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 |
|---|---|
| mdp.39015068173015 | ? Foliated, Flowing, Self- Contained, Conventional. |
| osu.32435015509524 | stas? |
| uc1.31822004676433 | 1687 — 1746), Thomas Archer(? |
| wu.89057178626 | London W C. |
| wu.89057178626 | Why, it may be asked, can you not make a diaper on other lines, on the lines of the pentagon for ex- ample? |
| njp.32101067622942 | Who, in former times, used vermilion, except for physic? |
| njp.32101067622942 | Why is this? |
| hvd.hw1zrp | 0 os.. O-- O? |
| hvd.hw1zrp | ? |
| hvd.hw1zrp | Should it be so? |
| hvd.hw1zrp | The perfection of the mathematician has proved his license to intrusion into the artistic world, either to the damage or benefit of the latter(? |
| hvd.fl14y4 | Is not this a point in its favor? |
| hvd.fl14y4 | Narrow- ed down to the subject of ornament, our question is, Tesseract what promise does geometry hold of a new ornamental mode? |
| njp.32101067622801 | 1894.,? |
| njp.32101067622801 | Obviously, however, the most effective way of disguising the skeleton is to clothe it, as? 1ate31. |
| njp.32101067622801 | Why, it may be asked, can you not make a diaper on other lines, on the lines of the pentagon for example? |
| umn.31951d00453407o | ? • 15- Von einem getriebenen Zinnteller. |
| uc1.c056071789 | 1881? |
| uc1.c056071789 | ? |
| mdp.39015014434495 | FIOUKE? |
| uc1.c034844671 | And why, it may be asked, should not British artists do so likewise? |
| uc1.c034844671 | i 1 APORTTI 1 1 1? |
| uc1.b001142197 | 9 ra 15 112 18? |
| uc1.b001142197 | Arkitektur, skulptur och ornamentik Sidenväfnader 78 81 83 36 38 95 96 98 46 100? |
| msu.31293103568477 | - они? |
| msu.31293103568477 | Klovermokíef u) Ill.'\~ n nip'Ъ ‘ l"а} Н I ч we"( Y „_ a 1;. ’ f1,"L. ’ ‘ u: n n)''5 ”?. |
| msu.31293103568477 | L Onliwíklteling von een vierkant- versiering met onderverdeeling ‘ Klimop- motief `` 11 „ i “{ хата 634—463 С?) |
| msu.31293103568477 | ci*._Y'f1 » ¿ j? |
| msu.31293103568477 | « им? |
| chi.25749395 | ).—HILDA'S “ WHERE IS IT?" |
| njp.32101075436764 | |
| njp.32101075436764 | What rational ques- tion is? |
| uc1.b3258508 | Antique(?) |
| uc1.b3258508 | In the 11th and LNGHINWNMHO 9NILWCHCHCHH f83 ºf 1 I albid$% º º SV) 2\!/? |
| uc1.b3258508 | It is said of Charlemagne, however, that he possessed three of silver, and one golden(?) |
| uc1.b3258508 | NK 15( 0{ 2}|? |
| uc1.b3258508 | TTTTTTL||||||| NZNZNZN? |
| uc1.31210000985273 | );( 9), a myth;( 10), mad as hares in March;( 11), a monk(? |
| uc1.31210000985273 | ?? |
| uc1.31210000985273 | ?? |
| uc1.31210000985273 | I? |
| uc1.31210000985273 | high); Religion(?) |
| uc1.c003266186 | ( P.& C.) I/?.. |
| uc1.c003266186 | 1 19550•4010:4 Dec 100114 TIN2 CIAL? |
| uc1.c003266186 | :):)) ra Ches 11? |
| uc1.c003266186 | De elo مریم 1 M's? |
| uc1.c003266186 | The design of it is attributed to Antonio Picconi, who took the surname of San Gallo( 148?-1546). |
| uc1.c003266186 | sila? |
| mdp.49015002180777 | 304.—Capital, Ai.cai.a de Hekares, in?> Iauuiu Museum. |
| mdp.49015002180777 | An- tonio( Averulino) Filarete( 1400- 1465?) |
| mdp.49015002180777 | Could the Toulouse doorway have been by a Spaniard? |
| mdp.49015002180777 | English Qrwament xk- mcenturieI Modern Curfain kef JZ Wm- Morris Texfi/ e Design A? |
| mdp.49015002180777 | Peasant Ornament:(?) |
| mdp.49015002180777 | The architectural divisions and ornaments which frame the mighty symbolisms of the design were painted in chiaroscuro? |
| mdp.49015002180777 | panels were complicated by multiplied crossettes, pro- jections, ears and tabs; rectangular brackets were treated like triglyphs, and gutta? |
| mdp.39015009262125 | 2? |
| mdp.39015009262125 | Antique(?) |
| mdp.39015009262125 | G. Head of a hunting Dog, i 7 Head of a Fox, I,,,, 8 Head of a Boar,\ b? |
| mdp.39015009262125 | GEOMETBICAL ELEMENTS 7 Band Motive?. |
| mdp.39015009262125 | It is said of Charlemagne, however, that he possessed three of silver, and one golden(?) |
| mdp.39015009262125 | ORNAMENT APPLIED TO? EA- TURES: 125. |
| uiug.30112024369768 | #->-:%-----||-| …? |
| uiug.30112024369768 | ...? |
| uiug.30112024369768 | 0 THE It'vrney GF"L'013||||-----*-*-->--------------------* H 1:...? |
| uiug.30112024369768 | < L....? |
| uiug.30112024369768 | BAY WINDOW OF A HOUSE AHMEDABAD L.... …? |
| uiug.30112024369768 | H. POLLEY& CO. BAY WINDOW, LAHORE, u-? |
| uiug.30112024369768 | L., …? |
| uiug.30112024369768 | OLD DOOR IN THE PALACE, AMBER,-o-,...? |
| uiug.30112024369768 | STREET IN THE BAZAR, LAHORE*......? |
| uiug.30112024369768 | Y C: HE* f:['Ols L.- …? |
| nyp.33433082115506 | ); Propylaea( 43.? |
| nyp.33433082115506 | And now, what school of ornament shall we study to illus- trate this kind of design? |
| nyp.33433082115506 | Do they know that"all Egypt is the gift of the Nile?" |
| nyp.33433082115506 | How high are those pyramids? |
| nyp.33433082115506 | In a well- known high school, where drawing is optional, the question was asked,"Why do you study drawing?" |
