Questions

This is a list of all the questions and their associated study carrel identifiers. One can learn a lot of the "aboutness" of a text simply by reading the questions.

identifier	question
18099	What can have been Donatello''s intention?
18099	Why give such prominence to this graceless type?
33252	Have I been so long time with you and yet hast thou not known me?
33252	Why,they asked,"had Donatello rated Nanni''s work at a higher price than his own, which would have undoubtedly been better?"
5712	C. Percival Deitsch Does Destiny decree that man shall lead, while woman meekly follows, as she did in ancient Egyptian days?
5712	Edith Woodman Burroughs Is this little Adam with the apple, or only a little boy with a ball?
5712	Robert Ingersoll Aitken We seem to hear him say"And now where next to place the chisel?"
5712	Who is going to take the lead?
5712	Why not beautify our outside world where we spend the bulk of our time?
5712	Would it not be a thorough joy to the most prosaic of us to have our cities beautified with inspiring sculpture?
5712	Would the nose of primitive man be so lacking in primitiveness?
45605	And maybe it possesses this childhood still, for, says St. Augustine somewhere, whither should it have gone?
45605	And now?
45605	And this body-- when had one last seen it?
45605	Who is this man?
50665	What,says Rodin again,"is the principle of my figures, and what is it that people like in them?
50665	And if that be true-- as I believe it to be true-- then where, between himself and Michael Angelo, is there so lofty a head as Rodin''s?...
50665	And with Phidias and Lysippus all these some- and- twenty centuries afar, what more is left to say of the man of genius whose art is theirs?"
50665	But is there anything finer in Olympia?
50665	Do you know of anything more impossible than the centaur?
50665	How could an equivalent be found for that?
50665	How did he set about it?
50665	What, then, was this_ Balzac_ which was so much detested, and about which the most abusive and extraordinary things were written?
50665	Why should we assume embarrassment in explaining this?
12978	To Annie Smedley(? 12978 To Elizabeth(?)
12978	To the wife of John Malsty(? 12978 And yet, what has become in too many cases of the old gravestones? 12978 Can it be that the subject is bereft of interest? 12978 Kirke White asks:Who would lay His body in the City burial- place, To be cast up again by some rude sexton?"
12978	O death, where is thy sting?
12978	O grave, where is thy victory?"
12978	O grave, where is thy victory?"
12978	She departed: what then?
12978	The very old ones we may perhaps account for, but where are the middle- aged ones of the eighteenth century?
12978	Thomas Sanders, late of the Royal Regiment of Artillery, who died March 1760, aged 60(?)
12978	Who has not seen in ancient churchyards the headstones leaning this way and that, tottering to their fall?
25897	But at least, if the Greeks do not give character, they give ideal beauty?
25897	Must we refuse every pleasant accessory and picturesque detail, and petrify nothing but living creatures?
25897	Why?
25897	_ So_ represented,we say; but how is that to be done?
25897	--"What kind of power is the sight with which we see things?
25897	5) could represent to the noblest hearts of the Christian ages the power and ministration of angels?
25897	And now, will you bear with me while I tell you finally why this is so?
25897	Are any of these goddesses or nymphs very beautiful?
25897	Are the Reptile things not alive then?
25897	But do you suppose that is what an ordinary sculptor could either lay for his first sketch, or contemplate as a limit to be worked down to?
25897	But if we may not put her into marble in rags, may we give her a pretty frock with ribbons and flounces to it, and put her into marble in that?
25897	But now, may we not ask farther,--is it impossible for art such as this, prepared for the wise, to please the simple also?
25897	But will you look again at the series of coins of the best time of Greek art, which I have just set before you?
25897	Can they give divine sadness?
25897	For all men, that is to say; but to what work did the Greeks think that her voice was to call them?
25897	Is not this an edge- tool we have got hold of, unawares?
25897	Is not this saying much?
25897	May we not wisely judge ourselves in some things now, instead of amusing ourselves with the painting of judgments to come?
25897	May we sculpture her so?
25897	May you sculpture it where it hangs?
25897	Mephistopheles in vain calls to them--"What do you duck and shrink for-- is that proper hellish behavior?
25897	Next, why has it a rim?
25897	Ought not that to disturb some of your thoughts respecting Greek idealism?
25897	Shall we find in their art- work any of that pensiveness and yearning for the dead which fills the chants of their tragedy?
