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 |
|---|---|
| 18971 | VIII PLATE 20 These two sketches were taken from an 18th century(?) |
| 20590 | Could anything be more delightful to the eye than its rich blackness, energetic lines, and refreshing virility? |
| 39398 | = The Cooking Range.= Why is it my cooking range does not work properly, and why so extravagant with fuel? |
| 44538 | Who art thou, That counterfeit''st the person of a king? |
| 30025 | Who can intercede with Him without His permission? |
| 43805 | When one of his Ministers ventured to remonstrate with him on his prolonged absences from London, he answered:"Do you wish to see me dead?" |
| 40023 | But what about the three letters, one of which is a repeat? |
| 47870 | But how else could such an output as his be handled? |
| 12254 | [ 10] The following passage occurs in one of Beaumont and Fletcher''s plays:"Is the great couch up, the Duke of Medina sent?" |
| 12254 | [ Illustration: Sedes, ecce tibi? |
| 12254 | to which the duenna replies,"''Tis up and ready;"and then Marguerite asks,"And day beds in all chambers?" |
| 54602 | || Marot, D.|France|1650- 1700? |
| 44014 | 164 and 165.--Carved ivory figure of a woman(?) |
| 44014 | 49 and 50.--Narrow armlet of brass, with a succession of animals(? |
| 44014 | Band of guilloche pattern on skirt- rings for pendants(? |
| 44603 | Why, gentlemen, who does trouble himself about a warming- pan?" |
| 44603 | Will it be supposed that the modern office chair is in reality a Windsor? |
| 51626 | And who does not, when in London, glance at his high- bred marble effigy at Whitehall with a secret sympathy for his miserable end? |
| 26120 | Is it too much to believe that some of these charming faces may have been from her hands? |
| 26120 | We know that she painted furniture and china, therefore why not the faces of the needlework pictures so nearly akin to her own work? |
| 34818 | May not this very difference help to explain the second"completion"of the church? |
| 45570 | Dublin(?) |
| 45570 | Dublin(?) |
| 45570 | I said,"Larry, where did you get that?" |
| 45570 | Waterford(?) |
| 44392 | Again, if only Andalusia was able to produce such tiles, why did the Almirante''s wife order them from Toledo? |
| 14824 | What authority have you for that chair? |
| 14824 | What makes you think so? |
| 14824 | The first question to be settled is: shall paint or paper be used? |
| 14824 | There are dozens of different jars and lamps to use, but the one absolutely necessary question to ask oneself is: is it right for my purpose? |
| 57518 | 26][ Sidenote: 33] FLANDERS, ENGHIEN(? |
| 57518 | 33_ Verdure, Enghien_(?) |
| 57518 | Could he have misread a letter or two? |
| 57518 | [ Sidenote: 77] FLANDERS, ENGHIEN(? |
| 47040 | Father,said his little boy one day,"what do you mean by a connoisseur?" |
| 47040 | Among the street cries of London one of the oldest was:"Any pots or pans to mend?" |
| 47040 | Reader, have you ever spent a day away from public clocks in the country when the sky was overcast_ without a watch in your pocket_? |
| 47040 | We are to some extent able from these antiquities to connect the links in the chain of nations, and from the characteristics of their art(?) |
| 47040 | Whence come they? |
| 14302 | How can she know which rooms will be benefited by sombre or sunny tints, and which exposure will give full sway to her favourite colour or colours? |
| 47823 | From whom did he learn this art? |
| 47823 | German, ninth(?) |
| 47823 | LUGDUN-- Cardinal de Bourbon(? |
| 33350 | But how recall them to those who knew them not? |
| 33350 | Is to- day wanting in great works waiting to be done in the great way, which is the way of art? |
| 33350 | Of what will it be? |
| 33350 | Such art and artists as there are, and are there any? |
| 33350 | The answer to this question will be the answer to the question: What, then, is the movement which I am attempting to describe? |
| 33350 | or is it that to- day all great works are machinery only, and so an evil, incapable of artistic treatment? |
| 44391 | ''Well, but,''insisted the young monarch,''what ground is there for thinking so?'' 44391 ''Why is it so called?'' |
| 44391 | But is not this contradicted by the other inscription on the same key? |
| 44391 | Do we not find it in her paintings, on her stone and metal_ rilievi_, or carved in wood upon the stalls of her cathedrals? |
| 44391 | Do we not read of it in stirring stanzas of her literature? |
| 44391 | Who would imagine that a thousand years had come and gone between the execution of the new and of the old? |
| 40367 | Does any but the most inexperienced architect really think that he can ever rid himself of such an inheritance? |
| 40367 | In what, then, shall the ornamentation of rooms consist? |
| 40367 | N''aura- t- il pas naturellement un caractère, et, qui plus est, son caractère propre?" |
| 40367 | Supposing walls and furniture to be satisfactory, how put the minor touches that give to a room the charm of completeness? |
| 47917 | Above all, hast thou thyself been busy?" |
| 47917 | Anything fresh from the trouveurs of Provence? |
| 47917 | Anything from the minstrels of merry Normandy? |
| 47917 | Can I get a good Turkey? |
| 47917 | Could anything be less pleasing than Josephine''s bed at Fontainebleau, shown in Figure 80? |
| 47917 | Is there any good Mellons or Peaches or any good fruit near you? |
| 41664 | And Macaulay inquires,"Where were now the brave old hangings of Arras which had adorned the walls of lordly mansions in the days of Elizabeth?" |
| 41664 | And why is this so?" |
| 41664 | And why, you naturally ask, this return to the slow and laborious way? |
| 41664 | But why except the culinary department? |
| 41664 | Do you know where the very first wall- paper was made?" |
| 41664 | How did you happen to think of such an odd subject, and how ever could you find so many fine old specimens? |
| 41664 | Who were the two personages leaping from the cliff? |
| 41664 | Why should the Old Time Wall- Papers alone be left unchronicled and forgotten? |
| 33144 | And who would dare to talk of laces that could not give a French or Dutch or Irish name to them? |
| 33144 | Are they all worn to rags and lost to the world? |
| 33144 | How do you know it is worth that much? |
| 33144 | Or do they still turn up at chance household auctions? |
| 33144 | The question might be asked, impersonally and perhaps impertinently, What was the auctioneer''s influence at the Marquand sale? |
| 33144 | Was his the power? |
| 33144 | Was it due to the catalogue? |
| 33144 | or was it in the air; and the zeal of an eager audience? |
| 41370 | Does this mean that some of them were English or Germans, or only men from other provinces than the Ile de France? |
| 41370 | The uppermost subjects in them are the Baptism of Christ and the"Domine, quo vadis?" |
| 41370 | Were Yorkshire women, one wonders, so very silent? |
| 41370 | What, to begin with, is glass? |
| 41370 | Who were these men and where did they come from? |
| 41370 | [ 3] What, then, is the oldest"stained- and- painted"glass in existence? |
| 41370 | a foot for white(? |
| 14298 | Well,you will ask,"given the task of converting such a sterile stretch of monotony into a blooming joy, how should one begin?" |
| 14298 | And for what? |
| 14298 | Did these things represent the wise planning of wise monarchs for dependent subjects? |
| 14298 | If it is a small flat, do you aim at absolute comfort, artistically achieved, or do you aim at formality at the expense of comfort? |