| nyp.33433082115506 | Reasons: First, if we could send our pupils from the public schools with a love for any one style of ornament, would we not choose the Greek? |
| nyp.33433082115506 | What can the pupils tell you about this interesting river? |
| nyp.33433082115506 | Who were the people that lived in such sumptuousness? |
| mdp.39015018603111 | ( 1674–1754), William Kent( 1684–1742), G. Leoni( 1686–1746), John James of Greenwich(? |
| mdp.39015018603111 | ...,.,.?. |
| mdp.39015018603111 | 1687–1746), Thomas Archer(? |
| mdp.39015018603111 | 1690–1743); Colin Campbell(? |
| mdp.39015018603111 | ? m^wm FRENCH LATER RENAISSANCE ORNAMENT. |
| mdp.39015018603111 | @mmMi£3E^>w&sMlbKi^& urn'iffi'^^^^asa^so';> £? |
| mdp.39015018603111 | It did*? §? 1s^^5$i?^! |
| mdp.39015018603111 | It did*? §? 1s^^5$i?^! |
| mdp.39015018603111 | Vogue, Comte de, La Syrie central?. |
| uc1.b5463236 | ---- ，!|-||- ſ.l.ſ'！- 1. r- Ķ ” →-? |
| uc1.b5463236 | Architecture Add"1 GIFT///7s//? |
| uc1.b5463236 | Can we grasp and realize the truth of it? |
| uc1.b5463236 | Having thus limited our field, what is left to us? |
| uc1.b5463236 | Is there any right or wrong in the matter? |
| uc1.b5463236 | This operation is, exceedingly painful,"and leaves an indelible mark. ”? |
| umn.31951000442341p | And to what extent is it well to admit the dictation of the tool? |
| umn.31951000442341p | But was it worth while? |
| umn.31951000442341p | Given a panel to be filled, how is this to be done? |
| umn.31951000442341p | How far may one safely go in the direction of nature? |
| umn.31951000442341p | Is it possibly out of consideration for the lady purchaser that modern table- linen is for the most part so petite in style? |
| umn.31951000442341p | Plate 38 MIGHTED BAURELIANA LEHIASAANUT OUT 12th Century Geria12 DUO 20 මමත් 13th Century French KAS? |
| umn.31951000442341p | That is all very well so far as con- cerns the definition of the word pattern; but how about the meaning of the word design? |
| umn.31951000442341p | What rational ques- tion is? |
| umn.31951000442341p | Why, it may be asked, can you not make a diaper on other lines, on the lines of the pentagon for example? |
| umn.31951000442341p | Would any more pretentious form of art be so entirely satisfac- tory for the purpose of basketwork as the ingeniously plaited pattern on Plate 10? |
| umn.31951000442341p | | 21 inch block A K21 inch block B Diamond) 21 X 21 inches GOU Diamond 21 X 14 linches? |
| umn.31951d004390771 | si.ied...)? |
| umn.31951d004390771 | **---------*-*- s---**********-* XVII"cBNTURY Lithographié Par Daumont XVII: SIRCLE(? |
| umn.31951d004390771 | , 5~ ’ wk? |
| umn.31951d004390771 | - £'? |
| umn.31951d004390771 | /'~~@..'r/ é ‘ ‘__ 7:? |
| umn.31951d004390771 | 43 higher ideal? |
| umn.31951d004390771 | AQQA w- v- 0 ‘ v\u ORIECHISCH ROMISCH GREGG — ROMAN GREEK'ROMAN E?ILIIHSIL‘IKETIIL[ mists V 1'lmp Lcmercier 8 C'? |
| umn.31951d004390771 | But was not this in- evitable? |
| umn.31951d004390771 | But with a style thus conceived, what became of the floral element so valuable in decorative art? |
| umn.31951d004390771 | Fl LS& Cie EDITEU RES RL? |
| umn.31951d004390771 | Paris~ FlRMlN- DIDOT FRERES, FII.S 8 6'? |
| umn.31951d004390771 | XVII"? |
| umn.31951d004390771 | i In;ng 3 ‘( HM/1 ‘? “/\- ‘ 2N,|. |
| umn.31951d004390771 | llll'*? |
| umn.31951d004390771 | r L‘Lh'l ’ “ Pram “ FIKMIN DIDOT FRERHS, rus a of llDl'I'EURS 1'"? |
| hvd.32044055061766 | (?) |
| hvd.32044055061766 | (?) |
| hvd.32044055061766 | (?) |
| hvd.32044055061766 | 85.- Mother and Child, from a painting by Paul Veronese,(?) |
| hvd.32044055061766 | ? |
| hvd.32044055061766 | Beyond this, however, what is there to say? |
| hvd.32044055061766 | For instance, a perspective roundness is given to the drawing of the bowls upon which the pairs of spotted animals(? |
| hvd.32044055061766 | In the centre is a coat of arms(? |
| hvd.32044055061766 | Italian( Florentine?). |
| hvd.32044055061766 | Length, 8? |
| hvd.32044055061766 | On one side of this soldier is a tree, and on the other side a leafy branch, below which is a stork(?) |
| hvd.32044055061766 | Piece of Gold and Silver Brocade(? |
| hvd.32044055061766 | The hexagonal framing here is of stout old schemes for lay- branches edged with formal(?) |
| uc1.e0000007278 | --?? |
| uc1.e0000007278 | --?? |
| uc1.e0000007278 | -? |
| uc1.e0000007278 | / º,* NA|||||||ſ/,|Fº Č. y~-% 2 W. W. G= S!? |
| uc1.e0000007278 | But if such pre- cision and accuracy of drawing were attained in prehistoric times, that they equal modern works, where is our advance? |
| uc1.e0000007278 | But to what does all this tend, this mere proof of the extreme antiquity of drawing? |
| uc1.e0000007278 | Does it not suggest to our minds that drawing is an art which has been neglected among us? |
| uc1.e0000007278 | How did this love of enrichment arise in them? |
