Quotes about ornament (161 quotes) | Quotes of famous people

“Most Holy Father, there are many who, on bringing their feeble judgment to bear on what is written concerning the great achievements of the Romans — the feats of arms, the city of Rome and the wondrous skill shown in the opulence, ornamentation and grandeur of their buildings — have come to the conclusion that these achievements are more likely to be fables than facts. I, however, have always seen — and still do see —things differently. For, bearing in mind the divine quality of the ancients' minds as revealed in the remains still to be seen among the ruins of Rome, I do not find it unreasonable to believe that much of what we consider impossible seemed, to them, exceedingly simple.”

Raphael (1483–1520) Italian painter and architect

Quote from a letter of Raphael Sanzio to pope Leo X (c. 1519); Bayerische Staatsbibliothek, Munich, cod. it. 37b; translated as 'The Letter to Leo X by Raphael and Baldassare Castiglione, c.1519', by Vaughan Hart and Peter Hicks, Palladio's Rome: A Translation of Andrea Palladio's Two Guidebooks to Rome; Yale University Press, New Haven, 2006, pp. 179-92

“Let a man be of good cheer about his soul, who has cast away the pleasures and ornaments of the body as alien to him, and rather hurtful in their effects, and has followed after the pleasures of knowledge in this life; who has adorned the soul in her own proper jewels, which are temperance, and justice, and courage, and nobility, and truth—in these arrayed she is ready to go on her journey to the world below, when her time comes. You, Simmias and Cebes, and all other men, will depart at some time or other. Me already, as the tragic poet would say, the voice of fate calls.”

Socrates (-470–-399 BC) classical Greek Athenian philosopher

Plato, Phaedo

Life , Men , Fate , Pleasure

“All that is done and said and thought and suffered upon the Earth combine together, and flow onward in one broad resistless current toward those great results to which they are determined by the will of God.
We build slowly and destroy swiftly. Our Ancient Brethren who built the Temples at Jerusalem, with many myriad blows felled, hewed, and squared the cedars, and quarried the stones, and car»ed the intricate ornaments, which were to be the Temples. Stone after stone, by the combined effort and long toil of Apprentice, Fellow-Craft, and Master, the walls arose; slowly the roof was framed and fashioned; and many years elapsed, before, at length, the Houses stood finished, all fit and ready for the Worship of God, gorgeous in the sunny splendors of the atmosphere of Palestine. So they were built. A single motion of the arm of a rude, barbarous Assyrian Spearman, or drunken Roman or Gothic Legionary of Titus, moved by a senseless impulse of the brutal will, flung in the blazing brand; and, with no further human agency, a few short hours sufficed to consume and melt each Temple to a smoking mass of black unsightly ruin.
Be patient, therefore, my Brother, and wait!
The issues are with God: To do,
Of right belongs to us.
Therefore faint not, nor be weary in well-doing! Be not discouraged at men's apathy, nor disgusted with their follies, nor tired of their indifference! Care not for returns and results; but see only what there is to do, and do it, leaving the results to God! Soldier of the Cross! Sworn Knight of Justice, Truth, and Toleration! Good Knight and True! be patient and work!”

Albert Pike book Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry

Source: Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry (1871), Ch. XIX : Grand Pontiff, p. 321

Men , God , Truth , Justice

“Verona is full of pictures which have never been painted. Every step excites emotion and gives rise to unaffected reflection. In the course of a short stroll, you may pass by a Roman amphitheatre, still used, then the castle of some petty prince of the Middle Ages, and while you are contrasting the sublime elevation of antiquity with the heterogeneous palace of a Scaliger your eyes light on a gate of Oriental appearance and fantastic ornament... The illusion is perfect, the eye rests with pain on the passing citizens in their modern costumes; you look for black velvets and gold chains, white feathers and red stockings.”

Benjamin Disraeli (1804–1881) British Conservative politician, writer, aristocrat and Prime Minister

Source: Letter to Isaac Disraeli (September 1826), quoted in William Flavelle Monypenny and George Earle Buckle, The Life of Benjamin Disraeli, Earl of Beaconsfield. Volume I. 1804–1859 (1929), p. 107

Painting , Perfection , Pain , Light

“She lives in a world of her own – a world of – little glass ornaments…”

Tennessee Williams The Glass Menagerie

Source: The Glass Menagerie

World

“Learning is an ornament in prosperity, a refuge in adversity, and a provision in old age.”

Aristotle (-384–-321 BC) Classical Greek philosopher, student of Plato and founder of Western philosophy

Age , Learning

“Then I feel, Harry, that I have given away my whole soul to someone who treats it as if it were a flower to put in his coat, a bit of decoration to charm his vanity, an ornament for a summer's day.”

Oscar Wilde book The Picture of Dorian Gray

Source: The Picture of Dorian Gray

Feeling , Soul , Flowers , Summer

“I am in fact a Hobbit (in all but size). I like gardens, trees, and unmechanized farmlands; I smoke a pipe, and like good plain food (unrefrigerated), but detest French cooking; I like, and even dare to wear in these dull days, ornamental waistcoats. I am fond of mushrooms (out of a field); have a very simple sense of humor (which even my appreciative critics find tiresome); I go to bed late and get up late (when possible). I do not travel much.”

John Ronald Reuel Tolkien (1892–1973) British philologist and author, creator of classic fantasy works

Letter to Deborah Webster (25 October 1958)

Food , Travel , Sense , Tree

“I think there is a profound and enduring beauty in simplicity; in clarity, in efficiency. True simplicity is derived from so much more than just the absence of clutter and ornamentation. It's about bringing order to complexity.”

Jonathan Ive (1967) English designer and VP of Design at Apple

Ive explaining the design philosophy behind iOS 7 in its product video, shown at WWDC 2013.

Beauty , Thinking

“All the manifested world of things and beings are projected by imagination upon the substratum which is the Eternal All-pervading Vishnu, whose nature is Existence-Intelligence; just as the different ornaments are all made out of the same gold.”

Adi Shankara (788–820) Hindu philosopher monk of 8th century

Source: Atma Bodha (1987), p. 16: Quote nr. 9.

World , Imagination , Intelligence , Nature

“The knowledge of past times and of the places on the earth is both an ornament and nutriment to the human mind.”

Leonardo Da Vinci (1452–1519) Italian Renaissance polymath

The Notebooks of Leonardo da Vinci (1883), XIX Philosophical Maxims. Morals. Polemics and Speculations.

Knowledge , Time , Past

“Another illustration. When for the first time I met Mister Clay, the other day in the cars, in front of us sat an old gentleman with an enormous wen upon his neck. Everybody would say the wen was a great evil, and would cause the man's death after a while. But you couldn't cut it out, for he'd bleed to death in a minute. But would you engraft the seeds of that wen on the necks of sound and healthy men? He must endure and be patient, hoping for possible relief. The wen represents slavery on the neck of this country. This only applies to those who think slavery is wrong. Those who think it right would consider the snake a jewel, and the wen an ornament.”

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

1860s, Speech at Hartford (1860)

Death , Men , Hope , Cars

“And the city was lovely, highly ornamented, like Paris, and untouched by war. It was supposedly an “open” city, not to be attacked since there were no troop concentrations or war industries there. But high explosives were dropped on Dresden by American and British planes on the night of February 13, 1945, just about twenty-one years ago, as I now write. There were no particular targets for the bombs. The hope was that they would create a lot of kindling and drive firemen underground. And then tens of thousands of tiny incendiaries were scattered over the kindling, like seeds on freshly turned loam. More bombs were dropped to keep firemen in their holes, and all the little fires grew, joined one another, became one apocalyptic flame. Hey presto: fire storm. It was the largest massacre in European history, by the way. … Everything was gone but the cellars where 135,000 Hansels and Gretels had been baked like gingerbread men.”

Kurt Vonnegut book Mother Night

Introduction (1966)
Mother Night (1961)

Love , Men , War , Hope

“Diogenes received an invitation to dine with one whose house was splendidly furnished, in the highest order and taste, and nothing therein wanting. Diogenes, hawking, and as if about to spit, looked in all directions, and finding nothing adapted thereto, spat right in the face of the master. He, indignant, asked why he did so? "Because," Diogenes, "I saw nothing so dirty and filthy in all your house. For the walls were covered with pictures, the floors of the most precious tessellated character — and ranged with the various images of gods, and other ornamental figures."”

