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 |
|---|---|
| 36751 | Is it not almost marvellous, this suggestive power of outline, for is it not in reality but an imaginary boundary? |
| 22574 | And what other title has Sir Joshua himself? |
| 22574 | And who is this handsome man to whom the engraver has given a lease of fame? |
| 22574 | But does not the poet tell us that"the artist never dies?" |
| 29928 | Why was he able to do this, and why could it be done without trouble by others after him? |
| 34113 | Flings forth by number not by name... Could Triple Crown or Jesuit''s oath Do what yon shuffle- stocking doth? |
| 34113 | What are you out of pocket? |
| 48924 | Which is better, a sea level or a lock? |
| 48924 | Will the dam stand? |
| 34869 | In the first instance, the curve is drawn on squared paper, and the question naturally arises-- To what extent are the squares to be represented? |
| 34869 | RELIEF PRINTING[ Illustration: Little maid, little maid, Whither goest thou? |
| 21591 | Would they, shuddering back from this wave of the true, implacable sea, turn forthwith to the papillotes? |
| 21591 | it will perhaps be replied,"have, then, ships never been painted perfectly yet, even by the men who have devoted most attention to them?" |
| 21790 | Dy moy donc par Astrologie Quand tu deburas a moy uenir? |
| 21790 | Et de la Mort, qui tout assomme, Puisse son Ame recourir? |
| 21790 | Mais dy moy, fol, a qui uiendra Le bien que tu as amassé? |
| 21790 | Que vault à l''homme tout le Monde Gaigner d''hazard,& chance experte, S''il recoit de sa uie immonde Par Mort, irreparable perte? |
| 21790 | Qui est celluy, tant soit grande homme, Qui puisse uiure sans mourir? |
| 21790 | Qui hors la chair veult en Christ viure Ne craint mort, mais dit un mortel, Helas, qui me rendra deliure Pouure homme de ce corps mortel? |
| 21790 | Quid prodest homini, si vniuersum Mundum lucretur, animæ autem suæ detrimentum patiatur? |
| 21790 | Quis est homo qui viuet,& non videbit mortem, eruet animã suam de manu inferi? |
| 21790 | Quis nie liberabit de corpore mortis huius? |
| 21790 | Sciebas quòd nasciturus esses,& numerum dierum tuorum noueras? |
| 21790 | Stulte hac nocte repetunt animam tuam,& quæ parasti cuius erunt? |
| 21790 | Voy tu pas l''heure qui approche? |
| 33751 | What are you going to do about it? 33751 = The Graver or Burin.=--And the graver: what do you say to that?" |
| 33751 | And would Mouilleron have been inferior, if from the stone he had passed to the copper plate? |
| 33751 | Do you desire to press this capricious process into your service for the translation of the old or modern masters? |
| 33751 | Is the plate lost?" |
| 33751 | Seeing that we are about to cut into the flesh after this fashion, might it not be as well to have the whole of the sky taken out altogether? |
| 33751 | Was not Decamps, who handled the point but little, an etcher in his drawings and his lithographs? |
| 33751 | What do you think of them?" |
| 33751 | What does this curious medley mean, which appears on the plate?" |
| 33751 | What shall I do?" |
| 33751 | Will you reproduce this design by Claude Lorrain? |
| 33751 | [ 14]"What would happen,"asks another of my pupils,"if these little holes occurred in a sky or in some other closely worked passage? |
| 40589 | 1550?) |
| 40589 | As on his shoulders he bears the Lord of the World, can we fail to remark his upturned glance, inquiring why he is thus bowed down by a little child? |
| 40589 | Christoph Jegher was born in Germany in 1590(?) |
| 40589 | Is not he famous as a giant? |
| 40589 | [? |
| 40589 | [? t] has a sort of streamer to**** the left and curling down. |
| 40589 | [? t]=_et_ in later times. |
| 40589 | ]=_ er_, or_ re_, as the sense requires,_ e.g._[? t]ra=_terra_,[? p]dictus= predictus,_ i.e.__ prædictus_. |
| 40589 | ]=_ er_, or_ re_, as the sense requires,_ e.g._[? t]ra=_terra_,[? p]dictus= predictus,_ i.e.__ prædictus_. |
| 40924 | Why should we erect a new, different factory? 40924 But why could I not invent an ink that would serve on the stone without making it necessary to trace over it with the stone- ink? 40924 Can this be remedied? 40924 Could one give the paper itself some property so that it would let go of the ink under given conditions? 40924 If so, how? 40924 Only thehow?" |