| uc1.e0000007278 | How many men, for instance, are there, even among practised carvers and modellers, who can draw with facility and readiness? |
| uc1.e0000007278 | If their printing excites our surprise, what shall we say of their paper? |
| uc1.e0000007278 | of the ocean, or the perpendicular stem of the fir- tree? |
| hvd.32044034582379 | ? |
| hvd.32044034582379 | Como ha de o inexperiente evitar erros gros- seiros? |
| hvd.32044034582379 | Este facto o que indica? |
| hvd.32044034582379 | Não quereria o artista celebrar o acontecimento? |
| hvd.32044034582379 | Qual é o assumpto que o artista quiz representar na sua obra? |
| hvd.32044034582379 | Quem era este mestre João? |
| hvd.32044034582379 | Será genuino ou uma imitação? |
| hvd.32044034582379 | São estas qualidades para desprezar só porque outras lhes faltam? |
| hvd.32044034582379 | É verdadeiramente uma excepção? |
| mdp.39015012107036 | And who is not grateful to Master Godfrey for the way he has done it? |
| mdp.39015012107036 | Is our newspaper type more legible than a fine Roman inscription? |
| mdp.39015012107036 | Modern improvements(?) |
| mdp.39015012107036 | PAINTED TILES, WITH CYPHER? |
| mdp.39015012107036 | Reckon to how many lines your inscription+7 TU BATTEOTOVIC NL VIGOGT? |
| mdp.39015012107036 | Ruum.s4j, 195rbittiar: uer, 9 Lchil turerbaruudWrijk here? |
| mdp.39015012107036 | VOIROTOT PUTKISTOAUTINI? |
| mdp.39015012107036 | Was that the intention of the carver, or was it not? |
| mdp.39015012107036 | What though the monotony of hard and fast form is inseparable from a page set up in type? |
| mdp.39015012107036 | Why not? |
| mdp.39015012107036 | Why should not the carver make use of it to sign his name? |
| mdp.39015012107036 | Why should not type bear on its face the evidence of that also? |
| mdp.39015012107036 | arc RODAJE VEILING IN? |
| mdp.39015012107036 | miss the meaning of the words upon the scroll ingeniously composed to occupy the background to a picture of the Annunciation? |
| nnc1.ar53707257 | Es entsteht daher die Frage: wer « kopiert » und wer « zeichnet »? |
| nnc1.ar53707257 | Fig:? |
| nnc1.ar53707257 | Ist das Ornamentzeichnen nach Vorlagen gleichbedeutend mit- « gedankenlosem Kopieren »? |
| nnc1.ar53707257 | Nach welchem Prinzip ist die dekorative Plastik zu beurteilen? |
| nnc1.ar53707257 | Nach welchem Prinzip ist die dekorative Plastik zu beurteilen? |
| nnc1.ar53707257 | Welches ist der Stilgedanke griechischer Plastik? |
| nnc1.ar53707257 | Welches ist nun jenes konstruktiv- thätige Stein- gerüste des Wohnhauses? |
| nnc1.ar53707257 | Wem verdankt das Ornament seine künstlerische Durchbildung? |
| nnc1.ar53707257 | Wer hat die ersten Typen des Pflanzenornaments erfunden? |
| nnc1.ar53707257 | Wie dekorieren die Orientalen die Textilstoffe? |
| nnc1.ar53707257 | Wie dekorieren die Orientalen die Textilstoffe? |
| nnc1.ar53707257 | Wie die Europäer? |
| nnc1.ar53707257 | Wie die Europäer? |
| nnc1.ar53707257 | Wie hat die alte Kunst slilisiert? |
| nnc1.ar53707257 | Wie hat die alte Kunst stilisiert? |
| nnc1.ar53707257 | Wie ist das Ornament entstanden? |
| nnc1.ar53707257 | Wie ist das Ornament entstanden? |
| nnc1.ar53707257 | Wie mochten die Typen sich weiterentwickelt haben? |
| nnc1.ar53707257 | Wie mochten sich die Typen weiter entwickelt haben? |
| nnc1.ar53707257 | Wie soll nun das Blatt der Natur stilisiert werden? |
| nnc1.ar53707257 | Wo und wann ist das Ornament entstanden? |
| umn.31951001591173g | ! 7~.,r~~/n/1-.41r 17'44rrr?.'>l§.Bl-'hE~1bn'n. |
| umn.31951001591173g | vi|: Ml? |
| umn.31951001591173g | * K|:l.:'n:.}.;rl?,”g? |
| umn.31951001591173g | *..?_ i'.ll- III. |
| umn.31951001591173g | ,; p.@"w1|_"l 1'11%? |
| umn.31951001591173g | ...'1'??,} i:;11;.. t'.;-.la1]1{}. |
| umn.31951001591173g | ...'1'??,} i:;11;.. t'.;-.la1]1{}. |
| umn.31951001591173g | /'.-,~'”, 1/1 1.,"-/:".-,-/////, la?. |
| umn.31951001591173g | 1 » I iii?." |
| umn.31951001591173g | 11 W ill? |
| umn.31951001591173g | ;? Ji.-in » I I.. itttllilliui. |
| umn.31951001591173g | ;~_L I317;-w ‘\ f; pflQd\',.,-.g Q'\? |
| umn.31951001591173g | ? ”'/'I 1- M s! |
| umn.31951001591173g | And the Lord said, O house of Israel, can not I do with you as this potter? |
| umn.31951001591173g | I I lll"\\l.? |
| umn.31951001591173g | LU ‘;"Ii V-'lnIunJml- B'.. Ir,/7|n.'-.1Z?}. |
| umn.31951001591173g | S Y/ III? |
| umn.31951001591173g | The question very naturally is, what will sell? |
| umn.31951001591173g | w."Q."~m;i§Z7é? |
| umn.31951001591173g | ~%, » 1% i% ‘?-*:"’-%'.1-. |
| umn.31951001591173g | ‘.1? ‘*//Y. |
| mdp.49015001226985 | * l'*J? |
| mdp.49015001226985 | 241.—Georgian and Armenian Cabvino BYZANTINE ORNAMENT::::::::::::::? 9::::::c:::::: Fio. |
| mdp.49015001226985 | Acanthus( or Aloes?) |
| mdp.49015001226985 | Another and quite a different use of the carved an- themion is found in carved marble antifixa? |
| mdp.49015001226985 | By means of minute tessera? |
| mdp.49015001226985 | Cypriote Vase Ornaments; Nature Forms, a, Goose and Lotus; 6, Astarte(?) |
