People from The Hague

"...the power of this line [the cycloid] to measure time."

"I believe that we do not know anything for certain, but everything probably."

"I do not mind at all that [Newton] is not a Cartesian provided he does not offer us suppositions like that of attraction."

"One finds in this subject a kind of demonstration which does not carry with it so high a degree of certainty as that employed in geometry; and which differs distinctly from the method employed by geometers in that they prove their propositions by well-established and incontrovertible principles, while here principles are tested by inferences which are derivable from them. The nature of the subject permits of no other treatment. It is possible, however, in this way to establish a probability which is little short of certainty. This is the case when the consequences of the assumed principles are in perfect accord with the observed phenomena, and especially when these verifications are numerous; but above all when one employs the hypothesis to predict new phenomena and finds his expectations realized."

"I had not thought of this regular decrease of gravity, namely that it is as the inverse square of the distance; this is a new and highly remarkable property of gravity."

"I esteem his [Newton's] understanding and subtlety highly, but I consider that they have been put to ill use in the greater part of this work, where the author studies things of little use or when he builds on the improbable principle of attraction."

"A Man that is of Copernicus’s Opinion, that this Earth of ours is a Planet, carry’d round and enlighten’d by the Sun, like the rest of the Planets, cannot but sometimes think, that it’s not improbable that the rest of the Planets have their Dress and Furniture, and perhaps their Inhabitants too as well as this Earth of ours..."

"It's evident God had no design to make a particular Enumeration in the Holy Scriptures, of all the Works of his Creation."

"These Gentlemen must be told, that they take too much upon themselves when they pretend to appoint how far and no farther Men shall go in their Searches, and to set bounds to other Mens Industry; as if they knew the Marks that God has placed to Knowledge..."

"There are many degrees of Probable, some nearer Truth than others, in the determining of which lies the chief exercise of our Judgment."

"Here we may mount from this dull Earth, and viewing it from on high, consider whether Nature has laid out all her Cost and Finery upon this small Speck of Dirt."

"We shall be less apt to admire what this World calls Great, shall nobly despise those Trifles the generality of Men set their Affections on, when we know that there are a multitude of such Earths inhabited and adorned as Well as our own."

"Now since in so many Things they... agree, what can be more probable than that in others they agree too; and that the other Planets are as beautiful and as well stock'd with Inhabitants as the Earth? Or what shadow of Reason can there be why they should not?"

"Since 'tis certain that Earth and Jupiter have their Water and Clouds, there is no reason why the other Planets should be without them. I can't say that they are exactly of the same nature with our Water; but that they should be liquid their use requires, as their beauty does that they be clear. This Water of ours, in Jupiter or Saturn, would be frozen up instantly by reason of the vast distance of the Sun. Every Planet therefore must have its own Waters of such a temper not liable to Frost."

"What a wonderful and amazing Scheme have we here of the magnificent Vastness of the Universe! So many Suns, so many Earths, and every one of them stock’d with so many Herbs, Trees and Animals, and adorn’d with so many Seas and Mountains! And how must our wonder and admiration be encreased when we consider the prodigious distance and multitude of the Stars?"

"The world is my country, to promote science is my religion."

"Like Hooke, Huygens made fundamental improvements to the clock as a time-keeping mechanism; and Hooke invented the first passable for the same purpose. ...Huygens discovered the rings of Saturn, and the formula for centrifugal force. He did important work in mechanics and optics, and one of his merits was that he made young Leibnitz enthusiastic for these subjects."

"Having converted Galileo's discovery of the isochronism of the pendulum into an accurate timepiece in 1656, Huygens had, in 1662, developed a marine variation employing a short pendulum which had subsequently been subjected to tests at sea with the aid of the English. News of the device having come to Colbert... the new director of France's economic life was determined to secure its advantages for his nation. Accordingly, Huygens was lured to Paris in 1665."

"The academicians—especially in the person of Picard—were carrying through a revolution in observational astronomy made possible by Huygens' astronomical pendulum clock, the filar micrometer perfected (if not invented) by Auzout, and the application of telescopes to large-scale graduated instruments appropriate for the measure of small angles. It was with this equipment that Picard undertook to measure the distance between two localities approximately on the meridian of Paris, to determine the differences in their latitudes, and to deduce from those results the length of degree of meridian. The eminently successful arc measure, marked by a precision thirty to forty times greater than any previously achieved..."

"Mons. Huygens found out a Method whereby the Ball of a Pendulum may be always carried along the Arch of a Cycloid."

"Huygens stated everything verbally when he was in his "geometric mode" and used [mathematical] symbols... only when he switched to his "algebraic mode." Facile mathematician that he was, he switched back and forth between the two modes as his needs changed within the same problem..."

"One of the masterpieces of seventeenth-century scientific literature was... published in 1673 under the title Horologium Oscillatorium (The Pendulum Clock). Much more than a mere description of a clock... it was in fact a treatise on the accelerated motion of a falling body, as exemplified by the bob of a pendulum clock. ...The culminating proposition is Huygen's proof that a body falling along an inverted cycloid reaches the bottom in a fixed amount of time. In other words, the cycloid is isochronous. The third section... introduces his theory of evolutes... that, among other applications, allows one to find the length of a curve. Using evolutes... he proves mathematically that the cycloidal-shaped plates will force the bob of the pendulum to move along the isochronous cycloidal path. The fourth... section... presents his theory of the compound pendulum, in which the motion of a pendulum with mass distributed along its length is compared with that of an ideal simple pendulum... The last part of the book introduces... a variant of a conical clock in which the pendulum, instead of swinging, rotates about a vertical axis... kept on an isochronous path... by the theory of evolutes."

"This [Horologium Oscillatorium] is the first modern treatise in which a physical problem is idealized by a set of parameters then analyzed mathematically. It is one of the seminal works of applied mathematics."

"Foremost, Huygens gave us precise time. His clocks were the first timekeepers to be accurate enough to be reliable in scientific experiments."

"The lasting importance of Horologium Oscillatorium stemmed more from its applied mathematics than from its pure mathematics. The next generation of mathematicians spent a great deal of time trying to find curves that satisfied specific physical properties. What other curve, if any, is a tautochrone? What curve does a hanging chain delineate? What shape does a sail take? What is the curve of fastest descent? These were the test cases for the new mathematical technique Leibniz called 'calculus.'"

"[T]he Greatness and Security, both of Kings, Royal Families, and of all such as are in Authority, as well as the Happiness of their Subjects and People, depend in a most especial manner, upon the exact observation and maintenance of these their Laws, Liberties, and Customs."

"Those great and insufferable Oppressions, and the open Contempt of all Law, together with the apprehensions of the sad Consequences that must certainly follow upon it, have put the Subjects under great and just Fears, and have made them look after such lawfull Remedies as are allowed of in all Nations; yet all has been without Effect. And those Evil Counsellours have endeavoured to make all Men apprehend the loss of their Lives, Liberties, Honours, and Estates, if they should go about to preserve themselves from this Oppression by Petitions, Representations, or other Means authorized by Law."

"And since the English Nation has ever testified a most particular Affection and Esteem, both to our Dearest Consort the Princess, and to Our Selves, We cannot excuse our selves from espousing their Interests in a Matter of such high Consequence, and from contributing all that lies in us for the maintaining both of the Protestant Religion, and of the Laws and Liberties of those Kingdoms, and of the securing to them the continual Enjoyment of all their just Rights. To the doing of which we are most earnestly solicited by a great many Lords both Spiritual and Temporal, and by many Gentlemen and other Subjects of all Ranks. Therefore it is that we have thought fit to go over to England, and to carry over with us a Force sufficient, by the Blessing of God, to defend us from the Violence of those Evil Counsellors."

"[T]his our Expedition is intended for no other Design, but to have a free and lawful Parliament assembled, as soon as possible."

"And We for our Part, will concur in every thing that may Procure the Peace and Happiness of the Nation, which a free and lawfull Parliament shall determine; since We have nothing before our Eyes in this our Undertaking, but the Preservation of the Protestant Religion, the covering of all Men from Persecution for their Consciences, and the securing to the whole Nation the free Enjoyment of all their Laws, Rights and Liberties, under a just and legal Government."

"We do in the last place invite and require all Persons whatsoever, all the Peers of the Realm, both Spiritual and Temporal, all Lord Lieutenants, Deputy Lieutenants, and all Gentlemen, Citizens, and other Commons of all Ranks, to come and assist us in order to the executing of this our Design, against all such as shall endeavour to oppose us, that so we may prevent all those Miseries which must needs follow upon the Nations being kept under Arbitrary Government and Slavery; and that all the Violences and Disorders which have overturned the whole Constitution of the English Government, may be fully redressed in a FREE AND LEGAL PARLIAMENT."

"I think My Self obliged to take Notice, how well the Army there [Ireland] have behaved themselves on all Occasions, and born great Hardships with little Pay, and with so much Patience and Willingness, as could not proceed but from an Affectionate Duty to My Service, and a Zeal for the Protestant Religion."

"Now, as I have neither spared My Person, nor My Pains, to do you all the Good I could; so I doubt not, but if you will as cheerfully do your Parts, it is in your Power to make both Me and your selves Happy, and the Nation Great: And on the other hand it is too plain, by what the French have let you see so lately, that if the present War be not prosecuted with Vigour, no Nation in the World is exposed to greater Danger... It is further Necessary to inform you, That the whole Support of the Confederacy abroad, will absolutely depend upon the Speed and Vigour of your Proceedings in this Session."

"[I]t will well Deserve Your Consideration, Whether We are not defective both in the Number of Our Shipping, and in proper Ports to the Westward, for the better Annoying Our Enemies, and Protecting Our Trade, so Essential to the Welfare of this Kingdom."

"Upon this Occasion I cannot but take notice of the Courage and Bravery which the English Troops have shewn this last Summer; which I may say has answer'd their highest Character in any Age: And it will not be denied, that without the concurrence of the Valour and Power of England, it were impossible to put a Stop to the Ambition and Greatness of France."

"I did recommend to the last Parliament the Forming some good Bill for the Encouragement and Increase of Seamen; I hope you will not let this Session pass without doing somewhat in it; and that you will consider of such Laws as may be proper for the advancement of Trade, and will have a particular regard to that of the East-Indies, lest it should be lost to the Nation."

"Our Naval Force being increased to near double what it was at my Accession to the Crown, the Charge of Maintaining it will be proportionably augmented; and it is certainly necessary for the Interest and Reputation of England, to have always a great Strength at Sea. The Circumstances of Affairs Abroad are such, that I think my self oblig'd to tell you My Opinion, That for the present, England cannot be Safe without a Land Force, and I hope We shall not give those who mean Us Ill, the opportunity of Effecting that, under the Notion of a Peace, which they could not bring to pass by a War."

"I shall conclude with telling You, That as I have, with the Hazard of every Thing, Rescued your Religion, Laws and Liberties, when they were in the Extremest Danger; so I shall place the Glory of My Reign in Preserving them Entire, and leaving them so to Posterity."

"[T]he Flourishing of Trade, the Supporting of Credit, and the Quiet of Peoples Minds at home, will depend upon the Opinion they have of their Security; and to preserve to England the Weight and Influence it has at present on the Councils and Affairs Abroad, it will be requisite Europe should see you will not be wanting to your selves."

"The Owning and Setting up the Pretended Prince of Wales for King of England, is not only the highest Indignity offered to Me and the whole Nation, but does so nearly concern every Man, who has a Regard for the Protestant Religion, or the present and future Quiet and Happiness of your Country, that I need not Press you to lay it seriously to Heart, and to consider what further effectual Means may be used for securing the Succession of the Crown in the Protestant Line, and Extinguishing the Hopes of all Pretenders, and their open or Secret Abettors."

"By the French King's placing his Grandson on the Throne of Spain, he is in a Condition to oppress the rest of Europe, unless speedy and effectual Measures be taken. Under this pretence, he is become the real Master of the whole Spanish Monarchy; he has made it to be entirely depending on France, and disposes of it as of his own Dominions, and by that means he has surrounded his Neighbours in such a manner, that though the Name of Peace may be said to continue, yet they are put to the Expence and Inconveniences of War. This must affect England in the nearest and most sensible Manner, in respect to our Trade, which will soon become precarious in all the valuable Branches of it; in respect to our Peace and Safety at Home, which we cannot hope should long continue; and in respect to that part which England ought to take in the Preservation of the Liberty of Europe."