| 40924 | Therefore all who have no sufficient knowledge of lithography, will ask justly: What is its value? |
| 40924 | What advantages does it give that are not to be found in any other forms of printing? |
| 40924 | What could I think except that it would require merely industry to become a famous, happy man in a short period? |
| 40924 | What could be more natural than that I should deduce that this sort of printing might be utilized for cotton? |
| 40924 | What was there left to wish? |
| 40924 | What was to be done? |
| 40924 | Why not make an ink that would leave the paper under pressure and transfer itself to the stone entirely? |
| 40924 | Why, then, could it not be done with copper, since copper permitted itself to be etched so well? |
| 27268 | But might not more have been done by three thousand lines to a square inch? |
| 27268 | Conquered the world? |
| 27268 | ''My hand should be enough for you; what matters my name?'' |
| 27268 | ''Oh, little one, must you lie out in the fields then, not even under this poor torn roof of thy mother''s to- night?'' |
| 27268 | ( Can Simonetta be traced in any of them? |
| 27268 | 1st, Is engraving to be only considered as cut work? |
| 27268 | 2d, For present designs multipliable without cutting, by the sunshine, what methods or instruments of drawing will be best? |
| 27268 | A man who ca n''t help his hiccough leaves the room: why do they not leave the England they pollute? |
| 27268 | And do you see the size of this head? |
| 27268 | And what graving on the sacred cliffs of Egypt ever honored them, as that grass- dimmed furrow does the mounds of our Northern land? |
| 27268 | Are not the leaves and fruits of earth in the Sun''s hand? |
| 27268 | But are you prepared absolutely to accept this limitation with respect to engraving as a pictorial art? |
| 27268 | But before you call a man a master, you should ask, Are his pupils greater or less than himself? |
| 27268 | But do you suppose Holbein himself, or any other Northern painter, could wholly quit himself of the like accusations? |
| 27268 | But how came the upper church of Assisi there? |
| 27268 | But how is it that I can drop just the cards I want out of my pack? |
| 27268 | But is it only of the bones, think you, that Holbein is careless? |
| 27268 | But is there any reason, do you suppose, for their being neat, and each like the other? |
| 27268 | But is this necessarily a disadvantage? |
| 27268 | But that is not a line at all, you think? |
| 27268 | But what has_ your_ fault been, gentlemen? |
| 27268 | But what is the use of explaining or analyzing it? |
| 27268 | But why is a large stone in any building grander than a small one? |
| 27268 | But why should four unfortunate masters be dropped out? |
| 27268 | But why, in wood, lines at all? |
| 27268 | Can you match it with your academy drawings, think you? |
| 27268 | Do you not continually mistake a luminous cloud for it, or wonder where it is, behind one? |
| 27268 | Do you suppose Michael Angelo learned his business by dashing or hitting at it? |
| 27268 | Do you suppose that is not enough to make the difference between mortal and immortal art,--the original genius being supposed alike in both? |
| 27268 | Do you think Dürer''s work would be better if it were more like that? |
| 27268 | Even in these days, when every man is, by hypothesis, as good as another, does not the question sound strange to you? |
| 27268 | FOOTNOTES:[ BH]"Would not the design have looked better, to us, on the plate than on the print? |
| 27268 | First, then, we ask how they attained this rank;--who taught_ them_ what they were finally best to teach? |
| 27268 | Have I not good reason to separate the masters of such pupils from the schools they created? |
| 27268 | Have you ever considered, in the early history of painting, how important also is the history of the frame maker? |
| 27268 | His chosen works before the Pope in Rome?--his admired Madonnas in Florence?--his choirs of angels and thickets of flowers? |
| 27268 | How are we to know, then, that he speaks in vain? |
| 27268 | How came Giotto to be asked to paint upon it? |
| 27268 | How came it to be vaulted-- to be aisled? |
| 27268 | How did his studies prosper his art? |
| 27268 | How far must every people-- how far did this Florentine people-- teach its masters, before_ they_ could teach_ it_? |