| mdp.49015001226985 | Detail of Pompeiian Floor Mosaic( R. Paufve, after Zahn?). |
| mdp.49015001226985 | Flower Band( Lotuses?). |
| mdp.49015001226985 | Hathoric Capital and Entablature, Temple of Nectanebo, Phila? |
| mdp.49015001226985 | How? |
| mdp.49015001226985 | Nauplia, Menidi and other sites, 75^GEAN AND ASIATIC as well as from Mycena? |
| mdp.49015001226985 | Painted Tebba- cotta thus or similar plant A"im'no A HISTORY OF ORNAMENT( aloe?) |
| mdp.49015001226985 | Roman Decorative System: Hall of Baths of Caracalla( Denk- maler der Kunst?) |
| mdp.49015001226985 | Strassbung 10 5 t Denis- E3rfyXB? |
| mdp.49015001226985 | Tabkagona(?). |
| mdp.49015001226985 | The Greek asked Why? |
| mdp.49015001226985 | The affronting s Compare the queer plants beside the figure( is this Astarte?) |
| mdp.49015001226985 | The cuttlefish squid, dolphin(? |
| mdp.49015001226985 | When and how did decorative art first begin? |
| mdp.49015001226985 | Whence? |
| mdp.49015001226985 | Wreath Capital, Beverley Cathedral(?) |
| mdp.49015001226985 | c.? |
| msu.31293103543348 | lo- lo\1-, rum/ m 1'7“- any 5 a N5? |
| msu.31293103543348 | '._'_-'Ti, If"Lilli- W"iii? |
| msu.31293103543348 | 1.1!? |
| msu.31293103543348 | 75 9.638 Q ® flag éS 94$ € o\ Zr “ 1 we we we 0 av w'a w?' |
| msu.31293103543348 | And how shall we measure them? |
| msu.31293103543348 | Even in the poetry of the Greeks, is it not rather the form that is so ad- mirable? |
| msu.31293103543348 | Have we no invention that we complacently fall back upon the poor device of making one material look as nearly as possible like another? |
| msu.31293103543348 | Is not every Alderman a man of taste? |
| msu.31293103543348 | Is not our whole life artificial? |
| msu.31293103543348 | It is taste that determines — what is'it that it does not de- termine in de- coration? |
| msu.31293103543348 | There is always 03 “ “ 19;? |
| msu.31293103543348 | What modern facilities of travel do not enable us actually to see, modern pro- cesses of reproduction bring home to us, and modern l k___J i No? |
| msu.31293103543348 | Whatever he does is more or less in answer to the question; how in this instance can art and beauty best be reconciled? |
| msu.31293103543348 | _ a. ”/? |
| msu.31293103543348 | a? |
| msu.31293103543348 | amend/ seesaw? |
| msu.31293103543348 | i so long as it ‘ in 1 ‘ i, neither obtrudes 1 itself nor brings into 1 ‘ prominence the i object ornament- obtrusive? |
| msu.31293103543348 | in? |
| msu.31293103543348 | natural way of treating ornament? |
| msu.31293103543348 | ornament, earnest but bigoted; Mohammedan de- sign, as exquisite as it is limited? |
| msu.31293103543348 | what is- the artistic way of rendering nature? |
| msu.31293103543348 | ~\fi~nwu\.A\~/t, it{ a}? |
| msu.31293103543348 | “ Why is it that you have made me so perish- able? |
| uiuc.7455260 | 'i » Wl ii'ilMi J; j indisch INDIAN N ° 3 indiens m c, « o.s? |
| uiuc.7455260 | 1 i in m 1 g wmm i'l"II mmm Iffli ill||gB mmmwmn ft w V tvvwwwv^ c< v «^_Cv<< A II____1 li I__I 1 « JL«JC OJLI< a M « s Wffiv yyvyyyyi?? ▼! |
| uiuc.7455260 | 1 i in m 1 g wmm i'l"II mmm Iffli ill||gB mmmwmn ft w V tvvwwwv^ c< v «^_Cv<< A II____1 li I__I 1 « JL«JC OJLI< a M « s Wffiv yyvyyyyi?? ▼! |
| uiuc.7455260 | 68-7/\\ y/\ v-'//\\ ✓/\\//\\/ ✓\\// N? |
| uiuc.7455260 | 7>) 8,? |
| uiuc.7455260 | : BY2ANTINISCH BYZANTINE N ° 3 BY2ANTINS PL XXX TAFEL XXX ft r> ■ SiM** y r-% MPM t^XT/ A%* smss? |
| uiuc.7455260 | A> v'^"/k"'/Av*^ A! • rwH'\./\/\ V T.T^'>5.6,ri^ w.:-^% fcb, i^^iv » V »? |
| uiuc.7455260 | But could not this have been said in all time? |
| uiuc.7455260 | Could the Egyptian have ever imagined that any other mode of spanning space would ever be found than his huge blocks of stone? |
| uiuc.7455260 | Could the Mediaeval architect have ever dreamed that his airy vaults could be surpassed, and that gulfs could be crossed by hollow tubes of iron? |
| uiuc.7455260 | Is Nature so tied? |
| uiuc.7455260 | I«I 8 w 2 Bfifl'ig: •: g ■ •> M V « L Jil'■ 1* 1'iii « 8'S* 1* 1$* I m? i< ifel- ISI £ 2^ fi;. |
| uiuc.7455260 | La XXV i§8ilS8&sS ® K am £- •'-VcJ-;'i^}""•*• •'•.4'* •'wmrt •? |
| uiuc.7455260 | MORESQUE N0 3 mauresques i? |
| uiuc.7455260 | To return to our subject,—How is any new style of art or new style of ornament to be formed, or even attempted to be formed? |
| uiuc.7455260 | r<),, v? ❖! |
| uiuc.7455260 | w? |
| uiuc.7455260 | xj* §<>$ v W* « •* y H v 4-ia2fi** V"V VA- H A j- T\* N*# » x- x*,<>*<* ■* tv? |
| njp.32101075436756 | = 5 e: 2 ’= X §'5 5 2= at r? njp.32101075436756 /as??? njp.32101075436756 /as??? njp.32101075436756 /as??? njp.32101075436756 :?'!' njp.32101075436756 ? njp.32101075436756 Apart from the symbolic intention of the Q ’ L‘u\_ b= wU £%_$ 0 Ea r_3?0s_ Cé>___ ow? njp.32101075436756 I_?_ I I ‘ “un-.. 0- 0. ll-----il-"I::U:5!=:--r uunun--v- on--- ‘--1-- iu- v--v n:-- nun- i0! |
| njp.32101075436756 | The rela- tionship challenges recognition Plate Z9 i I Q 7 flnbo s 5 e cl( rel/"\ etal( 5 erman llll W Ill 1] ii"M)? |