"In order to obviate the general Calamity with which the rest of Christendom is threatned by this Exorbitant Power of France, I have concluded several Alliances, according to the Encouragement given Me by Both Houses of Parliament; which I will direct shall be laid before you, and which I do not doubt you will enable Me to make good."

"It is fit I should tell you, the Eyes of all Europe are upon this Parliament, all Matters are at a stand till your Resolutions are known, and therefore no Time ought to be lost. You have yet an opportunity, by God's Blessing, to secure to you and your Posterity the quiet Enjoyment of your Religion and Liberties, if you are not wanting to your selves, but will exert the Ancient Vigor of the English Nation: But I tell you plainly My Opinion is, If you do not lay hold on this Occasion, you have no Reason to hope for another."

"Let Me conjure you to disappoint the only Hopes of Our Enemies, by your Unanimity. I have shewn, and will always shew, how desirous I am to be the Common Father of all My People: Do you in like manner lay aside Parties and Divisions; Let there be no other Distinction heard of among Us for the future, but of those who are for the Protestant Religion and the present Establishment, and of those who mean a Popish Prince and a French Government. I will only add this, If you do in good earnest desire to see England hold the Balance of Europe, and to be indeed at the Head of the Protestant Interest, it will appear by your right improving the present Opportunity."

"Can this last long?"

"De Witt's administration coincided with the greatest period of prosperity and the greatest cultural and artistic achievements of Dutch history. Later, looking back in less prosperous times to this golden age, men tended to blame William III for beginning the decline of the Republic. But William did not inherit a golden age. He inherited the Water Line, a defeated army, a country half occupied and more than half beaten. That William's age was less prosperous than de Witt's is at least partially the Pensionary's fault. That the Republic survived at all, that time was given for it to have a silver age if not another golden one, is due very largely to the Prince."

"By saving the Republic from the French he had become a real hero. He was still very young, not yet twenty-four. Yet no one could think of treating him as his father had been treated. For the rest of his life, no matter how bitterly he became involved in party politics, no matter what mistakes he seemed to make, his enemies had to treat him with respect. He was the Redeemer of the Fatherland. He had a claim on the gratitude of his people which could never be repaid."

"It is to William III that the Dutch Republic owed her survival, when the mistakes of de Witt had made survival extremely unlikely... Obviously enough, William III was the Deliverer of England from the tyranny and arbitrary government of the Stuarts, as he was the Deliverer of Europe from the tyranny of Louis XIV. But in England he was more than this. He repaired and improved an obsolete system of government, and left it strong enough to withstand the stresses of the next century virtually unchanged. The army of Marlborough, and that of Wellington, and to a large extent that of Raglan, was the creation of William III. So too was the independence of the judiciary."

"The steps which were taken, at that time, to compose, to reconcile, to unite, and to discipline all Europe against the growth of France, certainly furnish to a statesman the finest and most interesting part in the history of that great period. It formed the master-piece of King William's policy, dexterity, and perseverance. Full of the idea of preserving, not only a local civil liberty, united with order, to our country, but to embody it in the political liberty, the order, and the independence of nations united under a natural head, the King called upon his Parliament to put itself into a posture to preserve to England the weight and influence it at present had on the counsels and affairs ABROAD. "It will be requisite Europe should see you will not be wanting to yourselves.""

"He persevered to expel the fears of his people, by his fortitude; to steady their fickleness, by his constancy; to expand their narrow prudence, by his enlarged wisdom; to sink their factious temper in his public spirit. In spite of his people, he resolved to make them great and glorious; to make England, inclined to shrink into her narrow self, the Arbitress of Europe, the tutelary Angel of the human race. In spite of the Ministers, who staggered under the weight that his mind imposed upon theirs, unsupported as they felt themselves by the popular spirit, he infused into them his own soul; he renewed in them their ancient heart; he rallied them in the same cause."

"I considered him as a person raised up by God to resist the power of France, and the progress of tyranny and persecution: the series of the five princes of Orange, that was now ended in him, was the noblest succession of heroes that we find in any history: and the thirty years, from the year 1672 to his death, in which he acted so great a part, carry in them so many amazing steps of a glorious and distinguishing providence, that in the words of David he may be called, the man of God's right hand, whom he made strong for himself: after all the abatements that may be allowed for his errors and faults, he ought still to be reckoned among the greatest princes that our history, or indeed that any other, can afford."

"King William was a brave and warlike king: he would have been glad of more power than he ought to have; but his parliaments kept him within due bounds against his will. To the Revolution we again owe our liberties."

"James II's replacement by William III in February 1689 was one of the most decisive changes of monarch in England since the coming of the first William in 1066. Even on a personal level the change was dramatic. James II had been devotedly Catholic, blinkered and narrowly English in outlook. He was hostile to the pretensions of parliament, impatient of the restrictions that the law imposed on his powers. William, though James's nephew by blood, was anything but English in most ways. While he indulged his wife's Anglicanism, his personal sympathies lay with the starkly un-English Calvinism of the Dutch Reformed Church. His favourite friends were as foreign as his accent. His intelligence was acute and his tastes cosmopolitan. His political preoccupations were European, far removed from the average Englishman's insularity. He had no great love of representative institutions, but had learned to live with them in the United Provinces and accepted that he must do so in England."

"Despite the considerable opposition he faced, William achieved much as King. He retained the crown; guided the nation through a protracted war; established Britain as central to the anti-French alliance; committed the nation to the Hanoverian succession; oversaw the transformation of public finances; altered the relationship between Church and State; and worked with Parliament. This last point distinguished him from Charles II and James II. They preferred to use the legislature only occasionally, managing to reign without it for long periods. William had no such choice. And though he was not always able to get his way—witness his failures over triennial parliaments and Irish estates—he was able to avoid a fundamental breakdown in relations between Crown and Parliament. That was not easy, for he was a foreign invader who spent vast amounts of English tax revenues abroad. Fundamental to his success was his Protestantism and his appreciation of the need to rule through Parliament via English ministers. These were no small matters, for James had failed on both counts. Moreover, as time passed, William was able to tie more and more of the political nation to his regime."

"To have been a Sovereign, yet the champion of liberty,—a revolutionary leader, yet the supporter of social order, is the peculiar glory of William. Till his accession the British Constitution was in its Chaos. It had contained, from a very remote period, the simple elements of an harmonious government. But they were in a state not of amalgamation, but of conflict,—not of equilibrium but of alternate elevation and depression. The tyranny of Charles the first produced civil war and anarchy. Tyranny had now again produced resistance and revolution. And, but for the wisdom of the new King, it seems probable that the same cycle of misery would have been again described."

"But William knew where to pause. He outraged no national prejudice. He abolished no ancient form. He altered no venerable name. He saw that the existing institutions, possessed of the greatest capabilities of excellence, and that stronger sanctions and clearer definitions were alone required to make the practice as admirable as the theory. Thus he imparted to innovation the dignity and stability of antiquity. He transferred to a happier order of things the associations which had attached the people to their former government. As the Roman warrior, before he assaulted Veii, invoked its guardian Gods to leave its walls, and to accept the worship and patronize the cause of the besiegers; this great prince, in attacking a system of oppression, summoned to his aid the venerable principles and deeply seated feelings to which it was indebted for protection. As he avoided violent changes, he also abstained from political persecution. A powerful party had strongly and, in the house of Lords, at first successfully, opposed his elevation to the throne. Many of his ministers and generals were falsely, and some justly accused, of correspondence with his exiled competitor. The world has rarely produced a prince whom such circumstances would not have converted into a vindictive and jealous tyrant.—William did not even resort to a system of exclusion. His conduct displayed a lofty scorn of suspicion which was at once the highest magnanimity and the highest wisdom. He would see nothing.—He would believe nothing.—He fearlessly surrounded his person and his throne with pardoned enemies and calumniated friends, and thus secured the services and conciliated the affection of many whom a less generous policy would have rendered useless or treacherous. By such means was the constitution of England established."

"[T]hat great religious radical, King William...intended to raise a goodly fabric of charity, of concord, and of peace, and upon which his admirers of the present day are endeavouring to build the dungeon of their Protestant Constitution. If the views and intentions of King William had been such as are now imputed to him, instead of blessing his arrival as an epoch of glory and happiness to England, we should have had reason to curse the hour when first he printed his footstep on our strand. But he came not here a bigoted polemic, with religious tracts in one hand, and civil persecution in the other; he came to regenerate and avenge the prostrate and insulted liberties of England; he came with peace and toleration on his lips, and with civil and religious liberty in his heart."

"After Westphalia brought peace to Europe, the second half of the seventeenth century saw a further spread of resident ambassadors, with Louis XIV’s France leading the way, and French replaced Latin as the lingua franca. There was, however, still scope for summitry, for instance during Peter the Great’s tour of Western Europe in 1697–8. His meetings with William III of England helped bring Russia belatedly into the European diplomatic orbit. In due course, the czar created a “Diplomatic Chancellery” and a network of foreign embassies on the European model."

"William III. is now termed a scoundrel, but was not James II. a fool? The character of William is generally considered on too small a scale. To estimate it properly, we must remember that Louis XIV. had formed a vast scheme of conquest, which would have overthrown the liberties of all Europe, have subjected even us to the caprice of French priests and French harlots. The extirpation of the Protestant religion, the abolition of all civil privileges, would have been the infallible consequence. I speak of this scheme not as a partisan, but from the most extensive reading and information on the topic. I say that William III. was the first, if not sole cause, of the complete ruin of this plan of tyranny. The English revolution was but a secondary object, the throne a mere step towards the altar of European liberty. William had recourse to all parties merely to serve this great end, for which he often exposed his own life in the field, and was devoured by constant cares in the cabinet."

"Trust is absolutely precious, and its betrayal horrifies me. I do want readers to trust me. And yet I don't want to offer them a safe, predictable ride. The literary scene seems to be divided between "trustworthy" authors who give their fans a Big Mac that's totally unchallenging, and more ambitious authors who treat their readers with high-handed indifference. I want to earn the reader's trust while remaining unpredictable. I take the reader to some dark and emotionally uncomfortable places but never just for the sake of it. And I do care about how you're feeling on your journey. Many people have remarked on how readable and engaging they found The Crimson Petal despite its great length. That wasn't accidental. I thought very carefully about how to keep the reader intimate and awake."

"I've studied Ulysses in depth and still think it's a great and ground-breaking book, a brave and sincere trail-blazer — but also massively self-indulgent, baggy, and irritating. Joyce was a wonderful liberator, but his approach is dangerous for a writer to emulate, since he had a massive ego and was convinced that every word he wrote was sacred. Have you seen his annotated proofs? He scarcely ever deleted a word, just added screeds and screeds more stuff in the margins. He also believed that people should, and would, read novels with the same slow, studious pondering of every word and phrase that they bring to ancient scripture, which I think is a stupid thing for a storyteller to expect."

"Watch your step. Keep your wits about you; you will need them. This city I am bringing you to is vast and intricate, and you have not been here before. You may imagine, from other stories you've read, that you know it well, but those stories flattered you, welcoming you as a friend, treating you as if you belonged. The truth is that you are an alien from another time and place altogether."

"Let's not be coy: you were hoping that I would satisfy all the desires you're too shy to name, or at least show you a good time. Now you hesitate, still holding on to me, but tempted to let me go."

"The main characters in this story, with whom you want to become intimate, are nowhere near here. They aren't expecting you; you mean nothing to them. If you think they're going to get out of their warm beds and travel miles to meet you, you are mistaken."

"What you lack is the right connections, and that is what I've brought you here to make: connections. A person who is worth nothing must introduce you to a person worth next-to-nothing, and that person to another, and so on and so forth until finally you can step across the threshold, almost one of the family."

"For although it is certainly true that quantitative measurements are of great importance, it is a grave error to suppose that the whole of experimental physics can be brought under this heading. We can start measuring only when we know what to measure: qualitative observation has to precede quantitative measurement, and by making experimental arrangements for quantitative measurements we may even eliminate the possibility of new phenomena appearing."

"Above all, it's creative thinking that lies at the basis of discoveries. You must dare to think differently, see things from different sides, in order to come across fortuitous new ideas frequently. You should develop even the most stupid ideas and when you do this systematically, there will always come something useful out of it."

