retreating convoy kicked up. He shook his head in wonder not far from awe. The Amis were really and truly going- no, really and truly gone. Which meant… He had a badge pinned on the underside of his collar, where it didn't show. Now he could wear it openly agian. It was round, with a red outer ring that carried a legend in bronze letters: NATIONALSOZIALISTISCHE DEUTSCHE ARBEITERPARTEI. The white inner circle held a black swastika. Every Party member had one just like it. Pretty soon, they'd all be showing it, too.”

Harry Turtledove (1949) American novelist, short story author, essayist, historian

Source: The Man With the Iron Heart (2008), p. 528

“For other peoples will, I do not doubt,
still cast their bronze to breathe with softer features,
or draw out of the marble living lines,
plead causes better, trace the ways of heaven
with wands and tell the rising constellations;
but yours will be the rulership of nations,
remember Roman, these will be your arts:
to teach the ways of peace to those you conquer,
to spare defeated peoples, tame the proud.”

Allen Mandelbaum (1926–2011) American poet and professor of literature, translator from Latin and Italian

Book VI, lines 1129–1137
The Aeneid of Virgil (1971)

People , Peace , Art , Way

“time in an allegory of itself imparts to us lessons of wisdom which the moment they are formulated are immediately destroyed by the merest flickers of light or shadow which are nothing more than time in its incarnations and disincarnations which are the phrases that I am writing on this paper and that disappears as I read them:
they are not the sensations, the perceptions, the mental images, and the thoughts which flare up and die away here, now, as I write or as I read what I write: they are not what I see or what I have seen, they are the reverse of what is seen and of the power of sight—but they are not the invisible: they are the unsaid residuum;
they are not the other side of reality but, rather, the other side of language, what we have on the tip of our tongue that vanishes before it is said, the other side that cannot be named because it is the opposite of a name:
what is not said is not this or that which we leave unsaid, nor is it neither-this-nor-that: it is not the tree that I say I see but the sensation that I feel on sensing that I see it at the moment when I am just about to say that I see it, an insubstantial but real conjunction of vibrations and sounds and meanings that on being combined suggest the configuration of a green-bronze-black-woody-leafy-sonorous-silent presence;
no, it is not that either, if it is not a name it surely cannot be the description of a name or the description of the sensation of the name or the name of the sensation:
a tree is not the name tree, nor is it the sensation of tree: it is the sensation of a perception of tree that dies away at the very moment of the perception of the sensation of tree;
names, as we already know, are empty, but what we did not know, or if we did know, had forgotten, is that sensations are perceptions of sensations that die away, sensations that vanish on becoming perceptions, since if they were not perceptions, how would we know that they are sensations?;
sensations that are not perceptions are not sensations, perceptions that are not names—what are they?
if you didn’t know it before, you know now: everything is empty;
and the moment I say everything-is-empty, I am aware that I am falling into a trap: if everything is empty, this everything-is-empty is empty too;
no, it is full, full to overflowing, everything-is-empty is replete with itself, what we touch and see and taste and smell and think, the realities that we invent and the realities that touch us, look at us, hear us, and invent us, everything that we weave and unweave and everything that weaves and unweaves us, momentary appearances and disappearances, each one different and unique, is always the same full reality, always the same fabric that is woven as it is unwoven: even total emptiness and utter privation are plenitude (perhaps they are the apogee, the acme, the consummation and the calm of plenitude), everything is full to the brim, everything is real, all these invented realities and all these very real inventions are full of themselves, each and every one of them, replete with their own reality;
and the moment I say this, they empty themselves: things empty themselves and names fill themselves, they are no longer empty, names are plethoras, they are donors, they are full to bursting with blood, milk, semen, sap, they are swollen with minutes, hours, centuries, pregnant with meanings and significations and signals, they are the secret signs that time makes to itself, names suck the marrow from things, things die on this page but names increase and multiply, things die in order that names may live:”

Octavio Paz (1914–1998) Mexican writer laureated with the 1990 Nobel Prize for Literature