Galén (129–216) Roman physician, surgeon and philosopher

Galen, Exhortation to Study the Arts, Coxe (1846), p. 479; cf. Diogenes Laërtius, vi. 32.

God , Housing

“I search and can't find myself. I belong in chrysanthemum time, sharp in calla lily elongations. God made my soul into an ornamental thing.”

Fernando Pessoa book The Book of Disquiet

Ibid., p. 140
The Book of Disquiet
Original: Busco-me e não me encontro. Pertenço a horas crisântemos, nítidas em alongamentos de jarros. Deus fez da minha alma uma coisa decorativa.

God , Soul , Search , Time

“If you are a Christian, no earthly city is yours. Of our City ‘the Builder and Maker is God.’ Though we may gain possession of the whole world, we are withal but strangers and sojourners in it all. We are enrolled in heaven: our citizenship is there! Let us not, after the manner of little children, despise things that are great, and admire those which are little! Not our city’s greatness, but virtue of soul is our ornament and defence. If you suppose dignity to belong to a city, think how many persons must partake in this dignity, who are whoremongers, effeminate, depraved and full of ten thousand evil things, and at last despise such honour! But that City above is not of this kind; for it is impossible that he can be a partaker of it, who has not exhibited every virtue.”

John Chrysostom (349–407) important Early Church Father

Homilies on the Statues http://www.ccel.org/ccel/schaff/npnf109/Page_456.html, Homily XVII

God , Children , World , Soul

“Oh! human stupidity, do you not perceive that, though you have been with yourself all your life, you are not yet aware of the thing you possess most of, that is of your folly? and then, with the crowd of sophists, you deceive yourselves and others, despising the mathematical sciences, in which truth dwells and the knowledge of the things included in them. And then you occupy yourself with miracles, and write that you possess information of those things of which the human mind is incapable and which cannot be proved by any instance from nature. And you fancy you have wrought miracles when you spoil a work of some speculative mind, and do not perceive that you are falling into the same error as that of a man who strips a tree of the ornament of its branches covered with leaves mingled with the scented blossoms or fruit.”

Leonardo Da Vinci (1452–1519) Italian Renaissance polymath

The Notebooks of Leonardo da Vinci (1883), XIX Philosophical Maxims. Morals. Polemics and Speculations.

Life , Truth , Stupidity , Error

“Don't let your heart depend on things
That ornament life in a fleeting way!
He who possesses, let him learn to lose,
He who is fortunate, let him learn pain.”

Friedrich Schiller The Bride of Messina

Die Braut von Messina (The Bride of Messina), Act IV, sc. iv (1803)

Life , Pain , Way , Learning

“It is not the healthy, the confident, the proud, the joyous, the happy, that one must love - they have no need of one's love! Arrogant and indifferent, they accept love only as homage that is theirs to command, as their due. The devotion of another is to them a mere embellishment, an ornament for the hair, a bracelet on the arm, not the whole meaning and bliss of their lives. Only those with whom life has dealt hardly, the wretched, the slighted, the uncertain, the unlovely, the humiliated, could really be helped by love. He who devotes his life to them atones to them for what life has taken from them. They alone know how to love and be loved as one should love - gratefully and humbly.”

Stefan Zweig book Beware of Pity

Beware of Pity (1939)

Love , Life , Confidence , Help

“We want, in a word, to fulfil nature’s wishes, to further the destinies of humanity, to keep the promises of philosophy, to absolve providence of the long reign of crime and tyranny. So that France, once illustrious among enslaved countries, eclipsing the glory of all the free peoples that have existed, may become the model for all nations, the terror of oppressors, the consolation of the oppressed, the ornament of the universe; and that in sealing our work with our blood, we may at least glimpse the shining dawn of universal felicity. That is our ambition, that is our goal.”

Maximilien Robespierre (1758–1794) French revolutionary lawyer and politician

"On the Principles of Political Morality that Should Guide the National Convention in the Domestic Administration of the Republic" (5 February 1794)

Universe , Nature , People , Country

“Another illustration. When for the first time I met Mister Clay, the other day in the cars, in front of us sat an old gentleman with an enormous wen upon his neck. Everybody would say the wen was a great evil, and would cause the man's death after a while. But you couldn't cut it out, for he'd bleed to death in a minute. But would you engraft the seeds of that wen on the necks of sound and healthy men? He must endure and be patient, hoping for possible relief. The wen represents slavery on the neck of this country. This only applies to those who think slavery is wrong. Those who think it right would consider the snake a jewel, and the wen an ornament.”

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

1860s, Speech at Hartford (1860)

Country , Thinking , Death , Men

“I see my body as an instrument, rather than an ornament.”

Alanis Morissette (1974) Canadian-American singer-songwriter

“A lady I will be, but a man's accessory, his handbag, no thank you. I will not be someone's ornament. I will not just be someone's honey, baby, sweetheart.”

Deb Caletti (1963) American writer

Source: Honey, Baby, Sweetheart

Baby

“There are only four great arts: music, painting, sculpture, and ornamental pastry- architecture being perhaps the least banal derivative of the latter.”

Julia Child My Life in France

Source: My Life in France

Art , Music , Painting

“You cannot reduce the situation to worm jokes, Will. This is Gabriel and Gideon’s father we’re discussing.”
“We’re not just discussing him; we’re chasing him through an ornamental sculpture garden because he’s turned into a worm.”

Cassandra Clare book Clockwork Princess

Source: Clockwork Princess

“… beauty is the projection of ugliness and by developing certain monstrosities we obtain the purest ornaments.”

Jean Genet (1910–1986) French novelist, playwright, poet and political activist

Source: Miracle of the Rose

Beauty

“Hopes are like hair ornaments. Girls want to wear too many of them. When they become old women they look silly wearing even one.”

Arthur Golden book Memoirs of a Geisha

Source: Memoirs of a Geisha

Women , Hope , Girl

“Christmas garland and a rock?" he said, a smile in his voice. "Why not an ornament?"

"Wolves aren't fragile," I told him. "And they're… stubbon and hard to move.”

Patricia Briggs book Silver Borne

Source: Silver Borne

Smile , Christmas

“The ornament of a house is the friends who frequent it.”

Ralph Waldo Emerson (1803–1882) American philosopher, essayist, and poet

Domestic Life
1870s, Society and Solitude (1870)

Friendship , For Friend , For Bestfriend , Housing

“Friendship is like a glass ornament, once it is broken it can rarely be put back together exactly the same way.”

Charles Kingsley (1819–1875) English clergyman, historian and novelist

Heartbreaking , Friendship , For Friend , For Bestfriend

“In those three years, (from fourteen to seventeen years old)… I came to understand the meaning of a drawing from the life, the synthesis of my art, and the rhythm of animais. I remember that a companion of those days,' of whom I hâve since lost sight, made me see, in a couple of hours, on a very true and simple principle, an observation of the necessary equilibria of movement not taught in the schools, the secret of the plans of a figure. That lesson has influenced my whole life. As for the ornament-maker, in whose workshop I earned a scanty wage, I long deplored being constrained to do so, but I hâve since thought with affection of it, understanding that there are as many sources of beauty in ornament as in the face.”

Auguste Rodin (1840–1917) French sculptor

Source: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 2-3

Life , Secret , School , Beauty

“Education…is a companion which no misfortunes can depress, no clime destroy, no enemy alienate, no despotism enslave: at home a friend, abroad an introduction, in solitude a solace, in society an ornament: it chastens vice, it guides virtue, it gives at once a grace and government to genius. Without it, what is man? A splendid slave, a reasoning savage.”

Joseph Addison (1672–1719) politician, writer and playwright

Though sometimes attributed to Addison, this actually comes from a speech delivered by the Irish lawyer Charles Phillips in 1817, in the case of O'Mullan v. M'Korkill, published in Irish Eloquence: The Speeches of the Celebrated Irish Orators (1834) pp. 91-92.
Misattributed

Education , Home , Solitude

“ There is […] no necessary connection between the symbol and that which is symbolized. Just as men can wear yachting costumes without ever having been near a yacht, so they can make the noise "I'm hungry" without being hungry. Furthermore, just as social rank can be symbolized by feathers in the hair, by tattooing on the breast, by gold ornaments on the watch chain, or by a thousand different devices according to the culture we live in, so the fact of being hungry can be symbolized by a thousand different noises according to the culture we live in: "J'ai faim," or "Es hungert mich," or "Ho appetito," or "Hara ga hetta," and so on.”