"We're going to hunt for Jews"

"The term architecture is used here to describe the attributes of a system as seen by the programmer, i.e., the conceptual structure and functional behavior, as distinct from the organization of the data flow and controls, the logical design, and the physical implementation. i. Additional details concerning the architecture,"

"[The architecture specification covers] all functions of the machine that are observable by the program."

"The architecture of a system can be defined as the functional appearance of the system to the user."

"The purpose of the Committee was to study and report upon the desirability and characteristics of another computer system based on Stretch technology but having a lower cost and broader market than the 7000 Sigma system. The Committee was instructed to keep an open mind in initially examining various machine possibilities both from the engineering and marketing points of view..."

"A study of the high-speed computer market with the intention of specifying a new computer brings forth a number of interesting observations... [An] striking feature of the market is that we seem to be close to satisfying the need for present-day uses of computers, but are standing on the threshold of a vast new area of applications. This new area can be characterized by the phrase computers which interact with the outside world. This concept is called "Integrated Data Processing", "Real-Time. Operation", "Process Control", "In-Line Operation", etc, Its characteristic feature is the ability of the computer to accept and send information directly to other devices. The use of computers in this fashion is being developed in the aircraft and missile industries . It is important to note that both scientific and commercial applications are going in this direction."

"Scientific customers are traditionally less worried about reprogramming efforts than commercial customers, since many jobs are of a research nature and will be done over from time to time anyway. This is obviously true of many small and 'lone shot" problems. In practice, however, there are many more machine hours spent on production-type scientific problems than on those of research-type at most scientific computing installations. These production problems can be as rigid and static as any commercial job. The scientists responsible for production work will complain about reprogramming just as violently as an accountant will under the same circumstances."

"In computer design three levels can be distinguished: architecture, implementation and realisation; for the first of them, the following working definition is given: The architecture of a system can be defined as the functional appearance of the system to the user, its phenomenology."

"The result of the implementation, the logical design, is traditionally shown as a series of block diagrams. These blocks represent in effect a series of statements, Actually, a direct presentation of these statements is more suitable and, although less familiar, more easily understood. The Harvard Mark IV was to large degree designed and described by such statements, as has been the case with several subsequent developments."

"There always is an architecture, whether it is defined in advance - as with modern computers - or found out after the fact - as with many older computers. For architecture is determined by behavior, not by words. Therefore, the term architecture, which rightly implies the notion of the arch, or prime structure, should not be understood as the vague overall idea. Rather, the product of the computer architecture, the principle of operations manual, should contain all detail which the user can know, and sooner or later is bound to know."

"The design of a digital system starts with the specification of the architecture of the system and continues with its implementation and its subsequent realisation... the purpose of architecture is to provide a function. Once that function is established, the purpose of implementation is to give a proper cost-performance and the purpose of realisation is to build and maintain the appropriate logical organisation."

"By architecture I mean 'appearance to the user' - it is the functional specification of the system (its behavioural appearance). By implementation I mean 'internal logical organisation which performs the functions specified by the architecture' and by realisation I mean 'the physical components in which the logical organisation is embodied'."

"A hardware design language should be (i) sufficiently high level, (ii) conversational, (iii) general purpose, and (iv) structured:"

"In this remarkable book on computer design, long-known in the field and widely used in manuscript form, Gerrit A. Blaauw and Frederick P. Brooks, Jr. provide a definitive guide and reference for practicing computer architects and for students. The book complements Brooks' recently updated classic, The Mythical Man-Month, focusing here on the design of "hardware" and there on "software," here on the "content" of computer architecture and there on the "process" of architecture design. The book's focus on "architecture" issues complements Blaauw's early work on "implementation" techniques. Having experienced most of the computer age, the authors draw heavily on their first-hand knowledge, emphasizing timeless insights and observations."

"Blaauw and Brooks first develop a conceptual framework for understanding computer architecture. They then describe not only what present architectural practice is, but how it came to be so. A major theme is the early divergence and the later reconvergence of computer architectures. They examine both innovations that survived and became part of the standard computer, and the many ideas that were explored in real machines but did not survive. In describing the discards, they also address "why" these ideas did not make it"

"As usual the audience consisted mainly of professors of computing science; this time the speakers were mainly specialists in logic design: for many in the audience the exposure was a shock. At the level of component technology the change over the last fifteen years has been drastic: what used to be expressed in milliseconds is expressed in microseconds now, what used to be expressed in kilobucks is now expressed in dimes and quarters. This change has been so drastic that it is well-known. Much less known is that at the next levels, viz. of circuit design and logic design, the attention of the designers has been so fully usurped by the obligation to adapt to the ever changing technology, that at those levels design methodology has had no chance to mature from craft to scientific discipline. This is in sharp contrast to the developments in programming methodology, where during that period of fifteen years a fairly stable "base" could be enjoyed. Having witnessed that development in programming methodology at close quarters, I was overcome by the feeling of being exposed to the result of fifteen years of intellectual stagnation, and it was during Blaauw's lecture on the first afternoon that I asked my right-hand neighbour "Close your eyes, forget how you came here and guess in which year you are living."; without hesitation he came up with exactly the same year I had in mind: 1962."

"The term Computer Architecture was first defined in the paper by Amdahl, Blaauw and Brooks of International Business Machines (IBM) Corporation announcing IBM System/360 computer family on April 7, 1964. On that day IBM Corporation introduced, in the words of IBM spokesman, "the most important product announcement that this corporation has made in its history"."

"Practical knowledge of modularity has come largely from the computer industry. The term architecture was first used in connection with computers by the designers of the System/360: Gene M. Amdahl, Gerrit A. Blaauw, and Frederick P. Brooks."

"Blaauw... joined the IBM research lab at Poughkeepsie, New York, USA. During this period Blaauw became famous for his methodological manner of building computer machines. He made a difference between architecture, implementation and realization of a machine. After a couple of years working on some different machines, one of the most famous machines built by Frederick Brooks, Gerrit Blaauw and Gene Amdahl was the IBM System/360, which was introduced in 1964. IBM Board Chairman Thomas Watson, Jr. called the event the most important product announcement in the company's history."

"The walls between art and engineering exist only in our minds, and few go beyond them."

"Since 1990 I have been occupied creating new forms of life. Not pollen or seeds but plastic yellow tubes are used as the basic material of this new nature. I make skeletons that are able to walk on the wind, so they don’t have to eat. Over time, these skeletons have become increasingly better at surviving the elements such as storm and water and eventually I want to put those animals out in herds on the beaches so they will live their own lives."

"Kinetic art was created by artists who pushed the boundaries of traditional, static art forms to introduce visual experiences that would engage the audience and profoundly change the course of modern art."

"In the Pregluton, there were no animals of plastic tubing yet. This initial period was marked by an absence of matter. Life then consisted exclusively of dreaming about life."

"I made virtual animals in the computer, life-forms subject to an artificial evolution. I also went walking a lot on the beach and in the streets of Scheveningen for inspiration for my columns. Since 1986 I have been writing pieces for national daily on matters that interest me. Often these are technical things, fantasies or musings."

"The anatomy of self-propelling objects is subject to universal laws. Those of cars and animals are similar in many ways. First of all, there's the stomach. Stomachs are like petrol tanks. It takes energy to move around, and that energy must accompany its user. All self-propelling objects carry provisions with them in a sealed-off space, a stomach or a tank. Self-propelling beach animals like Animaris Percipiere have a stomach too. This consists of recycled plastic bottles containing air that can be pumped up to a high pressure by the wind."

"In "The Great Pretender," kinetic artist Theo Jansen shows that the concept of 'I' is merely a tool in our evolution. We need this tool to be selfish. There can be no selfishness without the I-fantasy. Since 1990, Theo Jansen has been engaged in creating new forms of life: beach animals made from yellow plastic tubing. Skeletons made from these tubes are able to walk, deriving their nutrition from the wind. They evolved over many generations, becoming increasingly adept at surviving storms and water from the sea. Theo Jansen's ultimate wish is to release herds of these animals on the shore. In reenacting Genesis, so to speak, he hopes to become wiser in his dealings with the existing nature by encountering problems the 'creator' had to face. "The Great Pretender" is a account of Jansen's experiences as God."

"Cambridge theories of value and distribution themselves suffer from the very malady which they hope to cure: rhetoric apart, they are deeply infected by static, equilibrium analysis of maximizing economic agents, acting with full information in a world of perfect certainty, as in the orthodoxy they deplore. … If there is something wrong with neo-classical economics – as there may well be – the Cambridge theories share all of its weaknesses and practically none of its strengths."

"Joan Robinson's much-awaited textbook in “modern economics” perfectly exemplifies the typical attitude of Cambridge economists to micro-economics. The whole of traditional price theory is covered in one chapter … [some] prices are formed by conventional mark-ups on prime costs, the level of the mark-up itself being left unexplained. Apart from this chapter, the book is doggedly macro-economic in treatment … A striking omission from the book is any mention of the closely related concepts of externalities and public goods, which most economists would nowadays regard as the basic ingredients of “market failure” that has come to be fruitfully applied … to problems of pollution and congestion."

"Nothing is more difficult than to turn and entire discipline around, asking itself to jettison its own history over the last 200 years."

"Despite entries on socialism, socialist economics and market socialism, and biographical entries on Oskar Lange and Ludwig von Mises, the Socialist Calculation Debate, so crucial in the revival of general equilibrium theory and the rise of modern welfare economics in the 1930s, is nowhere discussed at length in The New Palgrave."

"The history of economic thought is irrepressible. It would survive even if it were banned … it would be carried on in secret in underground organizations. Many economists denigrate the history of economics as mere antiquarianism but, in fact, they have deluded ideas about the history of their own subject. After all, whenever anyone has a new idea in economics, whenever anyone hankers to start a new movement or school of thought, what is the first thing he or she does? Why, it is to rummage the attic of past ideas to establish an appropriate pedigree for the new departure. … Smith, Ricardo, Marx, Marshall and Keynes all drew on the history of economics to show that they had predecessors and forerunners; even Milton Friedman, when he launched the monetarist counterrevolution against Keynes, could not resist the temptation to quote David Hume over and again. The history of economic thought cannot be abolished and, were its study declared illegal, it would be studied in basements behind locked doors."

"Modern Austrian economists go so far as to suggest that the Walrasian approach to the problem of multimarket equilibrium is a cul de sac: if we want to understand the process of competition, rather than the equilibrium end-state achieved by competition, we must begin by discarding such static reasoning as is implied by Walrasian GE theory. I have come slowly and extremely reluctantly to the view that they are right and that we have all been wrong."

"The Lange idea of managers following marginal cost-pricing rules because they are instructed to do so, while the central planning board continually alters the prices of both producer and consumer goods so as to reduce their excess demands to zero, is so administratively naive as to be positively laughable. Only those drunk on perfectly competitive, static equilibrium theory could have swallowed such nonsense. ... in all the recent calls for reform of Soviet bloc economies, no one has ever suggested that Lange was of any relevance whatsoever. And still more ironically, Lange’s “market socialism” is, on its own grounds, socialism without anything that can be called market transactions."

"Modern economics is “sick”. Economics has increasingly become an intellectual game played for its own sake and not for its practical consequences. Economists have gradually converted the subject into a sort of social mathematics in which analytical rigor as understood in math departments is everything and empirical relevance (as understood in physics departments) is nothing. If a topic cannot be tackled by formal modelling, it is simply consigned to the intellectual underworld. To pick up a copy of American Economic Review or Economic Journal, not to mention Econometrica or Review of Economic Studies these days is to wonder whether one has landed on a strange planet in which tedium is the deliberate objective of professional publication. Economics was condemned a century ago as “the dismal science”, but the dismal science of yesterday was a lot less dismal than the soporific scholasticism of today."

"There were many Hayeks: Hayek, the political scientist; Hayek, the economist; Hayek, the philosopher of social science; Hayek, the psychologist. Even in these different roles, he played many parts."

"Hayek's career raises many puzzles and sometimes takes on the appearance of an endless trail of unresolved or only partly resolved issues."

"Why did his interest in the concept of spontaneous order and the history of the doctrine of unintended social consequences undergo very little development after the 1960s? All of his political writings are in fact amazingly repetitious, exploring a small number of big themes which, however, are not further refined or extended in new contexts. As organizing concepts, they held, I am convinced, enormous potentialities but nevertheless Hayek himself failed to realize them."