Source: The Monkey Grammarian (1974), Ch. 9

Wisdom , Secret , Feeling , Thinking

“To find the directions and quarters of the winds your method of procedure should be as follows. In the middle of the city place a marble amussium, laying it true by the level, or else let the spot be made so true by means of rule and level that no amussium is necessary. In the very center of that spot set up a bronze gnomon or "shadow tracker." At about the fifth hour in the morning, take the end of the shadow cast by this gnomon, and mark it with a point. Then, opening your compasses to this point which marks the length of the gnomon's shadow, describe a circle from the center. In the afternoon watch the shadow of your gnomon as it lengthens, and when it once more touches the circumference of this circle and the shadow in the afternoon is equal in length to that of the morning, mark it with a point. From these two points describe with your compasses intersecting arcs and through their intersection and the centre let a line be drawn to the circumference of the circle to give us the quarters of south and north…. and thus we have designed a figure equally apportioned among the eight winds.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book I, Chapter VI, Sec. 5-7

“At this point the march of invention brought a new factor upon the scene. Iron was dug and forged. Men armed with iron entered Britain from the Continent and killed the men of bronze. At this point we can plainly recognise across the vanished millenniums a fellow-being. A biped capable of slaying another with iron is evidently to modern eyes a man and a brother.”

Winston S. Churchill book A History of the English-Speaking Peoples

On the end of the Bronze Age and start of the Iron Age, Vol I; The Birth of Britain.
A History of the English-Speaking Peoples (1956–58)

Men

“In my own researches and findings I have always insisted on plastic and sculptural values, and also on what I call a poetic climate. The object, whether it is a book, a bottle, or a human body, once it is visualized and expressed by means of clay, stone, or wood, ceases to be a document and becomes an animated object in stone, wood, or bronze and lives its independent life..”

Ossip Zadkine (1890–1967) French sculptor

Quote of Zadkine from New York, early 1944; as cited in: Artists on Art – from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 430
1940 - 1960

Life , Books , Animals

“It seems ironic that for most of my career I have been trying to perfect smooth and life-like animation action, but for Talos (which was the longest animation section of the film), it was necessary to create a deliberately stiff and mechanical movement in keeping with a bronze statue that had sprung to life.”

Ray Harryhausen (1920–2013) American animator

Source: An Animated Life (2003), p. 157

Life , Animals , Perfection

“I cannot imagine that someone could go to Tõnismägi and in the darkness of the night, put the Bronze Soldier on the hook of the crane, and drive it away somewhere. This is not a solution acceptable for a constitutional state.”

Andrus Ansip (1956) Estonian chemist and politician

At a press conference of the Estonian Government http://www.postimees.ee/290606/esileht/siseuudised/207552.php (2006-06-29).

Imagination , Night

“I became aware of Louise Bourgeois in my first or second year at Brighton Art College. One of my teachers, Stuart Morgan, curated a small retrospective of her work at the Serpentine, and both he and another teacher, Edward Allington, saw something in her, and me, and thought I should be aware of her. I thought the work was wonderful. It was her very early pieces, The Blind Leading the Blind, the wooden pieces and some of the later bronze works. Biographically, I don't really think she has influenced me, but I think there are similarities in our work. We have both used the home as a kind of kick-off point, as the space that starts the thoughts of a body of work. I eventually got to meet Louise in New York, soon after I made House. She asked to see me because she had seen a picture of House in the New York Times while she was ironing it one morning, so she said. She was wonderful and slightly kind of nutty; very interested and eccentric. She drew the whole time; it was very much a salon with me there as her audience, watching her. I remember her remarking that I was shorter than she was. I don't know if this was true but she was commenting on the physicality of making such big work and us being relatively small women. When you meet her you don't know what's true, because she makes things up. She has spun her web and drawn people in, and eaten a few people along the way.”

Louise Bourgeois (1911–2010) American and French sculptor

Rachel Whiteread, " Kisses for Spiderwoman http://www.theguardian.com/artanddesign/2007/oct/14/art2," The Guardian, 14 Oct. 2007:

Women , People , Art , Way

“The linga he raised was the stone of Somnath, for soma means the moon and natha means master, so that the whole word means master of the moon. The image was destroyed by the Prince Mahmud, may God be merciful to him! - AH 416. He ordered the upper part to be broken and the remainder to be transported to his residence, Ghaznin, with all its coverings and trappings of gold, jewels, and embroidered garments. Part of it has been thrown into the hippodrome of the town, together with the Cakrasvamin, an idol of bronze, that had been brought from Taneshar. Another part of the idol from Somanath lies before the door of the mosque of Ghaznin, on which people rub their feet to clean them from dirt and wet.”

