My arte and profession, is to live. Who forbids mee to speake of it, according to my sense, experience, and custome? Let him appoint the Architect to speake of buildings, not according to himselfe, but his neighbours, according to anothers skill, and not his owne.
[tr. Florio (1603)]

My art and business is to live. He that forbids me to speak according to my own sense, experience, and practice, may as well enjoin an architect to speak of buildings not in his own style, but in his neighbour's; not according to his own science, but according to another man's.
[tr. Cotton (1686)]

My trade and art is to live; he that forbids me to speak according to my own sense, experience, and practice, may as well enjoin an architect not to speak of building according to his own knowledge, but according to that of his neighbor; according to the knowledge of another, and not according to his own.
[tr. Cotton/Hazlitt (1877)]

My profession and my art is living. Whoever forbids me to speak of this according to my perceptions, experience, and habit, let him bid the architect talk about buildings, not according to his own ideas, but according to those of his neighbour; according to another's knowledge, not according to his own.
[tr. Ives (1925)]

My trade and my art is to live. He that forbids me to speak of it according to my own sense, experience, and practice, let him command an architect to speak of buildings not in his own style but his neighbour's, according to another man's knowledge, not according to his own.
[tr. Zeitlin (1934)]

My trade and my art is living. He who forbids me to speak about it according to my sense, experience, and practice, let him order the architect to speak of buildings not according to himself but according to his neighbor; according to another man’s knowledge, not according to his own.
[tr. Frame (1943)]

Living is my job and my art.
[ed. Rat (1958)]

Living is my work, and my art. Let anyone who forbids me to speak of it according to my understanding, experience, and practice order an architect to speak of his buildings according, not to himself, but to his neighbor; according to his knowledge, not his own.
[tr. Atkinson/Sices (2012)]

For my part, I had much rather that she join'd the Nouns and Verbs falsely, and repeated a servile bad Word a hundred times in picking her Herbs, than have her burn my Meat or oversalt my Broth. I live by good Soup, and not by fine Language.
[tr. Clitandre (1739)]

I would rather, I would, that in cleaning the vegetables she should make the verbs agree ill with the nouns, and say a hundred times a low or bad word, than that she should burn my meat or put too much salt in my soup; I live on good soup;, and not on fine language.
[tr. Van Laun (1876)]

I had much rather that while picking her herbs, she should join wrongly the nouns to the verbs, and repeat a hundred times a coarse or vulgar word, than that she should burn my roast, or put too much salt in my broth. I live on good soup, and not on fine language.
[tr. Wall (1879), The Learned Women]

For my part, I had much rather that in picking her herbs she made the nouns and the verbs agree wrongly and repeated some outrageous word a hundred times, than have her burn my meat or oversalt my broth. I live by good soup, and not by fine language.
[tr. Matthew (1890), The Blue-Stockings]

For my part, I'd rather she would make a mess of nouns and verbs, or use a low and vulgar word a dozen times a day, than burn my meat and oversalt my soup. Good food is what I live on, not fine language.
[tr. Wormeley (1895), The Female Pedants]

Truly, I would much rather she failed to make her nouns agree with her verbs while washing her vegetables, and indulged in low or bad words a hundred times over, than burn my meat or oversalt my soup. I live by good soup, and not on fine language.
[tr. Waller (1903)]

I'd rather have her, while she cleans her salad,
Make verbs and subjects disagree, and say
Some low or vulgar word a hundred times,
Than burn my roast or over-salt my broth.
I live on well-cooked food, and not fine language.
[tr. Page (1908)]

For my part, I would rather that, while peeling her vegetables, she makes her verbs agree badly with her nouns and repeats a hundred times a low or bad word, than that she burns my meat or puts too much salt into my soup. I live by good soup and not by beautiful language.
[tr. Waldinger (1967)]

If she makes a tasty salad, it seems to me
Her subjects and her verbs need not agree.
Let all her talk be barbarous, if she’ll not
Burn up my beef or over-salt the pot.
It’s food, not language, that I’m nourished by.
[tr. Wilbur (1977)]

Her crudités for salad were sublime,
So if her verbal crudité's a crime
She has atoned for it in her cuisine.
Her language and her legumes may be green
But when my appetite rears up its voice,
The latter, not the former is its choice.
[tr. Thomas (2005 ed.)]

The expert is usually a man who has stopped thinking and so is perfectly able to be utterly wrong for at least the rest of his lifetime. He has made up his mind, not upon principle, but upon expedient practice.
[Source, Frank Lloyd Wright: An Autobiography, Book 5 "Form" (1943)]

An expert? Generally a man who has stopped thinking because he knows!
[Source]

An expert is a man who has stopped thinking -- he knows.
[Source, in Earl Nesbit, Taliesin Reflections (2006)]

To me an expert is a man who has stopped thinking. He thinks he knows everything.
[Source, in Patrick J. Meehan, Truth Against the World (1987)]

Now, an "expert" is a man who has stopped thinking. He has had to stop thinking or he would be no expert. You can't call a man an "authority" who is growing and so changing his mind about things, can you? No, the expert has got to know or profess he knows. He's got to stand there and be knowledgeable! Well, too bad, because there's no such human except he be somewhat a phoney.
[Source, in Patrick J. Meehan, Truth Against the World (1987)]

An expert is a man who has stopped thinking because he knows and you can do nothing with him if you got a good idea.
[Source, in Patrick J. Meehan, The Master Architect (1984)

In art as in lovemaking, heartfelt ineptitude has its appeal and so does heartless skill, but what you want is passionate virtuosity.

Heartfelt ineptitude has its appeal, Dunyazade; so does heartless skill. But what you want is passionate virtuosity.