"..truly, if I sometimes of my work under the eyes, I love a genre [churches!], which in the fullest sense of saying may be called 'mine'. [the word 'mine' double underlined]"

"In the [art-magazine] 'Kunst-Kronijk' my work 'Monastic corridor' came under your eyes; it is after a drawing that I started at Kleve after Nature and of which the painting is now almost finished. I believe, you know Kleve. The smallest of the Catholic Churches is a kind of monastery church; it has a nice sacristy, and the passage along the building gave me the motive of which you saw the lithography. On the same spot I designed a sketch in the 'Paarden-posterij' [Horse post-location] (where the cars are stored at Emmerich). I later made it a drawing - one of my best, and also the construction of it is now already in oil, to be completed soon. As motive, aspect, effect, etc. it pleases everyone - it is a real stable with lots of horses in it, and yet I do not have to make an enormous effort to paint the horses. As they are in the stable, they take the mysterious part [of the image]. Who knows, the K[unst]-K[ronyk] will produce a reproduction of it."

"As a schoolboy drawing-lessons became my favorite, and that pleasure was not ignited a little when, by the time of my twelfth year, the cityscape-painter B. J. van Hove became our neighbor. Since then I began to long for the moment that I would be allowed to change the school bench for a place in his studio. That desire was already satisfied in the autumn of [18]31."

"In [18]35, I made a study trip about Utrecht and Nijmegen to Dusseldorf, Cologne and [w:Koblenz|Coblentz]], together with Samuel Verveer, who had already left the studio of van Hove. My painting 'View of the Moselle Bridge in Coblentz' – exhibited in the same year here - was bought by Schelfhout and, in addition to the satisfaction it gave me, I was allowed to find a counselor in him from then on; he became and remained my friend since then."

"The same year [1835] I made my debut at the Exposition in Rotterdam with [his painting] "the St. Janskerk in ’s Hertogenbosch, the interior", which immediately found a merchant.. .The approval by this, [and] the renewed appreciation I got in Felix 38, now concerning a 'church with incident sunlight', together with my personal characteristic tendency to reproduce the impressions which church buildings gave me, led me gradually to choose and prefer this genre [church-interiors], [and to visit] Belgium in '37 and repeatedly to return there, attracted by the abundance of study [many churches], that this country offered me.."

"..that my drawings which offer - also by variety of genre - a greater variety [compared to his paintings], especially after 1863, when my late friend jr. CCA Ridder van Rappard urged me to reserve especially for him all the new works I would make and such including the freedom not to limit myself exclusively to my main genre [churches]. In the environment around his estate in the Sticht where he stayed, it became therefore the treshing-floors of the farms and the house-interiors which immediately attracted and inspired me to achieve a new personal interpretation of these subjects."

"..how with the [[w:Romanticism|[Dutch] Romantic movement]] after 1830 also the love awakened for everything that recalled former times to the mind - including the period of the middle-ages -, and how the sigh grew from it to collect all kind of objects that reassured the taste of those times. Here too, the celebrated [Dutch romantic painter] Nuyen stood in front."

"To show this later progress in my own work I refer to my [paintings] 'Organ-playing monk', in 1850, my 'Lord's Supper in the Geestes-kerk (church) in Utrecht' in 1852, and my 'Bakenesse-kerk (church) in Haarlem', painted a dozen years later. All three can be found in the museum Fodor and can thus be compared to each other. The preference will undoubtedly be given to the latter, which for its strength and unity is counted among the masterpieces of this [Fodor] collection."

"The [[w:Romanticism|romantic [Dutch] movement]] under the leadership of the geniuses Nuyen [c. 1830] also attracted me to follow. And in spite of the fact that in this way people lost their color and embellishment and often degenerating into chic, later on, a more sensible search arose for enlivening of coloration, heightening effect and strengthening the relief."

"The death of the unforgettable Nuyen has moved me deeply, Jan. Now the hope for young painting art [in The Netherlands] lies on You. Surely you are, after Nuyen, the only one who can fulfill this task."

"An architect, who was a great lover of art, once said to the writer [= E.B. Greenshields himself!] 'From that point of view, Bosboom is all wrong. He does not draw correctly from the architect's standpoint, but he does something far more difficult and much finer. He gives us the effect of airy atmospheric spacious interiors. He reaches the end he sought splendidly, and produces wonderfully beautiful and poetical pictures, but not architectural drawings."

"He [Bosbooom] may have been influenced by Romanticism and in particular by [[w:Wijnand Nuijen|[Wijnand] Nuyen]], later he may have sought more powerful effects in his admiration for Rembrandt, after 1870 he may have been influenced by the modern breath of a burgeoning [[w:Impressionism|Impressionism - and this was unquestionably the case, - it does not detract from the fact that from the very beginning he remained himself, from the very beginning he was recognized for the gifts of his heart and his hand in a genre which at that time was quite widely practiced."

"Nothing special is happening here in the paintersworld [of the Netherlands]; everything stays firmly the same. (translation, Fons Heijnsbroek, 2018)"

"The country [ Brittany ] is very beautiful and painterly one see stimulating color tones; but the more abstract one works, the more one transforms the sketch into combinations. (translation from German, Fons Heijnsbroek, 2018)"

"That's the way it goes, you know, I'm always dissatisfied and always I want to go on. (translation from German, Fons Heijnsbroek, 2018)"

"I work a lot and I think a lot. I really want to try to paint on glass. .Please will you ask him [mr. architect Taut ] if there are any transparent colors, which one can use to paint on the glass directly.. .I want to dispose of a new technique in which the artist can paint on the glass directly instead of canvas. When one wants to reach colors spiritually-bright, then a time will come that oil-paint and canvas are no longer suitable.. .So, if you have time, please ask Mr. Taut if he understands my view and maybe he knows the ways how I can follow my direction. (translation from German, Fons Heijnsbroek, 2018)"

"It is a terrible, but also tremendous time. Personally I find it moreover so important for my art to live now.. .These times force you to think over a lot and work very hard, in Nature now a strong creative force is working. (translation from German, Fons Heijnsbroek, 2018)"

"I was in Rotterdam, but the exhibition there was horrible. Le Fauconnier has nothing to tell anymore. He has a dirty color now and has become a real academic. Mondrian is completely frozen, no poetry at all anymore. It's terrible that these people can not reach further with great ideals. To my taste paints far too much naturalistic. A big difference, these three, compared to [[w:Franz Marc|[Franz] Marc]], Kandinsky, Filla etc.. (translation from German, Fons Heijnsbroek, 2018)"

"As an artist you can not stand for long in The Netherlands. You must see a lot and talk a lot about everything.. (translation from German, Fons Heijnsbroek, 2018)"

"Once again I talked with some painters, but the modern artists [in The Netherlands ] write more than they paint. If you write about art in such a way and you want to paint always with a fixed plan, then you will lose completely the deep, glorious and spontaneous art. You always have to create the new from the very deep, inside. (translation from German, Fons Heijnsbroek, 2018)"

"All men forget that colors have to radiate to give the big [spiritual] expression. (translation from German, Fons Heijnsbroek, 2018)"

"This evening the Anthroposophical Society invited me to give a lecture about modern art, on 13 March. They start to wake up here [in the Netherlands].. .Please, tell me something, what I should emphasize, what you find most important. I shall also read something from 'The Spiritual in Art' by Kandinsky.. .But we still have other views on the whole, isn't it. I don't always agree with Kandinsky, and often more with your views. So please write a little much.. .You know, for me it is always easier to paint my principles. (translation from German, Fons Heijnsbroek, 2018)"

"Every day I am thinking about the Art school [which Walden wants to start in Germany, since 1915-16].. .If our pursuit is really to make great progress in future, the Art school must produce individualities who can with our assist really continue from their inside and start creating on their own, without always studying the pictures of other artists. (translation from German, Fons Heijnsbroek, 2018)"

"I got the idea to paint people, in the way I see them. From one face I take to my own idea some very characteristic features of it and then I make of the whole a picture in colors and lines, in the way how I meet that person. The whole thing becomes not at all a portrait in the usual sense.. .I have tried to make types, but will built in more and more personal qualities and all that kind of things.. .Everything will be figured out fully abstract of course, it is just a personal feeling and no system at all. (translation from German, Fons Heijnsbroek, 2018)"

"Again I only gave numbers [of her art-works, she sent for the next Sturm-exhibition]. I stick to my idea of not giving titles. ..Titles are really disgusting romantic, and now in a while people will have hundreds of Spring's, Summers, Trees [paintings], to Liebknecht, Eberts, etc.. Above everything color and line have their own specific language, which doesn't want to be captured in a title. (translation from German, Fons Heijnsbroek, 2018)"

"On the whole [the alignment of a series of stained glass windows with the interior of a villa in The Hague] I have thought about all the time.. .I want to focus more on the architecture of the interior in general and that should we do together [with architect Buys].. .Now I was already thinking, the enormous color effect that the window will generate - and that will certainly become powerful - must be accompanied with strong colors - the hall -, otherwise the window itself will be too much isolated. For instance the staircase, could it be painted in strong colors and not [in] oak.. ..deep ultramarine blue or green, with a beautiful colorful carpet.. ..I feel I must make designs for carpets, to create in that way a beautiful unity with the stained glass as a whole. (translation from Dutch, Fons Heijnsbroek, 2018)"

"I don't understand how many painters can be so short-sighted to value art from earlier periods as completely worthless. Every art is an expression of an era and only for that reason already it is interesting. A Rembrandt has gone other ways, but he has certainly also pursued the highest goals. That one can assert: it is not necessary for a painter to have an impression when he is painting an Image, is nonsense. Certainly an artist, if he is really an artist, always has an inner urge to create an Image and thus sees an impression for himself that he may not always be able to explain, because deeper feelings are very difficult to grasp in words, but he has an impression - otherwise he only makes paintings as pure brain work. And intellectual art I can't bear. You can not make abstract art as something on its own. One feel various forms in their inner coherence. For example: when reading a fairy tale I can get the idea to paint a forest in completely abstract forms with motifs of trees. Every abstract form has an inner meaning for me. (translation from Dutch, Fons Heijnsbroek, 2018)"

"..I am so often showing my work in Germany that I belong to the German moderns.. .I openly want to confess you that I don't value the new painting in my home country very much. That is why I don't have a lot of acquaintances among the painters. Everything here is so little progressive. People's life is to easy here. It is very difficult to keep wide-awake since all are sleeping here. I feel much more at home in Germany. (translation from Dutch, Fons Heijnsbroek, 2018)"

"For you it must be a great satisfaction that you have done so much for modern art. If Der Sturm had not worked like this for ten years then Germany would not have been at the forefront of the movement. (translation from Dutch, Fons Heijnsbroek, 2018)"

"Here [in the Netherlands] there is absolutely nothing, nowhere and permanently committees to deliver the visual artists some money, since all are hungry. It is such a difficult time for Holland. I had flu, I was very sick and I am still too weak to work. (translation from Dutch, Fons Heijnsbroek, 2018)"

"..Also Lady van Heemskerck van Beest has found in Cubism the direction in which she can now express herself preferably. The shape [of cubism] is already so familiar to her that she uses it without much difficulty and with her diligence and good will she moreover knows how to handle the right color soon. (translation from Dutch, Fons Heijnsbroek, 2018)"

"Jacoba van Heemskerck paints a tree. She doesn't want its appearance, not the object, not the expression which can already be made in some dashes of color to astonish the observer. It is indeed about a tree, but she wants the miracle: standing, spreading itself, bearing its leaves, reaching into space, moving, being a part of the world. (translation from German, Fons Heijnsbroek, 2018)"

"A revelation, of eternal truth, to mankind. In the middle [of Jacoba's 'Painting No. 23' ] the motif of a floating ship, with the radiant white sail, like a saint spreading his both arms to heaven to absorb all the wisdom of the divine. Next to it, and following the first, the other two [ships], also with immaculate-white sails, but the interior of them not yet unfolded that strong [as the first ship]. In this way they continue, quietly and surely, over the rippling water-surface, towards suffering humanity.. .In the foreground, on both sides, two heavy, powerful black figures of trees, their branches twisted and wringing to each other and thus creating the gate of misery and suffering, through which every person must go who wants to bring something to mankind, what can help. In large angular blocks the earth is shown below, from which the trees grow up, the earth and its fertility. (translation from Dutch, Fons Heijnsbroek, 2018)"

"for Jacoba van Heemskerck"

"From the power of the senses, Jacoba von Heemskerck has created the images which give meaning to the world. Which interpret the world, Water and Mountain and Tree are her visual impressions, which became the painterly tools to create her pictures. Movement of the elements becomes element of movement. Form of Nature becomes art-form, and impression expression. Parts of the world get transformed into parts of Art. And parts of Art are combined together into one image.. .Jacoba van Heemskerck lived in and with Art. With all her thinking, senses and efforts.. ..her life continues, formed in Art. (translation from German, Fons Heijnsbroek, 2018)"

"The [glass window]-designs lay ready for months [1922-23] but as the building did not proceed as quickly as it was expected, the glass-cutting was put off again and again. During the last spring it often made her anxious, that the work did not advance, as if she had the feeling that she would never see it finished. And so it was. When at last she had to lie down, never to rise again, the designs lay there, with all the indications how they had to be worked out. Thanks to these minute preparations it has been possible to finish them as a last witness of her genius."