| 14298 | Is it to be a bedroom merely, or a combination of bedroom and boudoir? |
| 14298 | Is it to be a family library, or a man''s study? |
| 14298 | Is it to be a formal reception- room, or a living- room? |
| 14298 | Original they certainly are, in colour combinations, tropical in the impression they make,--or should we say Oriental? |
| 14298 | Who can not recall barren rooms, without a spark of attraction despite priceless treasures, dispersed in a meaningless way? |
| 45772 | Is it part of a sanely conceived decorative scheme, or was it used because it happened to be handy as part of a cabinet- maker''s stock- in- trade? |
| 45772 | Is there anything in English art like them? |
| 45772 | Take the early geometric star pattern or the early coloured birds and flowers, what else are they but Dutch? |
| 45772 | The question arises, How did the marquetry panel come there? |
| 45772 | This is exact as far as it goes, but the thought seizes one, how did it come about that man attempted to measure time? |
| 45772 | What of the night?" |
| 45772 | Who can say? |
| 45772 | will you not their memory keep green? |
| 22107 | He tires of carving leaves and ornaments: what more natural than to seek change and amusement in the invention of droll figures of men or animals? |
| 22107 | If there are limits to be observed in the foreshortening of a single leaf, how much more must they apply to the representation of whole landscapes? |
| 22107 | Now, what could have induced the carver to treat a dainty little lady thus? |
| 22107 | The question for the moment is this, which of the two extremes gives the clearest account of itself at a distance? |
| 22107 | The same thing happens when I try to represent a whole tree-- I can not even count the leaves upon it, why then attempt to carve them? |
| 22107 | Who can behold the fantastic humors of Gothic carvings without being both amused and interested? |
| 22107 | Why should it stand up so high, like the gable of a house? |
| 30215 | And why? |
| 30215 | An old Italian receipt for polishing wood blackened to imitate ebony runs thus:--"Is the wood to be polished with burnt pumice stone? |
| 30215 | In every direction the question which is asked is not,"Is this fresh thing good? |
| 30215 | Is it appropriate to, and well- fitted for, its intended uses?" |
| 30215 | M. Luchet asks, with some truth,"Can you imagine a financier, Jew or Christian, paying 100,000 francs for a new bureau? |
| 30215 | Of their clothes, their sinuous folds, and the shadows? |
| 30215 | Of their uncut and curled beards, of their hands, the joints of their fingers, their nails? |
| 30215 | That other, too, who accompanies him--""Who?" |
| 30215 | The designs were made by Trozo da Monza, Bernardo da Trevi(? |
| 30215 | but"Is it novel?" |
| 30215 | interrupted Zanetto,"the Pope?" |
| 30215 | said Charles V.;"have you anything of his doing to complain of then?" |
| 34772 | And where more appropriately could a French king, who loved glass, have been christened? |
| 34772 | At what date then, shall we make our beginning? |
| 34772 | But why a frame of architecture? |
| 34772 | How will this be done? |
| 34772 | It is to provide an answer to the question,"Where does one find good stained glass in France, and how can it most conveniently be seen?" |
| 34772 | Since à Becket was having the new Gothic of Sens copied, why not also its admirable glazing? |
| 34772 | What if you have already visited every nook and corner of this picturesque land? |
| 34772 | Who, then, could better tell us their stories or more delightfully revive by familiar anecdote the originals of their glass portraits? |
| 44750 | If they really could know, would they not approve the principles that we have laid down? |
| 44750 | Should red, brown, or yellow be the prevailing tone? |
| 44750 | What features of design are needed to render it suited to its surroundings? |
| 44750 | What form, construction, and finish will enable it to give the best service? |
| 44750 | What shall we do with these? |
| 44750 | Would they forego the lessons of experience to be learned from all this work? |
| 44750 | _ Importance of Colour Schemes._--But what was the colour to be? |
| 41717 | 1742 Flower in vase 1742 Heart 1751 House 1765 Inscription 1662 Motto or text 1651 Mustard- coloured canvas 1728 Name of maker(? |
| 41717 | All schooldays''friendship, childhood innocence? |
| 41717 | Do n''t you like the fir- cones?" |
| 41717 | Do n''t you remember how fond she used to be of picking them up in her little basket at the dear old place? |
| 41717 | SAMPLER(? |
| 41717 | SCOTTISH(?). |
| 41717 | scene 2, Helena addresses Hermia as follows:--"O, is all forgot? |
| 49559 | Any womanly gesture suffices; and, in truth, what more is needed to make a real work of art in the form of a brooch or a button? |
| 49559 | But what about watch- cases, especially those of ladies''watches? |
| 49559 | Has she not had to assume the most active part in it all? |
| 49559 | Is he completely himself, that which he wishes or strives to be? |
| 49559 | Is not the new fashion-- if it be merely a fashion-- being adopted with too much enthusiasm, followed with too much ardour, to last? |
| 49559 | Is there no danger of seeing good intentions miscarry-- high gifts falling into excesses injurious to the prosperity of the movement? |
| 49559 | Is there no fear of a reaction? |
| 49559 | Some of its excesses are dangerous; what will be the result? |
| 49559 | Then, again, as regards decoration or adornment, has not the highest mission devolved on woman? |
| 49559 | This revival reveals itself rich and abundant-- perhaps too rich and abundant; but what of the future? |
| 49559 | What fruit will it bear when the glamour of that which it has already borne has passed away? |
| 49559 | Whither is it tending? |
| 49559 | Why do our artists not supply our ladies with nice fans? |
| 49559 | Why is it not possible to design an ornament with taste and furnish it with precious stones and enamel? |
| 49559 | Why? |
| 49559 | Yet, what matter? |
| 41922 | Ah how often? |
| 41922 | And who shall say, after that, that the Goths have ever been successfully driven back? |
| 41922 | But with regard to spare rooms in a town house, what advice can be given beyond and except that horrid"do n''t"? |
| 41922 | How can an outside landing or lobby be created at a moment''s notice, or a staircase moved a yard further off? |
| 41922 | What do I say? |
| 41922 | Which of us has not, at some tender time of our lives, regarded a withered flower, or valueless pebble, as our great earthly treasure? |
| 41922 | Why should not the sheets_ always_ smell of lavender( as a matter of fact, they do not, I regret to state)? |
| 41922 | built yesterday? |
| 41922 | or spots of white flowers or stars on a grass- green ground? |
| 41922 | why should not there be_ always_ a jar of dried rose- leaves somewhere"around,"as our dear, epigrammatic, Yankee cousins say? |
| 53954 | Almost everything and everybody had had their congresses and why not Art? |
| 53954 | And what of its last fifty years? |
| 53954 | Are threads and dyes necessarily inferior to pigments and palettes, or the loom less a work of ingenious joinery than the easel? |
| 53954 | But how many brains and hands, nay lives, has it devoured since our industrial epoch began? |
| 53954 | Do not his lions still support Nelson in Trafalgar Square, and perhaps afford some protection to unpopular speakers on that historic plinth? |