S. I. Hayakawa book Language in Thought and Action

Source: Language in Thought and Action (1949), Language as Symbolism, p. 27

Men , Tattoo

“To refrain from unlawful and impious source of pleasures is an ornament to the poor and to be thankful for the riches granted is the adornment of wealth.”

Ali book Nahj al-Balagha

Nahj al-Balagha

Pleasure , Wealth

“The only really Christian art is that which, like St. Francis, does not fear being wedded to poverty. This rises far above art-as-ornament.”

André Gide (1869–1951) French novelist and essayist

“An Unprejudiced Mind,” p. 317
Pretexts: Reflections on Literature and Morality (1964)

Fear , Art , Wedding

“Tarzan of the Apes had decided to mark his evolution from the lower orders in every possible manner, and nothing seemed to him a more distinguishing badge of manhood than ornaments and clothing.
To this end, therefore, he collected the various arm and leg ornaments he had taken from the black warriors who had succumbed to his swift and silent noose, and donned them all after the way he had seen them worn.
About his neck hung the golden chain from which depended the diamond encrusted locket of his mother, the Lady Alice. At his back was a quiver of arrows slung from a leathern shoulder belt, another piece of loot from some vanquished black.
About his waist was a belt of tiny strips of rawhide fashioned by himself as a support for the home-made scabbard in which hung his father's hunting knife. The long bow which had been Kulonga's hung over his left shoulder.
The young Lord Greystoke was indeed a strange and war-like figure, his mass of black hair falling to his shoulders behind and cut with his hunting knife to a rude bang upon his forehead, that it might not fall before his eyes.
His straight and perfect figure, muscled as the best of the ancient Roman gladiators must have been muscled, and yet with the soft and sinuous curves of a Greek god, told at a glance the wondrous combination of enormous strength with suppleness and speed.”

Edgar Rice Burroughs book Tarzan of the Apes

Source: Tarzan of the Apes (1912), Ch. 13 : His Own Kind

God , War , Way , Home

“On the maturation of a woman* "She is a woman now, and not an idle girl, not a domestic ornament or a sexual convenience anymore."”

Will Durant book The Story of Civilization

Source: The Story of Civilization (1935–1975), VI - The Reformation (1957), p.g. 14

Girl

“SPAN ID=All_fashionable_clothes> All fashionable clothes, as Thorstein Veblen has pointed out in his Theory of the Leisure Class (1899), are highly symbolic: materials, cut, and ornament are dictated only to a slight degree by consideration of warmth, comfort, or practicability. The more we dress up in fine clothes, the more we restrict our freedom of action. But by means of delicate embroideries, easily soiled fabrics, starched shirts, high heels, long and pointed fingernails. and other such sacrifices of comfort, the wealthy classes manage to symbolize, among other things, the fact that they don't have to work for a living. </SPAN”

S. I. Hayakawa book Language in Thought and Action

Source: Language in Thought and Action (1949), The Symbolic Process, pp. 24-25

Fashion , Freedom , Clothes

“He now attacked the fort of Bhim, where was a temple of the Hindus. He was victorious, and obtained much wealth, including about a hundred idols of gold and silver. One of the golden images, which weighed a million mishkals, the Sultan appropriated to the decoration of the Mosque of Ghazni, so that the ornaments of the doors were of gold instead of iron.”

Mahmud of Ghazni (971–1030) Sultan of Ghazni

Nagarkot Kangra (Himachal Pradesh) . Hamdu’llah bin ‘Abu Bakr bin Hamd bin Nasr Mustaufi : Tarikh-i-Guzida, in Elliot and Dowson, Vol. III : Elliot and Dowson, History of India as told by its own Historians, 8 Volumes, Allahabad Reprint, 1964. p. 65
Quotes from The History of India as told by its own Historians

Victory , Wealth

“All the revision in the world will not save a bad first draft: for the architecture of the thing comes, or fails to come, in the first conception, and revision only affects the detail and ornament, alas!”

T. E. Lawrence (1888–1935) British archaeologist, military officer, and diplomat

Letter to Bruce Rogers (20 August 1931)

World

“Who would not at the present moment wish to retain the persuasion that wives are virtuous? Are they not the supreme flower of the country? Are they not all blooming creatures, fascinating the world by their beauty, their youth, their life and their love? To believe in their virtue is a sort of social religion, for they are the ornament of the world, and form the chief glory of France.”

Honoré de Balzac book Physiology of Marriage

Qui ne voudrait pas rester persuadé que ces femmes sont vertueuses?Ne sont-elles pas la fleur du pays?Ne sont-elles pas toutes verdissantes, ravissantes, étourdissantes de beauté, de jeunesse, de vie et d'amour?Croire à leur vertu est une espèce de religion sociale; car elles sont l'ornement du monde et font la gloire de la France.
Part I, Meditation II: Marriage Statistics.
Physiology of Marriage (1829)

Love , Life , Youth , World

“Females choose; their choosiness is inherited; they prefer exaggerated ornaments; exaggerated ornaments are a burden to males.”

Matt Ridley (1958) economist

Source: The Red Queen (1993), Ch. 5

“The good taste we speak of, which is that of literature, is not limited to what we call the sciences, but extends itself imperceptibly to other arts, such as architecture, painting, sculpture, and music. 'Tis the same discerning faculty which introduces universally the same elegance, the same symmetry, and the same order in the disposition of the parts; which inclines us to a noble simplicity, to natural beauties, and a judicious choice of ornaments. On the other hand, the depravation of taste in arts has been always a mark and consequence of the depravation of taste in literature. … The good taste of literature reaches also to public customs, and the manner of living. An habit of consulting the best rules upon one subject, naturally leads to the doing it also upon others.”

Charles Rollin (1661–1741) French historian

The Method of Teaching and Studying the Belles Lettres, Vol. I, The Third Edition (1742), Part II, Ch. 2: 'General Reflections upon what is called good Taste', pp. 45–46

Beauty , Art , Music , Literature

“I once painted a concert singer and on the chestnut frame I carved the opening bars of Mendelssohn's "Rest in the Lord." It was ornamental unobtrusive and to musicians I think it emphasized the expression of the face and pose of the figure.”

Thomas Eakins (1844–1916) American painter

Letter to Henry A. Rowland (1897-10-04).

Thinking , Painting

“As for broken hearts, no self-respecting young woman shows such an ornament at any well regulated breakfast-table; they are kept in dark drawers and closets like other broken furniture.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

Source: Esther: A Novel (1884), Ch. IX

Heart

“A singer who is able to sing even sixteen measures of good music in a natural and engaging way, effortlessly and in tune, without distending the phrase, without exaggerating accents to the point of caricature, without platitude, affectation, or coyness, without making grammatical mistakes, without illicit slurs, without hiatus or hiccup, without making insolent changes in the text, without barks or bleats, without sour notes, without crippling the rhythm, without absurd ornaments and nauseating appoggiaturas – in short, a singer able to sing these measures simply and exactly as the composer wrote them – is a rare, very rare, exceedingly rare bird.”

Hector Berlioz book À travers chants

Un chanteur ou une cantatrice capable de chanter seize mesures seulement de bonne musique avec une voix naturelle, bien posée, sympathique, et de les chanter sans efforts, sans écarteler la phrase, sans exagérer jusqu'à la charge les accents, sans platitude, sans afféterie, sans mièvreries, sans fautes de français, sans liaisons dangereuses, sans hiatus, sans insolentes modifications du texte, sans transposition, sans hoquets, sans aboiements, sans chevrotements, sans intonations fausses, sans faire boiter le rhythme, sans ridicules ornements, sans nauséabondes appogiatures, de manière enfin que la période écrite par le compositeur devienne compréhensible, et reste tout simplement ce qu'il l'a faite, est un oiseau rare, très-rare, excessivement rare.
À travers chants, ch. 8 http://www.hberlioz.com/Writings/ATC08.htm; Elizabeth Csicsery-Rónay (trans.) The Art of Music and Other Essays (Bloomington: Indiana University Press, 1994) p. 69.