"In the Stedelijk Museum in Amsterdam an honorary exhibition of the art-works of the woman-painter Jacoba van Heemskerck.. .The collection brought together gives a clear overview of 'working' and 'wanting' for this very special talent. Clearly shown is the road that had to lead her from naturalism to her recent monumental abstract 'compositions' in which she portrayed 'Life': to the great last meeting with 'Architecture'! That combination promised a triumph! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Suddenly and unexpectedly death ended up the life of this great person. Before finishing her task, this wonderful young woman died - J.B. (translation from Dutch, Fons Heijnsbroek, 2018)"

"[four years younger!], you better paint houses, you better focus yourself on townscapes. (translation from original Dutch: Fons Heijnsbroek)"

"Cheerfully and cheerily, I started working once more in giant steps to the second painting by Mr Twent. [of the , then owned by Abraham Jacob , who wanted his estate immortalized in two large paintings] (translation from original Dutch: Fons Heijnsbroek)"

"Here are 3 drawings that I have made for You. It will be satisfactory, if it will meet your expectation and what it is for [to make a painting]. The two landscapes are thoughts, but the one that suggests the moonlight is the castle at Doorenwaart in Gelderland. I also painted a painting of that subject which I enjoyed a lot in Amsterdam [because, purchased there by A. B. Roothaan there] (translation from original Dutch: Fons Heijnsbroek)"

"You can't sell anything to the museum nowadays. If one presents something now, one is partly rejected because they have no money in cash. Yes Friend, that's how things are going.. .It's going very bad here with the old arts in The Hague., I hardly hear of anything. How are things going in Rotterdam? I believe that also there is not much moving. (translation from original Dutch: Fons Heijnsbroek)"

"..when the terrible storm and high flood of water raged most fearfully, I went to Schevelinge.. ..sea and sky seemed to be one [undivided] element; at the height where I stood - because the sea had already washed away dunes and stood up to the village – the view was horrible; the wailing of the inhabitants awful. - when arriving home, I immediately put a sketch of all this on paper - but that sketch represented so little of what I had seen on the spot itself.. ..[where] no part turned up itself of which I could make a sketch.. ..[so it] will be necessary for me to return to Scheveningen again and to outline those places where the water has raged most violently.. (translation from original Dutch: Fons Heijnsbroek)"

"..[both of us (Schelfhout ànd J.C. Schotel)] make each a painting that together will form one view, as it were [view of Scheveningen by Schotel / view of The Hague by Schelfhout].. ..[but] our paintings together will therefore not become one integrated thing, but only pendants.. .I have taken my drawing from the steps of the Pavilion [in Scheveningen], viewed over the dunes to [the city] The Hague. In the foreground, which is very bare and empty in reality, I have placed some trees. (translation from original Dutch: Fons Heijnsbroek)"

"..and since we are now living in the Summer-time, I don't have a trick to imagine me Winter so strongly that I would be able to paint one [a winter-landscape].. ..and you must have patience until next winter. (translation from original Dutch: Fons Heijnsbroek)"

"Do you like to see what can be transformed from a flat, elementary rural scene - bearing the stamp of nature, the mark of truth - into something most beautiful and graceful? Look at the works of our great [painter] Schelfhout. There you will find represented plain nature at the most elegant, but moreover with a faithfulness and truth, which only Schelfhout can represent. (translation from original Dutch: Fons Heijnsbroek)"

"Only the way Schelfhout represents winter, in the white garment and with the motley crowd of skaters, we find something tempting about it. (translation from original Dutch: Fons Heijnsbroek)"

"S. [Schefhout] was educated in the field his fathers [frame maker].. .. when he came to Brickenheimer because his wish was to paint, in which school he soon became a master and performed the decoration commissioned to B. [Brickenheimer] (translation from original Dutch: Fons Heijnsbroek)"

"Who has supported his first, shaky steps on the steep and slippery path, who has given him the push to independent progress, who brought him into the temple of immortality? So will the offspring ask. Our answer is: Nature, and only Nature was Schelfhout's teacher. (translation from original Dutch: Fons Heijnsbroek)"

"..In July [1808], master Breckenheimer was commissioned to decorate the new Leidsche Schouwburg [Theatre-building].. .[Schelfhout] started painting the forest, what he was good at, and I started to help our master to outline the palace. I got ambition in painting the stage, and practiced with Schelfhout drawing after nature before half past six in the morning and after half past eight in the evening - when the days were long, to be clear. (translation from original Dutch: Fons Heijnsbroek)"

".[I ventured it, c. 1818] to start a small painting. It was a view in 't Haagsche Bosch. This also cost me great worries and trouble.. .My cousin Schelfhout came to me when I had finished it myself. He saw it and said to me: [four years younger!], you better paint houses, you better focus yourself on townscapes. Why my good nephew told me so, I don't know. Anyhow, I followed his advice. (translation from original Dutch: Fons Heijnsbroek)"

"[ Nuijen, a pupil of Schelfhout].. ..was in turn reviving his master. Schelfhout had fallen back into a certain deadly, pale, green color by 1830, and Nuyen, who the sun of rising Romanticism from France had shone in his eyes, was one of the first in our country [The Netherlands] to take a look there.. .In 1833 this became a reason for Schelfhout to make a trip to Paris.. ..with this consequence that Schelfhout's talent of the moment got a new elan.. .Not only that he spread his wings more freely, but also his subjects were transferred to another area. [the wide Dutch landscape and many winter-views]. (translation from original Dutch: Fons Heijnsbroek)"

"..that Schelfhout modified his success-works infinitely, repeated and copied them, so that in the end the first, spontaneous seeing perished for a painting of recipes.. ..[but] it is also true that his early work strikes many times by the originally observed, colored air, by its reflection in the cold blue of the ice-surface, albeit that the smooth, ethereal way of painting leads us to a mixed valuation. (translation from original Dutch: Fons Heijnsbroek)"

".. We also noticed that in this specialty, [the section landscape-painting], which must be based so entirely on a faithful study of nature, the way which our old [Dutch Golden Age] masters followed with so much fame - some artists start to leave that golden way more and more, to the disadvantage of their works and of art in general. This was mainly to be seen in the paintings of a 'young and very promising artist [Wijnand Nuijen], who starts to tilt increasingly to the Romantic way of taste, and, being dragged along by the fashion spirit of recent time, seems to prefer an easy effect without truth and naturalness above a powerful and vivid expression of objects. (translation from the original Dutch: Fons Heijnsbroek)"

"The death of the unforgettable Nuyen has moved me deeply, Jan. Now the hope for young painting art [in The Netherlands] lies on You. Surely you are, after Nuyen, the only one who can fulfill this task. (translation from the original Dutch: Fons Heijnsbroek)"

"Nuijen, a pupil of Schelfhout.. ..was in turn reviving his master. Schelfhout had fallen back into a certain deadly, pale, green color by 1830, and Nuyen, who the sun of rising Romanticism from France had shone in his eyes, was one of the first in our country [The Netherlands] to take a look there.. .In 1833 this became a reason for Schelfhout to make a trip to Paris.. ..with this consequence that Schelfhout's talent of the moment got a new elan.. .Not only that he spread his wings more freely, but also his subjects were transferred to another area. [the wide Dutch landscape and many winter-views]. (translation from original Dutch: Fons Heijnsbroek)"

"Around 1836 I left the studio of my master and obtained my own studio in the parental home.. .The [[w:Romanticism|romantic [Dutch] movement]] under the leadership of the highly-gifted [Wijnand] Nuijen [c. 1830] also attracted me to follow. And in spite of the fact that in this way people lost their color and embellishment and often degenerating into chic, later on, a more sensible search arose for enlivening of coloration, heightening effect and strengthening the relief. (translation from the original Dutch: Fons Heijnsbroek)"

"Some of his [Nuijen's] works reveal a flight of imagination that aspires above the patriotic [Dutch] uniformity towards a more impressive style."

"Light and air, that's art! I can never give enough light in my paintings, especially in the skies. The air in a painting, that is really a thing! It is the main thing! Air and light are the great magicians. It is the sky which prescribes the painting. Painters never look enough at the sky. We must get it from above. (translation from Dutch, Fons Heijnsbroek, 2018)"

"I remember I stood stunned as a boy, in front of the paintings of the old [Dutch] masters in our museums, how they let speak Nature to you. If I have learned to see nature by someone, it was by our old masters. But most by Nature itself. (translation from Dutch, Fons Heijnsbroek, 2018)"

"Better send in one good picture than a lot of poor ones, but then that good one must be so good that it almost walks out of the frame and becomes a portion of nature itself."

"You see I am like a surgeon in a hospital; all these [sketches / watercolors] lying around me are my patients, and as I walk about among them I notice those most in need of doctoring. I pick out some sickly looking specimen and say to myself, 'Only wait a moment, and I will find some remedy for you'; some need much medicine, and some even require a severe operation to bring them round. Look at that one in the corner. I believe it is suffering from jaundice, but doubtless I shall find a cure for it."

"I was a healthy, strong, cheerful boy, and like to take great walks in and around The Hague.. .I sometimes got a blow from Nature. And if I got such a blow later, I could draw and paint what I saw. I recorded it in a few scribbles."

"When it is storming and raining, thundering and lightning I am in my element; nature must be seen in action. Then outside, I put on my jacket, put my feet in clogs, put on a hat and start on a march. When the showers settle down, with charcoal or black chalk [I] make a scribble, to keep a firm grip on what one sees. When working out, hue and color come smoothly back into the memory."

"My good Lord and friend Sala, - [I] enjoyed the blissful pleasure enjoyed by your friendship.. .When I reached the city [The Hague] again yesterday, I have taken the fishes out of the basket more than 12 times, to show them.. .That day, friend Sala, belongs among the most pleasant of my life, all moments have kept me alive until now, always sitting [fishing] in the boat, swaying with the bobbers in the field of view.."

"Weissenbruch to Anton Mauve: He [ Vincent van Gogh ] is drawing damn well, I could paint after his studies."

"Weissenbruch to Vincent van Gogh: ..now that I have seen your work, I will take sides for you. They call me 'the sword without mercy', and I am - and I would not have said anything like that to Anton Mauve about you if I had not found any good in your sketches."

"I am here the doctor [in his studio], bringing his morning visit. I feel them all [his watercolors] the pulse. One I say: Wait, I'll make you an ointment, so you will refresh completely. The other I say: Friend, you need air, and even more the light."

"Also about J.H. Weissenbruch I can't keep silent - in spite of the fact they have been banished his works to the upper [exhibition] room. It may be true that one wishes them to be a little more worked-through, and somewhat less crude in hue, but he is exceeding many others [at the exhibition] concerning the broadness and power of the effect and the expression of the oppositions between the light in the air and the deep hues of the landscape.."

"Of course I should be very happy to sell a drawing but I am happier still when a real artist like Jan Hendrik Weissenbruch says about an unsalable??? study or drawing: 'That is true to nature, I could work from that myself.'"