25897	Stand fast, and let them strew"--"Was duckt und zuckt ihr; ist das Hellen- brauch?
25897	The picture, if it is a good one, should have a deeper interest, surely on_ this_ postulate?
25897	What mode or limit of representation may we adopt?
25897	What was to be the impulse communicated by her prevailing presence; what the sign of the people''s obedience to her?
25897	What-- having the gift of imagery-- should we by preference endeavor to image?
25897	Why has it been made round?
25897	Why should it not be represented, if possible, just as it is seen?
25897	You may play with it, since it is false; and what a play would it not be, well written?
25897	You think Pindar wrote that carelessly?
25897	but"What possibly can you see_ in_ these?"
25897	or that, if he had only known a little modern anatomy, instead of''reptile''things, he would have said''monochondylous''things?
37558	Quid tam distortum et elaboratum, quam est ille discobolos Myronis? 37558 ( 4) The punishment of Procrustes(?). 37558 --_Antioch?_ Marble; height, 1 foot 8 inches; width, 1 foot 3 inches. 37558 --_Athens(? 37558 --_From Athens(? 37558 2.--Relief from Mycenae(? 37558 620).--_Athens?__ Elgin Coll._ Pentelic marble; height, 8 inches. 37558 A belt crosses the body under the right arm, and over the left shoulder.--_Temenos of Apollo, Naucratis._ Marble(? 37558 A busto of Tully(?) 37558 A female figure, seated on a stool, holds her mantle, which passes over her head, with the left hand, and a scroll(?) 37558 A girl stands at her left side holding a box and a purse(?). 37558 A joint is worked in the stone, in front of the bull.--_Mycenae(? 37558 A man reclines on a couch, and holds a bowl and a rhyton(? 37558 A nearly illegible inscription appears to read:[ Greek: Laodikê Hêr[ophilou?] 37558 A small Venus(?).--Arundel.
37558	A woman wearing a long chiton with sleeves and a himation stands to right with right hand raised, and holding a flower(?).
37558	Above is the inscription[ Greek:... easob](?
37558	At the back, the hair is rendered by conventional undulations, parallel to the band.--_Athens(?
37558	Before her is a column, on which is another scroll(?
37558	Before him stands a male(?)
37558	Before them is a table with food; beside it a boy with a cup and oinochoè(?
37558	Behind him is an attendant, holding a large shield.--_Athens?__ Elgin Coll._ Pentelic marble; height, 2 feet 6 inches; diameter, 1 foot 6 inches.
37558	Behind the chair is a woman advancing, holding a baby in both arms, and on the left is a woman who carries a dish(?)
37558	Below the second is the bilingual inscription_ mola_[ Greek: Molos](?).
37558	Between the two groups, and in the background, a woman rushes to the right, holding branches(?)
37558	Between them is the stump of a tree, on which the figure on the right( Persephonè(?))
37558	Chabrias of Selymbria.--_Athens?__ Elgin Coll._ Pentelic marble; height, 1 foot 7 inches; width, 1 foot 5- 1/2 inches.
37558	Fragment from lower part of draped figure from knee to right(?)
37558	Fragment of a figure turned to the left, with fine delicate drapery(?).
37558	Fragment of a horse''s tail, and part of the body of a chariot(?).
37558	Fragment of a winged, long- haired figure(?).
37558	Fragment of lyre(?)
37558	Fragment with part of the flank of an ox(?
37558	Fragment, with the leg of a Harpy, to the right(?).
37558	He appears to wear the Egyptian crown.--_Presented by H. Gally Knight, Esq., 1839._ Parian marble(?
37558	He holds a cup(?)
37558	He holds a pomegranate flower in his left hand, and a cup(?)
37558	Hips of a draped male(?)
37558	In his right hand he holds a lotos sceptre(?
37558	In the centre is Aphroditè(?
37558	In the right wing of the composition the figures N, O, Q, S, T, and in the left wing only four figures, A, B, C, and F(?)
37558	Inscribed:[ Greek: Anaxikratês Dexiochou Athênaios].--_Athens?__ Elgin Coll._ Pentelic marble; height, 2 feet 1/2 inch.
37558	Inscribed:[ Greek: Archagora, Pithyllis, Polystratos].--_Athens?__ Elgin Coll._ Pentelic marble; height, 1 foot 8 inches; diameter, 11 inches.
37558	Inscribed:[ Greek: Dêmostratê, Kallistr[atê]].--_Athens?__ Elgin Coll._ Pentelic marble; height, 1 foot 7 inches; diameter, 1 foot 5 inches.
