Questions

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

identifier question
17730Turning to other branches of art, what traces do we find of the transfer to them of textile features?
17730We do not need to look a second time to discover a striking likeness to the textile system, and we ask, Is it also derived from a textile source?
43805When one of his Ministers ventured to remonstrate with him on his prolonged absences from London, he answered:"Do you wish to see me dead?"
49559Any 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?
49559But what about watch- cases, especially those of ladies''watches?
49559Has she not had to assume the most active part in it all?
49559Is he completely himself, that which he wishes or strives to be?
49559Is not the new fashion-- if it be merely a fashion-- being adopted with too much enthusiasm, followed with too much ardour, to last?
49559Is there no danger of seeing good intentions miscarry-- high gifts falling into excesses injurious to the prosperity of the movement?
49559Is there no fear of a reaction?
49559Some of its excesses are dangerous; what will be the result?
49559Then, again, as regards decoration or adornment, has not the highest mission devolved on woman?
49559This revival reveals itself rich and abundant-- perhaps too rich and abundant; but what of the future?
49559What fruit will it bear when the glamour of that which it has already borne has passed away?
49559Whither is it tending?
49559Why do our artists not supply our ladies with nice fans?
49559Why is it not possible to design an ornament with taste and furnish it with precious stones and enamel?
49559Why?
49559Yet, what matter?
12625And is that all that Nature says?
12625And what will Nature say?
12625Then how can it come?
12625Then how shall we receive Nature?
12625Then how will the remedy go into effect?
12625What,he asked himself,"is the chief characteristic of the tall office building?
12625Again you say,"How can honesty be enforced?"
12625And so he goes on with his Jeremiad: a prophet of despair, do you say?
12625And why do they believe in it?
12625But what of its significance?
12625For according to that point of view, a skyscraper is only a symbol-- and of what?
12625Has not our body its trunk, bearing aloft the head, like a flower: a cup to hold the precious juices of the brain?
12625How then is it possible to consider or discuss an architecture of democracy-- the shadow of a shade?
12625Is it not the part of wisdom to cheer, to encourage such a mind, rather than dishearten it with ridicule?
12625Is it not the_ world- order_?--the very thing that religion, philosophy, science, strive according to their different natures and methods to express?
12625Is our search for some sign of democracy ended, and is it vain?
12625The reason is involved in the answer to the question,"Of what is marriage a symbol?"
12625Then shall we find in our great hotels, say, such expression?
12625This is exactly the aim of the architect-- to fashion beautiful organisms; what better school, therefore, could he have in which to learn his trade?
12625To what, specifically, should the architectural student devote his attention in order to improve the quality of his work?
12625What Israfil of the future will pour on mortals this new"music of the spheres"?
12625What can the brain accomplish without these two?
12625What is Architecture?
12625What is it, in the last analysis, that all art which is not purely personal and episodical strives to express?
12625What is nature''s first visible creative act?
12625What is the psychological mood?
12625What mystic meaning, it may be asked, is contained in such things as a brick, a house, a hat, a pair of shoes?
12625What ornamental_ motif_ of any universality, worth, or importance is less than a hundred years old?
12625Why are they beautiful?
12625Why do they do this?
12625Will the psychology of the new dispensation find expression through some adaptation of four- dimensional geometry?
12625Will they re- create, from its ruins, the faithless and loveless feudalism from which the war set them free?
39749119); and what vessel could be more beautiful than such a flask?
39749A picture, also, will not bear repetition: whoever heard of one person having two copies of the same picture in one room?
39749But why not abolish the detestable thing altogether?
39749Did not the Egyptians express their power of character in their ornaments?
39749Do we tell the preacher what he shall say, and ask him to withhold whatever is refining and elevating?
39749Have we colour at our disposal, or texture merely?
39749Having chosen a form for a vessel, the next question with which we have to deal is, will it require a handle and spout?
39749How can we do this?
39749I do not wonder at the second poker being required; for nineteen out of every twenty pokers of an ornamental(?)
39749II., page 33); and, second, do we not build a house with the view of procuring shelter?
39749If so charming when separate from form, what is colour when properly combined with beautiful shapes?
39749One has three days in one; and what is the natural result?
39749Thus, if drawing a carpet design, we shall inquire, is this form of ornament suitable to a woven fabric?