| 53954 | Do we? |
| 53954 | Is this an ideal? |
| 53954 | Surely some advance is possible on eighteenth- century ideas of hanging, or the old days of Somerset House? |
| 53954 | The true province of painting is untouched, our national galleries have not lost their attraction, and are not old masters more valuable than ever? |
| 53954 | What is modelling but drawing in relief or in three dimensions? |
| 53954 | What is weaving pattern but drawing in textile? |
| 53954 | What, then, is this something-- this unknown quantity or quality? |
| 53954 | Why not try the effect of coloured tiles instead? |
| 53954 | Why should the decorative arts have nowhere to lay their heads? |
| 36250 | After a series of such processes, what can remain of internal architecture? |
| 36250 | And why not work for exhibition? |
| 36250 | But for what end? |
| 36250 | Can there be left even a room worth furnishing, in the true sense of the term? |
| 36250 | Does the design fit its place and material? |
| 36250 | Does the idiot maker suppose that a woman''s dress is hung all in one piece, body and skirt, from the nape of the neck, to trail its extremest length? |
| 36250 | Has it beauty and invention? |
| 36250 | Has it thought and poetic feeling? |
| 36250 | How should a"stock"article possess either? |
| 36250 | How would ancient Egypt live without her wall paintings-- or Rome, or Pompeii, or Medià ¦ val Italy? |
| 36250 | Is it fair and lovely in colour? |
| 36250 | Is it in scale with its surroundings and in harmony with itself? |
| 36250 | It can hardly be economy of labour and material that dictates this, for-- if so-- why is the usual hanging wardrobe made so preposterously too tall? |
| 36250 | It would be pleasant if in purchasing silk or cloth one had not to pause and consider"will it fade?" |
| 36250 | One observed:"What''s this about?" |
| 36250 | Or shall we for art and honour''s sake boldly adventure something-- drop this wearisome translation of old styles and translate Nature instead? |
| 36250 | Shall we continue to hunt old trails, and die, not leaving the world richer than we found it? |
| 36250 | The question is, What next? |
| 36250 | Were there ever two great painters as wanting in the sacred feeling as Velasquez and Murillo? |
| 36250 | What should we know, how much should we realise, of the ancient world and its life without him, and his brother the architectural sculptor? |
| 36250 | What wonder, then, if furniture, beginning again to account herself an art, should have transgressed her limits and invaded the room? |
| 36250 | What, then, are the special characteristics of the design of the present day? |
| 36250 | Why are the drawers not made proportionate for their duty? |
| 36250 | Why? |
| 36250 | but"will it fade and be an unsightly rag this time next month?" |
| 36250 | meaning not"will it fade in a hundred, or ten, or three years?" |
| 18212 | Are you God? |
| 18212 | But did I not in vain try to make him understand that this brilliant gold would hurt the faces, and completely ruin the effect of colour?... |
| 18212 | It is of the same hardness, and though of a different colour, must be classified with the sapphire: what better classification do you want? 18212 What, Mother?" |
| 18212 | Why do you hang on the cross? |
| 18212 | Ai n''t these all stones and all different?'' |
| 18212 | An old Italian book enjoins the polishing of this imitation ebony as follows:"Is the wood to be polished with burnt pumice stone? |
| 18212 | And for the binding of these beautiful volumes, how was the leather obtained? |
| 18212 | And to draw and design the wild and tame Beasts of the forest and field? |
| 18212 | And what shall we say of the acrobatic antics of Leofwine and Gyrth when meeting their deaths in battle? |
| 18212 | And yet who shall say whether a"dress- reform"Laura would have charmed any more surely the eye of the poet? |
| 18212 | Do I consider that horse well proportioned, or do I not? |
| 18212 | If the lights and shadows fall pleasantly, how little one stops to inquire,"What is the subject? |
| 18212 | If this were the allowance of pensioners, what must have been the proportion among the well- to- do? |
| 18212 | In De Luna''s"Diologos Familiarea,"a Spanish work of 1669, the following conversation is given:"How much has your worship paid for this cabinet? |
| 18212 | Is that woman in good drawing?" |
| 18212 | Is there no deceit in these goodlye shows? |
| 18212 | On the cross is an inscription in the form of a dialogue:"My son?" |
| 18212 | St. Bernard concludes with the universal argument:"Oh, God, if one is not ashamed of these puerilities, why does not one at least spare the expense?" |
| 18212 | The sentiment is not entirely disinterested; but are not motives generally mixed? |
| 18212 | Was it in the nature of a confession or an accusation of some hitherto unknown occurrence? |
| 18212 | What were the early influences of Nicola Pisano, that helped to make him so much more more modern, more truly classic, than any of his age? |
| 18212 | What wood is it made of? |
| 18212 | Who shall say what revelation may have been embodied in these words? |
| 18212 | Yes, and why the devil do n''t you add pearls, too, among the jewels, ai n''t they fish bones?" |
| 18212 | has n''t the air got its sun?" |
| 26151 | And so in all humility you ask,"How can you tell with a glance of the eye?" |
| 26151 | Aniline? |
| 26151 | Apart from repairs, what is being done in the present day? |
| 26151 | Before their imperturbable jocundity what bad humour can exist? |
| 26151 | But for how long is he monarch, with this flaming menace burning into his courage? |
| 26151 | But what weaver of tapestry would be willing to confide his labour to the care of a dye that has not known the test of ages? |
| 26151 | But when the cartouche appeared, what is the effect? |
| 26151 | Could any modern indicate by sophistry of brush or brain so intoxicating a fairyland, so gracious a field of dear delights? |
| 26151 | How did he happen upon it in these latter days? |
| 26151 | How felt the artists about this domesticating of their art? |
| 26151 | How shall we know the true from the false? |
| 26151 | If the eyes gaze on Coypel''s gracious ladies, under fruit and roses, with adolescent gods adoring, what matters if the palate is chastised? |
| 26151 | Italy had the artists, Brussels had the craftsmen-- what happier combination could be made than the union of these two? |
| 26151 | Should one speak first of the cartoon or of the weave, of the artist or of the craftsmen? |
| 26151 | The other says bluffly,"Tapestries? |
| 26151 | This is well for the value of the tapestries, but is it not a providence too thrifty when the public is considered? |
| 26151 | What can the trained eye and the cultivated taste do other than turn back to the products of other days? |
| 26151 | What place had an acre of tapestry in these little rooms? |
| 26151 | Who is she, the grand and gracious lady, bending like a lily stalk among the roses, with a man on either side? |
| 26151 | Why not now resort to a similar method? |
| 26151 | Will not the Twentieth Century see a restoration of its former prestige? |
| 26151 | Yet why does it live? |
| 44393 | Antonio|||| Santamaría|Late 16th century|Madrid(?). |
| 44393 | Had not the Moorish prisoner been formerly considered as the merest chattel, legally equivalent to a beast of burden? |
| 44393 | Swinburne mentions"Martorell, a large town, where much black lace is manufactured,"and"Espalungera( Esparraguera? |