37558	Inscribed:[ Greek: Phaidimos Naukratitês].--_Athens?__ Elgin Coll._ Pentelic marble; height, 3 feet 4- 1/2 inches; diameter, 11 inches.
37558	Inscribed:[ Greek: Sôsippos].--_Athens?__ Elgin Coll._ Pentelic marble; height, 2 feet; diameter, 11 inches.
37558	Inscribed:[ Greek: Timophôn Timostratou Anagyrasios].--_Athens?__ Elgin Coll._ Pentelic marble; height, 1 foot 11 inches; diameter, 1 foot 2 inches.
37558	Left hand grasping the leg of a horse, or of a Centaur(?).
37558	Lion''s head from the cornice(?).
37558	Metope XIII(?).
37558	Naxian marble(?).
37558	Near this figure is the inscription[ Greek: SIRO](?
37558	Nikè?
37558	On the left is part of the drapery of a third figure.--_Ephesus.__ Strangford Coll._ Pentelic marble?
37558	On the right is a figure of the deified Heracles(?
37558	Outside the wreath, on the upper right- hand corner of the tablet, a situla is sculptured in low relief, and a small footstool(?)
37558	Parian marble?
37558	Part of helmet, and top edge of cornice; also the fingers of the right hand of the figure, throwing a spear(?).
37558	Part of the arm(?)
37558	Part of the right arm, extended, and wearing a shield(?).
37558	Parts of head and breast of figure, with helmet, tunic, and cuirass(?).
37558	Pentelic marble?
37558	Portion of chiton, the flowing lines of which greatly resemble the treatment of the Iris?
37558	Right hand closed and holding a rein(?).
37558	Right knee of figure advancing to right; behind, the leg, wearing a greave, of a fallen warrior(?).
37558	STATUES OF APOLLO(?).
37558	She has a spear in her left hand, and a much mutilated Eros(?)
37558	Synphoron, of Carystos, daughter of Heracleides.--_Athens?_ Pentelic marble; height, 1 foot 7 inches; width, 11- 1/2 inches.
37558	The child is named_ horlar_(?)
37558	The head and arms are wanting.--_Athens(?
37558	The missing part may have contained the figures of suppliants.--_Athens(?
37558	The relief, which is only complete on the right side, was bounded by pilasters and an entablature.--_Athens(?
37558	The right hand holds an ankh(?)
37558	The style is characteristic of the fifth century.--_Athens?__ Elgin Coll._ Pentelic marble; height, 9 inches.
37558	The whole is surrounded by remains of a large bead ornament.--_Presented by Algernon, fourth Duke of Northumberland._ Green limestone(?
37558	There is no trace of an inscription.--_Athens?__ Elgin Coll._ Pentelic marble; height, 2 feet 11- 1/2 inches; diameter, 11 inches.
37558	This figure of Athenè, like the preceding, is in its general outlines copied from the Athenè Parthenos of Pheidias.--_Athens(?
37558	Two horns intertwined(?)
37558	Two women, Callistratè(?)
37558	View of part of a city on a hill with castellated walls and turrets, a large pylon(?)
37558	XIII.?
37558	XIX.?
37558	XV(?).
37558	XV.?
37558	[ Sidenote:= 111.=] Upper part of a statuette of a warrior(?).
37558	[ Sidenote:= 127.=] Isis and Osiris(?).
37558	[ Sidenote:= 150.=] Female(?)
37558	[ Sidenote:= 176.=] Warrior advancing, with a shield on the left arm, and a lance(?)
37558	[ Sidenote:= 20.=] Female head( unfinished(?))
37558	[ Sidenote:= 200.=] Figure of Apollo(?)
37558	[ Sidenote:= 201.=] Apollo(?)
37558	[ Sidenote:= 205.=] Figure of Apollo(?)
37558	[ Sidenote:= 206.=] Figure of Apollo(?)
37558	[ Sidenote:= 207.=] Torso of Apollo(?)
37558	[ Sidenote:= 303 G.=] Iris(?
37558	[ Sidenote:= 304 H.=] Hermes(?
37558	[ Sidenote:= 304 P, Q.=] Leucothea, with boy(?
37558	[ Sidenote:= 304 V, W.=] Ilissos or Kephissos and Callirrhoè(?
37558	[ Sidenote:= 502.=] Statuette copied from the Doryphoros of Polycleitos(?).
37558	[ Sidenote:= 516.=] Figure of Apollo Kitharoedos?
37558	[ Sidenote:= 550.=] Head of Asclepios?
