People From Paris

"The church attributes to God all human passions—anger, desire for vengeance, curiosity, tyranny, partiality, idleness."

"If Christianity were pruned of all which is not Christ, this religion would be the simplest in the world."

"Thomson] found that Carnot’s proposition could no longer be proved by denying the possibility of “the perpetual motion,” and was led to lay down a second fundamental principle to serve in the demonstration. This principle [published in Thomson's memoir of March, 1851] is now called the Second Law of Thermodynamics."

"What motives have influenced the writers who have rejected all religious systems? Is it the conviction that the ideas which they oppose are all injurious to society? Have they not rather included in the same proscription religion and the abuse of it?"

"According to the doctrine of the church, God resembles a proposing enigmas, and devouring those who cannot guess them."

"If we carefully examine the... cycle of operations we easily see that they are reversible, i.e., that the transference of the given amount of caloric back again... by performing the same operations in the opposite order, requires that we expend on the piston, on the whole, as much work as was gained during the direct operations. This most important idea is due to Carnot, and from it he deduces his test of a perfect engine, or one which yields from the transference of a given quantity of caloric from one body to another (each being at a given temperature) the greatest possible amount of work. And the test is simply that the cycle of operations must be reversible."

"On January 16, 1793, the in Paris sentenced to death. Among those who took the fatal decision was... Lazare Carnot... [who] had a passion for the great Persian poet Saadi Shirazi... Carnot names his first son after Saadi. Sadi Carnot is thus born out of poetry and rebellion. As a young man, he develops a passion for those steam engines... beginning to transform the world... In 1824, he writes... "," in which he seeks to understand the theoretical basis of... these machines. The little treatise is packed with mistaken assumptions: he imagines that heat is a concrete entity... fluid that produces energy by "falling" from hot things to cold, just as... a waterfall... But it contains a key idea: that steam engines function... because the heat passes from hot to cold."

"It is but bare justice... to acknowledge that Carnot himself was by no means satisfied with the caloric hypothesis and that he insinuates... more than a mere suspicion of its correctness."

"Carnot proved... that the ratio of the work done by a perfect (i.e., a reversible) engine to the heat taken from the source is a function of the temperatures of the source and condenser only. When these temperatures are nearly equal, this function is... called Carnot's Function. W. Thomson, so early as 1848, seized upon this remarkable proposition, and made it the basis of the earliest suggestion of an absolute Thermometric Scale; absolute in the sense of being based upon strict thermodynamic principles, and entirely independent of the properties of any particular substance."

"The belief in an all-powerful Being, who loves us and watches over us, gives to the mind great strength to endure misfortune."

"If God is absolutely good, why should He punish the sinner for all eternity, since He does not lead him to good, or give him an example?"

"When a hypothesis no longer suffices to explain phenomena, it should be abandoned. This is the case with... caloric as matter, as a subtile fluid. The experimental facts tending to destroy this theory are as follows: (1) The development of heat by percussion or the friction of bodies (experiments of Rumford, friction of wheels on... axles...). Here the elevation of temperature takes place at the same time in the body rubbing and the body rubbed. ...Thus heat is produced by motion. If... [caloric] is matter... matter is created by motion. (2) ...[A]ir compressed by the pumps must rise in temperature above the air outside, and it is expelled at a higher temperature. ...Thus heat has been created by motion."

"For a considerable portion of the present century, Davy's discoveries about heat were neglected, or only casually mentioned; but this was of comparatively little consequence, as their early reception might have kept back for a time the grand developments which must next be mentioned—immense strides in the theoretical and mathematical treatment of the subject, and to a considerable extent independent of the nature of heat. These are due to Fourier and Sadi Carnot, and it may well be said that it is in great part attributable to their remarkable works that the true theory of heat... received so rapidly its present enormous development. ...Very different in form and object from the systematic treatise of Fourier, is the profound and valuable essay of Sadi Carnot, Reflexions sur la Puissance Motrice du Feu, published in 1824. The author endeavours to determine how it is that heat produces mechanical effect..."

"[W]e must remark the peculiar merit of Carnot's reasoning, which consists in the idea of bringing the body back to its initial state, as to temperature, density, and molecular condition, after a cycle of operations, before making any assertion as to the amount of heat which it contains."

"The criterion of what may be called a perfect thermo-dynamic engine is thus stated: A perfect thermo-dynamic engine is such, that, whatever amount of mechanical effect it can derive from a given thermal agency, if an equal amount be spent in working it backwards, an equal reverse thermal effect will be produced. Any two perfect engines, however different in their constructions, or in the physical media employed, must derive the same equivalent of mechanical effect from a given thermal agency. Carnot describes a steam-engine and an air-engine, each of which satisfies the criterion laid down above (the construction being however in each case, practically impossible); and he shews how, with certain physical data, with reference to steam in one case, and with reference to air or any gas in the other, the equivalent of mechanical effect, derivable from a given thermal agency, may be calculated."