39749We have thus noticed the general utterance or expression of Egyptian drawing; but what specific communication does this particular lotus make?
39749What does all this express?
39749What form should it have?
39749What if the pattern is"extreme,"if it is better than others?
39749What, then, are the laws which govern the arrangement of colours?
39749When we construct a chair we shall ask, is it useful?
39749When we create a gas- branch we shall ask, does it fulfil all requirements, and perfectly answer the end for which it is intended?
39749When we design a bottle we shall inquire, is it useful?
39749Where are Benvenuto Cellini''s vases, Lorenzo Ghiberti''s cups, or the silver lamps of Ghirlandajo?
39749Who ever heard of a man having two copies of one picture in a room?
39749Why not, then, have beautiful ceilings, especially as they can be seen complete, while the wall is in part hidden by furniture and pictures?
39749Why should such a table be made at all?
39749Why then neglect the opportunity of arranging a beautiful object when there is no reason to the contrary?
39749Why, then, make our ceilings white?
39749Why, then, should we employ only two or three colours, and those of the most crude character?
39749Yet they need not protrude beyond the surface; but why hide them?
39749and can any desired colours be placed in juxtaposition or only certain tints?
39749and do we not every day see the impress of the ignorant upon certain wall- papers, carpets, and other things?
39749and how are they to be applied?
39749and if colour, can it be employed freely or only sparingly?
39749and then, is it beautiful?
39749and then, is it beautiful?
39749and then, is it beautiful?
39749could it be more useful?
39749could it be stronger without using more, or another, material?
39749did not the Greeks manifest their refinement in the forms which they drew?
39749hence why do we seek to realise the feeling that we are without a covering over our heads?
39749is it all that a bottle should be?
39749is it properly put together?
39749is it strong?
39749is it suitable to the particular fabric for which it is intended?
42317And most of all, do the points of concentration and shape of the panel fit the structural outlines and proportions?
42317Are all links and appendages joined to the primary mass in a graceful tangential manner?
42317Are compass curves permissible in appendage design?
42317Are they feeble compass curves or do they have the character of long sweeping curves with short"snappy"turns for variety?
42317As designers on wood, how are we to utilize this curve for purposes of outline enrichment?
42317Between which two groups does the transition from a horizontal to a vertical primary mass occur?
42317By what means should two contrasting curves be separated?
42317Does it seem too thin and spindling?
42317Does the design"hold together"?
42317Does the eye move smoothly through all parts of the contour?
42317First, why should it be enriched-- is there a positive gain by so doing?
42317For what specific purpose is a vertical rectangular panel adapted?
42317How does Rule 4c help to secure unity between the appendage and the primary mass?
42317How does its application to wood effect the color and value of aniline stain?
42317How does the architect first plan his elevations?
42317How does the point from which the article is to be seen affect the character of the design?
42317How does the size of the area to be enriched by color affect the color medium,_ i.e._, stains, glazes, enamels, etc.?
42317How does this compare with the classification of clay forms?
42317How may an approximate scale of twelve hues be prepared from them?
42317How may artificial objects be adapted to surface enrichment?
42317How should a curve join a straight line?
42317How should each be applied?
42317How 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?
42317How should the appendage be attached to the primary mass?
42317How should the designer first think of his problem?
42317How should the units be drawn to be in harmony with the inceptive axis, the contours, and to each other?
42317In marginal enrichment, is it preferable to locate the point of concentration in the center or corner of the margin?
42317In what manner does historic ornament influence industrial design?
42317In which group or groups is the relation between surface and contour enrichment closest?
42317Is it possible to vary the design motive of a chain from that of a pendant?
42317Is it the primary mass, appendages, terminals, links, or details?
42317Is it true, then, that furniture must of necessity be clumsy and heavy when it is sufficiently simplified in constructive processes for school work?
42317Is the enrichment to be seen from above or from the side?
42317Is the object flat, shallow and circular, low and cylindrical, high and cylindrical?
42317Is the panel agreeably filled without appearing overcrowded or meager?
42317Is the zone of enrichment associated with a square, rectangle, hexagon, or irregularly shaped flat plane, circular or cylindrical surface?
42317Is there a perceptible change in the surface enrichment paralleling this change in proportions of the primary mass?
42317Second,( if the decision is favorable to enrichment) where should it be enriched?