37558	[ Sidenote:= 551.=] Asclepios?
37558	[ Sidenote:= 555.=] Heads of Pelops and Hippodamia?
37558	[ Sidenote:= 556.=] Head of Odysseus?
37558	[ Sidenote:= 706.=] A woman, Laodikè(?
37558	[ Sidenote:= 752.=] Fragment of sepulchral relief?
37558	[ Sidenote:= 780.=] Votive relief(?).
37558	[ Sidenote:= 789.=] Relief, representing offerings to Eileithyia(?).
37558	[ Sidenote:= 793.=] Votive relief to Demeter and Persephonè(?).
37558	[ Sidenote:= 83.=] Part of a tomb(?).
37558	[ Sidenote:= 84.=] Head and neck of a lion, from a tomb(?).
37558	[ Sidenote:= 85.=] Fragment of unfinished relief, with two legs of a seat or couch(?
37558	_ Figures of Harpies(?
37558	cit._[ Sidenote:= 504.=] Head of Hera(?).
43327	And what will you represent on that door?
43327	Ah, your life is out there, elsewhere?
43327	And are sculptors, too, not like poets?
43327	And is it not providential?
43327	And what is this volume?
43327	Are not the shadows trembling on it there?
43327	Are the vaults round and no longer pointed?
43327	Are they not the fruitful germs, now growing within a brain, now in a beautiful grouping of stone, and now captured by those magicians, the poets?
43327	But in what, you ask, resides the originality of these decorative commonplaces, their brilliant, unquestionable originality?
43327	Can we preserve this courage during peace?
43327	Certainly he has been assisted by circumstances, but above everything how has he not compelled circumstances to assist him?
43327	Do I bring these thoughts with me?
43327	Do his friends not over- glorify him?
43327	Do they realize the collaboration between the sculptor and the light?
43327	Do you ask me what will spring out of the conflict?
43327	Do you cease to live?
43327	Do you tell me that his work is bad because he is ignorant of the laws of perspective?
43327	Does any one suppose that Rodin himself has attained this in a day?
43327	Does not Rodin himself, with his vast outlook over the whole field of art, call this period of national art, the sixteenth century, the French Gothic?
43327	Does not love travel in a similar path rather than straight as an arrow?
43327	Does not this community of thought prove how profound is the vitality our country continues to possess in the domain of art?
43327	Does science give happiness?
43327	For are not the thoughts of God expressed all the world over?
43327	For is this fragment not an eternal prayer?
43327	For sculpture is a static, not a dynamic art-- is it not?
43327	For that matter, what difference did the dimensions of a work make?
43327	From whom did he inherit it?
43327	Has it not been repeatedly said that their style is a barbaric style?
43327	Has the world, then, reached the point where it deserves to be punished for the egotistical epicureanism in which it has slumbered?"
43327	Hope enters my heart: there is light here, then?
43327	How can one comprehend this beauty by mere analysis?
43327	How can the critics and the professors explain this, being what they are?
43327	How can we be expected to have art when we do not understand its central principle?
43327	How could he be otherwise before the formidable unknown that still hides from us the next turn of destiny?
43327	How was he to group them?
43327	How would it appear in broad daylight?
43327	How, after such a rigorously minute process of noting his masses, could his work be flat?
43327	I am plunged into night, a living night in which I do not know what mysteries are being enacted-- the cruel mysteries of the ancient religions?
43327	If these expenses were not covered by the entrance- fees and the sale of his sculpture, how would he come out?
43327	If those who have been telling us for a hundred years that Greek art is cold studied it with care, could they for one hour maintain this absurdity?
43327	In art, what do we call life?
43327	In our day by what have we replaced that marvelously productive school, the workshop?
43327	In the course of centuries, has not this wonderful Celtic race on various occasions reconstructed its understanding and interpretation of beauty?
43327	In what does this beauty consist?
43327	Indeed, how should this be otherwise?
43327	Is it I who put them into the marble?
43327	Is it good?
43327	Is it his soul, is it his flesh that trembles?
43327	Is it not dangerous to say of a genius that his work alone should count, that his personality is negligible?
43327	Is it not natural that we should reproduce them in our art?
43327	Is it surprising, then, that I live with these antiques of mine, poets far more inspiring than any of our day?
43327	Is not nature the source of all beauty?
43327	Is not the flower the queen of ornaments, the inspiration of all races and ages, the very soul of artistic decoration?