Music , Way , Nature , Bird

““The practice of employing images as ornaments and memorials to decorate the temple of the Lord is in a most especial manner approved by the Word of God himself. Moses was commanded to place two cherubim upon the ark, and to set up a brazen figure of the fiery serpent, that those of the murmuring Israelites who had been bitten might recover from the poison of their wounds by looking on the image. In the description of Solomon's temple, we read of that prince, not only that he made in the oracle two cherubim of olive tree, of ten 83 Vide supra, p. 17. 101 cubits in height, but that ‘all the walls of the temple round about he carved with divers figures and carvings.’ “In the first book of Paralipomenon (Chronicles) we observe that when David imposed his injunction upon Solomon to realise his intention of building a house to the Lord, he delivered to him a description of the porch and temple, and concluded by thus assuring him: ‘All these things came to me written by the hand of the Lord, that I may understand the works of the pattern.’ “The isolated fact that images were not only directed by the Almighty God to be placed in the Mosaic tabernacle, and in the more sumptuous temple of Jerusalem, but that [132] he himself exhibited the pattern of them, will be alone sufficient to authorise the practice of the Catholic Church in regard to a similar observance.”—(Hierurgia, p. 371.) All this may be briefly answered. There was no representation of the Jewish patriarchs or saints either in the tabernacle or in the temple of Solomon, as is the case with the Christian saints in the Roman Catholic and Græco-Russian Churches; and the brazen serpent, to which the author alludes, was broken into pieces by order of King Hezekiah as soon as the Israelites began to worship it.”

John Calvin (1509–1564) French Protestant reformer

Source: A Treatise of Relics (1543), pp. 100-101

God , Books , Understanding , Tree

“He is unpardonable, therefore, who cannot distinguish one from the other; but lays on history the paint of poetry, its flattery, fable, and hyperbole: it is just as ridiculous as it would be to clothe one of our robust wrestlers, who is as hard as an oak, in fine purple, or some such meretricious garb, and put paint on his cheeks; how would such ornaments debase and degrade him!”

Lucian (120) ancient Greek writer

How to Write History

History , Painting , Clothes

“Education is an ornament for the prosperous, a refuge for the unfortunate.”

Democritus Ancient Greek philosopher, pupil of Leucippus, founder of the atomic theory

Freeman (1948), p. 161

Education

“Among the thirteenth-century windows the Western Rose alone seems to affect a rivalry in brilliance with the lancets, and carries it so far that the separate medallions and pictures are quite lost,— especially in direct sunshine,— blending in a confused effect of opals, in a delirium of color and light, with a result like a cluster of stones in jewelry. Assuming as one must, in want of the artist's instruction, that he knew what he wanted to do, and did it, one must take for granted that he treated the Rose as a whole, and aimed at giving it harmony with the three precious windows beneath. The effect is that of a single large ornament; a round breastpin, or what is now called a sun-burst, of jewels, with three large pendants beneath.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

Mont Saint Michel and Chartres (1904)

Color , Light , Sun

“Ahmadabad is one of the largest towns in India, and there is a considerable trade in silken stuffs, gold and silver tapestries, and others mixed with silk; saltpetre, sugar, ginger, both candied and plain, tamarinds, mirabolans, and indigo cakes, which are made at three leagues from Ahmadabad, at a large town called Suarkei. There was formerly a pagoda in this place, which the Musalinans seized and converted into a mosque. Before entering it you traverse three great courts paved with marble, and surrounded by galleries, but you are not allowed to place foot in the third without removing your shoes. The exterior of the mosque is ornamented with mosaic, the greater part of which consists of agates of different colours, obtained from the mountains of Cambay, only two days’ journey thence.”

Shantidas Jhaveri (1580–1659) Indian jewellery and bullion trader during Mughal era

Description of the temple built by Shantidas Jhaveri. Travels In India Vol.-i by Tavernier Jean-baptiste https://archive.org/stream/in.ernet.dli.2015.2546/2015.2546.Travels-In-India-Vol-i_djvu.txt Cited in Harsh Narain, The Ayodhya Temple Mosque Dispute: Focus on Muslim Sources, Appendix VI

Shoe , Mountain , Parting

“The great feature of our medieval chamber is the furniture; this, in a rich apartment, would be covered with paintings, both ornaments and subjects; it not only did its duty as furniture, but spoke and told a story.”

William Burges (1827–1881) English architect

Source: Art applied to industry: a series of lectures, 1865, p. 71; Partly cited in: Export of objects of cultural interest 2010/11: 1 May 2010 - 30 April 2011. Stationery Office, 13 dec. 2011

Painting

“The young artists of to-day understand nothing; they copy to satiety the classic ornaments and designs, and reproduce them in so cold a manner that they lose all meaning. The ancients obtained their designs from nature. They found their models in the garden, even in the vegetable garden. They drew their inspiration from its source. The cabbage-leaf, the oak-leaf, the clover, the thistle, and the brier are the motives of the Gothic capital. It is not photographic truth, but living truth, that we must seek in art.”

Auguste Rodin (1840–1917) French sculptor

Source: Rodin : the man and his art, with leaves from his notebook, 1917, p. 125

Truth , Art , Motivation , Understanding

“To approach Chopin, you have to separate him completely from Schumann. Schumann admired Chopin very much and saw him as friend, but - what only few people know - Chopin himself had much less interest in and esteem for Schumann. In detail: Schumann’s works follow on from a transitional period determined by the successors of Viennese Classicism, particularly Beethoven. Just as the sons of Bach espoused the ‘galant,’ ornamented style of their generation, so the pupils of Mozart and Beethoven - Hummel, Ries, Czerny, Moscheles - took pains to compensate for a thinner musical substance with increased instrumental brilliance and thus prepared the ground for the golden age of the piano and the era of the Romantic virtuoso. Among the multitude of composers writing for the piano at that time, only two - Weber and Schubert - stand out as original creative forces.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

Pain , People , Age , Music

“The battle raged with great fury: victory was long doubtful, till two Indian princes, Brahman Dew and Dabishleem, with other reinforcements, joined their countrymen during the action, and inspired them with fresh courage. Mahmood at this moment perceiving his troops to waver, leaped from his horse, and, prostrating himself before God implored his assistance' At the same time he cheered his troops with such energy, that, ashamed to abandon their king, with whom they had so often fought and bled, they, with one accord, gave a loud shout and rushed forwards. In this charge the Moslems broke through the enemy's line, and laid 5,000 Hindus dead at their feet' On approaching the temple, he saw a superb edifice built of hewn stone. Its lofty roof was supported by fifty-six pillars curiously carved and set with precious stones. In the centre of the hall was Somnat, a stone idol five yards in height, two of which were sunk in the ground. The King, approaching the image, raised his mace and struck off its nose. He ordered two pieces of the idol to be broken off and sent to Ghizny, that one might be thrown at the threshold of the public mosque, and the other at the court door of his own palace. These identical fragments are to this day (now 600 years ago) to be seen at Ghizny. Two more fragments were reserved to be sent to Mecca and Medina. It is a well authenticated fact, that when Mahmood was thus employed in destroying this idol, a crowd of Brahmins petitioned his attendants and offered a quantity of gold if the King would desist from further mutilation. His officers endeavoured to persuade him to accept of the money; for they said that breaking one idol would not do away with idolatry altogether; that, therefore, it could serve no purpose to destroy the image entirely; but that such a sum of money given in charity among true believers would be a meritorious act. The King acknowledged that there might be reason in what they said, but replied, that if he should consent to such a measure, his name would be handed down to posterity as 'Mahmood the idol-seller', whereas he was desirous of being known as 'Mahmood the destroyer': he therefore directed the troops to proceed in their work'…'The Caliph of Bagdad, being informed of the expedition of the King of Ghizny, wrote him a congratulatory letter, in which he styled him 'The Guardian of the State, and of the Faith'; to his son, the Prince Ameer Musaood, he gave the title of 'The Lustre of Empire, and the Ornament of Religion'; and to his second son, the Ameer Yoosoof, the appellation of 'The Strength of the Arm of Fortune, and Establisher of Empires.”

Mahmud of Ghazni (971–1030) Sultan of Ghazni

He at the same time assured Mahmood, that to whomsoever he should bequeath the throne at his death, he himself would confirm and support the same.'
Tarikh-i-Firishta, translated into English by John Briggs under the title History of the Rise of the Mahomedan Power in India, 4 Volumes, New Delhi Reprint, 1981. p. 38-49 (Alternative translation: "but the champion of Islam replied with disdain that he did not want his name to go down to posterity as Mahmud the idol-seller (but farosh) instead of Mahmud the breaker-of-idols (but shikan)." in Lal, K. S. (1992). The legacy of Muslim rule in India. New Delhi: Aditya Prakashan. Chapter 3)
Sack of Somnath (1025 CE)

Death , Money , God , Faith

“Take more room, examine my 'Gate' from a little farther off, and you will see once more the effect of the whole — the effect of unity which charms you when it is deprived of its ornamentation. You must understand that my sculpture is so calculated as to melt into the principal masses. For that matter, it completes them by modeling them into the light. The essential designs are there: it is possible that in the course of the final work I may find it necessary to diminish such or such a projection, to fill out such or such a pool of shadow; nevertheless, leave this difficulty to my fifty years of artisanship and experience, and you may be sure that quite by myself I shall find the best way of finishing my work.”