Al-Biruni book Alberuni's India

E.C. Sachau (tr.), Alberuni's India, New Delhi Reprint, 1983
From Alberuni's India

God , People , Parting

“In accordance with the foregoing investigations on mathematical principles, let bronze vessels be made, proportionate to the size of the theatre, and let them be so fashioned that, when touched, they may produce with one another the notes of the fourth, the fifth, and so on up the double octave.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book V, Chapter V, Sec. 1

Mathematics , Fashion

“The linga he raised was the stone of Somnath, for soma means the moon and natha means master, so that the whole word means master of the moon. The image was destroyed by the Prince Mahmud, may God be merciful to him! - AH 416. He ordered the upper part to be broken and the remainder to be transported to his residence, Ghaznin, with all its coverings and trappings of gold, jewels, and embroidered garments. Part of it has been thrown into the hippodrome of the town, together with the Cakrasvamin, an idol of bronze, that had been brought from Taneshar. Another part of the idol from Somanath lies before the door of the mosque of Ghaznin, on which people rub their feet to clean them from dirt and wet.”

Mahmud of Ghazni (971–1030) Sultan of Ghazni

E.C. Sachau (tr.), Alberuni's India, New Delhi Reprint, 1983, p. 102-103
Quotes from Muslim medieval histories

God , People , Parting

“In his malodorous brain what slugs and mire,
Lanthorned in his oblique eyes, guttering burned!
His body lodged a rat where men nursed souls
The world flashed grape-green eyes of a foiled cat
To him. On fragments of an old shrunk power,
On shy and maimed, on women wrung awry
He lay, a bullying hulk, to crush them more.
But when one, fearless, turned and clawed like bronze,
Cringing was easy to blunt these stern paws,
And he would weigh the heavier on those after.
Who rests in God's mean flattery now? Your wealth
Is but his cunning to make death more hard.
Your iron sinews take more pain in breaking.
And he has made the market for your beauty
Too poor to buy, although you die to sell.
Only that he has never heard of sleep;
And when the cats come out the rats are sly.
Here we are safe till he slinks in at dawn.
But he has gnawed a fibre from strange roots,
And in the morning some pale wonder ceases.
Things are not strange and strange things are forgetful.
Ah! if the day were arid, somehow lost
Out of us, but it is as hair of us,
And only in the hush no wind stirs it.
And in the light vague trouble lifts and breathes,
And restlessness still shadows the lost ways.
The fingers shut on voices that pass through,
Where blind farewells are taken easily...
Ah! this miasma of a rotting God!”

Isaac Rosenberg (1890–1918) English poet

written 1916 or before
On Receiving News of the War (1914), God

Death , Women , Men , God

“Hence the ancient architects, following in the footsteps of nature, perfected the ascending rows of seats in theatres from their investigations of the ascending voice, and by means of the canonical theory of the mathematicians and that of the musicians, endeavoured to make every voice uttered on the stage come with greater clearness and sweetness to the ears of the audience. For just as musical instruments are brought to perfection of clearness in the sound of their strings by means of bronze plates or horn, so the ancients devised methods of increasing the power of the voice in theatres through the application of harmonics.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book V, Chapter IV, Sec. 8