| 44393 | [ 78] How, then, should he be ever equalled with the Christian Spaniard? |
| 44393 | younger)|and early 19th||| Castillo, Gregorio|Late 16th century|Cataluña(?). |
| 44393 | | WORKED AT--------------------+---------------------+---------------------------- Acacio|17th century|? |
| 44393 | |Toledo(?). |
| 44393 | |and early 19th||| Muñoz of Getafe|16th century and|? |
| 44393 | || Alanis|Late 16th century|? |
| 44393 | || Arbell, Ramón|17th century(?) |
| 44393 | || Azcoitia( Cristóbal)|16th century|? |
| 44393 | || Azcoitia( Juan)|16th century|? |
| 44393 | || Azcoitia( the elder)|Late 15th century|Guipúzcoa(?). |
| 44393 | || Criado, Juan|Early 17th century|Madrid(?). |
| 44393 | || Escobar, Cristóbal|Late 16th century|Madrid(?). |
| 44393 | || Escobar, Juan|17th century|Madrid(?). |
| 44393 | || Fuente, Pedro de la|Late 15th century|Madrid(?). |
| 44393 | || Grajeras|17th century|Madrid(?). |
| 44393 | || Grande, Juan|17th century|Madrid(?). |
| 44393 | || Hernandez, Juan|16th century|Madrid(?). |
| 44393 | || Hortega|Early 16th century|? |
| 44393 | || Lallabe, Juan de|Early 19th century|? |
| 44393 | || Lastra, Juan|17th century|Madrid(?). |
| 44393 | || Martinez, Juan|Early 16th century|? |
| 44393 | || Moreno, Luis|Late 15th century|Madrid(?). |
| 44393 | || Perez de Villadiego,|16th century|Madrid(?). |
| 44393 | || Perez, Julian|Early 17th century|Madrid(?). |
| 44393 | || Ramirez, Juan|Late 16th century|? |
| 44393 | || Renedo( the elder)|Early 16th century(?)|? |
| 44393 | || Renedo( the younger)| Late 16th century|? |
| 44393 | || Rosel|? |
| 44393 | || Sosa|17th century|Madrid(?). |
| 44393 | || Tijerero, El|? |
| 44393 | || Ucedo|Late 16th century and|? |
| 44393 | || V....|16th century(?) |
| 44393 | || Vilarasa, Antonio|Late 17th century|? |
| 44393 | || Óipa, Juan|? |
| 44393 | ¿ Ahout teniu las vostras fillas-- viudeta igual? |
| 57009 | 27,000 ells of French( Blois?) 57009 3 yards Rich Paigning(?) |
| 57009 | Buy some quoifs, handkerchiefs, or very good bone lace, mistress? |
| 57009 | ERASTE.--Miss, how many parties have you been to this week? 57009 Qu''avons nous à redouter?" |
| 57009 | Quelle heure est- il? 57009 R.: There''s your ruff, shall I poke it?" |
| 57009 | Rose: Pray, what may this lace be worth a yard? 57009 SIR NICH.--Yes, Points and Laces; why, I carry two laundresses on purpose.... Would you have a gentleman go undress''d in a camp? |
| 57009 | Tell me, Dorinda, why so gay? 57009 What do you lack, ladies fair, Mazzarine hoods, Fontanges, girdles? |
| 57009 | ''Do you think so?'' |
| 57009 | A large figure of Sol(? |
| 57009 | An attendant stationed at the door asks of each new arrival,"Have you any perfumes?" |
| 57009 | B.--What say''st, young fellow? |
| 57009 | But wot ye what? |
| 57009 | Can any dresses find a way To stop the approaches of decay And mend a ruined face?" |
| 57009 | Could this be Walker''s manufacture? |
| 57009 | Do you think I would see a camp if there was no dressing? |
| 57009 | Et vous, Aurillac ou Venise, Si nous plions notre valise,"what will be our fate? |
| 57009 | GEORGE:"What was it?" |
| 57009 | James V. and Lord Somerville at Holyrood:--"Where are all your men and attendants, my Lord?" |
| 57009 | Mais se peut il trouver, souz la voute azurée, Chose plus justement en tous sens mesurée? |
| 57009 | Merli, 1528(?). |
| 57009 | Ouvrage ou il y ait tant de proportions, De figures, de traicts et de dimensions? |
| 57009 | Points and Laces for camps? |
| 57009 | Pour qui? |
| 57009 | Que fait- elle? |
| 57009 | Qui vous l''a dit? |
| 57009 | The First Consul was expected, and the_ élite_ of Paris early thronged the_ salons_ of the charming hostess, but where was Madame Récamier? |
| 57009 | What can these be but Venice patterns? |
| 57009 | What reader of Sterne will not recollect the lace- seller in his_ Sentimental Journey_? |
| 57009 | Why such embroidery, fringe and lace? |
| 57009 | [ 6] Again, in the song of Deborah, the mother of Sisera says,"Have they not divided the prey?... |
| 57009 | [ 883]"B.: Where''s my ruff and poker?" |
| 57009 | _ Translation._ Decoration book of all sorts of Cords, Veil covers, Collars, Belts, Laces, Gloves, Shoulder knots, shoe- seams(? |
| 57009 | de la Cour de Cassation._ What became of these manufactures at Le Quesnoy and Château- Thierry, of which not a tradition remains? |
| 57009 | per gross; four dozen and four"pyrled"lace, four shillings; four quarterns of statching( stitching or seaming?) |
| 57009 | was it gold?" |
| 46779 | 13.--_Ancient Peru._] Do not these things show that man develops everywhere along a corresponding line? |
| 46779 | 74.--_Palissy Dish._] As works of ceramic art, can we accord them a high rank, or can we get much satisfaction in their contemplation? |
| 46779 | And is it? |
| 46779 | And what do we find? |
| 46779 | And what have we now in Mexico? |
| 46779 | And what is the result? |
| 46779 | And why not? |
| 46779 | Are they not justified in calling_ us_"outside barbarians?" |
| 46779 | But among them some( how many who can tell?) |
| 46779 | But do you care for it as you would for a fine plate or an ample punch- bowl? |
| 46779 | But how came the Moors-- the Arabs, rather-- in Spain? |
| 46779 | But let us ask ourselves,"Why should we pay such great prices for work which, as_ art_, has but a reflected value?" |
| 46779 | Can we accept them as_ art_ at all? |
| 46779 | Could the narrow strait stop their way? |
| 46779 | Could the taste and the art which prevailed at Sèvres escape this? |
| 46779 | From all this is it not evident that Wedgwood too found his world full of_ shabby buyers_? |
| 46779 | Have we made vases more beautiful than the Greeks? |
| 46779 | Have we, boastful as we are, made porcelain better than the Chinese? |
| 46779 | How could the superior European compete with or equal the inferior Mongol? |
| 46779 | How did the Greeks live, and why was the Greek vase made? |
| 46779 | How does all this touch upon the small matter of Italian maiolicas, of which I treat? |
| 46779 | How were they established, and why? |
| 46779 | In the eye of God is anything small, anything large? |
| 46779 | Is it not that more than one- half her people own their lands and raise the food they eat? |
| 46779 | Must man always destroy first in order that he may build up, and then be himself destroyed? |
| 46779 | Now, what is this they are weighing and carrying away? |
| 46779 | Of Nicola, the third(?) |
| 46779 | Poetry more musical? |
| 46779 | The question only is,"Is it porcelain?" |
| 46779 | Was it porcelain, or could it be worked into porcelain? |
| 46779 | Was it possible for art to escape this contamination? |
| 46779 | Was woman, then, supremely happy? |
| 46779 | We may well ask, when we go to a house:"What have they there to tell us-- what to show us? |
| 46779 | Were they savage beasts, cruel robbers? |
| 46779 | What but greed, anarchy, cruelty, ruin? |
| 46779 | What can we not believe of such a house as that of Aspasia in Athens, when she was virtually the wife of Pericles in the best period of Greece? |
| 46779 | What did we find there? |
| 46779 | What has come of the destruction of the great Indian races there? |
| 46779 | What have they collected to interest, to please, to instruct?" |
| 46779 | What is the result? |
| 46779 | What were these Moors? |
| 46779 | Who can tell? |
| 46779 | Why need we doubt it? |
| 46779 | Why, then, was it so common? |
| 39749 | 119); and what vessel could be more beautiful than such a flask? |