| 27268 | How much have you received, or may you yet receive, think you, of that teaching? |
| 27268 | I despise the poor!--do I, think you? |
| 27268 | I mean, will the virtue of an engraving be in exhibiting these imperfect means of its effect, or in concealing them? |
| 27268 | If it need not be cut work, but only the reproduction of a drawing, what methods of executing a light- and- shade drawing will be best? |
| 27268 | In writing our Florentine Dunciad, or History of Fools, can we possibly begin with a better day than All Fools''Day? |
| 27268 | Is all engraving to be cut work? |
| 27268 | Is beauty contrary to law, and grace attainable only through license? |
| 27268 | Is it not also better, and wiser, than the sneer of modern science? |
| 27268 | Is it so here, think you? |
| 27268 | Is it so vain to study the style of Botticelli? |
| 27268 | Is not that a little better, and a little wiser, than Bewick''s jackass? |
| 27268 | Is the sun''s likely to be so, rising on the evil and the good? |
| 27268 | Lastly, what will the Libyan Sibyl say to you? |
| 27268 | May no soldier of Christ bid them stay otherwise than so? |
| 27268 | Must then setting sun and risen moon stay, he thinks, only to look upon slaughter? |
| 27268 | On the plate, the reins would be in the left hand; and the whole movement be from the left to the right? |
| 27268 | Rembrandt''s etchings, and Lupton''s mezzotints, and Le Keux''s line- work,--do you mean to tell us that these ignore light and shade?'' |
| 27268 | Shall he worship Thor again, and mourn over the death of Balder? |
| 27268 | So contemptible the question of style, then, in painting, though not in literature? |
| 27268 | That makes twenty- five altogether,--an exorbitant demand on your attention, you still think? |
| 27268 | The Nations ask her, What wouldst thou? |
| 27268 | The two different forms that the radiance takes would symbolize respectively heat and light, would they not?" |
| 27268 | Too savage to be Christian? |
| 27268 | Twenty!--you think that a grievous number? |
| 27268 | Well,_ do n''t_ you, usually, as it rises? |
| 27268 | What answer would you make to me, if I asked casually what engraving was? |
| 27268 | What are the simplest means you can produce it with? |
| 27268 | What is the habit of soul of every modern engraver? |
| 27268 | What is the reason? |
| 27268 | What then, we have to ask, is a man_ conscious of_ in what he sees? |
| 27268 | What we gain in language, shall we lose in thought? |
| 27268 | What would that be, think you? |
| 27268 | What, on the contrary, has ignorant Holbein done for you? |
| 27268 | Whence do you think this marvelous charm has come? |
| 27268 | Which of these methods is the best?--or have they, each and all, virtues to be separately studied, and distinctively applied? |
| 27268 | Who thought of these;--who built? |
| 27268 | Why do you think the goldsmith''s apprenticeship is so fruitful? |
| 27268 | Why is the English one vulgar? |
| 27268 | Why not cut out white_ spaces_, and use the chisel as if its incisions were so much white paint? |
| 27268 | Why, then, is it_ not_ immortal? |
| 27268 | Will these two powers, do you suppose, be united in the same manner in the contemporary Northern art? |
| 27268 | Will you call nothing an engraving, except a group of furrows or cavities cut in a hard substance? |
| 27268 | Yes, but_ what_ art? |
| 27268 | Yes; but do you not see, nearly joining with them, what is not a horse tail at all; but a flame of fire, kindled at Apollo''s knee? |
| 27268 | You know how far from exemplary or delightful your boy''s first quite voluntary exercises in white line drawing on your slate were? |
| 27268 | You thought it ugly and grotesque at first, did not you? |
| 27268 | You would think, would you not? |
| 27268 | [ AN] It may be asked, why not corn also? |
| 27268 | [ BP] The engraving of Turner''s"Scene on the Rhine"( near Bingen?) |
| 27268 | and in what we add of labor, more and more forget its ends? |
| 27268 | do you ask me; and is all the common teaching about generalization of details true, then? |
| 27268 | if we knew, would not we all be Gainsboroughs? |
| 27268 | what the patrons''fault, who have permitted so wide waste of admirable labor, so pathetic a uselessness of obedient genius? |
| 27268 | with the brass plate over the way; and of a virgin, Miss---- of the---- theater? |