Music , Nature , Perfection

“For the first time in the history of our people, and in the history of the whole American people, we join in this high worship, and march conspicuously in the line of this time-honored custom. First things are always interesting, and this is one of our first things. It is the first time that, in this form and manner, we have sought to do honor to an American great man, however deserving and illustrious. I commend the fact to notice; let it be told in every part of the republic; let men of all parties and opinions hear it; let those who despise us, not less than those who respect us, know that now and here, in the spirit of liberty, loyalty, and gratitude, let it be known everywhere, and by everybody who takes an interest in human progress and in the amelioration of the condition of mankind, that, in the presence and with the approval of the members of the American House of Representatives, reflecting the general sentiment of the country; that in the presence of that august body, the American Senate, representing the highest intelligence and the calmest judgment of the country; in the presence of the Supreme Court and Chief-Justice of the United States, to whose decisions we all patriotically bow; in the presence and under the steady eye of the honored and trusted President of the United States, with the members of his wise and patriotic Cabinet, we, the colored people, newly emancipated and rejoicing in our blood-bought freedom, near the close of the first century in the life of this republic, have now and here unveiled, set apart, and dedicated a monument of enduring granite and bronze, in every line, feature, and figure of which the men of this generation may read, and those of aftercoming generations may read, something of the exalted character and great works of Abraham Lincoln, the first martyr President of the United States.”

Frederick Douglass (1818–1895) American social reformer, orator, writer and statesman

1870s, Oratory in Memory of Abraham Lincoln (1876)

Life , Men , People , Justice

“So they spoke, and both springing down from behind their horses
gripped each other's hands and exchanged the promise of friendship;
but Zeus the son of Kronos stole away the wits of Glaukos
who exchanged with Diomedes the son of Tydeus armour
of gold for bronze, for nine oxen's worth the worth of a hundred.”

Homér Iliad

VI. 232–236 (tr. R. Lattimore).
Iliad (c. 750 BC)

Friendship , Spring , Horse

“If I love you—
I never behave like a climbing trumpet vine
Using your high branches to show myself off;
If I love you—
I never mimic infatuated little birds
Repeating monotonous songs into the shadows,
Nor do I look at all like a wellspring
Sending out its cooling consolation all year round,
Or just another perilous crag
Augmenting your height, setting off your prestige.
Nor like the sunlight
Or even spring rain.
No, these are not enough.
I would be a kapok tree by your side
Standing with you—
both of us shaped like trees.
Our roots hold hands underground,
Our leaves touch in the clouds.
As a gust of wind passes by
We salute each other
And not a soul
Understands our language.
You have your bronze boughs and iron trunk
Like knives and swords,
Also like halberds;
I have my red flowers
Like heavy sighs,
Also like heroic torches.
We share cold waves, storms and thunderbolts;
Together we savor fog, haze and rainbows.
We seem to always live apart,
But actually depend upon each other forever.
This has to be called extraordinary love.
Faith resides in it:
Love—
I love not only your sublime body
But the space you occupy,
The land beneath your feet.”

Shu Ting (1952) Chinese writer

"To the Oak Tree" [ 致橡树 https://www.youtube.com/watch?v=APZjf9K6KX0, Zhi xiangshu] (27 March 1977), in The Red Azalea: Chinese Poetry Since the Cultural Revolution, ed. Edward Morin, trans. Fang Dai and Dennis Ding (University of Hawaii Press, 1990), ISBN 978-0824813208, pp. 102–103.

Love , Faith , Soul , Spring

“Remember, [in the Bible] it's adultery only if the woman is already married. It doesn't matter if the man is married. If he is, she may just become another one of his wives, and a man can have sex with other women who aren't his wives, and that's not cheating either, as long as they live with him, because a man is also allowed to have concubines, and a concubine is a sort of sexual servant who serves no other purpose and has no claim to your estate. Your wife may not have a claim to your estate either, because when you die your wife may become your brother's sexual property. That's how the Bible defines marriage! The Bible does not prohibit multiple wives or incest either. In fact, both are promoted. However, when your father dies, your mother does not become your wife, and you can't inherit any of his other wives either, and the reason that the Bible gives for that is because that would be like looking up your father's skirt… So, a man can have multiple wives and a collection of personal harlots, but he can also have sex with his slaves, and that's not cheating either. You've heard of friends with benefits? You can call this your property rights. That's the only way that makes sense, because according to the Bible all women are property, and property doesn't have rights. Now, some people equate having sex with slaves to rape, because the slave doesn't have any choice. But, according to the Bible, women don't have any choice anyway, and rape can be a prelude to matrimony; if you're a Bronze Age Israelite and you see some young cutie walking unescorted, if you like her, you want her, you can have her, even if she doesn't want you. Now, if you rape a married woman, that's a death sentence for both of you (because the Bible is stupid like that). But if she's not promised to someone else, and you rape her and you get caught, you have to pay her father fifty shekels of silver and she's yours. He may not want her back after that, even his own child, because an unmarried woman who wasn't a virgin was considered damaged goods back then, so they had this rule that "if you pop it, you buy it." So your victim becomes your bride and you're stuck together forever, and can never get divorced (so be careful who you rape). There's actually a cheaper [and] easier way to get a bride; if a man takes a wife and decides he doesn't like her, if he can prove she wasn't a virgin (or if he can convince other people that was probably not a virgin), she she will be murdered on her father's doorstep because, according to the god of infinite mercy, that's the moral thing to do. But if she can prove that she was a virgin, then she must remain married forever to the man who hates her, because that's divine wisdom too. That unpleasant arrangement for both of you will also cost you a hundred shekels, whereas you can marry your rape victim for half the price. So, if you're a complete loser, and you can't get any woman who appeals to you by the normal way, just rape whoever you like and she's yours forever.”