43327	Is she not the only creator?
43327	Is the ornament well treated?
43327	Is the splendor of stained- glass windows aught else than the splendor of a mass of beautiful flowers?
43327	Marvel of equilibrium, calculation of the intelligence, how is it possible not to adore you?
43327	Nevertheless, is Rodin justly appraised?
43327	Not finished?
43327	Observe it closely, touch it; do you not feel the precision of this modeling, firm yet elastic, in flux like life itself?
43327	Of what legendary theme, what theme of history or poetry, should he make use in order to realize his program?
43327	Or infinite?
43327	Shall we have, in study, the force of soul that we have had in the great struggle?
43327	Style comes unawares through the concurrence of many elements; but can we achieve it without design?
43327	The plan?
43327	The world is full of men who worship the beauty of women; but how many can make beautiful portraits or beautiful busts of the woman they adore?
43327	This little childish body, has it not all the charm of woman?
43327	Time lost?
43327	To whom shall I confide the fruit of my research?
43327	Unfinished works, indeed, but why?
43327	Was he never tempted by their example and by that of Michelangelo to expand his resources beyond those of the sculptor?
43327	Was it age that stilled, before the end, the hand of the giant of sculpture?
43327	Was it not Victor Hugo with whom he was dealing, the father of modern poetry?
43327	Was it not these that he sketched in those first attempts of his?
43327	What could it say to our indifferent glance?
43327	What did it matter?
43327	What did it matter?
43327	What does it matter if the artist has deceived himself knowingly or wilfully on a matter so insignificant as the subject?
43327	What does it matter if they are equally elegant, if they have the same aërial grace as the ogive?
43327	What does it matter?
43327	What does it matter?
43327	What does this force of simplicity express to us?
43327	What has become of the others?
43327	What have we to- day in place of those splendid institutions which developed character and intelligence simultaneously?
43327	What hurries you?
43327	What influence did this event have upon him?
43327	What is detail in a plan?
43327	What is meant by color in sculpture and in architecture?
43327	What is modeling?
43327	What is more beautiful than Notre Dame in Paris at night, with its island as its pedestal?
43327	What is the leading idea that has precipitated the nations against one another?
43327	What makes this possible?
43327	What more beautiful offering could be made to men and gods?
43327	What more can I want?
43327	What more could you ask?
43327	What price would not be paid for them to- day by admirers of the master?
43327	What public festivals have been given in France in this century to honor the glories of our artistic and scientific life, Victor Hugo excepted?
43327	What sort of students can develop under such disastrous conditions?
43327	What visions surged in the sculptor''s imagination?
43327	What was the reason for it?
43327	What you call the idea, the subject, no longer exists here, but is not all this debris none the less admirably beautiful?
43327	When Rodin presented himself at the great school, how, in his inexperience, could he foresee the war of wild beasts that rages in the thickets of art?
43327	When we consider matters from a distance, does not evil often seem good, and good, evil?
43327	Whence did it come?
43327	Where am I to begin?
43327	Where are there artists great enough to appreciate you, severe genius, splendid city, daughter of the she- wolf?
43327	Where can one find more perfect harmony than in this fragment?
43327	Where is one to begin studying?
43327	Where lies the secret of force?
43327	Who can learn it from a study of sculpture and design in books?
43327	Who could believe that they had sprung from the hands of Rodin, the austere creator of"The Burghers of Calais"and of the"Victor Hugo"?
43327	Who follows me on the road?
43327	Who that has looked at its softly gleaming marble in the Luxembourg has not been overcome by a long dream of tenderness, of uneasy curiosity?
43327	Why am I surprised whenever I look upon this torso?
43327	Why are they used so little?
43327	Why should such artists have sought to create an abstract Beauty by the idealization of forms?
43327	Why this nude personage, instead of a quite respectable Victor Hugo in the frock- coat of an academician?
43327	Why?
43327	Will it begin again with its vigor as of old?
43327	Will it continue?
43327	Will it produce a rebirth of intelligence?
43327	Will my experience be of benefit to others?
43327	Will there some day be another possessed of the ardor and love of beauty necessary to build this mountain of stone?
43327	You do not understand it?
43327	You have only to look for it in the museums"?
43327	You say you prefer the Greek?
43327	although mutilated, are you not eternal?