"In the present state of science... no operation is known by which heat can be absorbed into a body, without either elevating its temperature or becoming latent, and producing some alteration in its physical condition; and the fundamental axiom adopted by Carnot may be considered as still the most probable basis for an investigation of the motive power of heat; although this, and with it every other branch of the theory of heat, may ultimately require to be reconstructed on another foundation, when our experimental data are more complete. On this understanding the author of the present paper refers to Carnot's fundamental principle, as if its truth were thoroughly established."

"[F]rom Carnot's point of view, it is evident that the motive power of heat depends upon its being transferred from one body to another through the medium by whose change of volume or form the external mechanical effect is produced, as this medium is supposed to remain at the end of the operation in precisely the same state as at the commencement. He gives as analogous the instance of work derived from water falling from a higher to a lower level."

"If we consider any case in which mechanical effect is obtained from a thermal origin, by means of the alternate expansions and contractions of any substance whatever, and follow a perfectly rigorous process of reasoning indicated by Carnot, we arrive at the following conclusion... The thermal agency by which mechanical effect may be obtained, is the transference of heat from one body to another at a lower temperature."

"I rejoice for all the misfortunes which might have happened to me, and which I have escaped."

"Life is a short enough passage. I am half the journey. I will complete the remainder as I can."

"Science and technology are inseparable, in two senses. First, because and understanding of the laws of the universe is always implicit in technology. (Francis Bacon said, "Nature to be commanded must be obeyed.") Second, because, beyond a certain level in technology, the understanding tends to become explicit. Arguably the most profound scientific truth is the second law of thermodynamics, which notes the inexorability of universal chaos and thus... defines the current against which organic evolution and cultural evolution both swim. The earliest statement of the second law came in the nineteenth century from the Frenchman Sadi Carnot, who described himself as a "constructor of steam engines," the vocation that indeed had led him to see the gist of the second law."

"[[Light|[L]ight]] is generally regarded as the result of a vibratory movement of the ethereal fluid. Light produces heat, or at least accompanies the radiating heat, and moves with the same velocity as heat. Radiating heat is then a vibratory movement. It would be ridiculous to suppose that it is an emission of matter while the light which accompanies it could be only a movement."

"It must be that all honest people are in the galleys; only knaves are to be met with elsewhere."

"Carnot's reasoning... to show that in the ascent of the piston in the cylinder, more work is done against external forces than is required to be done by them to produce the descent and restore the piston to its first position. And in order that Carnot's axiom may be applied with strictness, and yet with simplicity, it is better to consider a hypothetical, than the actual engine."

"In [1850]... Clausias... lays down a principle for use in the demonstration of Carnot’s proposition, which, while not the same in form as Thomson’s, is the same in content, and ranks as another statement of the Second Law of Thermodynamics. Clausius followed up this paper by others, and subsequently published a book in which the subject of Thermodynamics was given a systematic treatment, and in which he introduced and developed the important function called by him the ."

"Let us not be exacting; perfection is so rare. Indulgence! Indulgence!"

"Hope being the greatest of all blessings, it is necessary, in order to be happy, to sacrifice the present to the future."

"My good Mama, I am always the same.. ..always the same happy life, always fresh for seeing, vigorous for running, and diligent for one end.. .The Mont Blanc is our alarm clock in the morning, our vis-a-vis are the folk on the other side of the lake of Geneva, (8 leagues). I could not say that we get along badly, though we do dispense with the ceremony of saluting each other and saying bon jour when we look out at the window, for we don't meddle in our neighbors' affairs. Our sight carries fifty leagues about us, and we are equally everywhere, although only occupying the space of our two feet. I am delighted with having received my stretchers in order to commence my view of the Alps. I burn with the desire of fulfilling the difficult task of giving upon canvas an idea of the immensity which surrounds me in order to distribute its benefits to those less fortunate than myself.. .I ask without scruple, because it seems to me that I have something to give. I have so much confidence in myself, mon Dieu, when I examine myself."

"Do you remember again our rare walks in the wood at Meudon or on the banks of the Seine, when we were able to put together the sum of frs. 2.50, and then at our departure we were almost mad ? We put on our heaviest boots, as if it were a question of starting for a walking tour round the world, as we always imagined we were not coming back. But poverty held us by our boot-strings and dragged us back to the attic; we were condemned to see outside but one round of the sun. Our purse did not last, the air of the Seine is fresh and makes one hungry in the woods What beautiful things we have seen together away beyond Meudon and St. Cloud. Nature made storms gratis and unexpected spectacles expressly for us."