Aron Ra (1962) Aron Ra is an atheist activist and the host of the Ra-Men Podcast

Youtube, Other, Biblical Family Values https://www.youtube.com/watch?v=bldw8X5apnY (July 11, 2015)

Death , Wisdom , Women , God

“If we look at the parpens piled up on the building site or at the block of bronze, nothing about them manifests that they are suited to being a house or a statue. … Aristotle speaks of the materials considered as such in terms of "the buildable" (I, 201a 16, b Bf), coining an adjective whose suffix expresses capacity (what he calls dunamis). This capacity, as we have seen, cannot be grasped after the manner of that with which perception provides us (color, hardness, etc.); it requires a gaze capable of probing more deeply, of proceeding from the real to the possible—as when Michelangelo "sees" a David in the formless block abandoned by other sculptors.”

Rémi Brague (1947) French historian

"Aristotle's Definition of Motion and its Ontological Implications," Graduate Faculty Philosophy Journal, vol. 13, no. 2, p. 12

Color , Housing

“Let us never forget that the deep things that are American are the soul and the spirit. The Statue of Liberty is not tired, and not because it is made of bronze. It is because no matter what happens, here the individual is dignified because he is created in the image of his God. Let us not forget it.”

Dwight D. Eisenhower (1890–1969) American general and politician, 34th president of the United States (in office from 1953 to 1961)

Source: 1950s, Speech to the B'nai B'rith (1953)

God , Soul , Forgetting

“They're going for silver, they’re going for gold. John Treacy has one hundred metres to go. In the past Ireland have won bronze medals with John Caldwell, Freddie Gilroy, ‘Socks’ Byrne, Jim McCourt, Hugh Russell. They've won golds with Pat O'Callaghan twice, Bob Tisdall, Ron Delaney. They've won silvers with John McNally, Fred Tiedt, Wilkins and Wilkinson and for the thirteenth time an Irish medal goes to John Treacy. The little man with the great heart.”

Jimmy Magee (1935–2017) Gaelic games commentatot

Magee's emotional commentary as John Treacy wins a silver medal the 1984 Summer Olympics.[citation needed]
Olympic Games

Time , Past , Heart

“. My materials often dictate my change of aims, and I choose to work in a different material much as a man may suddenly feel an appetite for a change of diet. After a steady diet of moulding plaster models for bronzes, I enjoy returning to a discipline of carving stone or wood, and the wood or the stone Inevitably suggests to me a shift of principles or of aims.”

