At the end of the seventeenth century, in 1693, a French refugee, Peter Antony Motteux, whose English verses and whose plays are not without value, published in a little octavo volume a reprint, very incorrect as to the text, of the first two books, to which he added the third, from the manuscript found amongst Urquhart’s papers.
— from Gargantua and Pantagruel by François Rabelais

But when, instead of the really large and simple forms of mountains, united, as they commonly are, by some great principle of common organization, and so closely resembling each other as often to correspond in line, and join in effect; when instead of this, we have to do with spaces of cloud twice as vast, broken up into a multiplicity of forms necessary to, and characteristic of, their very nature—those forms subject to a thousand local changes, having no association with each other, and rendered visible in a thousand places by their own transparency or cavities, where the mountain forms would be lost in shade,—that this far greater space, and this far more complicated arrangement, should be all summed up into one round mass, with one swell of white, and one flat side of unbroken gray, is considered an evidence of the sublimest powers in the artist of generalization and breadth.
— from Modern Painters, Volume 1 (of 5) by John Ruskin

At the end of the seventeenth century, in 1693, a French refugee, Peter Antony Motteux, whose English verses and whose plays are not without value, published in a little octavo volume a reprint, very incorrect as to the text, of the first two books, to which he added the third, from the manuscript found amongst Urquhart's papers.
— from Gargantua and Pantagruel, Illustrated, Book 1 by François Rabelais

A rough voice interposed, and the blow was stayed.
— from Scouting Dave: The Trail Hunter by James L. (James Lorenzo) Bowen

We shall mention three of these as receiving very important applications; though only one has been applied to any extent by the papermakers of this country.
— from A Text-book of Paper-making by C. F. (Charles Frederick) Cross

On the wall opposite is a smaller composition, representing Justice with her balance and sword, standing between the sun and moon, with a background of pinks, borage, and corn-cockle: a third is only a cluster of tulips and iris, with two Byzantine peacocks; but the spirits of Penelope and Ariadne reign vivid in all the work—and the richness of pleasurable fancy is as great still, in these silken labors, as in the marble arches and golden roof of the cathedral of Monreale.
— from Ariadne Florentina: Six Lectures on Wood and Metal Engraving by John Ruskin

With it, he set about determining the law which governs the mutual action of magnets and of electrified bodies with regard to distance, and found it to be the same as that which Newton found to hold for bodies distributed throughout the universe, that is, that attraction and repulsion vary inversely as the square of the distance.
— from Makers of Electricity by Brother Potamian

He was wearing a strait jacket and singing in a raucous voice: "I am the king of these mountains!"
— from The Mysterious Sketch by Erckmann-Chatrian

[Pg 52] One of the most radical men we ever knew, one who thought "Sunday should be abolished" and a "new Bible made by men of modern ideas, and reasonable views introduced, and the old one discarded," said he was brought to these views by having been forced when young to attend church and engage in religious exercises, and told that he must conform to the established belief and never ask any questions.
— from The Olden Time Series, Vol. 3: New-England Sunday Gleanings Chiefly From Old Newspapers Of Boston And Salem, Massachusetts by Henry M. (Henry Mason) Brooks