The Oxford Dictionary of Quotations Preface

I have seen, and heard, much of Cockney impudence before now; but never expected to hear a
coxcomb ask two hundred guineas for flinging a pot of paint in the public’s face.
Referring to Whistler’s ‘Nocturne in Black and Gold’, in ‘Fors Clavigera’ (1871-84) letter 79, 18 June 1877.
No person who is not a great sculptor or painter can be an architect. If he is not a sculptor or
painter, he can only be a builder.
‘Lectures on Architecture and Painting’ (1853) 61, addenda
Life without industry is guilt, and industry without art is brutality.
‘Lectures on Art’, 3 ‘The Relation of Art to Morals’ 23 February 1870
What is poetry? The suggestion, by the imagination, of noble grounds for the noble emotions.
‘Modern Painters’ (1888) vol. 3
All violent feelings...produce in us a falseness in all our impressions of external things, which I
would generally characterize as the ‘Pathetic Fallacy’.
‘Modern Painters’ (1888) vol. 3
Mountains are the beginning and the end of all natural scenery.
‘Modern Painters’ (1888) vol. 4, pt. 5, ch. 20, 1
There was a rocky valley between Buxton and Bakewell...You enterprised a railroad...you
blasted its rocks away...And now, every fool in Buxton can be at Bakewell in half-an-hour, and
every fool in Bakewell at Buxton.
‘Praeterita’ (1885-9) 3, 4 ‘Joanna’s Cave’ 84, note
All books are divisible into two classes: the books of the hour, and the books of all time.
‘Sesame and Lilies’ (1865) lecture 1 ‘Of Kings’ Treasuries’ 8
Be sure that you go to the author to get at his meaning, not to find yours.
‘Sesame and Lilies’ (1865) lecture 1 ‘Of Kings’ Treasuries’ 13
Which of us...is to do the hard and dirty work for the rest—and for what pay? Who is to do the
pleasant and clean work, and for what pay?
‘Sesame and Lilies’ (1865) lecture 1 ‘Of Kings’ Treasuries’ 30, note
We call ourselves a rich nation, and we are filthy and foolish enough to thumb each other’s
books out of circulating libraries!
‘Sesame and Lilies’ (1865) lecture 1 ‘Of Kings’ Treasuries’ 32
I believe the right question to ask, respecting all ornament, is simply this: Was it done with
enjoyment—was the carver happy while he was about it?
‘The Seven Lamps of Architecture’ (1849) ch. 5 ‘The Lamp of Life’
Better the rudest work that tells a story or records a fact, than the richest without meaning.
‘The Seven Lamps of Architecture’ (1849) ch. 6 ‘The Lamp of Memory’ 7
When we build, let us think that we build for ever.
‘The Seven Lamps of Architecture’ (1849) ch. 6 ‘The Lamp of Memory’ 10
Remember that the most beautiful things in the world are the most useless; peacocks and lilies
for instance.
‘The Stones of Venice’ (1851-3) vol. 1, ch. 2, 17
Labour without joy is base. Labour without sorrow is base. Sorrow without labour is base. Joy