40870	About what?
40870	And do you give this consent?
40870	And is it late before his Excellency orders his breakfast?
40870	Are there no other trains before this one, that I may return to London during the day to dine?
40870	Are you the painter?
40870	Beautiful this work, is it not, Nanni?
40870	But if he is asleep, do you want to wake him?
40870	But what are you doing?
40870	But what painting is it?
40870	Can I get anything to eat here?
40870	Come, have courage,said I;"what are you afraid of?
40870	Do n''t you see how beautiful this boy is? 40870 Do you know what this means?"
40870	Do you know,I said to a friend six months ago, while I was looking over the rough draft of my memoirs,"that I have decided to print them?"
40870	Do you know,says Bezzuoli to me,"that yesterday I had to take up your defence?
40870	Do you know?
40870	Do you like verbena?
40870	Does she feel ill? 40870 Eh?
40870	Eh? 40870 Excuse me,--are you living in Rome?"
40870	Have you any orders, Sor Giovanni? 40870 Have you compared it with the model?"
40870	Have you heard that there has been a disturbance in the Piazza di San Niccolò?
40870	Have you moved it a little more forward?
40870	How is Rauch?
40870	How is it that the same reasons that were held out for his refusing the figures in the Demidoff monument do not hold equally good for these? 40870 How many sittings do you require to make the model?"
40870	How much must I ask?
40870	I hope you did not allow him to see this portrait?
40870	I should like it very much; but how can you speak to me with so much assurance about this?
40870	I, of course; but do n''t you swim better than I?
40870	It seems,I said, as I saw he did not recognise me,"to be a modern work, does it not?"
40870	Marina-- where is she? 40870 My dear Duprè, you have arrived a little late, have you not?
40870	Oh, Rosa,I said to my father;"where is she?"
40870	Oh, is it you, Signor Professor?
40870	Shall I mend the matter by getting angry? 40870 Thank you, I understand; but where is Marina''s house?"
40870	Then why do n''t you follow it?
40870	This may be, and may not be,replied Carlino,"but I knew nothing about it; and besides, how does he wish to be called?
40870	Well, what did he answer?
40870	Well, what then?
40870	Well?
40870	What can he have to say to me? 40870 What do you mean by water- cure?"
40870	What do you mean to do?
40870	What does he say? 40870 What is it then that you have to say to me?"
40870	What is this?
40870	What kind of a speech is this? 40870 What must I do?"
40870	What occupation has your lover?
40870	What sort of a discovery do you think that you have made?
40870	What?
40870	When could you begin?
40870	Who do you want?
40870	Who is it?
40870	Why not, Excellency?
40870	Why should I get angry?
40870	Will you allow me to say one word to her before going?
40870	Will you have Orvieto or good Roman wine?
40870	Will you have some soup and a cutlet?
40870	Yes; do you like it?
40870	You are an artist?
40870	You smell of anise- seed; who has given it to you? 40870 (How are you, Mr Giovanni?
40870	A Cavaliere?
40870	After a pause, I began again, turning to Marina--"Where were you when you saw the procession?"
40870	After dinner he returned, and said,"Have you a certain Portinari for a model?"
40870	After some time I saw the youth, and said to him--"Well, did you see the monument by Donatello, and what did you think of it?"
40870	And I, who knew nothing about it, what fault is it of mine?
40870	And if we abandon Olympus and its deities, is it necessary to root and grub in the filth of the Mercato Vecchio and in the brothel?
40870	And now, gentle reader, would you like to see how headstrong and proud I had become?
40870	And now, how to repay her for this wood which she has bought for me?
40870	And the cough?
40870	And then?
40870	And what then of the Prince''s message?
40870	And who is there who does not see how useful and good these studies of character, taken from the life, are to the artist?
40870	And why was this?
40870	Approaching him I said--"Do you like this statue?"
40870	Are there not guide- books?
40870	Are these not also statues of Bartolini''s, and to be finished in the same way as those?"
40870	Are these, then, your memoirs?
40870	Are they tight?"
40870	Are you content?"
40870	Are you going back to Siena soon?"
40870	As for me, when I am Minister of"Justice and Mercy"( devil take it, why not?)
40870	As he did this, the bold and loquacious bird opened his beak and said,"What do you want?"
40870	As soon as he descended, he said to me--"_ Vous parlez français?_""_ Très mal, Majesté._""Well, I speak a little Italian; we will make a mixture."
40870	As soon as he saw me, suspecting perhaps what I had come to ask, he said to me--"And what do you want?"
40870	At this stage good Professor Smargiassi, seeing me always so weak and melancholy, said to me,"Why do you not try the water- cure?"
40870	At what hour?"
40870	Besides, did one not see about this time, and in fact during these very days, several thousands of_ lire_ got together for a bust of Gino Capponi?