"I now have permission, so long as Mauve is ill or too busy with his large painting, to go to Weissenbruch if I need to know something, and W. told me that in no way should I be worried about the change in M.'s mood. I also asked W. what he thought of my pen drawings. Those are your best, he said. And I told him that Tersteeg [director of art-seller Goupil, branche The Hague] had criticized them. Take no notice of it, he said, when Mauve said there was a painter in you, Tersteeg said no, and Mauve took your side against Tersteeg, and I was there, and if it happens again, I too will take your side, now that I've seen your work.. .I consider it a great privilege to visit such clever people as W. once in a while, especially when they take the trouble - as W. did this morning, for instance - to take a drawing they're working on but haven't finished yet and to explain how they set about doing it. That's what I need."

"The Holland School [very probably the Hague School ] is doing well. There are here two watercolors from J.H. Weissenbruch which I find exceptional beautiful.. .One of the Weissenbruch's is a mill along a canal, blue sky with a small cloud, behind which the sun is hiding. The other one is a canal with boats in the evening, in the moonlight. It is an artist of great class, but Tersteeg [Herman Gijsbert Tersteeg, later director at Goupil's in The Hague] says he is unsaleable. (translation from Dutch, Fons Heijnsbroek, 2018)"

".. And among them all [artist of the Hague School ] Weissenbruch holds a prominent place; for who depicts as well as he the effect of the sun struggling through stormy clouds, or who appreciates better the value of light and shade? Who under stands the variation in the very atmosphere, the many varieties of sunrise and sunset, and above all things, the sweet, suffused twilight? Who so skillful as he in giving a fresh construction to a well-worn subject, in finding ever new inspirations? Who remains so young and so enthusiastic? Who, indeed, but Weissenbruch, whose pictures fill us with delight and create an impression on our minds that is not easily forgotten."

"..he is never guilty of sentimentality in paint. He early learned the importance of judicious elimination in the interest of power, and persistently put this principle into practice. His characteristic canvases show a stretch of sand, with the sea beyond and the sky above, and possibly but a single sail in the distance; or an expanse of green meadow, with' a tree or two or a windmill to break monotony; or a sedge-lined canal, with a lighter or two as the only suggestions of human interest. In a word, absolute simplicity of composition, without an unnecessary detail to break the impression he wishes to convey is an essential feature of his best canvases."

"He has shown me aspects of silence and light as others never showed me before. (translation from Dutch, Fons Heijnsbroek, 2018)"

"Thijs, Thijs, you came to a people [of Paris], when they were doing well, now you must help them, when they are in distress. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"Last year I asked too much of my strength. I can't go on like this. it was not possible for me, I had to step back, I didn't make anything but stones [about his paintings?] ... They wanted to see beautiful paintings but I still couldn't make them, one illusion disappears for the other. I have made Cold reality, and I have made Truth. Is there a truth, also the cold reality is a truth. What exists between them was [only] baroque convention. I threw away everything in the stove.. .I am messing up my time with them; what is nothing more than material is no art to me; I could not bring it out.. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"Just at the time I got your letter Mr. Angus sent me the 'Scotsman' [magazine]. You say some critics have thought it fair to make it the basis of a personal attack, and it is very critic-like. Critic means knife, means dissection, means wisdom, means perfection. Art is stupid, art-less. That is a hard job for the critic to understand. I like your book because it is 'stupid', like Japanese; which means done for the love of it in itself; not for gain or success. You don't go to criticise a Japanese drawing and say it is out of shape, out of drawing, no perspective nor anatomy. This is only for the critic to show his knowledge by killing the things; those stupid fellows do harm, like Whistler says, with their learnings. They must have schools and applications of knowledge. Thackeray calls them scavengers - scavengers are at least necessary, those fellows are for no good.."

"Besides (and I now quote the artist's own words) I never put a bullet in my gun, but only pretended, to do so!"

"My brother Jaap was born as a painter, which means he really enjoyed it. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"I liked the room [his new place in London, c. 1906] the moment I saw it, so here I am set up as a swell.. .Don't you take this to be a trap set up for the unwary, you know you're always touching a sore spot when you talk painting, and drag my suicides before the public, the right name for potboilers, one has to give up all aim for any good intention, and do the technical skill and cleverness to please those with halfpennies and farthings in their pocket, to be favoured to live.. .I just got a letter from somebody, saying: but with potboiling one can make money, money always considered to be the principal. I told him he was greatly mistaken, when a little honesty remains, one can scarcely ask anything for them."

"I recollect after the war in '71 [in Paris, where he stayed then and was fighting against the German] there were some debts to pay of course: what had I to do? I said to Wisselingh [Dutch art-dealer] who was with Goupil, 'tell them that I'll take them back later on.' I've never been able to do so, for one Van Gogh [probably Vincent, then art-seller at Goupil], his partner, gave me 200 francs, someone bought it for 350, and sold it in America for 700 pounds. He had asked Wisselingh how long it had taken me to do [make] it; he said a week, so I was the chap for him; no wonder he was always talking making fortune, fancy 100 pounds per day, make some more or this sort: do it only for a year. So I had to commit suicides upon suicides [he means, making salable paintings]: what did it matter to him or anyone else ? Someone said once to me: 'You must have somebody fool enough to say, here is money for you, and go your own way': that is the very thing one may not do. There is always someone telling you how to set about, and then come the schools telling you that it is not allowed to be one's self, but that one has to be a Roman or Greek, or imitate what they have performed.."

"..Besides of all things I hated and detested was painting. They told me I had a talent for it, and was a clever chap and could make as much money as I liked. Money always the principal thing and so it happens that I got forced into it. Being considered a very clever talented chap, after the war or siege of Paris [1870-71], a young fellow of the name of Vincent van Gogh [not painting yet, but still art-seller at Goupil in Paris] came around asking me for advice.. .The law of the pocket: 'full' signifies 'rich'; empty 'poor', all the world over the same; black, brown, yellow or white skinned. Heathen, barbarians, Mahommetans; pocket full, 'power' - empty, 'helpless'."

"Some time ago I saw a painting by Thijs Maris that reminded me of it. An old Dutch town with rows of brownish red houses with step-gables and tall flights of steps, grey roofs, and white or yellow doors, window-frames and cornices; canals with ships and a large white drawbridge, a barge with a man at the tiller going under it.. .Some distance away a stone bridge over the canal, with people and a cart with white horses crossing it. And everywhere movement, a porter with his wheelbarrow, a man leaning against the railing, gazing into the water, women in black with white caps.. .A greyish white sky over everything..."

"Matthijs started with the left eye, which - since he painted the portrait à trois quarts - is about the center of the bud. The [left] eye finished, he started to paint around it the details of forehead, nose, the right eye, the mouth, etc.. ..until he finally enclosed all of these with the contour of the head and the light-brown background. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"[I saw] landscapes, more color-visions than reality; ruins of castles ghostly shining through the mist, cobblestones, gently blown on the canvas.."

"Thijs knew everything by himself, he was a genius. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"That splendid, head, in which everything is said that can be said; color, line, tone, expression; the slightly advanced head, with the soft, almost human eyes, I never enter my studio in the morning without my eye falling upon this creature and wishing it 'Good Morning'."

"He is the painter of the border land between the seen and the unseen world."

"The exception is Matthew [= Matthijs, in Dutch] Maris.. .It is perfectly impossible to be certain of anything produced by this remarkable artist. One day a figure, next day a head, another time a windmill landscape, and again a town or village."

"Take, as example, the early picture of the artist, the 'Souvenir of Amsterdam', [painted in 1871,].. .This measures only 18 ins. by 13 ins.. .Yet it is no exaggeration to say that this small canvas contains the essential features of the great Dutch city with its good half million inhabitants. The tall houses, the canals, the 'ophaalbruggen [drawbridges]' towering over everything - as the bridge always does, and must do, in a land under the level of the sea - the distant buildings and shipping. Everything.. ..that the commercial Capital of Holland says to the visitor is concentrated on these few square inches.. .I wanted to discuss this picture with Mr. Maris, for its goldenbrown colour went straight to my heart from the moment I first saw it, now many [30] years ago, but the artist would have none of it. 'Only a pot-boiler, made to coin a little necessary money, and one of my suicides..' [he said]"

"..This master, one of the seers of the century, and a recluse resident in one of the most populous districts in London, has painted almost always his own ideas as compositions, and has practically avoided the obvious amongst his surroundings.. ..the subjects of Matthew Maris have been crystallisations of his dreams. Blown on the canvas, as it were, with practically no trace of the machinery of paint visible to distract, all the pictures of this mystic artist have soared to a height above the more material arrangements in his brothers' work [= Jacob Maris.] He has sought and found his inspiration from the least tangible of his surroundings, or from his heaven-born gift of exquisite dreams such as never materialise except to the seer whose life is hardly of this world at all."

"It were mainly three or four [paintings] which kept him specifically busy [in the 1890's]. They were in progress for years already and he always spent hours and hours working on them - in which he wholly and truly disappeared into his work, persistently trying to perfect it in construction or composition and to saturate it with the life itself, of his soul - never satisfied with any result he achieved. Most of the time 'The Westmacott children' [and] 'The child with the Butterflies' were on his easel, and never they stayed the same with a next visit. They both had an expression that only he could give them. Sometimes, he acknowledged, he spent too many days working on one single work, with the inevitable danger of weakening his sensitivity by a lack of variety. Often it was sad to see that he could not leave them as they were.."

"As far as 'Melancholy' concerned, or as he liked to call it 'Evaporated Dreams', on that painting he worked most times during the last years of his life, when his eyes got less and less reliable. When he died the painting stood on his easel. Often he spoke about it with bitterness, as if it should express the nature of his own life. With his almost lost drawing [using no lines] and his subdued color, it sometimes seemed to me the saddest possible emblem of all the unhappiness of his fate."

"As far as I can remember, it was before my twelfth year that I was sketching cows in the mornings before and afternoons after school, and because my brothers were 4 and 6 years older than me – naturally I got from them my first teachings in drawing and later in painting. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"The cow exists for the light that comes to glide along and over the animal - the light doesn't exist for he cow."

"I don't paint cows but light"

"a couple of days afterwards I was sitting somewhere and painting - when one of these braggarts came up behind me. Well, hey, when you're young, you don't think that's very nice. And suddenly the guy throws his arms around me and roars: 'I sit here all day long plodding away with a pencil - scratching and scratching - and you get it right away!' It was ...Mauve."

"At Heyser [a pub in The Hague] came the venerable old guys [painters]: Smit-Cranz, Coelman a. o. Those were the bigwigs, you see. We were the revolutionaries. And an opposition that we got! - In 't Kurhaus they hang a poster against us during our first exhibition; they named us 'mud painters'. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"'Weiss' always said it so well: 'When you go outside, it's like getting a punch against your chest.. hey ..damned, that's beautiful!!' And that's why we made so many beautiful things in our studio in the Juffrouw Idastraat in The Hague city. The studio was not very special. It was noisy. But going outside suddenly, that moved you so strongly.. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"As far as I can remember, it was about 25 or 26 years ago that Breitner [his pupil then] painted with me in 'Huize Rozenburg' [The Hague].. .There I had a large garden where he painted his dragoons with horses, posing there in front of him.."

"oh God, oh Lord, what a revelation! Where I am slaving away [at a sketch] with a fine piece of conté [crayon], you make emerge color and unity with only a piece of chalk [and] a few scrapes!(translation from original Dutch, Fons Heijnsbroek, 2018)"

"They [the sketches of young Willem Maris] were fast, broad, colorful, suggestive drawings, from which life and movement is speaking, in just a few lines of black chalk, which are softened here and there by a lick with the thumb. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"In that period the young painter had - what is rather peculiar - such specific preference for misty moods that he, disgruntled, repeatedly gave up his study trips for that day, when sun and wind had chased away the morning haze. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"..with the Antwerp painter Alex. Woest and Van Zeggelen he [Willem Maris] had been travelling to Norway [in 1871]. In the mountain landscapes [paintings] of Woest he painted cows and eagles.. .But now Woest, who painted anyway sometimes meritorious things, as Willem Maris told me, demanded that he should depict the eyes including pupils, etc.. of those animals [the cows], which were walking at a distance of three hours in his landscapes [paintings], clearly and accurate.."