"If Theodore Rousseau was the epic poet of the Fontainebleau school, and Corot the idyllic poet, Dupre seems its tragic dramatist. Rousseau's nature is hard, rude and indifferent to man. For Corot, God is the great philanthropist, who wishes to see men happy, and lets the spring come and the warm winds blow, only that children may have pleasure in them."

"Rousseau's other friend and neighbour [in Barbizon], Jules Dupré, himself an eminent landscape painter of Barbizon, relates the difficulty Rousseau experienced in knowing when his picture was finished, and how he, Dupré, would sometimes take away from the studio some canvas on which Rousseau was labouring too long."

"Do you [Th. Rouseau] recollect the time [early 1830's] when in our attics of the Rue Taitbout [Paris], seated at our small windows, our legs hanging over the edge of the roof, we looked at the corner of the houses and the chimneys, which you compared, with a smile, to mountains and large trees scattered about the ridges and slopes of the ground? Being unable to go to the Alps or to the joyous country you made for yourself with these hideous carcasses of plaster a picturesque landscape."

"So a portion of 1831 and 1832 was given up to voyages of exploration into the unknown. He went first toward Rouen and studied the windings of the Seine, thence to Andelys where he sketched the Norman trees, the rocky slopes along the rivers, and the old castles; from there to Bayeux and the cliffs of Arromanches and explored the whole coast of la Manche and Calvados. He made a multitude of sketches and, in order to meet man under his native sky and know him too, he lodged in the country inns and mingled with the people. The following year, 1832, he visited Normandy again, going directly to Mont Saint-Michel, and from this trip brought back the sketch for his Salon picture of 1833, 'The Coast of Granville'"

"With advancing age Rousseau was attacked with that thirst for honorable recognition which in an artist is the first sign of senility. He did not carry stoicism to the end, like Millet. Though haughty and full of contempt for his detractors, Rousseau's self-love had at length received a wide and deep wound, made up of pin-pricks. We find the signs of his bitter feelings in his correspondence, in those familiar notes which were published after his death, and which are like the cries of pain from the wounded heart. At this time a period of hesitation begins to be seen in the work of the great painter.. .The [Paris] Salon of 1864 was the witness of this defection, a matter of pain to Rousseau's admirers."

"Do you remember the little tree in Rothschild's garden that we could perceive between the roofs? It was the only verdure we were able to see. In the spring we interested ourselves in the growth of the leaves of the little poplar, and counted them as they fell in the autumn. And with this tree, with this corner of musty sky, with this forest of crowded houses over which our eyes stretched as over a plain, you created images which often deceived you in your painting on the reality of natural effects. You struggled thus by an excess of power nourished by your own invention which the view of living nature did not renew."

"In July, 1841, Rousseau went to Monsoult, on the borders of the Isle-Adam, where Daubigny and Corot often painted, and there with Jules Dupre he painted for several months. His studio was next door to Dupre's, whose mother became in some sense head of this artistic community of three, and very quiet and happy the time was found. Several artists visited them, such as Decamps and Barye, and this period of Rousseau's life is marked by great quietness."

"I have seen him seize from the tailor's counter a sheet of invoice-paper upon which I read: [his father:] 'Rousseau, marchand tailleur, Rue Neuve St. Eustache, No. 4, pres la Place des Victoires, fait tout ce qui concerne son etat dans le plus nouveau gout,' and trace, with feverish hand, sparkling arabesques from his imagination, create shadowy lands, covered walks, joyous plains where fancy often distorted reality, but where, rising from this deceptive earth, he appeared to catch glimpses of the world to come."

"He [= Th. Rousseau] does not carry us away, as Francois Millet, toward the sorrowing epochs of rustic life, to reveal their savage grandeur or gloomy solemnity.. ..he does not transport us as Corot, into the lands of twilight, where the light, the freshness and the shadow sing an aerial melody, whose last notes reach out into infinity. No: simple, strong, all impregnated with naturalism, he respects the exact relations of the trees, the animals, man and the sky."

"Aligny was there [in Barbizon], and Diaz, and Rousseau, and Rousseau's instructions on the palette were the 'point de départ' [starting-point] of the real talent of Diaz, for colour. At this period [after 1836] the fine studies of the 'Grand Refusé' (Rousseau) were a revelation to the quondam painter [Diaz! of porcelain, who had been struggling, all alone, to purge himself of the traditions of the 'peinture' of the 'apothecaries' gallipot, and the chocolat cup.. .Diaz was conquered immediately by Rousseau, and his admiration for him remained for ever, the conviction and the religion of all his life."