| 39749 | A picture, also, will not bear repetition: whoever heard of one person having two copies of the same picture in one room? |
| 39749 | But why not abolish the detestable thing altogether? |
| 39749 | Did not the Egyptians express their power of character in their ornaments? |
| 39749 | Do we tell the preacher what he shall say, and ask him to withhold whatever is refining and elevating? |
| 39749 | Have we colour at our disposal, or texture merely? |
| 39749 | Having chosen a form for a vessel, the next question with which we have to deal is, will it require a handle and spout? |
| 39749 | How can we do this? |
| 39749 | I do not wonder at the second poker being required; for nineteen out of every twenty pokers of an ornamental(?) |
| 39749 | II., page 33); and, second, do we not build a house with the view of procuring shelter? |
| 39749 | If so charming when separate from form, what is colour when properly combined with beautiful shapes? |
| 39749 | One has three days in one; and what is the natural result? |
| 39749 | Thus, if drawing a carpet design, we shall inquire, is this form of ornament suitable to a woven fabric? |
| 39749 | We have thus noticed the general utterance or expression of Egyptian drawing; but what specific communication does this particular lotus make? |
| 39749 | What does all this express? |
| 39749 | What form should it have? |
| 39749 | What if the pattern is"extreme,"if it is better than others? |
| 39749 | What, then, are the laws which govern the arrangement of colours? |
| 39749 | When we construct a chair we shall ask, is it useful? |
| 39749 | When we create a gas- branch we shall ask, does it fulfil all requirements, and perfectly answer the end for which it is intended? |
| 39749 | When we design a bottle we shall inquire, is it useful? |
| 39749 | Where are Benvenuto Cellini''s vases, Lorenzo Ghiberti''s cups, or the silver lamps of Ghirlandajo? |
| 39749 | Who ever heard of a man having two copies of one picture in a room? |
| 39749 | Why not, then, have beautiful ceilings, especially as they can be seen complete, while the wall is in part hidden by furniture and pictures? |
| 39749 | Why should such a table be made at all? |
| 39749 | Why then neglect the opportunity of arranging a beautiful object when there is no reason to the contrary? |
| 39749 | Why, then, make our ceilings white? |
| 39749 | Why, then, should we employ only two or three colours, and those of the most crude character? |
| 39749 | Yet they need not protrude beyond the surface; but why hide them? |
| 39749 | and can any desired colours be placed in juxtaposition or only certain tints? |
| 39749 | and do we not every day see the impress of the ignorant upon certain wall- papers, carpets, and other things? |
| 39749 | and how are they to be applied? |
| 39749 | and if colour, can it be employed freely or only sparingly? |
| 39749 | and then, is it beautiful? |
| 39749 | and then, is it beautiful? |
| 39749 | and then, is it beautiful? |
| 39749 | could it be more useful? |
| 39749 | could it be stronger without using more, or another, material? |
| 39749 | did not the Greeks manifest their refinement in the forms which they drew? |
| 39749 | hence why do we seek to realise the feeling that we are without a covering over our heads? |
| 39749 | is it all that a bottle should be? |
| 39749 | is it properly put together? |
| 39749 | is it strong? |
| 39749 | is it suitable to the particular fabric for which it is intended? |
| 14715 | Does she enjoy being comfortable? |
| 14715 | After all, what surer guarantee can there be of a woman''s character, natural and cultivated, inherent and inherited, than taste? |
| 14715 | And is n''t it time for us to pull up short lest we sidestep the goal? |
| 14715 | And why should n''t white iron beds, which are modest and unassuming in appearance, serve for homes as well? |
| 14715 | Ca n''t you see that this cypress room is simply glowing with color? |
| 14715 | Could anything be more mistaken? |
| 14715 | Do you remember the song Edna May used to sing in"The Belle of New York"? |
| 14715 | Does n''t everyone long for a footstool at table? |
| 14715 | Have n''t you been in rooms where there was a jumble of mission furniture, satinwood, fine old mahogany and gilt- legged chairs? |
| 14715 | Have n''t you seen a fine old four post bed simply overflowing a poor little room? |
| 14715 | Have you ever come suddenly upon an old Southern house, and thrilled at the classic purity of white columns in a black- green forest? |
| 14715 | He thinks that because he has the money to pay for the treasure, the treasure must be genuine-- hasn''t_ he_ chosen it? |
| 14715 | How can we attribute taste to a woman who permits paper floors and iron ceilings in her house? |
| 14715 | How can we believe that a woman of sincerity of purpose will hang fake"works of art"on her walls, or satisfy herself with imitation velvets or silks? |
| 14715 | How can we develop taste? |
| 14715 | How, then, may we go about accomplishing our ideal? |
| 14715 | I asked,"Is she a lady of habits?" |
| 14715 | I should talk of the shell of the house before the contents, should n''t I? |
| 14715 | I was very happy over it and you can imagine my amazement when she came to me and said,"But Miss de Wolfe, what am I to do with my blue satin tidies?" |
| 14715 | If your object is to furnish your home suitably, what need have you of antiques? |
| 14715 | Is n''t it a braggart pose, a desire to show the number of things you can buy? |
| 14715 | My friend, who had been very patient up to that moment, said very quietly,"What makes you think so?" |
| 14715 | Of course, I do not advise you to spend a lot of money on someone else''s property, but why not look the matter squarely in the face? |
| 14715 | Real hard wood trim is n''t used in ordinary apartments, so why not do away with the badly- grained imitation and paint it? |
| 14715 | So many people ask me: How shall I furnish my living- room? |
| 14715 | The effect is the thing you are after, is n''t it? |
| 14715 | The little table must hold a good reading light, well shaded, for who does n''t like to read in bed? |
| 14715 | The perfectly plain carpet rug is of a dull red that is the color of an old- fashioned rose-- you know the roses that become lavender when they fade? |
| 14715 | We are too afraid of the restful commonplaces, and yet if we live simple lives, why should n''t we be glad our houses are comfortably commonplace? |
| 14715 | What do we mean by the best standards? |
| 14715 | What is the goal? |
| 14715 | What paper shall I use on the walls? |
| 14715 | What woodwork and curtains-- and rugs? |
| 14715 | White and gray clouds on a blue sky-- what more could she use in such a composition? |
| 14715 | Who can blame her for loving the business of making herself attractive, when every one offers her encouragement? |
| 14715 | Who could blame him? |
| 14715 | Who does n''t know the woman who goes to a shop and selects wall papers as she would select her gowns, because they are"new"and"different"and"pretty"? |
| 14715 | Who has n''t longed for a comfortable place to snatch forty winks at midday? |
| 14715 | Why did we have to go through the period of the walnut hat- rack and shiny oak hall furniture, only to return to our simplicities? |
| 14715 | Why do n''t we make use of them? |
| 14715 | Why do people think of a built- in cupboard as being less important than a detached piece of furniture? |