"This is already the third time today that I meet you (Where? asked Willem Maris.). Today I walked with a friend on the migratory route and then I looked up at the sky and then I said: there you have Willem Maris. When we arrived in the city, I looked at the sky again and then I said: there you have Willem Maris again. And now I see you here for the third time. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"..and sometimes pausing between our talks we looked at some few canvases that were waiting for the Master's hand with the open sketchbook in front of it.. ..for example a year or two a very large ducks- painting was waiting there that did not want to be finished', (Harms Tiepen quotes a witness who visited the studio of the older Willem Maris)"

"But William Maris selects this very time of day as for him specially desirable, and he sees mystery and poetry in the wonderful effect of the sun pouring its bright rays down on animals and pasture land. For this he is called the silvery Maris, and very remarkable are the effects he gets. It is true, as it is sometimes remarked, that he is always painting cattle and ducks. But it does not matter how many times he paints them, the pictures are always different, and no two are alike in subject and treatment."

"On the other hand, I am accused of not finishing my paintings, no matter how much time I spent to my airs. Well, 'finished' in the common sense of the word, they are certainly not! Finishing in that sense would drag the life out of it. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"Almost all new French art [ French Impressionism ] has for me a flat, empty character without any distance and depth in colors. The paintings look like white sheets of paper with colors on it."

"A painting is finished when one can see what it represents. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"Damned! Another 'town under white clouds'.. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"When I am tired of long, straight roof lines, why should I not introduce a cupola, especially where the cloud formation requires its support?. .Why should I not build my own towns to suit myself?"

"Thijs knew everything by himself, he was a genius. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"When I'm sitting in front of my easel again.. .I'm going to make things that no one would have expected of me. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"In the morning, at the edge of a luminous horizon, the [painting] 'Ferry' of Mr. Maris mixes sky and water like amorous mouths.. ..oxen cross the shimmering lake, and in their misty vapors the villages in the distance awake in a clear shade. A ravishing canvas without any dullness. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"My brother Jaap was born as a painter, which means he really enjoyed it. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"His pictures in fact appeal to the very sentiments that gave them birth; they reveal his intimate acquaintance with colour in all its gradations, his splendid contrasts of light and shadow. The charm they exert upon us is due in part to the grandeur of Maris's artistic sense, his power of sympathy, strength of conception, and his glorious schemes of colour, and in part to the nobility and loftiness of spirit ever unconsciously reflected in this great artist's work."

"Jacob Maris must have found the cause of this change in the routine, a way of creating developed against his own will, anyhow he once made (c. 1895?) the remark that he. '..would be pleased if would lose for a while the use of his right hand: with his left he would probably be more clumsy, and start to paint as before. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"Although Jacob Maris probably have painted studies outdoors during his early years, it was more his habit, coming back home, to fix his impressions in paint [on the canvas] in the studio. These first impressions, in which the painter's emotion was fully represented, were beautiful grips. With dripping bitumen sometimes - which makes the color more ripe - he had caught already the deep hue, which he loved so much during his middle period.. .A few times in summer they went to Scheveningen, sometimes a day to Dordrecht; that was the most far away. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"In very bad weather Jacob Maris met one day an acquaintance who passing by, shouted: 'What a beautiful sky, huh!' 'What shall I say', was the answer [from Jacob] in jesting tone and with a smile, which had to soften the haughty gesture, 'I paint it better'."

"Th. De Bock has explained how little realistic James [= Jacob] Maris was in his paintings, which have such an appearance of frank truth that one would hesitate without this proof to think they were other than records of the places he painted. He used to make numerous sketches of the bridge and canal near his house, but when he came to paint he combined all these into a [one!] picture which, though not this bridge, yet got the indefinable something, the essence of the scene before him, though it was far from being like a photographic statement of it."

"The pictures of 1870 [during his last year in Paris] and later of James [= Jacob, in Dutch] Maris, though mostly small, show an appreciation of tone indicating how the mind of the artist was awaking. Colour he did not strive after, as in his later years, but in the general arrangement of composition, the tones of sky and landscape, can be observed the first indications of the [later] success of the painter of The Windmill, The Bridge, and a dozen other masterpieces. James Maris and his family returned to The Hague in 1871, glad no doubt to be back in the land of peace and prosperity after their semi-starvation in the beleaguered city [Paris; the end of the Commune and the war with Germany]"

"James Maris also was always honoured in the 'Boulevard' [so they called the 'little place' of art-dealer Goupil, near the Cafe Richelieu at Boulevard Montmartre], and although he went back to the Hague soon after the close of the war [1871], his relations with the Goupils continued until his death, greatly fostered by the courageous manager of the branch house in Holland, Mr. . From this time onwards the story of the life of James Maris is the experience of every successful artist who has found his metier and reached his market. Under the farseeing guidance of Mr. Tersteeg, James [= Jacob, in Dutch] Maris had little further anxiety even in the rearing and educacating of his numerous family."

"It will be observed that James [= Jacob] Maris frankly accepts the subjects which are laid to his hand - he paints nothing but what can be found in Holland at the present day, and lands foreign to Holland have never been able to induce him to portray their landscape or their inhabitants."

"I was in Amsterdam [train from The Hague] last Wednesday, exclusively for the paintings [at the exhibition in 'Arti', May 1888] .. ..I was delighted with the wonderful [painting of] Jaap Maris. I mean the big one, I never saw it before. Also the other paintings did much better [because of better light there]. So your 'White horse' ['White horse of Montmartre', painted by Breitner in Paris in 1884]. I even got the impression that the Dupré that hung next to it became feeble. 'De Brug' [Breitner's painting, also known as 'Rain and Wind'] is a good job, but that painting never attracted me. I do not know why.. ..but I believe you will not be much attached to my opinion about this or that painting. I know how a peanut I am with no right to do so. I stayed at the exhibition until four o'clock, then I returned to The Hague.. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"I'm not making any progress with the book that you were so kind to lend me [about techniques of etching]; the desire to study tie facts for etching from a book does not exist with me.. ..if you would rather give me some lessons, so that I can get some information, I will be glad..[which happened February / March 1891] (translation from original Dutch, Fons Heijnsbroek, 2018)"

"Dear Richard, I just received your letter; I will send the money order f 10 [10 guilders] immediately for the swimming of Saar [their daughter, 10 years old]. She seems to be going well ahead, I think, at least if she can jump off the springboard by herself. Her letter was nice and cheerful. Yes I would have liked her to come here [in Heeze] but I am just afraid that I may not be able to work regularly or that she will get rather bored. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"Dear Richard, I was just coming home from [painting] an interior [with people!]. It was terribly dark today and yesterday, but today I made a pretty good study. I still sleep badly and feel nervous because of that.. .I don't need to come to The Hague for my drawing lessons.. .How long we will stay here [in ], I don't know. I will write you at least in advance. If I don't start sleeping better I will not stay much longer, I think. (translation from original Dutch, Fons Heijnsbroek, 2018)"

".In the beginning I was struggling very much with [painting] children, for that painting by Br. [probably, Henk Bremmer?]. It has an almost square format. The woman must look to the right [and] there must be a child with her.. .But I painted only a few children with mothers, and recent times not at all; and then that size (square), I don't know how to handle it. I now think to come back to The Hague Sunday afternoon [and] to leave Heeze early. Monday here is another holy Day [catholic region]. So I can not work then.. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"It is not so bad that my paintings have been placed in the so-called reading room [Amsterdam exhibition, probably Arti et Amicitiae at the Rokin?]. But it will be just as you write, they will definitely have to serve for FW Jansen and others. They certainly must get the medals and have to show in a most favorable way. .. Are there many beautiful things exhibited or is everything rather mediocre? Is there something to see of Breitner and Bauer. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"But please come into my studio; It is now full of works everywhere, you see.. .Oh, you don't need to be careful; those paintings do fall together frequently; - it doesn't really harm them."

"Because - you need moderation for the perseverance in your work!"

"No, absolutely not, I have never been what one calls a gifted child, never a dreamer. I didn't think of making fantasies with the pencil on the paper, although at school we learned to draw and play music of course. But in those days the piano was actually what I preferred most.. .But until my eighteenth year I have been hesitating long between both [painting and playing piano].."

"I never had difficulties with my students, for I was prepared for their pranks, because fortunately I had often been naughty myself. We frequently made tremendous fun at the Art Academy in The Hague.. .So I still had my own experience in this area fresh in my mind."

"Although teaching in the class is so terribly tiring.. .I continued my work perfunctorily in a way that nobody could notice it. Because I lived with that firm intention: in a few years I will start painting. And I saved for this by being as sober as possible with everything."

"Yes, there was a lot of fuss about it, then [c. 1879-80].. .. [that] I also was permitted to enter the nude class [c. at the Art Academy in Rotterdam, evening classes!] .. that was never done before me by other ladies. I was the first who claimed it. And even in a local newspaper they cried shame about it: a young woman who painted nude model. And moreover.. a teacher with so many girls under her guidance. [at the Dutch Highschool]"

"..I therefore got around to painting [in Amsterdam, 1883] and that's why teaching started to become a burden for me. So then it HAD to happen now: Make or break! And I asked my dismissal at the school, threw away my 2500 florin a year, sacrificed everything, although I never made any painting yet, and certainly sold nothing at all. And my acquaintances, my family, they found me reckless and shamefully frivolous with my sacrifice to art, for which they did not felt any sympathy or understand anything of it after all."

"Then on a certain day I went out [from Amsterdam, c. 1881-82]. I traveled to Dongen, brought some interior studies back, to try to make something good of them."

"Well, sure, when you have some success, you also work with more self-confidence and ease. But before that time; that awkward question: am I going to sell or not. All the same I never took notice of it regarding to my work."

"In Fall, October, November, I'm usually at work in Heeze, for interior studies. That is a beautiful, and the most quite time; the leaf of the trees [dropped!], what gives in summer such a strong green light into the domestic interiors. It was in the lodging of the good Saskia [Ciska] .. ..that I always got very special care."

"What a struggle I had to make on that ['Mother and Child']. You would say, a nice assignment to make something good out of it, isn't it. I myself thought it that way. So I went to Heeze, I made a mass of studies of women with children, came back with the sketches to my studio.. .Oh, what an obsession.."

"Acquaintances, family, posing for me? - Oh no, please no acquaintances, no nephews or nieces.. .If I need them, I take models; am I searching for myself, tripping through the neighborhoods.."

"Miss, today I had the pleasure to admire your drawings here [exhibition 'Levende Meesters ' in Arti, Amsterdam]. The knight is doing very well. I think the onions [still-life] were better done in a passe-partout. Especially now the drawing is not cut off.. .At the Academy here [Rijksacademie Amsterdam] I like it very much. We have a pretty good model.. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"..you know together enough how the world is running - what life is - and how people are - together you are two apostles, fighting for their art and that is 'worth the only reason'!! to stay alive.. ..now you are together - you can comfort each other when things go badly.. ..that keeps the mutual affection awake, so dear fellow, Suze - I wish you both all happiness.. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"..I would love to see you [his friend Richard Bisschop and wife Suze] with your sprig - how does Suze do that, painting and cleaning nappies!! - and then painting children.. .I made children's portraits, I know what that means; enough to drive you mad.. [Suze hardly painted children in fact] (translation from original Dutch, Fons Heijnsbroek, 2018)"

"..[a clear influence of his] talented wife [= Suze Robertson]. Perhaps in this painting by Bisschop one can see the spiritual marriage of two artists.. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"My dear madam Bisschop [= Suze], I hope you will enter [the Katwijk painting exhibition] a few of your paintings. I always find your work so strong! Individual, broad and beautiful. I love it very much. Send us a few of your canvases. We'll get a nice entry, I believe. Please ask your husband if he wants to enter also a few of his paintings. (translation from original Dutch, Fons Heijnsbroek, 2018)"

".So please write me about it, do you believe that Saar [their daughter, 10 years old] must go, Suze? In that case send me a money order with that amount [for the travel costs of Saar; friends want to take her with them, on holiday]. I have almost no money left but for a few days. How to finish my painting so that Zürcher [art-seller] will buy it, the sky may know.. .If I had the gift of you to paint a simple thing nicely together then I certainly would do, but in my case people are used to a kind of painting that is completely finished; otherwise I will have no chance to sell it. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"A stay in Dongen, where she painted interiors [c. 1880] followed by a next stay in Blaricum [c. 1885-88] where she also painted interiors, gave more shape to her searching.. .Anything that was sweet, she avoided in her work. The women, whether they lifted the weight of a [hang] clock, or were peeling the potatoes or were hastily breaking a branch, were rough in shape. Without softening the outlines by color or light.. ..and sometimes it gave the impression as if, for fear of everything that is feminine, she masked her femininity by the crudeness of her conception. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"Nervousness - nonsense keep calm.. .[I] haven't seen everything already [of the submission of Suze Robertson for the exhibition 'Kunst van Heden' in Antwerp]. - [we] were busy unpacking - let me rummage around - you must come to the opening - banquet!. .Your submission is looking good. Yesterday Baseleer was in the hall and he was talking about a courtyard [of Suze] with white walls that was beautiful, I haven't seen it yet, had to make visits.. .I did see some.. ..nude figures and small paintings, wearing Suze's firm painting gesture, they are beautiful and rich in color.. .I will take care of your submission. So don't be nervous and let me handle it. Warmly Jacob (translation from original Dutch, Fons Heijnsbroek, 2018)"

"Suze Robertson, is a woman-painter, of people with a heavy and tragic emphasis; of still life, where we find the same tragic mood; of cityscape, which attracts me less, of landscape with animals etc. (translation from original Dutch, Fons Heijnsbroek, 2018)"

"For the whole world I became a heroine, very easy, but not complimentary, since I had done nothing in this case, received the most ridiculous letters from places all over the world; especially a steady flow of praises came from France! I have never seen such a exaggerated reaction"

"I have done more for the Boers than my fellow countrymen will ever know"

"only in the intimacy with mother I could be just a human"

"the government did not fulfil the urge in their hearts and felt that the public wished to see me openly revealing my sympathy for our kinsmen; how could I as the head of state!"