Auguste Rodin (1840–1917) French sculptor

Source: Rodin : the man and his art, with leaves from his notebook, 1917, p. 281; About the sculpture The Gates of Hell

Way , Understanding , Light

“The meaning of the word “feminist” has not really changed since it first appeared in a book review in the Athenaeum of April 27, 1895, describing a woman who “has in her the capacity of fighting her way back to independence.” It is the basic proposition that, as Nora put it in Ibsen's A Doll's House a century ago, “Before everything else I'm a human being.” It is the simply worded sign hoisted by a little girl in the 1970 Women's Strike for Equality: I AM NOT A BARBIE DOLL. Feminism asks the world to recognize at long last that women aren't decorative ornaments, worthy vessels, members of a “special-interest group”. They are half (in fact, now more than half) of the national population, and just as deserving of rights and opportunities, just as capable of participating in the world's events, as the other half. Feminism's agenda is basic It asks that women not be forced to “choose” between public justice and private happiness. It asks that women be free to define themselves — instead of having their identity defined for them, time and again, by their culture and their men.”

Susan Faludi book Backlash: The Undeclared War Against American Women

Backlash (1992)

Women , Men , Books , World

“I am glad that the life of pandas is so dull by human standards, for our efforts at conservation have little moral value if we preserve creatures only as human ornaments; I shall be impressed when we show solicitude for warty toads and slithering worms.”

Stephen Jay Gould book An Urchin in the Storm

"How Does a Panda Fit?", p. 21
An Urchin in the Storm (1987)

Life , Effort

“Nothing is more perishable than worn-out apparel, yet, thanks to documentary evidence, to the custom of burying people of high rank in their robes, and to the practice of wrapping up relics of saints in pieces of precious stuffs, we are enabled to form a veiy good idea of what these stuffs were like and where they came from. In the first instance they appear to have come from Byzantium, and from the East generally; but the manufacture afterwards extended to Sicily, and received great impetus at the Norman conquest of that island; Roger I. even transplanting Greek workmen from the towns sacked by his army, and settling them in Sicily. Of course many of the workers would be Mohammedans, and the old patterns, perhaps with the addition of sundry animals, would still continue in use; hence the frequency of Arabic inscriptions in the borders, the Cufic character being one of the most ornamental ever used. In the Hotel de Clu^ny at Paris are preserved the remains of the vestments of a bishop of Bayonne, found when his sepulchre was opened in 1853, the date of the entombment being the twelfth century. Some of these remains are cloth of gold, but the most remarkable is a very deep border ornamented with blue Cufic letters on a gold ground; the letters are fimbriated with white, and from them issue delicate red scrolls, which end in Arabic sort of flowers: this tissue probably is pure Eastern work. On the contrary, the coronation robes of the German emperors, although of an Eastern pattern, bear inscriptions which tell us very clearly where they were manufactured: thus the Cufic characters on the cope inform us that it was made in the city of Palermo in the year 1133, while the tunic has the date of 1181, but then the inscription is in the Latin language. The practice of putting Cufic inscriptions on precious stuffs was not confined to the Eastern and Sicilian manufactures; in process of time other Italian cities took up the art, and, either because it was the fashion, or because they wished to pass off" their own work as Sicilian or Eastern manufacture, imitations of Arabic characters are continually met with, both on the few examples that have come down to us of the stuffs themselves, or on painted statues or sculptured effigies. These are the inscriptions which used to be the despair of antiquaries, who vainly searched out their meaning until it was discovered that they had no meaning at all, and that they were mere ornaments. Sometimes the inscriptions appear to be imitations of the Greek, and sometimes even of the Hebrew. The celebrated ciborium of Limoges work in the Louvre, known as the work of Magister G. Alpais, bears an ornament around its rim which a French antiquary has discovered to be nothing more than the upper part of a Cufic word repeated and made into a decoration.”

William Burges (1827–1881) English architect

Quote was introduced with the phrase:
In the lecture on the weaver's art, we are reminded of the superiority of Indian muslins and Chinese and Persian carpets, and the gorgeous costumes of the middle ages are contrasted with our own dark ungraceful garments. The Cufic inscriptions that have so perplexed antiquaries, were introduced with the rich Eastern stuffs so much sought after by the wealthy class, and though, as Mr. Burges observes
Source: Art applied to industry: a series of lectures, 1865, p. 85; Cited in: " Belles Lettres http://books.google.com/books?id=0EegAAAAMAAJ&pg=PA143" in: The Westminster Review, Vol. 84-85. Baldwin, Cradock, and Joy, 1865. p. 143

People , Art , Search , Flowers

“I consider an human soul without education like marble in the quarry, which shews none of its inherent beauties till the skill of the polisher fetches out the colours, makes the surface shine, and discovers every ornamental cloud, spot and vein that runs through the body of it.”

Joseph Addison (1672–1719) politician, writer and playwright

No. 215 (6 November 1711).
The Spectator (1711–1714)

Education , Beauty , Soul

“Men have their choice in this world. They can be angels, or they may be demons. In the apocalyptic vision, John describes a war in heaven. You have only to strip that vision of its gorgeous Oriental drapery, divest it of its shining and celestial ornaments, clothe it in the simple and familiar language of common sense, and you will have before you the eternal conﬂict between right and wrong, good and evil, liberty and slavery, truth and falsehood, the glorious light of love, and the appalling darkness of human selﬁshness and sin. The human heart is a seat of constant war… Just what takes place in individual human hearts, often takes place between nations, and between individuals of the same nation.”

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

As quoted in Maurice S. Lee (2009), The Cambridge Companion to Frederick Douglass. Cambridge University Press, p. 50; Thomson, Conyers & Dawson (2009). The Frederick Douglass Encyclopedia. ABC-CLIO. p. 84

Love , Men , War , Truth

“It is true that Donatello, who afterwards did the ornamentation of the other organ opposite this one, displayed much more judgment and skill than Luca, as will be said in the proper place, because he did almost the whole of the work in the rough as it were, not delicately finishing it, so that it should appear much better at a distance than Luca's; as it does, for with all his care and skill the eye cannot appreciate it well because of the very polish and finish, which are lost in the distance, as it can the almost purely rough hewn work of Donato. To this matter artists should devote much attention, because experience shows that all things seen at a distance, whether they be paintings or sculptures or any other like thing, are bolder and more vigorous in appearance if skilfully hewn in the rough than if they are carefully finished. Besides the effect obtained by distance, it often happens that these rough sketches, which are born in an instant in the heat of inspiration, express the idea of their author in a few strokes, while on the other hand too much effort and diligence sometimes sap the vitality and powers of those who never know when to leave off.”

Giorgio Vasari (1511–1574) Italian painter, architect, writer and historian

Volume 2. p. 28
The Lives of the Painters, Sculptors, and Architects, 1900

Idea , Effort , Appearance , Painting

“.. that famous idea of 'beauty', which is, as everybody says, the goal of the arts. If it is their only goal, what becomes of the men like Rubens, Rembrandt, and all the northern natures generally, who prefer other qualities? Demand purity, In a word beauty... In general the men of the north tend less in that direction. The Italian prefers ornament.”

Eugène Delacroix (1798–1863) French painter

Quote 1847, as cited in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 229
1831 - 1863

Men , Beauty , Art , Idea

“On the bank of the Nile opposite Old Cairo is the place known as The Garden, which is a pleasure park and promenade, containing many beautiful gardens, for the people of Cairo are given to pleasure and amusements. I witnessed a fete once in Cairo for the sultan's recovery from a fractured hand; all the merchants decorated their bazaars and had rich stuffs, ornaments and silken fabrics hanging in their shops for several days.”

Ibn Battuta (1304–1377) Moroccan explorer

Travels in Asia and Africa (Rehalã of Ibn Battûta)

People , Pleasure , Beauty

“Architecture has its political Use; public Buildings being the Ornament of a Country; it establishes a Nation, draws People and Commerce; makes the People love their native Country, which Passion is the Original of all great Actions in a Common-wealth…. Architecture aims at Eternity.”