40870	But how?
40870	But if this be so, how can the absolute deficiency of such models in our day be explained?
40870	But was not Vesuvius unknown at the time that this city was constructed?
40870	But what can one do about it?
40870	But what shall I do?
40870	But when, and at what time?
40870	But who has the rights of it?
40870	But why, wherefore, all this hurry-- this uninterrupted work, without rest?
40870	Can he really be dead?
40870	Carlino stood there as if he had been made of stucco, and turning to me said--"But what stuff is this?
40870	Could you imagine that they would have been so insane as to have built on the outskirts of a mountain vomiting fire?
40870	Did he ask you to give your advice?
40870	Did they know what had happened, and had they seen me?
40870	Do n''t you hear how these donkeys bray?
40870	Do you accept my promise willingly?"
40870	Do you know what it is?
40870	Do you know who I am?"
40870	Do you understand anything about it?"
40870	Do you understand?
40870	Do you understand?"
40870	Does he not know that in half an hour I shall be at the studio?
40870	Does it seem to you proper or well- bred to come out with that word before everybody, even before ladies?
40870	Does this brief tirade, half dictatorial and half careless, bore you, gentle reader?
40870	Fedi, who was present at this disaster, seeing me so cold, said to me, almost in a rage,"Why do n''t you get angry?"
40870	For had he not stolen a Holy Family from me?
40870	Fortunately, one of my friends, the engraver Travalloni, saw me, and coming to meet me, said,"What is the matter?
40870	Go and make haste, for if your work should be damaged on its arrival, who is there who could mend it?
40870	Good heavens, do n''t you see that the poor young fellow is dying?"
40870	Had I been guilty of anything improper in looking at the girl?
40870	Had they been to the procession?
40870	Half an hour before mid- day he said to me--"Signor Giovanni, would you be so kind as to send me away a quarter of an hour earlier to- day?
40870	Has he understood what you have just said of him?"
40870	Has not the love of beauty seduced him?
40870	Have I offended you?"
40870	Have you any commands for Siena?"
40870	Have you done at last with all your childish follies, your tiresome tirades, your colourless love, fit only for collegians?
40870	He said,"What is the meaning of this?
40870	How can one say that he is dead when he is living?"
40870	I asked,"Who are these pretty children?"
40870	I remained silent and sad, and then said--"Is this also Marina''s wish?"
40870	I said to myself, Shall I send him a message or let it go?
40870	I see her still crying and supplicating me not to leave her, saying,"What are you going to do?--to kill or to be killed?
40870	I, where was I then?
40870	If I had not already begun this, she could not have seen it; and who knows if she would have taken the risk to order even the Abel?
40870	In what way?
40870	Is it believed that only those students who are provided with certificates are to become artists?
40870	Is it not true that it is charming?"
40870	Is it perhaps a restitution?
40870	Is it possible that she could have really been offended?
40870	Is she not at home?"
40870	It was better so, for who knows whether his heart would not have waked up some day, repented the time lost in sleeping, and quickened its beat?
40870	It was not there, I say, in their memory; but when was it there?"
40870	Late in the day we went out, and, approaching the poor man, I said to him--"Why have you not put on the boots that I gave you?
40870	Many fine Italian statues returned at that time; and did not the"Jenner"come back from Vienna?
40870	May I be forgiven if that is little?
40870	Methinks I can hear it said,"What has this to do with your memoirs?
40870	Must I admit that I took pleasure in this, returning their salute and passing before them as if I had been a true prince?
40870	My good friend Dr Alberti, who treated me, advised rest from work and distraction,--but of what kind, as everything bored me?
40870	My poor Marina, with her purity of soul, did not feel offended, but turning to me she timidly asked,"Have I done wrong?"
40870	My rival?
40870	Nevertheless, he spoke benevolently to me, and said,"Dear Duprè, what fine works are you doing now?"
40870	Now I ask, why this disdain?
40870	Now, how to explain this with real historical figures, or, as they say, in living art?
40870	On the other, for the Marchese Ala, he had worked, but how?
40870	Perhaps because they are harmful?
40870	Perhaps it is degraded less by theft?
40870	Perhaps some one may think,"How is it that, after so many years, you have been able to remember the composition of your work?"
40870	Perhaps then-- who knows?
40870	Quite right; but how can the artist seize hold of the right expression if first he has not seen it in life, and studied with attention beyond words?