| 14715 | Why not spend a few dollars and make it the most interesting part of the room by giving it a lot of vines and flowers and a small fountain? |
| 14715 | Why not? |
| 14715 | Why pay for names when museums are unable to buy them? |
| 14715 | Why should n''t a washstand be just as attractively furnished as a dressing- table? |
| 14715 | Why should n''t some manufacturer have them reproduced? |
| 14715 | Why should we American woman run after styles and periods of which we know nothing? |
| 14715 | Why should we not be content with the fundamental things? |
| 14715 | Why then lend yourself to possible deception? |
| 14715 | Why? |
| 14715 | Will you believe me when I assure you that this room is called cool and restful- looking by everyone who sees it? |
| 14715 | You know whether you get results, do n''t you? |
| 42098 | How shall I adorn this church, this clerestory, this chancel, this window, with stained glass? |
| 42098 | A Saint in stained glass( to mention no higher Person) stands in a window for just so much colour: is not that rather a degradation of the saint? |
| 42098 | And what are those qualities? |
| 42098 | And what do we find? |
| 42098 | And what good is to come of it? |
| 42098 | And what is the aim and use of a stained glass window? |
| 42098 | Are we never to frame our glass pictures? |
| 42098 | Are we to disregard it in our work? |
| 42098 | Are we to have no figures, therefore, in grisaille? |
| 42098 | Are we to have no larger pictures ever? |
| 42098 | Are we, therefore, to have no rich windows any more? |
| 42098 | But if so much sacrifice is necessary to figure, why always adopt that form of design? |
| 42098 | But was it not he who flattened the grey- blue background to the transept windows at S. Gudule? |
| 42098 | Does that seem to him the thing worth doing? |
| 42098 | Effect, did I say? |
| 42098 | For example, what shall be said about the great East window at Gloucester Cathedral, which Winston instances as a typical example of Decorated glass? |
| 42098 | Has he any sympathy with them? |
| 42098 | How does one tell the period of a window? |
| 42098 | How much old glass would have remained to us if it had been executed in huge sheets? |
| 42098 | If at a certain period in the history of design the scope of the glass painter was limited, his art rude, shall we limit ourselves in a like manner? |
| 42098 | If his personal bias be that way, who shall say him nay? |
| 42098 | If the ground is naturally broken up by figures, foliage, mantling, or what not, why introduce further quarry lines? |
| 42098 | In the Apostle window( attributed to Michel Angelo?) |
| 42098 | In the presence of the splendid achievement of Van Orley, who shall say that the artist does not justify himself? |
| 42098 | Is it good? |
| 42098 | Is it quite past praying for, that there may still be a future for windows merely ornamental, which shall yet satisfy the sense of beauty? |
| 42098 | It is a dream of silvery light: who cares for details of design? |
| 42098 | May not similar results be obtained of set purpose and design? |
| 42098 | Must we rest there? |
| 42098 | Shall we be such pedants as to reject them because they do not fit in with our preconceived ideas of fitness? |
| 42098 | Should one, then, it may be asked, take the exception for model? |
| 42098 | Since enamel of some kind had to be used, why not employ a colour more akin to the glass itself than mere brown? |
| 42098 | That question may be answered by another: What about old work? |
| 42098 | The question he has to put to himself is now no longer: does the stonework hurt my design? |
| 42098 | The question is, what can be done with it? |
| 42098 | The question which perplexes him on the very outskirts of the subject is: Which are the windows to see? |
| 42098 | Under circumstances such as these, what wonder ornament is monotonous? |
| 42098 | Was he at heart a heathen giving secret vent in art to feelings he dared not openly express? |
| 42098 | Were the artist always the glass painter, and the glass painter always an artist, who knows what case pictorial glass might not make out for itself? |
| 42098 | What are the characteristics of the various styles in glass? |
| 42098 | What could be easier than to repeat details of ornament, or even to make up bogus old subjects, and so complete the window? |
| 42098 | What could he be expected to care for technique other than his own? |
| 42098 | What did he know about it? |
| 42098 | What does an historic style mean? |
| 42098 | What else is there to recommend it? |
| 42098 | What if it be confused? |
| 42098 | What is his sin against art, that he should do this dreary penance, imposed by architectural or ecclesiastical authority? |
| 42098 | What more can you ask? |
| 42098 | What possible business, for example, have they with legs and feet? |
| 42098 | What then? |
| 42098 | What, then, about historic style? |
| 42098 | What, then, is the difference between the two kinds of glass? |
| 42098 | Who does not call to mind window after window in which the glass is so mixed as to be quite meaningless, and is yet, for all that, beautiful? |
| 42098 | Who shall attempt what these men failed to do? |
| 42098 | Why not sometimes at least abandon subject, and seek what can best be done in glass, even though that be barbaric? |
| 42098 | Why not this mass of white without pretended forms of masonry, without this paraphernalia of pinnacles? |
| 42098 | Why should it be so? |
| 42098 | Why should the modern designer submit to be shackled by obsolete traditions? |
| 42098 | Why will men of learning and research discount, nay, wipe out, the debt art owes to them, by claiming what is not their due? |
| 42098 | Why will not a man frankly tell us what is new in his work? |
| 42098 | Why, one is inclined to ask, this honour to the enemies of the Church on the part of the churchman? |
| 42098 | Why, therefore, consider them if you wish to produce the effect of something seen through? |
| 42098 | but: does my design hurt the stonework? |
| 42317 | And most of all, do the points of concentration and shape of the panel fit the structural outlines and proportions? |
| 42317 | Are all links and appendages joined to the primary mass in a graceful tangential manner? |
| 42317 | Are compass curves permissible in appendage design? |
| 42317 | Are they feeble compass curves or do they have the character of long sweeping curves with short"snappy"turns for variety? |
| 42317 | As designers on wood, how are we to utilize this curve for purposes of outline enrichment? |
| 42317 | Between which two groups does the transition from a horizontal to a vertical primary mass occur? |
| 42317 | By what means should two contrasting curves be separated? |
| 42317 | Does it seem too thin and spindling? |
| 42317 | Does the design"hold together"? |
| 42317 | Does the eye move smoothly through all parts of the contour? |
| 42317 | First, why should it be enriched-- is there a positive gain by so doing? |
| 42317 | For what specific purpose is a vertical rectangular panel adapted? |
| 42317 | How does Rule 4c help to secure unity between the appendage and the primary mass? |
| 42317 | How does its application to wood effect the color and value of aniline stain? |
| 42317 | How does the architect first plan his elevations? |
| 42317 | How does the point from which the article is to be seen affect the character of the design? |
| 42317 | How does the size of the area to be enriched by color affect the color medium,_ i.e._, stains, glazes, enamels, etc.? |