Christopher Wren (1632–1723) English architect

"Of Architecture", Parentalia; or Memoirs of the Family of the Wrens, comp. by his son Christopher (1750, reprinted 1965), Appendix, p. 351.

Love , People , Passion , Drawing

“If you ask me abruptly
Why write poetry
Why not do
Something useful
Then I won't know
How to answer you
I am like a goldsmith hammering day and night
Just so I can extend pain
Into a gold ornament as thin as a cicada's wing
I don't know if working so hard
To transform sorrows into
Shimmering words and phrases
Is also
Beautifully worthwhile.”

Xi Murong (1943) Taiwanese poet and painter

"Poetry's Value", in Where Books Fall Open: A Reader's Anthology of Wit & Passion (David R. Godine Publisher, 2003), p. 56

Pain , Night

“The Oriental heritage, due to the long sojourn of the Moors in Spain, had a profound influence on the taste of the people. From these Oriental invaders the Spaniards derived the great surfaces of blank wall with occasional spots of luxuriant ornament that characterize nearly all their work. From them also comes the love of bright color shown in the use of polychrome tiles and rich fabrics and in the painting and gilding of sculpture and ornamental motives. While the large constructive forms, particularly vaults and domes, are frankly and simply expressed, the ornament as in the work of the Orient, is rather an incrustation, a mere surface decoration, than a pretense at logical construction.”

Clarence Stein (1882–1975) American architect

A Triumph of Spanish Colonial Style (1916)

Love , People , Color , Motivation

“Embellish truth only with a view to gain it the more full and free admission into your hearer's minds; and your ornaments will, in that case, be simple, masculine, natural.”

Hugh Blair (1718–1800) British philosopher

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 481.

Truth , Nature

“… if you saw a baby tyrannosaur you would probably think it was a weird looking bird. A full grown one might have had feathers too, maybe not on its whole body though, maybe more of an ornamental display sort of feathers. So traits in the theropod dinosaurs were more birdlike than say, crocodiles.”

Mark Norell (1957) American paleontologist

As quoted in "How Dinosaurs Loved: An Interview with Dr. Mark Norell on Dino Relations" http://motherboard.vice.com/blog/t-rexxx-how-dinosaurs-lived-loved-and-tasted-q-a-with-dr-mark-norell-american-museum-of-natural-history, Vice (March 20, 2012)

Bird , Thinking , Baby

“To be apt in quotation is a splendid and dangerous gift. Splendid, because it ornaments a man's speech with other men's jewels; dangerous, for the same reason.”

Robertson Davies (1913–1995) Canadian journalist, playwright, professor, critic, and novelist

Robertson Davies Dangerous Jewels (1960).

Men

““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

Muhammad al-Taqi (811–835) ninth of the Twelve Imams of Twelver Shi'ism

al-Shahid al-Tustari, Ihqaqul-Haq, vol.12, p. 434
General

God , Fear , Smile , Knowledge

“The Sultan himself joined in the pursuit, and went after them as far as the fort called Bhimnagar [Nagarkot, modern Kangra], which is very strong, situated on the promontory of a lofty hill, in the midst of impassable waters. The kings of Hind, the chiefs of that country, and rich devotees, used to amass their treasures and precious jewels, and send them time after time to be presented to the large idol that they might receive a reward for their good deeds and draw near to their God. So the Sultan advanced near to this crow's fruit, ^ and this accumulation of years, which had attained such an amount that the backs of camels would not carry it, nor vessels contain it, nor writers hands record it, nor the imagination of an arithmetician conceive it. The Sultan brought his forces under the fort and surrounded it, and prepared to attack the garrison vigorously, boldly, and wisely. When the defenders saw the hills covered with the armies of plunderers, and the arrows ascending towards them like flaming sparks of fire, great fear came upon them, and, calling out for mercy, they opened the gates, and fell on the earth, like sparrows before a hawk, or rain before lightning. Thus did God grant an easy conquest of this fort to the Sultan, and bestowed on him as plunder the products of mines and seas, the ornaments of heads and breasts, to his heart's content. … After this he returned to Ghazna in triumph; and, on his arrival there, he ordered the court-yard of his palace to be covered with a carpet, on which he displayed jewels and unbored pearls and rubies, shining like sparks, or like wine congealed with ice, and emeralds like fresh sprigs of myrtle, and diamonds in size and weight like pomegranates. Then ambassadors from foreign countries, including the envoy from Tagh^n Khan, king of Turkistin, assembled to see the wealth which they had never yet even read of in books of the ancients, and which had never been accumulated by kings of Persia or of Rum, or even by Karun, who had only to express a wish and Grod granted it.”

Mahmud of Ghazni (971–1030) Sultan of Ghazni

About the capture of Bhimnagar, Tarikh Yamini (Kitabu-l Yamini) by Al Utbi, in Elliot and Dowson, Vol. II : Elliot and Dowson, History of India as told by its own Historians, 8 Volumes, Allahabad Reprint, 1964. p. 34-35 Also quoted in Jain, Meenakshi (2011). The India they saw: Foreign accounts.
Quotes (971 CE to 1013 CE)

God , Books , Fear , Imagination

“I don’t mind there being some medievalists around for ornamental purposes, but there is no reason for the State to pay for them.”

Charles Clarke (1950) British Labour Party politician

Speech at University College, Worcester, April 2003 (Reported in the Times Educational Supplement, May 2003)

“A number of little birds, to the amount, I believe, of twelve or fourteen, being taken from different cages, were placed upon a table in the presence of the spectators; and there they formed themselves into ranks like a company of soldiers: small cones of paper bearing some resemblance to grenadiers caps were put upon their heads, and diminutive imitations of muskets made with wood, secured under their left wings. Thus equipped, they marched to and fro several times; when a single bird was brought forward, supposed to be a deserter, and set between six of the musketeers, three in a row, who conducted him from the top to the bottom of the table, on the middle of which a small brass cannon charged with a little gunpowder had been previously placed, and the deserter was situated in the front part of the cannon; his guards then divided, three retiring on one side, and three on the other, and he was left standing by himself. Another bird was immediately produced; and, a lighted match being put into one of his claws, he hopped boldly on the other to the tail of the cannon, and, applying the match to the priming, discharged the piece without the least appearance of fear or agitation. The moment the explosion took place, the deserter fell down, and lay, apparently motionless, like a dead bird; but, at the command of his tutor he rose again; and the cages being brought, the feathered soldiers were stripped of their ornaments, and returned into them in perfect order.”

Joseph Strutt (1749–1802) British engraver, artist, antiquary and writer

pg. 250
The Sports and Pastimes of the People of England (1801), Public entertainment

Fear , Bird , Light , Appearance

“Tolerance is man’s ornament, keeping promises is a sign of nobility, and bonding with others is a grace.”

Husayn ibn Ali (626–680) The grandson of Muhammad and the son of Ali ibn Abi Talib

Majlisi, Bihārul Anwār, vol.78, p. 122
General Quotes

“Art matters not merely because it is the most magnificent ornament and the most nearly unfailing occupation of our lives, but because it is life itself.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

"The Obscurity of the Poet", p. 15
Poetry and the Age (1953)

Life , Art

“Looking carefully, one discovers at last that this gorgeous combination of all the hues of Paradise contains or hides a Last Judgment [....]

To the Virgin and her suppliants, as to us, who though outcasts in other churches can still hope in hers, the Last Judgment was not a symbol of God's justice or man's corruption but of her own infinite mercy. The Trinity judged, through Christ;— Christ loved and pardoned, through her. She wielded the last and highest power on earth and in hell. In the glow and beauty of her nature, the light of her Son's infinite love shone as the sunlight through the glass, turning the Last Judgement itself into the highest proof of her divine and supreme authority. The rudest ruffian of the middle-ages, when he looked at this Last Judgment, laughed, for what was the Last Judgment to her! An ornament, a play-thing, a pleasure! a jewelled decoration which she wore on her breast! Her chief joy was to pardon; her eternal instinct was to love; her deepest passion was pity! On her imperial heart the flames of hell showed only the opaline colors of heaven. Christ the Trinity might judge as much as he pleased, but Christ the Mother would rescue; and her servants could look boldly into the flames.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

Mont Saint Michel and Chartres (1904)

Love , God , Pleasure , Age

“The group of sorcerers who form the support for our elegant lady are more for ornament than real use. Some heads are so charged with inflammable gas that they have no need for balloons or sorcerers in order to fly away.”