| njp.32101075436756 | The sales- man has a way of excusing the high price of a thing on the score of the difficulty there was in making it But was it worth while? |
| njp.32101075436756 | l r r J I\ I ’ l 3'l E Plate 37|u- my 595%? |
| njp.32101075436756 | n ‘ W ‘ ‘ l\ M W Tl 51.? |
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| pst.000009207851 | A man may confine himself to the lines of tradition and follow them, if he will, or if he must; but why follow traditional forms? |
| pst.000009207851 | AM TUM buds or fruits? |
| pst.000009207851 | Are they storks or chrysanthemums of which it is made up? |
| pst.000009207851 | But how, it may be asked, can nature be, in any case, a hindrance to design? |
| pst.000009207851 | Conventional buds, or seed- vessels?-marble inlay, Florence.................. 36. |
| pst.000009207851 | Conventional buds, or seed- vessels?-marble inlay. |
| pst.000009207851 | Detail from an Indian"Kinkaub? |
| pst.000009207851 | Did Greek and Gothic work- man alike refer for inspiration to goldsmiths'work, and so arrive at some- thing like the same form? |
| pst.000009207851 | If that may be so in nature, why not also in art? |
| pst.000009207851 | Iris or fleur- de- lis?-Seventeenth century Vene- tian velvet................ 240< 38 List of Illustrations in the Text. |
| pst.000009207851 | Italian wood- carving — hop or vine? – S.K.M. |
| pst.000009207851 | Italian wood- carving- hop or vine? |
| pst.000009207851 | Japanese border, buds or fruits? |
| pst.000009207851 | Rosette or rose? |
| pst.000009207851 | Rosette or rose?-German Gothic........ 33. |
| pst.000009207851 | The fleur- de- lis, says Voltaire, was obvi- ously derived from the top of a halberd; but whence, then, the form of the halberd? |
| pst.000009207851 | The vicissitudes of plant life, it may be said, are accidental, and what has accident to do with design? |
| pst.000009207851 | Was it so, perhaps, that the idea of decorating columns in zigzag, common enough in Norman architecture, originated? |
| pst.000009207851 | What could be better in its way than the dignified simplicity of the Gothic rose and crown on Plate 63? |
| pst.000009207851 | What if even great artists have been guilty of all manner of inconsequence in design? |
| pst.000009207851 | What indeed would Perpendi- cular and Flam- boyant ornament be without it? |
| pst.000009207851 | Wheat- ears, simplified or elaborated? |
| pst.000009207851 | Wheat- ears, simplified or elaborated?-seventeenth century Italian silk............. |
| pst.000009207851 | When the lines of growth peculiar to a plant are not in the direction of orna- ment, what is to be done? |
| pst.000009207851 | Winchester Rose Carved To Wood Rosette Beauchamp Chapel Hawthorn Beverley 2000 SIV U A> Maple Beverley Oak West quinster 1) Vine? |
| pst.000009207851 | is to recognise it, especially when the subtler characteristics of texture and the individual turn of the petals are conventionalised away? |
| pst.000009207851 | like flowers in the admirably severe Greek border on p. 61, and wonders as to the source of its inspiration — the Solomon's seal per- haps? |
| pst.000009207851 | rence of one stereotyped pattern, when nature is so varied and that variety is so ornamental? |
| pst.000009207851 | such materials, to such and such treatment? — and so on. |
| nyp.33433072177839 | 211 the society that best represents the present age? |
| nyp.33433072177839 | 217 attitude towards Decorative Art? |
| nyp.33433072177839 | 99 any longer possible? |
| nyp.33433072177839 | A. Symonds? |
| nyp.33433072177839 | After once you have felt tears start at the pathos and passion of Shakespeare, can you be thrilled by Eliza Cook? |
| nyp.33433072177839 | And further, do not second- rate things offend you when they are found out and fathomed? |
| nyp.33433072177839 | And yet there was redemption even for her: for the redemption of the world was the redemption also of art: how could it be other- wise? |
| nyp.33433072177839 | But how can we make our art decorative? |
| nyp.33433072177839 | Christian Greek art of all those mosaics, paint- ings, and ivory- carvings called Byzantine? |
| nyp.33433072177839 | Do you not feel that these lines are as harmonious as the chords they represent, with most of the elements of grand design? |
| nyp.33433072177839 | Does any one sit before a machine- made pattern and gaze at it with pleasure and profit? |
| nyp.33433072177839 | How exactly apply the canons of adaptation and conventionalization? |
| nyp.33433072177839 | If not, for what is it there? |
| nyp.33433072177839 | Is not second- rateness one of the great torments of life to anyone who has ever taken deep delight in what is true and great? |
| nyp.33433072177839 | Might they not have been copied from the hair of some Greek statue? |
| nyp.33433072177839 | Some art we are bound to have; why not see that it is worth having? |
| nyp.33433072177839 | The reindeer's hide and horns are left un- finished: why? |
