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“When I began my physical studies [in Munich in 1874] and sought advice from my venerable teacher Philipp von Jolly...he portrayed to me physics as a highly developed, almost fully matured science...Possibly in one or another nook there would perhaps be a dust particle or a small bubble to be examined and classified, but the system as a whole stood there fairly secured, and theoretical physics approached visibly that degree of perfection which, for example, geometry has had already for centuries.”

“Absolutely delightful, at first for its unspoiled picture of late-nineteenth-century Japan as seen through the eyes of three remarkable but very different Americans, [the missionary William Elliot Griffis [1843-1928], the scientist Edward Sylvester Morse [1838-1925], and the writer Lafcadio Hearn], and then for the marvelous reconstruction of how Japan worked on their minds, radically changing their perceptions of the country and the whole relationship between East and West--between the barbarian and the civilized. The book is a tour de force.”

“This whole theory [of John Law and Jean Terrasson], as dear to French financial schemers in the eighteenth century as to American "Greenbackers" in the nineteenth, had resulted, under the Orleans Regency and Louis XV, in ruin to France financially and morally, had culminated in the utter destruction of all prosperity, the rooting out of great numbers of the most important industries, and the grinding down of the working people even to starvation.”

“The whole Renaissance tradition is antipethic to me. The hard-and-fast rules of perspective which it succeeded in imposing on art were a ghastly mistake which it has taken four centuries to redress; Cezanne and after him Picasso and myself can take a lot of credit for this. Scientific perspective forces the objects in a picture to disappear away from the beholder instead of bringing them within his reach as painting should.”

“On the left is the realist tradition of the 19th century, with its impulse to social description, radical criticism and meditation on things as they are... culminating in Courbet at his mightiest (The Studio, The Funeral at Ornans and a portrait of a trout that has more death in it than Rubens could get in a whole Crucifixion).”

“In Las Vegas, people seem to believe, the prosperity spawned by tourism and gaming can make them whole, financially and spiritually. Las Vegas now melds fun, work, and wealth, showing a path toward the brightest vistas of the post-industrial world. It is the first city of the twenty-first century.”

“'A Naval History of Britain' which begins in the 7th century has to explain what it means by Britain. My meaning is simply the British Isles as a whole, but not any particular nation or state or our own day... 'Britain' is not a perfect word for this purpose, but 'Britain and Ireland' would be both cumbersome and misleading, implying an equality of treatment which is not possible. Ireland and the Irish figure often in this book, but Irish naval history, in the sense of the history of Irish fleets, is largely a history of what might have been rather than what actually happened.”

“Violence, less and less embarrassed by the limits imposed by centuries of lawfulness, is brazenly and victoriously striding across the whole world, unconcerned that its infertility has been demonstrated and proved many times in history. What is more, it is not simply crude power that triumphs abroad, but its exultant justification. The world is being inundated by the brazen conviction that power can do anything, justice nothing.”