Francisco De Goya (1746–1828) Spanish painter and printmaker (1746–1828)

a note on an etching-plate, 1795/96; as quoted in Francisco Goya, Hugh Stokes, Herbert Jenkins Limited Publishers, London, 1914, p. 195
Plate 61 of 'Los Caprichos' represents a beautiful lady flying with outstretched arms in butterfly fashion, but supported at the feet by three grotesque creatures crouched in the attitude of the carved misers under monkish stalls. Upon a copy of this plate Goya scrawled this note
1790s

Support , Flying

“During the Arab invasion of Sindh (712 C. E.), Muhammad bin Qasim first attacked Debal, a word derived from Deval meaning temple. It was situated on the sea-coast not far from modern Karachi. It was garrisoned by 4000 Kshatriya soldiers and served by 3000 Brahmans. All males of the age of seventeen and upwards were put to the sword and their women and children were enslaved. “700 beautiful females, who were under the protection of Budh (that is, had taken shelter in the temple), were all captured with their valuable ornaments, and clothes adorned with jewels.” Muhammad despatched one-fifth of the legal spoil to Hajjaj which included seventy-five damsels, the rest four-fifths were distributed among the soldiers. Thereafter whichever places he attacked like Rawar, Sehwan, Dhalila, Brahmanabad and Multan, Hindu soldiers and men with arms were slain, the common people fled, or, if flight was not possible, accepted Islam, or paid the poll tax, or died with their religion. Many women of the higher class immolated themselves in Jauhar, most others became prize of the victors. These women and children were enslaved and converted, and batches of them were dispatched to the Caliph in regular installments.”

Muhammad bin Qasim (695–715) Umayyad general

Chachnama, in Lal, K. S. (1994). Muslim slave system in medieval India. New Delhi: Aditya Prakashan. Chapter 3

Women , Men , Children , People

“Whoever is a truly good man seeks a renown not by means of an ornament that does not belong to him but by means of his own virtue.”

Iamblichus (240–320) Syrian philosopher

Source: Anonymous of Iamblichus, p. 151

“Hostility towards Microsoft is not difficult to find on the Net, and it blends two strains: resentful people who feel Microsoft is too powerful, and disdainful people who think it's tacky. This is all strongly reminiscent of the heyday of Communism and Socialism, when the bourgeoisie were hated from both ends: by the proles, because they had all the money, and by the intelligentsia, because of their tendency to spend it on lawn ornaments. Microsoft is the very embodiment of modern high-tech prosperity — it is, in a word, bourgeois — and so it attracts all of the same gripes.”

Neal Stephenson (1959) American science fiction writer

"Class Struggle on the Desktop"
In the Beginning... was the Command Line (1999)

Money , Hate , Hostility , People

“The royal navy of England hath ever been its greatest defense and ornament; it is its ancient and natural strength; the floating bulwark of our island.”

William Blackstone book Commentaries on the Laws of England

Book I, ch. 13 http://avalon.law.yale.edu/18th_century/blackstone_bk1ch13.asp: Of the Military and Maritime States.
Commentaries on the Laws of England (1765–1769)

Nature

“Allowing, therefore, the great usefulness of the Government Schools, the Exhibitions, and the Museums both public and private, the question now arises as to what are the impediments to our future progress. The principal ones appear to me to be three.
# A want of a distinctive architecture, which is fatal to art generally.
# The want of a good costume, which is fatal to colour; and
# The want of a sufficient teaching of the figure, which is fatal to art in detail.
It will perhaps be as well to take these one by one.
The most fatal impediment of the three is undeniably the want of a distinctive architecture in the nineteenth century. Architecture is commonly called the mother of all the other arts, and these latter are all more or less affected by it in their details. In almost every age of the world except our own only one style of architecture has been in use, and consequently only one set of details. The designer had accordingly to master, 1. the figure, and the great principles of ornament; 2. those details of the architecture then practised which were necessary to his trade; and 3. the technical processes. Now what is the case in the present day? If we take a walk in the streets of London we may see at least half-a-dozen sorts of architecture, all with different details; and if we go to a museum we shall find specimens of the furniture, jewellery, &c., of these said different styles all beautifully classed and labelled. The student, instead of confining himself to one style as in former times, is expected to be master of all these said half-dozen, which is just as reasonable as asking him to write half-a-dozen poems in half-a-dozen languages, carefully preserving the idiomatic peculiarities of each. This we all know to be an impossibility, and the end is that our student, instead of thoroughly applying the principles of ornament to one style, is so bewildered by having the half-dozen on his hands, that he ends by knowing none of them as he ought to do. This is the case in almost every trade; and until the question of style gets gets settled, it is utterly hopeless to think about any great improvement in modern art.”

William Burges (1827–1881) English architect

Source: Art applied to industry: a series of lectures, 1865, p. 8-9; Partly cited in: Journal of the Royal Society of Arts. Vol. 99. 1951. p. 520

Age , World , School , Art

“The traditional picture of the blind old singer of Chios is largely made up of memories that go back to the time when a poet was a vates— a priestly and God-inspired seer. His blindness is merely the outward sign of the inward light that fills his being and enables him to see things others cannot see. This bodily infirmity expresses— as does the lameness of the divine smith Hephaestus—a second idea that was current in primitive times, that a maker of poems, ornaments and other products of handicraft can only come from the ranks of those who are unfit for war and foray. But apart from this feature, the legendary ‘Homer’ is an almost perfect example of the mythical poet who was still half-divine, a wonder-worker and a prophet. We find the clearest embodiment of this idea in Orpheus, the primeval singer who had his harp from Apollo and instruction in the art of song from the Muse herself; with his music he could move not merely men and beasts but even rocks and could reclaim Eurydice from the bonds of death.”

Arnold Hauser (1892–1978) Hungarian art historian

The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter III. Greece and Rome

Death , Men , God , War

“Depraved these styles are called, the one with its ever broken and twisted mouldings, the other with its rich crowded carving, and depraved we may count them, if we are of the school that thinks the purpose of architectural ornament is always to state some fact of construction. The Mexican architects and their workmen were certainly not of this school. They broke their mouldings, turned and curved them and multiplied their ornament for the pure joy it gave them to see the sparkle of the sunlight on their white walls.”

Clarence Stein (1882–1975) American architect

A Triumph of Spanish Colonial Style (1916)

School , Thinking , Joy

“Half the campus was designed by Bottom the Weaver, half by Ludwig Mies van der Rohe; Benton had been endowed with one to begin with, and had smiled and sweated and and spoken for the other. A visitor looked under black beams, through leaded casements (past apple boughs, past box, past chairs like bath-tubs on broomsticks) to a lawn ornamented with one of the statues of David Smith; in the months since the figure had been put in its place a shrike had deserted for it a neighboring thorn tree, and an archer had skinned her leg against its farthest spike. On the table in the President’s waiting-room there were copies of Town and Country, the Journal of the History of Ideas, and a small magazine—a little magazine—that had no name. One walked by a mahogany hat-rack, glanced at the coat of arms on an umbrella-stand, and brushed with one’s sleeve something that gave a ghostly tinkle—four or five black and orange ellipsoids, set on grey wires, trembled in the faint breeze of the air-conditioning unit: a mobile. A cloud passed over the sun, and there came trailing from the gymnasium, in maillots and blue jeans, a melancholy procession, four dancers helping to the infirmary a friend who had dislocated her shoulder in the final variation of The Eye of Anguish.”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 1: “The President, Mrs., and Derek Robbins”, p. 3; opening paragraph of novel

Smile , History , Idea , Tree

“Mindplayers didn't really address a lot about the criminal element of this particular world. Everybody in the Mindplayers world couldn't possibly live like the few people that you saw. A lot of times, a culture almost seems to float on top of its own black market, and things from that filter up through the culture. I get the feeling that this law-abiding peaceful thing that I live in now is almost never-never land - to a certain extent it's not even really real. I spent a decade working for Hallmark cards, which is supposed to epitomise sweetness and light and good living and ethics and morals. But Hallmark, like many American manufacturers, has a lot of things like toys and ornaments manufactured in the Far East, by people in sweat-shops. These are children, old people, poor people, people who don't have enough to eat; we get these things so cheaply because we simply use these people and throw them away. This is what I mean about our culture, our never-never land, floating on top of our underworld.”

