Patronage Quotes

“Of all public figures and benefactors of mankind, no one is loved by history more than the literary patron. Napoleon was just a general of forgotten battles compared with the queen who paid for Shakespeare's meals and beer in the tavern. The statesman who in his time freed the slaves, even he has a few enemies in posterity, whereas the literary patron has none. We thank Gaius Maecenas for the nobility of soul we attribute to Virgil; but he isn’t blamed for the selfishness and egocentricity that the poet possessed. The patron creates 'literature through altruism,' something not even the greatest genius can do with a pen.”
― Roman Payne

“This week, Zuma was quoted as saying, 'When the British came to our country, they said everything we are doing was barbaric, was wrong, inferior in whatever way.' But the serious critique of Zuma is not about who is a barbarian and who is civilised. It is about good governance, and this is a universal value, as relevant to an African village as it is to Westminster. If you are unable to keep your appetites in check, you are inevitably going to live beyond your means. And this means you are going to become vulnerable to patronage and even corruption. That is why Jacob Zuma's 'polygamy' is his achilles heel.”
― Mark Gevisser

“How is a magician to exist without books? Let someone explain that to me. It is like asking a politician to achieve high office without the benefit of bribes or patronage.”
― Susanna Clarke, Jonathan Strange & Mr Norrell

“This is a handy cove, and a pleasant sittyated grog-shop. Much company, mate?”
― Robert Louis Stevenson, Treasure Island

“There is almost no country in Africa where it is not essential to know to which tribe, or which subgroup of which tribe, the president belongs. From this single piece of information you can trace the lines of patronage and allegiance that define the state.”
― Christopher Hitchens

“So quickly in youth do different and opposite trains of ideas and emotions succeed to each other; and so easy it is, by a timely exercise of reason and self-command, to prevent a fancy from becoming a passion.”
― Maria Edgeworth

“We cherish reprobates, not for their cruelty, but for their little show of patronage.”
― Michael Bassey Johnson

“I used to ask myself, ‘Sergei, would you rather spend your money on drink or women?’ and thanks to the club, I spend it on both and am called a patron of the arts.”
― Melika Dannese Lux, City of Lights: The Trials and Triumphs of Ilyse Charpentier

“Like the usurpers in the Italian Renaissance, they seek to gloss over the illegitimacy of their rô1e by offering tangible advantages and making a fine show; that explains their economic liberalism and their patronage of the arts. They employ art not merely as a means to fame and a propaganda instrument but also as an opiate to soothe the opposition. The fact that their art policy is often accompanied by a true love and understanding of art does not affect its social basis. The courts of the Tyrants are the most important cultural centres of the age and its greatest repositories of artistic production [...] Yet in spite of this activity at the courts, the art of the age of the Tyrants is not entirely a product of the court; the rationalistic and individualistic spirit of the age hindered the development of that solemn pageantry and those conventional forms which are characteristic of a court style. The only features in this art that we can ascribe to the court are its joy in the senses, its refined intellectuality, and its somewhat artificial elegance of expression—all features to be found in the older Ionian tradition but developed to a still higher degree at the courts of the Tyrants.”
― Arnold Hauser, The Social History of Art, Volume 1: From Prehistoric Times to the Middle Ages

“Handel's yearning for independence from the traditional chains of patronage and his persistence in monitoring his productions resulted with unique developments concerning Baroque 'opera seria'; however, paradoxically his personal obsession to obtain complete artistic freedom generated disastrous side-effects that eventually impeded the progress of opera in London.”
― E.A. Bucchianeri, Handel's Path to Covent Garden

“He was to be the son of her old age; the limb of her infirmity; the oak tree on which she leant her degradation.”
― Virginia Woolf, Orlando

“Connection" was the cement of the governing class.”
― Barbara W. Tuchman, The March Of Folly: From Troy To Vietnam

“Reform or no reform, he never ceased to promote the interests of St. Denis and the Royal House of France with the same naive, and in his case not entirely unjustified, conviction of their identity with those of the nation and with the Will of God as a modern oil or steel magnate may promote legislation favorable to his company and to his bank as something beneficial to the welfare of this country and to the progress of mankind.”
― Erwin Panofsky, Perspective as Symbolic Form

“They were a sign of patronage, a sign of having so much money that it had to be squandered on objects with no purpose except to be beautiful or interesting.”
― Jenny Zhang, Sour Heart

“Your authority holds to espionage me over your inner jealous, more willingly, I patronage over my inner zealous”
― P.S. Jagadeesh Kumar

“Your authority holds to espionage me over your inner jealous, more willingly, my mastery holds you to patronage over my inner zealous”
― P.S. Jagadeesh Kumar

“Slippery as was Knox's land grab of the entire Waldo Patent, nepotism and patronage were common in those days.”
― Nancy Rubin Stuart, Defiant Brides: The Untold Story of Two Revolutionary-Era Women and the Radical Men They Married

“It's okay to have a faulty product, we don't like it, but its okay. What's not okay is if the service is faulty, if our response to the customer is faulty. The reason for their patronage is determined by how we made them feel.”
― Janna Cachola

“Scottish film culture - or, more accurately, its discrete sections - has been highly politicised in the past. The problem has been the nature of the politics in question. Take Scottish filmmaking as example. On one hand, Scottish film workers have presented a picture of individualist effort which would gladden the heart of Margaret Thatcher and which, theoretically at any rate, should have produced a great variety of films of very diverse aesthetic and, therefore, political tendencies. On the other, however, these same film workers were forced to compete with each other for limited funds disbursed by a few key Scottish institutions of patronage, the powerful voices of which, historically, have been extremely reactionary. Small wonder, then, that Scottish films critical of established aesthetic forms, cultural atitudes and political arrangements have been the exception rather than the rule.”
― Colin McArthur, Cinema, Culture, Scotland: Selected Essays

“Beginning with the Adams family and the making of classical Edinburgh, through the creation of the mercantile palaces of Glasgow and ending in the work of the brilliant and forlorn Charles Rennie Mackintosh, Scottish architecture in the eighteenth and nineteenth centuries had a creative ambition that at times had an influence across Europe, yet failed to develop in the twentieth. It was a failure not of talent but of patronage: the wealth and wish for prestige of the landowners, the industrialists and the nobility had either gone or gone south.”
― Alan Balfour, Creating a Scottish Parliament

“For years the Church of Scotland, the Established Church, had been tearing itself apart. Two key issues dominated: patronage - the right of landowners to appoint and even force ministers on an unwilling congregation - and the interference of the state in church affairs. On one side were the Moderates, supporters of patronage, friends of the lairds, and, according to an earlier General Assembly report, often 'inattentive to the interests of religion'... The rival faction, the Evangelicals, opposed patronage, wanted complete church independence, and insisted on a far stricter interpretation of religious doctrine. So entrenched were the divisions that it brought the Disruption of 1843 - perhaps 'the most momentous single event of the nineteenth century' - with 470 ministers out of 1,200, plus their elders, congregations and 400 schoolteachers breaking away to create the Free Church.”
― David Taylor, 'The People Are Not There': The Transformation of Badenoch 1800 - 1863

“In business transactions, your industry is the lock, and your clients are the key.”
― Utibe Samuel Mbom

“You give your clients more reasons to patronize you again and again when you thank them again and again.”
― Utibe Samuel Mbom, Your Clients and You

“Finding a client is a piece of cake. Keeping a client is a tug of war.”
― Utibe Samuel Mbom, Your Clients and You

“A client loyal is a client satisfied.”
― Utibe Samuel Mbom, Your Clients and You