40870	Return to Florence?
40870	Say, would not this be a good thing?"
40870	Should I have ever found the door open?
40870	Should Verdi at any time read these pages, who knows what he may do?
40870	Should you like it?"
40870	So far away, without any one to help him, without acquaintances, and with so imperious a character, what would become of him?
40870	The decorum and support of the public galleries never suffered from the want of this in bygone days; why should they feel the need of it to- day?
40870	The good Signor replied with impatience,"Which, then, do you think that you are, Canova or Thorwaldsen?"
40870	The head carter said to me--"_ Is this wood to come here?_"[ Sidenote: MY STUDIO IS LINED.]
40870	The portrait is beautiful, but is it a likeness?
40870	Then I answered--"Tell me, does this gentleman speak, or at least understand, Italian?
40870	Then turning to me with an expression of regret, he said,"_ A rivederla._"My good reader, do you think that made me despair?
40870	Then, too, who knows if a frank sincere word, spoken at any rate with respect and reason, such as I should say, would not do him good?
40870	There are beautiful animals, and animals that seem ugly-- some, in fact, absolutely repulsive-- and why?
40870	They said to me,"Is it true that in Florence there are, as in the days gone by,_ improvisatori_ poets?
40870	They took it in ill part, and the young man, thinking perhaps that I had knocked against them on purpose, said--"Has the boor passed by?"
40870	This comforted me, but wishing to draw from him something more, in an exacting tone I said,"And as to the imitation, the character, the form?"
40870	This gentleman said--"Would you make my portrait?"
40870	What charming thing have you to tell me?
40870	What do you do with the other two?"
40870	What do you think is the reason?
40870	What good do they do to art, to true art, to great art?
40870	What had you to do with this?
40870	What has this most fatal story to do with our usual artistic life?
40870	What is the truth?
40870	What should you say?"
40870	What was I to do?
40870	What was there then to do?
40870	What will become of me in the middle of the road if night overtakes me?
40870	What will my mother, who is expecting us, do or say?
40870	What will my_ babbo_ think, left alone, and not knowing where I am?
40870	When he saw me he exclaimed,"How are you?"
40870	When shall I return?"
40870	Where is the harm of it?
40870	Where is this dust now?
40870	Wherefore?
40870	While I was thinking on this, my good Marina approached, and said--"Do you find any beauty in that little stone?"
40870	Who can tell where this poor"Sappho"will be, and how situated, after my death?
40870	Who can tell?
40870	Who ever saw a boy who was always obedient, studious, patient, constant,& c.& c.?
40870	Who is he?"
40870	Who is it, then, who supervises your statue, and who is your master?"
40870	Who is there( I mean amongst us) who would wish to spend a hundred_ lire_ for a''Traviata''?
40870	Who knows how disappointed he must have felt, and how miserable he is now?
40870	Who knows that I should not have made them worse?
40870	Who knows, however, what is an early hour to a gentleman?
40870	Why did my heart not open itself to the enjoyments of that pure, serene, and most beautiful nature?
40870	Why do you look so scared?"
40870	Why have you closed it, while the right hand is open, and just as it should be?"
40870	Why is it so?
40870	Why is this?
40870	Why was it that that bright sky, that tranquil sea, that quiet industrious life, rendered me more sad and thoughtful?
40870	Why, therefore, enter into competition with others, if not to find out that there is some one else cleverer than I am?
40870	Will he find it?"
40870	Will the prince feel any consolation looking at the statue?
40870	Will you believe it, Sor reader, I have never again signed any bills, although more than thirty- six years have gone by?
40870	Would it not appear pretentious in me even to assume to be the defender of so great a master?
40870	Would it not, therefore, be better to administer a little corporal punishment with the"birch"before arriving at this finale?
40870	Would you also ask him to pay for the bust?
40870	Yes, what can you tell me that I do not already know?
40870	You so vivacious, so full of health-- I so weak and ill; who would have then said that so soon you would be gone?
40870	You understand?
40870	and do you really and seriously think that such things as this are of the least interest to anybody?
40870	but is he not Professor Bartolini?"
40870	have you been to the procession?"
40870	he is certainly absent- minded, and am I not also absent- minded?
40870	is there no possibility of confining one''s self within limits?
40870	or a woman vomiting under a cherry- tree because she has eaten too much?
40870	or an infamous and bestial man, with the gesticulations expressive of the lowest and most vicious desires?
40870	or other similar filthinesses of subject and imitation, which are disgusting even to describe?
40870	said I;"is he asleep?"
40870	what do you think?"
40870	you know nothing about it?"