Pat Cadigan (1953) science fiction author

Cadigan (1993) in: " Interview with Pat Cadigan, May 1993 http://tamaranth.blogspot.nl/1993/05/interview-pat-cadigan-may-1993.html" in The Hardcore, 1993

Children , People , World , Peace

“O the refuge of those without refuge, O the destroyer of the fear of those who bow down [to you], O the remover of the earth's burden, O the paramour of the daughter of the earth, O the cause of pleasure in devotees, O the nourisher of the dynasty of the sun, O the one with feet as delicate as the lotus, O the redeemer of the wife of the Brahmin (Ahalyā), O the nourisher of the three worlds, O the slayer of the clan of demons, O the bearer of sharp arrows, O the destroyer of Rāvaṇa in battle, O the new cloud for the Cātaka bird in the form of the descendant of Bhṛgu (Paraśurāma), O Rāma, O the ornament of devotees, take pleasure in my mind with Sītā. ॥ 20.13 ॥”

Rāmabhadrācārya (1950) Hindu religious leader

aśaraṇaśaraṇa praṇatabhayadaraṇa
dharaṇibharaharaṇa dharaṇitanayāvaraṇa
janasukhakaraṇa taraṇikulabharaṇa
kamalamṛducaraṇa dvijāṅganāsamuddharaṇa ।
tribhuvanabharaṇa danujakulamaraṇa
niśitaśaraśaraṇa dalitadaśamukharaṇa
bhṛgubhavacātakanavīnajaladhara rāma
vihara manasi saha sītayā janābharaṇa ॥
Śrībhārgavarāghavīyam

Pleasure , World , Fear , Bird

“In some great boarding schools for the fair sex, it is customary, upon the introduction of a novice, for the scholars to receive her with much pretended solemnity, and decorate a throne in which she is to be installed, in order to hear a set speech, addressed to her by one of the young ladies in the name of the rest. The throne is wide enough for three persons to sit conveniently, and is made with two stools, having a tub nearly filled with water between them, and the whole is covered by a counterpane or blanket, ornamented with ribands and other trifling fineries, and drawn very tightly over the two stools, upon each of which a lady is seated to keep the blanket from giving way when the new scholar takes her place; and these are called her maids of honour. The speech consists of high-flown compliments calculated to flatter the vanity of the stranger; and as soon as it is concluded, the maids of honour rising suddenly together, the counterpane of course gives way, and poor miss is unexpectedly immerged in the water.”

Joseph Strutt (1749–1802) British engraver, artist, antiquary and writer

pg. 396
The Sports and Pastimes of the People of England (1801), Initiation

School , Sex , Way , Water

“The Wahabis, followers of a fanatical Moslem heresy, had imposed their strict rules on easy and civilized Kasim. In Kasim there was but little coffee-hospitality, much prayer and fasting, no tobacco, no artistic dalliance with women, no silk clothes, no gold and silver head-ropes or ornaments. Everything was forcibly pious or forcibly puritanical.
It was a natural phenomenon, this periodic rise at intervals of little more than a century, of ascetic creeds in Central Arabia. Always the votaries found their neighbours' beliefs cluttered with inessential things, which became impious in the hot imagination of their preachers. Again and again they had arisen, had taken possession, soul and body, of the tribes, and had dashed themselves to pieces on the urban Semites, merchants and concupiscent men of the world. About their comfortable possessions the new creeds ebbed and flowed like the tides or the changing seasons, each movement with the seeds of early death in its excess of Tightness. Doubtless they must recur so long as the causes — sun, moon, wind, acting in the emptiness of open spaces, weigh without check on the unhurried and uncumbered minds of the desert-dwellers.”

T. E. Lawrence book Seven Pillars of Wisdom

Source: Seven Pillars of Wisdom (1922), Ch. 24

Death , Women , Men , World

“All prophecies stripped of acculturation and geographic ornamentation seem only to be saying, “Journey within; look behind your feelings, beyond your pain; fashion your world from what you find there.””

Russell Brand book Revolution

Revolution (2014)

Pain , World , Feeling , Fashion

“The city is very different from the country, girl. It is a kind of shared consciousness that begins its work on you as soon as you enter it, if not well before, a consciousness that begins to separate you from the country possibly even before you decide to journey toward it. It encircles you with forces much greater than the walls and gates which imitate tinier villages or towns. People who come to it come seeking the future, not realizing all that will finally affect them in it is their own, only more or less aware, involvement with the past. The way we do things here—really, that’s all there is to be learned in our precincts. But in the paving of every wide, clear avenue, in the turnings of every dark, overhung alley, in the ornaments on every cornice, in the salt-stained stones of each neighborhood cistern, there are traces of the way things once were done—which is the key to why they are done as they are today.”

Samuel R. Delany book Neveryóna

Source: Neveryóna (1983), Chapter 5, “Of Matrons, Mornings, Motives, and Machinations” (p. 104)

People , Way , Girl , Learning

“The arts alone give direct access to experience. To eliminate them from education - or worse, to tolerate them as cultural ornaments - is antieducational obscurantism. It is foisted on us by the pedants and snobs of Hellenistic Greece who considered artistic performance fit only for slaves…”

Peter F. Drucker (1909–2005) American business consultant

Source: 1930s- 1950s, Landmarks of Tomorrow: A Report on the New 'Post-Modern' World (1959), p. 144

Education , Art

“To all this, his illustrious mind reflects the noblest ornament; he places no part of his happiness in ostentation, but refers the whole of it to conscience; and seeks the reward of a virtuous action, not in the applauses of the world, but in the action itself.”
Ornat haec magnitudo animi, quae nihil ad ostentationem, omnia ad conscientiam refert recteque facti non ex populi sermone mercedem, sed ex facto petit.

Pliny the Younger (61–113) Roman writer

Letter 22, 5.
Letters, Book I

World , Parting , Happiness

“By the sixth century A. D., …a distinctively Chinese Buddhist art had arisen, in which figures with Chinese dress and Chinese faces nonetheless continued to conform to Indian conventions of gesture and ornament.”

William H. McNeill book The Rise of the West: A History of the Human Community

The Rise of the West: A History of the Human Community (1963)

Art

“the esteemed ornament of Filipino Culture.”

Epifanio de los Santos (1871–1928) Filipino politician

As a quote by Wenceslao Retana in "81 Years of Premio Zobel Legacy of Philippine Literature in Spanish" by Lourdes Castrillo Brillantes. Vibal Publishing House, Inc. 2006.
BALIW

“All intense interest in luxury is a mark of inner poverty. The less grace there is in the soul, the more ornament must be on the body.”

Fulton J. Sheen (1895–1979) Catholic bishop and television presenter

Source: Peace of Soul (1949), Ch. 2, p. 24

Soul

“Language, intelligence, and humor, along with art, generosity, and musical ability, are often described as human equivalents of the peacock’s tail. However, peacocks afford a poor analogy for the role of courtship displays in humans. Other animal models offer a better fit. In a number of nonhuman species — species as diverse as sea dragons and grebes — males and females engage in a mutual courtship “dance,” in which the two partners mirror one another’s movements. In Clark’s grebes and Western grebes, for instance, the pair bond ritual culminates in the famous courtship rush: The male and female swim side by side along the top of the water, with their wings back and their heads and necks in a stereotyped posture. If we want a nonhuman analogue for the role of creative intelligence or humor in human courtship, we should think not of ornamented peacocks displaying while drab females evaluate them. We should think instead of grebes engaged in their mating rush or sea dragons engaged in their synchronized mirror dance. Once we have one of these alternative images fixed in our minds, we can then add the proviso that there is a slight skew such that, in the early stages of courtship, men tend to display more vigorously and women tend to be choosier. However, this should be seen as a qualification to the primary message that intelligence, humor, and other forms of sexual display are part of the mutual courtship process in our species.”

Steve Stewart-Williams (1971)

Source: The Ape that Thought It Was a Peacock: Does Evolutionary Psychology Exaggerate Human Sex Differences? (2013), p. 160

Women , Men , Art , Music

“The world would be astonished if it knew how great a proportion of its brightest ornaments—of those most distinguished even in popular estimation for wisdom and virtue—are complete sceptics in religion.”

John Stuart Mill book Autobiography

Source: Autobiography (1873), Ch. 2: Moral Influences in Early Youth. My Father's Character and Opinions.

https://archive.org/details/autobiography01mill/page/45/mode/1up p. 45

Wisdom , Religion , World