| nyp.33433072177839 | What are the most obvious con- structive points in a Gothic church? |
| nyp.33433072177839 | What do you call this thing I have made, children? ” “ A reindeer! ” 3. |
| nyp.33433072177839 | What is it you notice most in a Greek temple? |
| nyp.33433072177839 | What would be the place and nature of the right decoration for such healthier and better lives of to- day? |
| nyp.33433072177839 | Why should all the art of Athens be called “ classic ”? |
| nyp.33433072177839 | Why should that of the Middle Ages be called “ Gothic, ” except by the most arbitrary of conventions? |
| nyp.33433072177839 | Why? |
| nyp.33433072177839 | Why? |
| nyp.33433072177839 | XV clearing up, the arrangement of informa- tion? |
| nyp.33433072177839 | and how did they do great things? |
| nyp.33433072177839 | the pillars: what most in the pillars? |
| uiug.30112045351548 | * 2? |
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| uiug.30112045351548 | 4 g._ 4')sz ‘ J p j_ ‘"{ 213'L? |
| uiug.30112045351548 | 40 is shown the Light French Roman alphabet, Q ® FQDTMUN_.w N> X€>DFW MQLOZ ESE? |
| uiug.30112045351548 | 51 is shown a diaper pattern taken from an Indian textile, and exhibits the regularity of repeated form v\ y A\ a) a a A) K"i it i? |
| uiug.30112045351548 | 6?. |
| uiug.30112045351548 | 7?. |
| uiug.30112045351548 | ; “ l 1'? |
| uiug.30112045351548 | ?_; of a rigid character, and Fig. |
| uiug.30112045351548 | But the Ionic I order reached the ze- nith of its perfection{ if—15? |
| uiug.30112045351548 | Had the builders of the Middle Ages desired to pursue this course, where would they have found the army of work- men? |
| uiug.30112045351548 | Ii"I\\Wi lar assays'40., s .\“\ a ”? |
| uiug.30112045351548 | Iv}._.5? |
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| uiug.30112045351548 | L-, l\-.‘\V J/1'I t,'V i'i"). ‘, y/ it ’~ A? |
| uiug.30112045351548 | M"ill ‘; Why ‘ k “ 5,, I Milli? — 4"'"in‘I'1_(\Mmikw/ wuhr. |
| uiug.30112045351548 | Not- withstanding this fact, could any two designs be more unlike? |
| uiug.30112045351548 | O i, H;ng at “? |
| uiug.30112045351548 | Of course, this affects the quality of the goods somewhat and it is not so closely woven, but this b c d I? |
| uiug.30112045351548 | Only one- half of this design would need to be prepared on design paper, g/ z/ el is?) |
| uiug.30112045351548 | There can be little doubt that this bears a close relation to the Gothic alphabet, and, mmamma: ‘ savages? |
| uiug.30112045351548 | This produces an? |
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| uiug.30112045351548 | When these oval shapes have been repeated a sufficient number of times, the lines of the ogee at I? |
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| uc1.a0009647785 | ( 1)( a) In a plain weave where the weft threads are heavier than the warp, what will be the effect in the finished goods? |
| uc1.a0009647785 | ( 1)( a) In the application of wings to the human figure, where did the Egyptians attach them? |
| uc1.a0009647785 | ( 10) What consideration must be observed as to the char- acter of borders used( a) on table cloths? |
| uc1.a0009647785 | ( 10) What were the general measurements of the human figure according to Greek proportions? |
| uc1.a0009647785 | ( 11) What is Wilton carpet? |
| uc1.a0009647785 | ( 12) What are the characteristics of( a) wool fibers? |
| uc1.a0009647785 | ( 12) Who was Le Gascon? |
| uc1.a0009647785 | ( 14) What is the Jacquard machine? |
| uc1.a0009647785 | ( 17) On what is the warp wound in the loom? |
| uc1.a0009647785 | ( 18) What is accomplished by the use of the carding machine? |
| uc1.a0009647785 | ( 2) What is a drop pattern? |
| uc1.a0009647785 | ( 20) On what does the wearing quality of a fabric depend? |
| uc1.a0009647785 | ( 23) What are the first considerations in laying out a design for a textile fabric? |
| uc1.a0009647785 | ( 25)( a) What is the gilling machine? |
| uc1.a0009647785 | ( 3) What is the direct effect of the twist of the threads in the texture of the goods in a woven fabric? |
| uc1.a0009647785 | ( 30) What is included under architectural ornament? |
| uc1.a0009647785 | ( 31) What abstract form seems to pervade all nature? |
| uc1.a0009647785 | ( 32) What is included under animal ornament? |
| uc1.a0009647785 | ( 33)( a) What two kinds of conventionalism do we find in historic ornament? |
| uc1.a0009647785 | ( 36)( a) Under how many divisions can the elements of ornament be classified? |
| uc1.a0009647785 | ( 4) What is a twill? |
| uc1.a0009647785 | ( 4) What is meant by unity in design? |
| uc1.a0009647785 | ( 5) In drawing the human figure, how should the masses be disposed? |
| uc1.a0009647785 | ( 5) What yarn is used in the body, or ground, of Brussels carpet? |
| uc1.a0009647785 | ( 5) Who was Padloup? |
| uc1.a0009647785 | ( 6) What does it symbolize? |
| uc1.a0009647785 | ( 6) What is its purpose? |
| uc1.a0009647785 | ( 6) What is the legend concerning this head? |