42317Should a border be placed at the point of greatest curvature of the contour?
42317State direction of the inceptive axis for problems similar to:(_ a_) tie pins,(_ b_) pendants,(_ c_) fobs,(_ d_) rings,(_ e_) bar pins?
42317To what uses are panels of varied shapes adapted?
42317Under what grouping of planes may they be placed?
42317What are generally used as stains for clear glazes; matt glazes?
42317What are leading lines; dynamic forms; points of concentration?
42317What are minor subdivisions in wood construction?
42317What are mouldings?
42317What are standard hues?
42317What are tints and shades?
42317What decorative process will be adaptable to service, the material, and the contemplated design?
42317What disturbing elements should be guarded against in the application of contour enrichment?
42317What experience have you had in mixing calcimine for wall decoration?
42317What four qualities are added to industrial design by contour enrichment?
42317What is a panel?
42317What is an element of a cylindrical surface?
42317What is highest in chroma-- matt, or clear glaze?
42317What is its relation to the structure?
42317What is meant by proportionate distribution?
42317What is often used as a point of concentration in the surface enrichment of precious metals?
42317What is the aesthetic value of curves in outline enrichment?
42317What is the character of surface enrichment for large areas?
42317What is the effect of a design with dominant horizontal major divisions?
42317What is the effect of a design with dominant vertical major divisions?
42317What is the effect of oxidation; what is its value?
42317What is the inceptive axis; a bilateral unit?
42317What is the last and ideal step for the designer?
42317What is the nature and need of vertical space divisions?
42317What is the practical use of nigrosene in stain mixing?
42317What is the relation of the size of the appendage to the size of the primary mass?
42317What is the treatment of more than three vertical divisions?
42317What is the value of accenting the functional parts in clay design?
42317What is the value of an inceptive axis with relation to the unity of a design?
42317What pigments are best adapted to rendering design problems?
42317What pigments are particularly adapted to the rendering of wood stains?
42317What point constitutes a horizontal division in the contour of a simple clay bowl?
42317What point of the structure suggested by the form needs surface enrichment?
42317What precautions should be exercised in designing pierced enrichment?
42317What precautions should be exercised with regard to the use of incised, pierced, and modeled decoration?
42317What problems of hue, value, and chroma would arise in Question 15?
42317What rule should govern the amount of metal used in a design?
42317What rules should be observed in designing a built- up or carved design?
42317What should be the relation in a design between the details of a project and the divisions of the primary mass?
42317What should we have in mind when staining furniture for the home?
42317What stains will be produced by cobalt and copper oxides; cobalt and manganese oxides; cobalt and nickel oxides?
42317What three requirements should be met in a well designed industrial article?
42317What two forms of enrichment are commonly used in industrial arts design?
42317When the entire design is completed one should ask the following questions: Does the design have unity?
42317Where are we to find these curves suited to our purpose?
42317Where is the zone of service?
42317Where may the point of concentration be located in full square panel enrichment?
42317Where should the point of concentration be located in a vertical rectangular panel?
42317Where should the point of concentration be located upon the inceptive axis?
42317Why and how?
42317Why are the side walls important when considering the color scheme of a room?
42317Why do we need standards of hue?
42317Why will iron and copper oxides produce a yellow green stain?
42317Why?
42317Why?
42317Why?
42317Why?
42317Why?
42317Why?
42317Will the enrichment cover the full surface, part surface( center or margin), or accented outline?
7291And do you suppose you will lose anything by approaching your conventional art from this higher side?
7291And if so, when the new style is invented, what is to be done next?
7291And in that state what should we call ourselves?
7291And still, I ask you, What after this?
7291And what do you suppose dyes your tiles of cottage roof?
7291And where has that French school its origin?
7291And, again, I ask-- Are you of use to any one?
7291Are we even sure of ourselves?
7291Are we met here as honest people?
7291But did you ever see either young or old amused by the architrave of the door?
7291But if you wish to design them yourselves, how do you do it?
7291But what meaning has the iron railing?
7291But when you are fairly_ at_ the work, what is the motive then which tells upon every touch of it?
7291Can you do as much by your group of lines?
7291Can you remember any in which architectural proportions contributed to the entertainment of the evening?
7291Do we know what we are about?