"Already then, there was in my subconsciousness as unsatisfactoriness about powerlessness, which was accompanied by being locked in a cage, whereby made taking an initiative, of any kind, impossible"

"to one of which I am attached by bonds of friendship, to other by ties of common origin"

"I made mistakes, in communication. In the beginning, I put too much emphasis on people's own responsibility and not enough on the mandatory measures (with regards to COVID-19 pandemic). The second is that I did not succeed in convincing people to a sufficient extent about the basic measures."

"The more we help Ukraine at the moment, the sooner [the war] will end. The cost of supporting Ukraine is far, far lower, than the cost we would face if we allow Putin to get his way."

"We have to make sure that Ukraine prevails as a sovereign, independent, democratic nation."

"Mark Rutte Let's not forget Ukraine is fighting a war of self defence, and that means that Ukraine has the right to defend itself. And as we know, international law, and according to international law, this right does not end at the border. So that means that supporting Ukraine's right to self defence means that it is also possible for them to strike legitimate targets on the aggressor territory. At the end, it's up to each Ally to determine its support for Ukraine. That's not up to me. This is for the individual Allies in their relationship with Ukraine. And we also have to be clear that not a single, one single weapon alone will win the war. But obviously this is an important debate. Jonathan Beale (BBC) And do you support Ukraine's request? NATO Secretary General, Mark Rutte Well, I can understand Ukraine's request. I understand so I'm with Jens Stoltenberg on this and what he said before. But in the end, that is up to each Ally to decide what they want to do. And when I look at in particular Allies which are involved here they have now, for example, the United States and their leadership, they have spent tens of thousands, tens of billions in dollars to support Ukraine's right to self defence. And let's be clear, Ukraine likely would not exist as a country today without US support."

"On average, European countries easily spend up to a quarter of their national income on pensions, health and social security systems. We need a small fraction of that money to make our defences much stronger, and to preserve our way of life."

"(About the President Donald Trump's comments this week that NATO member countries should shoot down Russian drones and airplanes if they enter their airspace) If so necessary. So I totally agree here with President Trump: if so necessary."

"NATO... is a platform for the United States to project power on the world stage."

"Mark is a true transatlanticist, a strong leader and a consensus-builder. I wish him every success as we continue to strengthen NATO. I know I am leaving NATO in good hands."

"Mark has the perfect background to become a great secretary-general. He has served as prime minister for 14 years and led four different coalition governments … therefore he knows how to make compromises, create consensus, and these are skills which are very much valued here at NATO."

"We define ‘trauma’ as an event outside the normal human veins of experience. At least one-third of couples, globally, engage in physical violence. The number of kids who get abused and abandoned is just staggering. Domestic violence, staggering. Rapes, staggering. Psychiatry is completely out to lunch and just doesn’t see this."

"There’s very good literature [on shellshock] from 1919 and 1920. But then there was pushback, people saying: ‘You’re just a bunch of cowards.’ The assault on people who had been traumatised has been relentless – to this day, almost. You’re not allowed to tell the truth about the horrible things that people do to each other."

"It is striking how many times people carve out a piece of exceptional intelligence – exceptional creativity – that allows them to go on. Isaac Newton was one of the most abused, abandoned children ever … And then he invented mathematics."

"Something has always really puzzled me. I was born in 1943 in the Netherlands. A very large number of kids of my generation died of starvation, and I was a very sickly child, but I’ve felt no trace of that sickly child. The last time I took MDMA, I experienced what that child went through back then. It was very painful, actually. But the main effect was a very deep sense of self-compassion. I felt so much love for that child who I once was, who had to go through all that sickness, who had a hard time breathing, who was hungry."

"Traumatized people chronically feel unsafe inside their bodies: The past is alive in the form of gnawing interior discomfort. Their bodies are constantly bombarded by visceral warning signs, and, in an attempt to control these processes, they often become expert at ignoring their gut feelings and in numbing awareness of what is played out inside. They learn to hide from their selves.” (p.97)"

"As long as you keep secrets and suppress information, you are fundamentally at war with yourself…The critical issue is allowing yourself to know what you know. That takes an enormous amount of courage."

"Being able to feel safe with other people is probably the single most important aspect of mental health; safe connections are fundamental to meaningful and satisfying lives."

"As I often tell my students, the two most important phrases in therapy, as in yoga, are “Notice that” and “What happens next?” Once you start approaching your body with curiosity rather than with fear, everything shifts."

"We have learned that trauma is not just an event that took place sometime in the past; it is also the imprint left by that experience on mind, brain, and body. This imprint has ongoing consequences for how the human organism manages to survive in the present. Trauma results in a fundamental reorganization of the way mind and brain manage perceptions. It changes not only how we think and what we think about, but also our very capacity to think."

"The greatest sources of our suffering are the lies we tell ourselves."

"It takes enormous trust and courage to allow yourself to remember."

"Being traumatized means continuing to organize your life as if the trauma were still going on—unchanged and immutable—as every new encounter or event is contaminated by the past."

"If your parents’ faces never lit up when they looked at you, it’s hard to know what it feels like to be loved and cherished. If you come from an incomprehensible world filled with secrecy and fear, it’s almost impossible to find the words to express what you have endured. If you grew up unwanted and ignored, it is a major challenge to develop a visceral sense of agency and self-worth."

"Imagination is absolutely critical to the quality of our lives. Our imagination enables us to leave our routine everyday existence by fantasizing about travel, food, sex, falling in love, or having the last word—all the things that make life interesting. Imagination gives us the opportunity to envision new possibilities—it is an essential launchpad for making our hopes come true. It fires our creativity, relieves our boredom, alleviates our pain, enhances our pleasure, and enriches our most intimate relationships."

"A major challenge in recovering from trauma remains being able to achieve a state of total relaxation and safe surrender."

"The essence of trauma is that it is overwhelming, unbelievable, and unbearable. Each patient demands that we suspend our sense of what is normal and accept that we are dealing with a dual reality: the reality of a relatively secure and predictable present that lives side by side with a ruinous, ever-present past."

"In order to change, people need to become aware of their sensations and the way that their bodies interact with the world around them. Physical self-awareness is the first step in releasing the tyranny of the past."

"One thing is certain: Yelling at someone who is already out of control can only lead to further dysregulation."

"Mindfulness not only makes it possible to survey our internal landscape with compassion and curiosity but can also actively steer us in the right direction for self-care."

"Sadly, our educational system, as well as many of the methods that profess to treat trauma, tend to bypass this emotional-engagement system and focus instead on recruiting the cognitive capacities of the mind. Despite the well-documented effects of anger, fear, and anxiety on the ability to reason, many programs continue to ignore the need to engage the safety system of the brain before trying to promote new ways of thinking. The last things that should be cut from school schedules are chorus, physical education, recess, and anything else involving movement, play, and joyful engagement."

"How many mental health problems, from drug addiction to self-injurious behavior, start as attempts to cope with the unbearable physical pain of our emotions? If Darwin was right, the solution requires finding ways to help people alter the inner sensory landscape of their bodies. Until recently, this bidirectional communication between body and mind was largely ignored by Western science, even as it had long been central to traditional healing practices in many other parts of the world, notably in India and China. Today it is transforming our understanding of trauma and recovery."

"No matter how much insight and understanding we develop, the rational brain is basically impotent to talk the emotional brain out of its own reality."

"The more you stay focused on your breathing, the more you will benefit, particularly if you pay attention until the very end of the out breath and then wait a moment before you inhale again. As you continue to breathe and notice the air moving in and out of your lungs you may think about the role that oxygen plays in nourishing your body and bathing your tissues with the energy you need to feel alive and engaged."

"In addition to reading, writing, and arithmetic, all kids need to learn self-awareness, self-regulation, and communication as part of their core curriculum. Just as we teach history and geography, we need to teach children how their brains and bodies work. For adults and children alike, being in control of ourselves requires becoming familiar with our inner world and accurately identifying what scares, upsets, or delights us."

"Change begins when we learn to "own" our emotional brains. That means learning to observe and tolerate the heartbreaking and gut-wrenching sensations that register misery and humiliation."

"Because drugs have become so profitable, major medical journals rarely publish studies on nondrug treatments of mental health problems.31 Practitioners who explore treatments are typically marginalized as “alternative.” Studies of nondrug treatments are rarely funded unless they involve so-called manualized protocols, where patients and therapists go through narrowly prescribed sequences that allow little fine-tuning to individual patients’ needs. Mainstream medicine is firmly committed to a better life through chemistry, and the fact that we can actually change our own physiology and inner equilibrium by means other than drugs is rarely considered."

"Scared animals return home, regardless of whether home is safe or frightening."

"The challenge of recovery is to reestablish ownership of your body and your mind — of your self. This means feeling free to know what you know and to feel what you feel without becoming overwhelmed, enraged, ashamed, or collapsed. For most people this involves (1) finding a way to become calm and focused, (2) learning to maintain that calm in response to images, thoughts, sounds, or physical sensations that remind you of the past, (3) finding a way to be fully alive in the present and engaged with the people around you, (4) not having to keep secrets from yourself, including secrets about the ways that you have managed to survive."

"For our physiology to calm down, heal, and grow we need a visceral feeling of safety. No doctor can write a prescription for friendship and love: These are complex and hard-earned capacities. You don't need a history of trauma to feel self-conscious and even panicked at a party with strangers – but trauma can turn the whole world into a gathering of aliens."

"Managing your terror all by yourself gives rise to another set of problems: dissociation, despair, addictions, a chronic sense of panic, and relationships that are marked by alienation, disconnections, and explosions. Patients with these histories rarely make the connection between what has happened to them a long time ago and how they currently feel and behave. Everything just seems unmanageable."

"Our increasing use of drugs to treat these conditions doesn’t address the real issues: What are these patients trying to cope with? What are their internal or external resources? How do they calm themselves down? Do they have caring relationships with their bodies, and what do they do to cultivate a physical sense of power, vitality, and relaxation? Do they have dynamic interactions with other people? Who really knows them, loves them, and cares about them? Whom can they count on when they’re scared, when their babies are ill, or when they are sick themselves? Are they members of a community, and do they play vital roles in the lives of the people around them? What specific skills do they need to focus, pay attention, and make choices? Do they have a sense of purpose? What are they good at? How can we help them feel in charge of their lives?"

"The Body Keeps the Score by Bessel van der Kolk is a kind of bible for C-PTSD sufferers. Though I have real reservations about van der Kolk's work because he is an alleged abuser himself, the book was a crucial first text in helping me understand the basics of C-PTSD. (p 80)"

"In The Body Keeps the Score, van der Kolk writes about how talk therapy can be useless for those whom “traumatic events are almost impossible to put into words.”"

"The period between the arrival of the Indo-Aryan in the Indian subcontinent and the composition of the oldest Vedic hymns must have been much longer than was previously thought."