St. Thomas Aquinas ...in the Summa, which remains the greatest work of — Thomas Aquinas

"Thus Angels Bread is made The Bread of man today: The Living Bread from Heaven With figures doth away: O wondrous gift indeed! The poor and lowly may Upon their Lord and Master feed."

"O saving Victim, opening wide The gate of heaven to man below, Our foes press on from every side, Thine aid supply, Thy strength bestow."

"A hymn is the praise of God with song; a song is the exultation of the mind dwelling on eternal things, bursting forth in the voice."

"The order of authority derives from God, as the Apostle says [in Romans 13:1-7]. For this reason, the duty of obedience is, for the Christian, a consequence of this derivation of authority from God, and ceases when that ceases. But, as we have already said, authority may fail to derive from God for two reasons: either because of the way in which authority has been obtained, or in consequence of the use which is made of it. There are two ways in which the first may occur. Either because of a defect in the person, if he is unworthy; or because of some defect in the way itself by which power was acquired, if, for example, through violence, or simony or some other illegal method."

"For creation is not a change, but that dependence of the created existence on the principle from which it is instituted, and thus is of the genus of relation; whence nothing prohibits it being in the created as in the subject. Creation is thus said to be a kind of change, according to the way of understanding, insofar as our intellect accepts one and the same thing as not existing before and afterwards existing."

"Down in adoration falling, Lo! the sacred Host we hail; Lo! oer ancient forms departing, Newer rites of grace prevail; Faith for all defects supplying, Where the feeble senses fail."

"I, too, believed it was impossible to change the existing society into one that would be for the benefit of all; neither could I espouse any given ideal for society. But [...] I felt that even if one did not have an ideal vision of society, one could have one’s work to do. Whether it was successful or not was not our concern; it was enough that we believed it to be a valid work. The accomplishment of that work, I believed, was what our real life was about. Yes. I want to carry out a work of my own; for I feel that by so doing our lives are rooted in the here and now, not in some far-off ideal goal."

"Nobody should start to undertake a large project. You start with a small _trivial_ project, and you should never expect it to get large. If you do, youll just overdesign and generally think it is more important than it likely is at that stage. Or worse, you might be scared away by the sheer size of the work you envision. So start small, and think about the details. Dont think about some big picture and fancy design. If it doesnt solve some fairly immediate need, its almost certainly over-designed. And dont expect people to jump in and help you. Thats not how these things work. You need to get something half-way _useful_ first, and then others will say "hey, that _almost_ works for me", and theyll get involved in the project."

"If something seems possible, thats probably because someone is already doing it. When something seems that it cant possibly work, nobody tries it. Real innovation happens when someone tries anyway, overlooking an obvious flaw, and finds a way to make an idea work."

"Without getting complicated let me recapitulate my art training in the following way: the Academy first, the break with the Academy when I hit the Hofmann School which is Cubist. The next real break follows when I see Pollock’s work [1940-41] and once more another transition occurs.. .It was a force [Pollock’s work], a living force, the same sort of thing I responded to in Matisse, in Picasso, in Mondrian. Once more, I was hit that hard with what I saw... I began feeling the need to break with what I was doing and to approach something else."

"Well I think it [a Little Image painting] does suggest hieroglyphics of some sort. It is a preoccupation of mine from way back and every once in a while it comes into my work again. For instance in my 1968 show at the Marlborough I have a painting called Kufic, an ancient form of Arabic writing. Every once in a while I fall back to what I call my mysterious writings. I haven no idea what this is about but it runs through periods of my work."

"Action in its essence, the creative art of a writer of fiction may be compared to rescue work carried out in darkness against cross gusts of wind swaying the action of a great multitude. It is rescue work, this snatching of vanishing phases of turbulence, disguised in fair words, out of the native obscurity into a light where the struggling forms may be seen, seized upon, endowed with the only possible form of permanence in this world of relative values — the permanence of memory."