Ossip Zadkine (1890–1967) French sculptor

As quoted in: 'The Work of Zadkine' (excerpt), Ionel Jianou, 1964; for the Zadkine Research Center https://www.zadkine.com/writing
1960 - 1968

Feeling , Change

“When the sun shouts and people abound
One thinks there were the ages of stone and the age of bronze
And the iron age; iron the unstable metal;
Steel made of iron, unstable as his mother; the towered-up cities
Will be stains of rust on mounds of plaster.
Roots will not pierce the heaps for a time, kind rains will cure them,
Then nothing will remain of the iron age
And all these people but a thigh-bone or so, a poem
Stuck in the world's thought, splinters of glass
In the rubbish dumps, a concrete dam far off in the mountain…”

Robinson Jeffers (1887–1962) American poet

"Summer Holiday"

People , Age , World , Mountain

“At first, I thought I had found in this second figure [a bronze Orpheus, Zadkine made shortly after his return from New York to Paris, in 1944] the perfect solution, but a surprise awaited me. One day my coal merchant delivered to me, here in my studio, some wood for heating; among these logs I found a rudimentary but completely mysterious wooden figure of a man. He seemed to be walking in great strides, his torso suggested by only two simple boards which, in their structure, were very much like an ancient lyre. I immediately began working on a new 'Orpheus', in which the [music-]instrument had truly become part of the man.”

Ossip Zadkine (1890–1967) French sculptor

c. 1960
Source: 1960 - 1968, Dialogues – conversations with.., quotes, c. 1960, pp. 154-155

Music , Parting , Perfection

“The city of Taneshar is highly venerated by Hindus. The idol of that place is called Cakrasvamin, i. e. the owner of the cakra, a weapon which we have already described. It is of bronze, and is nearly the size of a man. It is now lying in the hippodrome in Ghazna, together with the Lord of Somanath, which is a representation of the penis of Mahadeva, called Linga.”

Al-Biruni book Alberuni's India

E.C. Sachau (tr.), Alberuni's India, New Delhi Reprint, 1983 p. 117.
From Alberuni's India

Lying

“A numinous experience lacking further significance quickly degenerates into mere superstition, easily rationalized or forgotten over time. What prevented this particular experience from such a fate was its connection with something of urgent significance to this diverse group of escaped slaves: a covenant. The covenant revealed at Mount Sinai directly addressed their wilderness predicament by proposing a framework on which this heterogeneous collection of individuals could see beyond their differences and together build a future, no longer as a “mixed rabble” but as “one people.” The thunderstorm at the mountain powerfully reinforced the sacred quality and value of the covenant delivered there by Moses, and the value of this covenant, in turn, powerfully reinforced the escaped slaves’ belief that, in this particular thunderstorm, they had indeed witnessed the presence and voice of a god.In antiquity, the revelation of a new religious insight or system was not described in terms of human inspiration or innovation but rather as a divine revelation associated with a theophany. The theophany was the typical motif used to explain the origin of something new and meaningful. But something new can only become meaningful if it is also expressed and described in terms and analogies that are already well-known to everyone concerned. Despite its religious novelty, the Sinai covenant Moses delivered was readily intelligible to these ex-slaves because it employed well-known concepts and images, in this case concepts and images drawn from the familiar world of Late Bronze Age international politics. Naturally, they were adapted so that they now served religious as opposed to political ends, providing a basis for a community whose cohesion did not require any political enforcement mechanism or monopoly of force.”

George E. Mendenhall (1916–2016) American academic

Ancient Israel’s Faith and History: An Introduction the Bible in Context (2001)

Fate , People , Age , World

“By the Eternal! there is a man whose form should be cast in deathless bronze and the statue placed in every college of the land.”

Elbert Hubbard book A Message to Garcia

A Message to Garcia (1899)
Context: The point I wish to make is this: McKinley gave Rowan a letter to be delivered to Garcia; Rowan took the letter & did not ask, "Where is he at?" By the Eternal! there is a man whose form should be cast in deathless bronze and the statue placed in every college of the land. It is not book-learning young men need, nor instruction about this and that, but a stiffening of the vertebrae which will cause them to be loyal to a trust, to act promptly, concentrate their energies: do the thing — "Carry a message to Garcia!"

“Bronze is the mirror of the form; wine, of the heart.”

Aeschylus (-525–-456 BC) ancient Athenian playwright

Fragment 384, reported in Bartlett's Familiar Quotations, 10th ed. (1919)

Wine , Heart

“After the blast of lightning from the east,
The flourish of loud clouds, the Chariot Throne;
After the drums of time have rolled and ceased,
And by the bronze west long retreat is blown,
Shall Life renew these bodies?”