"Rousseau continues better, though yesterday he was not very well; today he is better. The doctor seemed encouraged. I hope for his recovery, though perhaps it may be very slow. Alfred Stevens came this morning with Puvis de Chavannes, to tell Rousseau that he is elected officer [of the [[w:Legion of Honour|Legion of Honour]. We received them my wife and I on the stairs, begging them not to go up lest his quiet should be disturbed. I told him [Rousseau], and he seemed very much pleased."

"Speaking of [TH.] Rousseau, do you know Richard Wallace's Rousseau ['The forest of Fontainebleau': Morning', c. 1850 An edge of a wood in the autumn after rain, with a vista of meadows stretching away endlessly, marshy, with cows in them, the foreground rich in tone. To me that's one of the finest — is very like the one with the red sun in The Luxembourg ['The edge of the forest of Fontainebleau, at sunset', c. 1849. The dramatic effect of these paintings is something that helps us to understand 'a corner of nature seen through a temperament'."

"We form at La Faucille now a little colony where concord and happiness reign, and have not even for enemies the bears of the country.. .We are situated in a very movable manner, however, on one of the mountains of the Jura, where the inn is the most remarkable building. For I must tell you that we enjoy the company of an unaccountable old man of sixty, who resembles poor Father Colombert as if it were he himself. He is of the ancient nobility. He held the grade of General under the Restoration, having had possessions, which he has lost by the changes. He consoles himself now by carrying all his fortune. With him, a much rarer lot it consists in good humour and strength and philosophy. I have never seen a more excellent man. He is here to search for plants and stones."

"The day after we parted, I went to see your exhibition [in Paris]. I must tell you that, although I knew your Auvergne studies and those preceding them, I was again struck, in seeing them together, by the fact that a power is a power from its very beginning. From the very first you show a freshness of eye, which leaves no doubt as to the pleasure you have in nature ; one can see that she spoke directly to you, and that you saw by your own eyes. It is yours and not some other's, as Montaigne says. I am not going to follow your steps, picture by picture, down to the present. I only want to speak of the departure [(early Auvergne-painting of Th. Roussseau) ], which is the important point, for it shows that a man is of the true breed. You were, from the beginning, the little acorn which was destined to become the great oak."

"The grand aspects of landscape and its tenderness are equally familiar to him [Rousseau]. He renders with the same mastery the smile of creation and its terrors, the broad open plain and the mysterious forest, the limpid, sun-bright sky or the heaping of the clouds put to flight by storms, the terrible aspects of landscape or those replete with grace. He has understood all, rendered all with equal genius. The great contemporary painters have each a particular stamp, Corot [is] painting the grace, Millet the hidden voice, Jules Dupré the majestic strength; Theodore Rousseau has been by turns as much a poet as Corot, as melancholy as Millet, as awful as Dupré; he is the most complete, for he embraces landscape art absolutely."

"The tree which rustles and the heather which grows are for me the grand history, that which will not change. If I speak well their language, I shall have spoken well the language of all times."

"What has art to do with those things [Revolution, socialism]? Art will never come except from some little disregarded corner where some isolated man is studying the mysteries of nature, fully assured that the answer which he finds and which is good for him is good also for humanity, whatever may be the number of succeeding generations."

"I thought only of one thing, to account to myself for the laws of light and perspective. I did not attach any importance to what they found original, new and romantic in me, I sought the picture."

"* Charles Jacque to Th. Rousseau: 'I should think you got weary here'. * Rousseau: 'That depends; when you wish to do so, one can always find beautiful things to study and understand. Look here at this charcoal-burner [in the field] before us, with his big felt hat - who is thinking of his sacks and of his faggots sees how the shadow of those large brims gives a clear yet grave tint to his face'. * Charles Jacque: 'Draw him, Rousseau, in this pensive attitude, he does not doubt that he is handsome, and if he posed himself he would become repellent. See, here is a sketch-book, go on!'"

"Ah! Silence is golden. When I was in my observatory at Belle-croix, I dared not move as the silence opened to me a course of discoveries. The families of the wood were then in action. It was the silence that permitted me, immovable as a tree trunk, to see the deer in their hiding-place and at their toilet, to observe the habits of the field rat, of the otter, of the salamander, those fantastic amphibious animals. He who lives in the silence becomes the center of a world; a little more and I could imagine myself the sun of a small creation, if my studies had not recalled to me that I had so much trouble to reproduce a poor tree or a cluster of rushes."

"Do you see all those beautiful trees there ? I sketched them all thirty years ago; I have had all their portraits. Look at that beech there, the sun lights it up and makes of it a marble column, a column that has muscles, limbs, hands and a fair skin, white and pallid.. .See the modest green of the heath and its plants, rosy, amaranthine, which distil honey for the bees and fragrance for the butterflies. The sun lights them up and gives them a diapason of extraordinary color. Ah, the sun.."