| 42317 | How does this compare with the classification of clay forms? |
| 42317 | How may an approximate scale of twelve hues be prepared from them? |
| 42317 | How may artificial objects be adapted to surface enrichment? |
| 42317 | How should a curve join a straight line? |
| 42317 | How should each be applied? |
| 42317 | How should surface enrichment of small masses differ from that applied to larger masses; in what manner does the fiber of the wood affect the design? |
| 42317 | How should the appendage be attached to the primary mass? |
| 42317 | How should the designer first think of his problem? |
| 42317 | How should the units be drawn to be in harmony with the inceptive axis, the contours, and to each other? |
| 42317 | In marginal enrichment, is it preferable to locate the point of concentration in the center or corner of the margin? |
| 42317 | In what manner does historic ornament influence industrial design? |
| 42317 | In which group or groups is the relation between surface and contour enrichment closest? |
| 42317 | Is it possible to vary the design motive of a chain from that of a pendant? |
| 42317 | Is it the primary mass, appendages, terminals, links, or details? |
| 42317 | Is it true, then, that furniture must of necessity be clumsy and heavy when it is sufficiently simplified in constructive processes for school work? |
| 42317 | Is the enrichment to be seen from above or from the side? |
| 42317 | Is the object flat, shallow and circular, low and cylindrical, high and cylindrical? |
| 42317 | Is the panel agreeably filled without appearing overcrowded or meager? |
| 42317 | Is the zone of enrichment associated with a square, rectangle, hexagon, or irregularly shaped flat plane, circular or cylindrical surface? |
| 42317 | Is there a perceptible change in the surface enrichment paralleling this change in proportions of the primary mass? |
| 42317 | Second,( if the decision is favorable to enrichment) where should it be enriched? |
| 42317 | Should a border be placed at the point of greatest curvature of the contour? |
| 42317 | State direction of the inceptive axis for problems similar to:(_ a_) tie pins,(_ b_) pendants,(_ c_) fobs,(_ d_) rings,(_ e_) bar pins? |
| 42317 | To what uses are panels of varied shapes adapted? |
| 42317 | Under what grouping of planes may they be placed? |
| 42317 | What are generally used as stains for clear glazes; matt glazes? |
| 42317 | What are leading lines; dynamic forms; points of concentration? |
| 42317 | What are minor subdivisions in wood construction? |
| 42317 | What are mouldings? |
| 42317 | What are standard hues? |
| 42317 | What are tints and shades? |
| 42317 | What decorative process will be adaptable to service, the material, and the contemplated design? |
| 42317 | What disturbing elements should be guarded against in the application of contour enrichment? |
| 42317 | What experience have you had in mixing calcimine for wall decoration? |
| 42317 | What four qualities are added to industrial design by contour enrichment? |
| 42317 | What is a panel? |
| 42317 | What is an element of a cylindrical surface? |
| 42317 | What is highest in chroma-- matt, or clear glaze? |
| 42317 | What is its relation to the structure? |
| 42317 | What is meant by proportionate distribution? |
| 42317 | What is often used as a point of concentration in the surface enrichment of precious metals? |
| 42317 | What is the aesthetic value of curves in outline enrichment? |
| 42317 | What is the character of surface enrichment for large areas? |
| 42317 | What is the effect of a design with dominant horizontal major divisions? |
| 42317 | What is the effect of a design with dominant vertical major divisions? |
| 42317 | What is the effect of oxidation; what is its value? |
| 42317 | What is the inceptive axis; a bilateral unit? |
| 42317 | What is the last and ideal step for the designer? |
| 42317 | What is the nature and need of vertical space divisions? |
| 42317 | What is the practical use of nigrosene in stain mixing? |
| 42317 | What is the relation of the size of the appendage to the size of the primary mass? |
| 42317 | What is the treatment of more than three vertical divisions? |
| 42317 | What is the value of accenting the functional parts in clay design? |
| 42317 | What is the value of an inceptive axis with relation to the unity of a design? |
| 42317 | What pigments are best adapted to rendering design problems? |
| 42317 | What pigments are particularly adapted to the rendering of wood stains? |
| 42317 | What point constitutes a horizontal division in the contour of a simple clay bowl? |
| 42317 | What point of the structure suggested by the form needs surface enrichment? |
| 42317 | What precautions should be exercised in designing pierced enrichment? |
| 42317 | What precautions should be exercised with regard to the use of incised, pierced, and modeled decoration? |
| 42317 | What problems of hue, value, and chroma would arise in Question 15? |
| 42317 | What rule should govern the amount of metal used in a design? |
| 42317 | What rules should be observed in designing a built- up or carved design? |
| 42317 | What should be the relation in a design between the details of a project and the divisions of the primary mass? |
| 42317 | What should we have in mind when staining furniture for the home? |
| 42317 | What stains will be produced by cobalt and copper oxides; cobalt and manganese oxides; cobalt and nickel oxides? |
| 42317 | What three requirements should be met in a well designed industrial article? |
| 42317 | What two forms of enrichment are commonly used in industrial arts design? |
| 42317 | When the entire design is completed one should ask the following questions: Does the design have unity? |
| 42317 | Where are we to find these curves suited to our purpose? |
| 42317 | Where is the zone of service? |
| 42317 | Where may the point of concentration be located in full square panel enrichment? |
| 42317 | Where should the point of concentration be located in a vertical rectangular panel? |
| 42317 | Where should the point of concentration be located upon the inceptive axis? |
| 42317 | Why and how? |
| 42317 | Why are the side walls important when considering the color scheme of a room? |
| 42317 | Why do we need standards of hue? |
| 42317 | Why will iron and copper oxides produce a yellow green stain? |
| 42317 | Why? |
| 42317 | Why? |
| 42317 | Why? |
| 42317 | Why? |
| 42317 | Why? |
| 42317 | Why? |
| 42317 | Will the enrichment cover the full surface, part surface( center or margin), or accented outline? |
| 31415 | Must we observe then( you say)"the style of the building into which we put our work, and not have a style of our own that is native to us?" |
| 31415 | So hard to get out of London? |
| 31415 | Why on earth,you will say,"did n''t he tell us about this, about that, about the other?" |
| 31415 | You would like a bit there if there were an excuse for it? |
| 31415 | _--But now, all this being granted, how are we to set about getting the pieces cut? 31415 ***** And why have I reserved these hints till now? 31415 63) of about the average relation of the shape cut to its margin of waste? 31415 64), used for loading some forms of kiln? 31415 And can you not get it? 31415 And did you never wonder at its beauty, and wonder how so simple a thing could strike you almost breathless with pure physical delight and pleasure? 31415 And how now? 31415 And how now? 31415 And if the bad ones, why not the good? 31415 And if you do? 31415 And what do you think of the colour of the little central circle half- way up the middle light? 31415 And will you dare to venture? 31415 But can we leave the subject here? 31415 But first--_may_ we place windows in ancient buildings at all? 31415 But( as Serjeant Buzfuz might say)who_ does_ forget his pliers?" |