| uc1.a0009647785 | ( 6) Where did the Assyrians attach them? |
| uc1.a0009647785 | ( 6) Why? |
| uc1.a0009647785 | ( 6) on rugs? |
| uc1.a0009647785 | ( 6) silk fibers? |
| uc1.a0009647785 | ( 7) What is included under industrial ornament? |
| uc1.a0009647785 | ( 7) What were the characteristics of the Italian bindings in the early part of the sixteenth century? |
| uc1.a0009647785 | ( 8) What is the difference between repetition and alter- nation? |
| uc1.a0009647785 | ( 8) What three principles in design are represented by the oval? |
| uc1.a0009647785 | ( 9) What advantages are obtainable in the application of drop patterns in roll carpets? |
| uc1.a0009647785 | ( 9) What are the supposed characteristics of the Greek sphinxes? |
| uc1.a0009647785 | ( 9) What is the difference between wool and worsted? |
| uc1.a0009647785 | ( c) Which of these methods sur- vives at the present day? |
| uc1.a0009647785 | 1 D??? |
| uc1.a0009647785 | 1 D??? |
| uc1.a0009647785 | 1 D??? |
| uc1.a0009647785 | 1( 38) In designing an iron railing, what characteristic should greatly influence the form and proportion of its lines? |
| uc1.a0009647785 | 11.? |
| uc1.a0009647785 | 3( 25) Why is conventionalism necessary in decorative design? |
| uc1.a0009647785 | >( 11) Who were the first bookbinders? |
| uc1.a0009647785 | ? |
| uc1.a0009647785 | ? |
| uc1.a0009647785 | Even then he may find it advisable to contour only the first portion of the volute, that is, the curves? |
| uc1.a0009647785 | This may be done on the upper left- hand edges of the raised ornament on the neck 1 1 j? |
| uc1.a0009647785 | V( 11) What is the simplest form of geometrical elements? |
| uc1.a0009647785 | V( 28) What was the origin of the cartouch? |
| uc1.a0009647785 | e е 0: e 5 Another sys-? |
| uc1.a0009647785 | ៗ( 39) What two faculties of the mind lie at the origin of decorative art? |
| hvd.32044033846163 | Why stencil what could just as well, and more economically, have been printed? hvd.32044033846163 193 CEMENT? hvd.32044033846163 31 harm in that? hvd.32044033846163 89 Why did the artist do this? hvd.32044033846163 ?) hvd.32044033846163 And suppose it is to be painted, shall the colour be put on to the ware before it is glazed, or after? hvd.32044033846163 Anglo- Saxon? hvd.32044033846163 Brunelleschi? hvd.32044033846163 But what if the mill will not grind it? hvd.32044033846163 But what of that? hvd.32044033846163 Could anything be more ill advised than to give up this advantage inherent in the medium used? hvd.32044033846163 Designs by Johannes Baptist? hvd.32044033846163 Does the occasion demand it? hvd.32044033846163 French? hvd.32044033846163 French? hvd.32044033846163 German? hvd.32044033846163 Has he not vindicated his right to flout construction such as that? hvd.32044033846163 If, for example, a man can trust himself to start with irregular forms arbitrarily disposed, accidental patches as it were upon his panel — why not? hvd.32044033846163 It is not then so entirely mechanism as- civilisation shall we call it? hvd.32044033846163 OgUM 229 T 29 Un Uniu? hvd.32044033846163 Shall he build up his ornament upon it in wet clay, or scratch into it? hvd.32044033846163 Shall he cast or forge them? hvd.32044033846163 Spanish? hvd.32044033846163 Such and such things being so and so, given such facilities, failing such other possibilities, what is to be done? hvd.32044033846163 The easiest thing to do may not be the best worth doing; but we have always to ask ourselves, was it worth while? hvd.32044033846163 There may be a sameness in thrown shapes; but is there no monotony in the forms arrived at by more mechanical devices? hvd.32044033846163 To what extent, in gold and silversmiths'work, shall he depend upon solder and the blow- pipe? hvd.32044033846163 VENETIAN GLASS WITH uncertain feet? hvd.32044033846163 Was it merely that they were kept in check by conditions no longer binding upon us? hvd.32044033846163 We ask ourselves was it worth doing? hvd.32044033846163 What control can a potter have over his clays and glazes, or a cotton- printer over his dyes, without sufficient knowledge of chemistry? hvd.32044033846163 What if we do begin by seeing very vividly what we have been taught to see? hvd.32044033846163 Where is the piece of Sévres or Dresden china to compare with a fine bit of Nankin blue and white porcelain? hvd.32044033846163 Why call in an after process to harden them? hvd.32044033846163 Why did n't he do that? hvd.32044033846163 Why enforce or even preserve lines in themselves unpleasing? hvd.32044033846163 Why not, if possible, obliterate them? hvd.32044033846163 Why then resort to it? hvd.32044033846163 beat them up from the back, or work them from the front? hvd.32044033846163 ceiling decoration we go to Rome to see have had Michael Angelo pay more heed to the building which he certainly treated with very scant respect? hvd.32044033846163 chisel, chase, or engrave them? hvd.32044033846163 hammer them whilst they are red- hot, or chisel them