Wilfred Owen The End

The End
Context: After the blast of lightning from the east,
The flourish of loud clouds, the Chariot Throne;
After the drums of time have rolled and ceased,
And by the bronze west long retreat is blown,
Shall Life renew these bodies? Of a truth,
All death will he annul, all tears assuage? —
Or fill these void veins full again with youth,
And wash, with an immortal water, age?

Life , Time

“In theatres… there are the bronze vessels in which are placed in niches under the seats”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book I, Chapter I, Sec. 9
Context: In theatres... there are the bronze vessels in which are placed in niches under the seats in accordance with the musical intervals on mathematical principles. These vessels are arranged with a view to musical concords or harmony, and apportioned in the compass of the fourth, the fifth, and the octave, and so on up to the double octave, in such a way that when the voice of an actor falls in unison with any of them its power is increased, and it reaches the ears of the audience with greater clearness and sweetness. Water organs too, and the other instruments which resemble them cannot be made by one who is without the principles of music.

“October's bellowing anger breakes and cleaves
The bronzed battalions of the stricken wood”

Siegfried Sassoon Autumn

"Autumn"
The Counter-Attack and Other Poems (1918)
Context: October's bellowing anger breakes and cleaves
The bronzed battalions of the stricken wood
In whose lament I hear a voice that grieves
For battle's fruitless harvest, and the feud
Of outrage men. Their lives are like the leaves
Scattered in flocks of ruin, tossed and blown
Along the westering furnace flaring red.
O martyred youth and manhood overthrown,
The burden of your wrongs is on my head.

Anger

“In a world filled with weapons of war and all too often words of war, the Nobel Committee has become a vital agent for peace. Sadly, a prize for peace is a rarity in this world. Most nations have monuments or memorials to war, bronze salutations to heroic battles, archways of triumph. But peace has no parade, no pantheon of victory.
What it does have is the Nobel Prize — a statement of hope and courage with unique resonance and authority.”

Kofi Annan (1938–2018) 7th Secretary-General of the United Nations

Nobel lecture (2001)
Context: In a world filled with weapons of war and all too often words of war, the Nobel Committee has become a vital agent for peace. Sadly, a prize for peace is a rarity in this world. Most nations have monuments or memorials to war, bronze salutations to heroic battles, archways of triumph. But peace has no parade, no pantheon of victory.
What it does have is the Nobel Prize — a statement of hope and courage with unique resonance and authority. Only by understanding and addressing the needs of individuals for peace, for dignity, and for security can we at the United Nations hope to live up to the honour conferred today, and fulfil the vision of our founders. This is the broad mission of peace that United Nations staff members carry out every day in every part of the world.

War , World , Peace , Hope

“Ray is clearly anguished, Persephone realizes; he believes this stuff with all his soul and all his guts. He believes in the viral metaphor of a bronze-age rabble-rouser from the Levant, as interpreted by his syncretist followers scattered throughout the Roman Empire. He believes in heaven and hell as real, literally existing destinations you can book an airline ticket to. He believes salvation is a deterministic, card-punching exercise in holding faith in the right god; believes that there’s a coming End of Time in which his godhead will return to Earth, reading minds and separating the sheep from the goats. No need to ask why his God might prescribe eternal torture for the unbelievers, no need to engage with the problem of free will—Schiller’s eschatology is either brutally truncated or sublimely simple, depending on viewpoint. One thing it isn’t is nuanced.”

Charles Stross The Laundry Files

Source: The Laundry Files, The Apocalypse Codex (2012), Chapter 9, “Speaking in Tongues” (p. 159)

God , Faith , Time , Soul

“The illusionary nature of a two dimensional work of art can sometimes frustrate my creative process. I overcome this by stepping out of the flat illusion into the three dimensional and create sculptures of wood and bronze.”

Tomasz Vetulani (1965) Polish artist

Vetulani.nl (The website of Tomasz Vetulani) https://web.archive.org/web/20220505122011/https://www.vetulani.nl/sculptures, archived from the original https://www.vetulani.nl/sculptures (accessed on May 5th, 2022)

Art , Nature