| 31415 | CHAPTER XX A STRING OF BEADS Is there anything more to say? |
| 31415 | Ca n''t you do better than that? |
| 31415 | Can you screw your exhaustion up_ again,_ sacrifice all you have done, and face the labour of wrestling with the new idea? |
| 31415 | Did Beethoven know, when he evolved a movement in one of his concerted pieces out of a quarrel with his landlady? |
| 31415 | Did fifteenth- century men do thirteenth- century glass when they had to refill a window of that date?" |
| 31415 | Did you ever? |
| 31415 | Do n''t you see that it''s impossible?" |
| 31415 | Do n''t you think it''s worth while spending half- an- hour to paint false lead lines on the back of the plate? |
| 31415 | Do n''t you think so?_"Thus once said to me a member of a window- committee, himself also an artist. |
| 31415 | Do n''t you think so?_"Thus once said to me an artist of respectable attainment. |
| 31415 | Do you ask for such a guide? |
| 31415 | Do you incline towards myth and symbolism and allegory-- the expression of abstract thought by beautiful figures? |
| 31415 | Do you like the look of deep vivid vermilion- red, upon dark cold green? |
| 31415 | Do you see what it all means? |
| 31415 | Do you suppose Michael Angelo learned his business by dashing or hitting at it?" |
| 31415 | Do you think art is so easy that you can afford to saunter over it? |
| 31415 | Do you think the artist would have let himself go, in that full and ample way, in a beautiful Gothic building full of lovely architectural detail? |
| 31415 | How then about the portions of it which have been painted on, as I have said, over_ another_ layer of pigment in the shape of the_ outline_? |
| 31415 | How, then, can any either use rightful liberty or observe rightful limitations? |
| 31415 | I daresay it is a bit of builder''s glazing-- but is n''t it jolly? |
| 31415 | If we are not then to do this what resource have we? |
| 31415 | Imagine a barrow with such a wheel; what_ then_ would happen to your slates? |
| 31415 | Is all well? |
| 31415 | Is he right, or is it only an instance of his love for and faith in the thing he has got used to? |
| 31415 | Is it any use, for instance, to speak of these primroses along the railway bank, and those silver buds of the alder in the hollow of the copse? |
| 31415 | Is it not common sense? |
| 31415 | Is it not far more easy, less dangerous? |
| 31415 | Is it not reasonable? |
| 31415 | Is it not the way? |
| 31415 | Is it worth while to try and put a little clasp to our string of beads and tie all together? |
| 31415 | Is n''t it a flower? |
| 31415 | Is sharpening worth while, since the tool only costs a few pence? |
| 31415 | It''s a merry world, is n''t it? |
| 31415 | Let each decide the question for himself; but, supposing you admit that it is permissible, what are the proper restrictions and conditions? |
| 31415 | Literature? |
| 31415 | Music? |
| 31415 | Must we work in a"style,"then-- a"Gothic"style? |
| 31415 | Name me a great building which does not possess it? |
| 31415 | Now suppose I had had men who did what they were told, instead of being encouraged to think and feel and suggest? |
| 31415 | Of what use is it to speak of these things? |
| 31415 | Or are you in love, and would express its spring- time beauty? |
| 31415 | Or can it be that all workmen do not know of the existence of the other types of handle? |
| 31415 | Or is it that the wheel for some reason runs less truly in the malleable iron than in the cast iron? |
| 31415 | Or is your bent devotion and the devout life, expressed in thrilling story and gorgeous colour? |
| 31415 | Painting? |
| 31415 | Remember,--it is an accessory to architecture; and who is there that does not want repose in architecture? |
| 31415 | Sculpture? |
| 31415 | Shall we work in the style of the"New art,"then--"_l''art Nouveau_"? |
| 31415 | Simple enough to say, but who is to describe in writing this process in all its forms? |
| 31415 | Tennyson, when he corrected and re- corrected his poems from youth to his death? |
| 31415 | The great question,"Must I do it all myself, or may I train pupils and assistants?" |
| 31415 | The pigment is fused, no doubt; but is it united to the glass? |
| 31415 | The top layer of slates would all come cocking their outer edges up as the barrow passed over their inner ones, would they not? |
| 31415 | There was a little boy( was he six or seven or eight? |
| 31415 | These last know nothing of glazing, why should glaziers know anything of art? |
| 31415 | This very problem, to wit: Did you never see a purple anemone? |
| 31415 | This youth argued:"If they use copper for soldering- bits because it retains heat so well, why not use copper for the waxing- up tool? |
| 31415 | Were you sorry to be on the lowest step of the ladder? |
| 31415 | What can you do? |
| 31415 | What do you see? |
| 31415 | What has all this to do with stained- glass? |
| 31415 | What remedy or answer for this? |
| 31415 | What rule, then? |
| 31415 | What would happen? |
| 31415 | What, then, in detail, are the rules that must guide us in placing windows in ancient buildings? |
| 31415 | Whence would you like instances quoted? |
| 31415 | Where, for most people at any rate, is the"allegory"in the Theseus or the Venus of Milo? |
| 31415 | Why do you think the goldsmith''s apprenticeship is so fruitful? |
| 31415 | Why have I-- do you ask-- after arousing your attention to the"great principles of art,"gone back again all at once to these little matters? |
| 31415 | Why then write a book at all, since it is not the best way? |
| 31415 | Why? |
| 31415 | Will you have more hints still? |
| 31415 | Yet is not the whole race of man the better for them? |
| 31415 | You see a yellow shield? |
| 31415 | You stand near it and say,"Yes, that is the King"( or the Commander- in- Chief),"a good likeness; however do they do those patent- leather boots?" |
| 31415 | You think a pansy is purple, and there an end? |
| 31415 | You think it, perhaps, too"severe"? |
| 31415 | [ 5]"Do you know, if you read this, that you can not read that-- that what you lose today you can not gain to- morrow? |
| 31415 | against its green leaves? |
| 31415 | and why this line so made will yet not serve for separating the glass? |
| 31415 | and with a thin ring of crimson shaded off into pink? |
| 31415 | b? |
| 31415 | besides being cocked up by the wheel, they would also be_ pushed out_, surely? |
| 31415 | but cut out the pale yellow band, the orange central spot, the faint lilacs and whites in between, and where is your pansy gone? |
| 31415 | can it_ not_?) |
| 31415 | or the_ whole_ of the left- hand light; well, or the middle light, or the right- hand light? |
| 31415 | quietly lift it with one hand? |
| 31415 | so absurdly simple? |
| 31415 | surely these are things of the work- bench, practical matters, and would have come more conveniently in their own place? |
| 31415 | the art- tree, the art- bird, the art- squirm, and the ace of spades form of ornament? |
| 31415 | the style of the last new poster? |
| 31415 | with a white centre? |
| 31415 | you despise it? |
| 31415 | you''d never have thought of that? |