when they are cold? hvd.32044033846163 his colours apart? hvd.32044033846163 hitherto reached? hvd.32044033846163 or if it should turn out something not to be kneaded up into consistent pattern- stuff? hvd.32044033846163 or shall it be in the glaze itself? hvd.32044033846163 shall he dip it into colour, or paint it? hvd.32044033846163 shall he leave it in the biscuit state, or glaze it? hvd.32044033846163 them? hvd.32044033846163 to the touch? hvd.32044033846163 was it worth while forsaking safe and satisfactory lines for that? hvd.32044033846163 “ Point coupé. ” French? hvd.32044033846163 “ Why cut stencils for a design which could in less time have been painted, and better painted, freehand? hvd.32044044940484 ( BUST BY HOUDON?) hvd.32044044940484 109 conceal a part of the face, is it not to make people suspect some defect, or to lead them to believe more than really exists? hvd.32044044940484 205 the exterior lines, how is it to be filled in? hvd.32044044940484 A single feather is elegant and haughty, especially when it falls on the back of the head, and why? hvd.32044044940484 And the repetition of horizontal lines gives width, and why? hvd.32044044940484 And when ornaments of this kind attract the spectator's eye, how can he divert his attention to the wearer? hvd.32044044940484 And who does not feel that it is with the idea of adding to their height that priests wear a cassock all of a piece and of one colour? hvd.32044044940484 And who will reproach us for devoting at least one page to its con- sideration? hvd.32044044940484 But can the example of the great masters be followed by the artist who wishes to adorn a woman by her attire? hvd.32044044940484 But how is it possible that the parasol and the dress should match when the reflection of the lining may spoil the complexion? hvd.32044044940484 But is not fashion the most imperious ruler over a woman's choice, when she occu- pies herself with the art of dress? hvd.32044044940484 But what is under- stood by a toilet of characteristic style? hvd.32044044940484 But what style of ornament is most suitable for a fan? hvd.32044044940484 But where should the bow be placed? hvd.32044044940484 Does not harmonizing a work consist in reducing the various parts into one uniform whole? hvd.32044044940484 How can we avoid attaching importance to this portion of feminine attire? hvd.32044044940484 How is it possible to express a character without being guided by a pre- conceived idea, a ruling sentiment? hvd.32044044940484 I say black, but what black? hvd.32044044940484 Is it a subject for congratulation or regret that human labour is superseded by the machine which diminishes, and we might say destroys it? hvd.32044044940484 Is it necessary to add that in man's dress, as in every- thing else, the first and absolute law which must govern all suitability is harmony? hvd.32044044940484 Is it not better to use in these cases a diffused or a radiating ornament? hvd.32044044940484 Is there not a manifest purpose of elegance in the form and bend of the fuchsia? hvd.32044044940484 Is there not an air of freedom in the attitude of many flowers and flowerets which grow straight and firm on their slender stalks? hvd.32044044940484 Should he try, for example, to soften down the harshness of a swarthy complexion? hvd.32044044940484 The repetition of vertical lines, we have said, gives height, and why? hvd.32044044940484 The stripe? hvd.32044044940484 Vénise with raised ornaments, whose majestic heaviness suited the collar worn on ceremonial occasions by the Procurator of St. Mark? hvd.32044044940484 What choice of models remains then to the jeweller, when the human figure and the representation of animals are prohibited? hvd.32044044940484 What do we mean by the height of a body? hvd.32044044940484 What is the connection established by good taste between the two skirts? hvd.32044044940484 Why display beautiful curls on the cheek when they look so elegant on the nape of the neck or the shoulder? hvd.32044044940484 Why then should not the decorative artist count the radiated form among the elements of his art? hvd.32044044940484 Wild oats, which are so suitable for coiffures de genre and fancy, have they not an air of pretty and attractive disorder? hvd.32044044940484 Would he be wise to waste his pains in hiding a fault that nothing can hide? hvd.32044044940484 Would you deck a face breathing of the spring with sprays of the black or purple vine, or place a wild rose in hair which should be soberly dressed? hvd.32044044940484 You believe that it was invented to shield the complexion from the sun? hvd.32044044940484 extremes of bonnets between which every variety of severity and coquetry may find a place? hvd.32044044940484 other than with short and thick hair, such as he is repre- sented in the antique? hvd.32044044940484 surface of colour? hvd.32044044940484 torals, be painted on them? uiug.30112073747419 $ èá4\-wvœ, œ ¿ mi? |
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