7291Do you suppose it was only going on in the time of David, and that nobody but Jews ever murder the poor?
7291Does your art lead you, or your gain lead you?
7291Egyptian ornament?
7291Finally, I ask, Can you be of_ Use_ to any one?
7291Have the workers of iniquity no knowledge, who eat up my people as they eat bread?
7291Have you ever considered, in speaking as we do so often of distant blue hills, what it is that makes them blue?
7291Here''s a bit of first- rate work for example:"Tweed said to Till,''What gars ye rin sae still?''
7291How can such a thing be asked?
7291How did you determine the breadth of the border and relative size of the numerals?
7291How did you determine the number of figures you would put into the neckerchief?
7291How did you fix the number?
7291How many mills do we want?
7291I proceed then farther to ask, Can you inform anybody?
7291I will grant you this Eldorado of imagination-- but can you have more than one Columbus?
7291Is it not strange to find this stern and strong metal mingled so delicately in our human life, that we can not even blush without its help?
7291Is there anything in common life too mean,--in common too trivial,--to be ennobled by your touch?
7291Is there not something striking in this fact, considered largely as one of the types, or lessons, furnished by the inanimate creation?
7291Is this, then, what you want?
7291May we not advisedly look into this matter a little, even tonight, and ask first, Who are these poor?
7291Men?
7291Might we not justly be looked upon with suspicion and fear, rather than with sympathy, by the innocent and unartistical public?
7291Now, do we ever ask ourselves what the real meaning of these passages may be, and who these wicked people are, who are"murdering the innocent?"
7291Now, is that the kind of thing you want to come to everywhere?
7291On the other hand-- Is your money first with you, and your fame first with you?
7291Or otherwise interested in the proportions of the room than as they admitted more or fewer friendly faces?
7291Or shall there be no limitations?
7291Or, again, do you recollect Orcagna''s tabernacle in the church of San Michele, at Florence?
7291Or, if you sail in company, and divide the prize of your discovery and the honour thereof, who is to come after you clustered Columbuses?
7291Or, lastly, do you think the man who designed the procession on the portal of Amiens was the subordinate workman?
7291Or, must every architect invent a little piece of the new style, and all put it together at last like a dissected map?
7291Phidias, Michael Angelo, Orcagna, Pisano, Giotto,--which of these men, do you think, could not use his chisel?
7291Raphael''s arabesques; are they not?
7291Tell me, then, first of all, what ornamental work is usually put before our students as the type of decorative perfection?
7291That is all simple and comprehensive enough-- but what is it to come to?
7291That would be some loss to you; would it not?
7291The question was not now with him, What can I represent?
7291The test is absolute, inevitable-- Is your art first with you?
7291Then, if they can not touch, or inspire, or comfort any one, can your architectural proportions amuse any one?
7291What is given the student as next to Raphael''s work?
7291What think you of that for a school of design?
7291What will you have?
7291Where, then, is your difference?
7291Why are there no more lines?
7291Why are there two lines outside of the border, and one only inside?
7291Why did you put the double blots at the corners?
7291Why lines at all to separate the barbarous figures; and why, if lines at all, not double or treble instead of single?
7291Why not at the angles of the chequers,--or in the middle of the border?
7291Why not three and two, or three and five?
7291Will you then tell me precisely where the separation exists between one and the other?
7291Will your architectural proportions do as much?
7291Will your proportions of the façade heal the sick, or clothe the naked?
7291Will, you, then, design the profiles of these mouldings yourselves, or will you copy them?
7291Would you advise him, if he asked your advice, to give up his wood- blocks and take to canvas?
7291Yes: and do you suppose you will find the Christian less human?
7291You are going straight at it at present; and I have only to ask under what limitations I am to conceive or describe your final success?
7291and whether those rude chequers of the tartan, or the exquisitely fancied involutions of the Cashmere, fold habitually over the noblest hearts?
7291are they prophets, saints, priests, or kings?
7291but, How high can I build-- how wonderfully can I hang this arch in air, or weave this tracery across the clouds?
7291how bring it down into patterns, and all that you are called upon as operatives to produce?
7291how make it the means of your livelihood, and associate inferior branches of art with this great art?
7291or do we indeed want no end of mills?
7291to what fortunate islands of style are your architectural descendants to sail, avaricious of new lands?
7291where is all this going on?