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 |
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17730 | Turning to other branches of art, what traces do we find of the transfer to them of textile features? |
17730 | We 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? |
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?" |
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? |
12625 | And is that all that Nature says? |
12625 | And what will Nature say? |
12625 | Then how can it come? |
12625 | Then how shall we receive Nature? |
12625 | Then how will the remedy go into effect? |
12625 | What,he asked himself,"is the chief characteristic of the tall office building? |
12625 | Again you say,"How can honesty be enforced?" |
12625 | And so he goes on with his Jeremiad: a prophet of despair, do you say? |
12625 | And why do they believe in it? |
12625 | But what of its significance? |
12625 | For according to that point of view, a skyscraper is only a symbol-- and of what? |
12625 | Has not our body its trunk, bearing aloft the head, like a flower: a cup to hold the precious juices of the brain? |
12625 | How then is it possible to consider or discuss an architecture of democracy-- the shadow of a shade? |
12625 | Is it not the part of wisdom to cheer, to encourage such a mind, rather than dishearten it with ridicule? |
12625 | Is it not the_ world- order_?--the very thing that religion, philosophy, science, strive according to their different natures and methods to express? |
12625 | Is our search for some sign of democracy ended, and is it vain? |
12625 | The reason is involved in the answer to the question,"Of what is marriage a symbol?" |
12625 | Then shall we find in our great hotels, say, such expression? |
12625 | This is exactly the aim of the architect-- to fashion beautiful organisms; what better school, therefore, could he have in which to learn his trade? |
12625 | To what, specifically, should the architectural student devote his attention in order to improve the quality of his work? |
12625 | What Israfil of the future will pour on mortals this new"music of the spheres"? |
12625 | What can the brain accomplish without these two? |
12625 | What is Architecture? |
12625 | What is it, in the last analysis, that all art which is not purely personal and episodical strives to express? |
12625 | What is nature''s first visible creative act? |
12625 | What is the psychological mood? |
12625 | What mystic meaning, it may be asked, is contained in such things as a brick, a house, a hat, a pair of shoes? |
12625 | What ornamental_ motif_ of any universality, worth, or importance is less than a hundred years old? |
12625 | Why are they beautiful? |
12625 | Why do they do this? |
12625 | Will the psychology of the new dispensation find expression through some adaptation of four- dimensional geometry? |
12625 | Will they re- create, from its ruins, the faithless and loveless feudalism from which the war set them free? |
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? |
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? |
7291 | And do you suppose you will lose anything by approaching your conventional art from this higher side? |
7291 | And if so, when the new style is invented, what is to be done next? |
7291 | And in that state what should we call ourselves? |
7291 | And still, I ask you, What after this? |
7291 | And what do you suppose dyes your tiles of cottage roof? |
7291 | And where has that French school its origin? |
7291 | And, again, I ask-- Are you of use to any one? |
7291 | Are we even sure of ourselves? |
7291 | Are we met here as honest people? |
7291 | But did you ever see either young or old amused by the architrave of the door? |
7291 | But if you wish to design them yourselves, how do you do it? |
7291 | But what meaning has the iron railing? |
7291 | But when you are fairly_ at_ the work, what is the motive then which tells upon every touch of it? |
7291 | Can you do as much by your group of lines? |
7291 | Can you remember any in which architectural proportions contributed to the entertainment of the evening? |
7291 | Do we know what we are about? |
7291 | Do you suppose it was only going on in the time of David, and that nobody but Jews ever murder the poor? |
7291 | Does your art lead you, or your gain lead you? |
7291 | Egyptian ornament? |
7291 | Finally, I ask, Can you be of_ Use_ to any one? |
7291 | Have the workers of iniquity no knowledge, who eat up my people as they eat bread? |
7291 | Have you ever considered, in speaking as we do so often of distant blue hills, what it is that makes them blue? |
7291 | Here''s a bit of first- rate work for example:"Tweed said to Till,''What gars ye rin sae still?'' |
7291 | How can such a thing be asked? |
7291 | How did you determine the breadth of the border and relative size of the numerals? |
7291 | How did you determine the number of figures you would put into the neckerchief? |
7291 | How did you fix the number? |
7291 | How many mills do we want? |
7291 | I proceed then farther to ask, Can you inform anybody? |
7291 | I will grant you this Eldorado of imagination-- but can you have more than one Columbus? |
7291 | Is 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? |
7291 | Is there anything in common life too mean,--in common too trivial,--to be ennobled by your touch? |
7291 | Is there not something striking in this fact, considered largely as one of the types, or lessons, furnished by the inanimate creation? |
7291 | Is this, then, what you want? |
7291 | May we not advisedly look into this matter a little, even tonight, and ask first, Who are these poor? |
7291 | Men? |
7291 | Might we not justly be looked upon with suspicion and fear, rather than with sympathy, by the innocent and unartistical public? |
7291 | Now, 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?" |
7291 | Now, is that the kind of thing you want to come to everywhere? |
7291 | On the other hand-- Is your money first with you, and your fame first with you? |
7291 | Or otherwise interested in the proportions of the room than as they admitted more or fewer friendly faces? |
7291 | Or shall there be no limitations? |
7291 | Or, again, do you recollect Orcagna''s tabernacle in the church of San Michele, at Florence? |
7291 | Or, if you sail in company, and divide the prize of your discovery and the honour thereof, who is to come after you clustered Columbuses? |
7291 | Or, lastly, do you think the man who designed the procession on the portal of Amiens was the subordinate workman? |
7291 | Or, must every architect invent a little piece of the new style, and all put it together at last like a dissected map? |
7291 | Phidias, Michael Angelo, Orcagna, Pisano, Giotto,--which of these men, do you think, could not use his chisel? |
7291 | Raphael''s arabesques; are they not? |
7291 | Tell me, then, first of all, what ornamental work is usually put before our students as the type of decorative perfection? |
7291 | That is all simple and comprehensive enough-- but what is it to come to? |
7291 | That would be some loss to you; would it not? |
7291 | The question was not now with him, What can I represent? |
7291 | The test is absolute, inevitable-- Is your art first with you? |
7291 | Then, if they can not touch, or inspire, or comfort any one, can your architectural proportions amuse any one? |
7291 | What is given the student as next to Raphael''s work? |
7291 | What think you of that for a school of design? |
7291 | What will you have? |
7291 | Where, then, is your difference? |
7291 | Why are there no more lines? |
7291 | Why are there two lines outside of the border, and one only inside? |
7291 | Why did you put the double blots at the corners? |
7291 | Why lines at all to separate the barbarous figures; and why, if lines at all, not double or treble instead of single? |
7291 | Why not at the angles of the chequers,--or in the middle of the border? |
7291 | Why not three and two, or three and five? |
7291 | Will you then tell me precisely where the separation exists between one and the other? |
7291 | Will your architectural proportions do as much? |
7291 | Will your proportions of the façade heal the sick, or clothe the naked? |
7291 | Will, you, then, design the profiles of these mouldings yourselves, or will you copy them? |
7291 | Would you advise him, if he asked your advice, to give up his wood- blocks and take to canvas? |
7291 | Yes: and do you suppose you will find the Christian less human? |
7291 | You 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? |
7291 | and whether those rude chequers of the tartan, or the exquisitely fancied involutions of the Cashmere, fold habitually over the noblest hearts? |
7291 | are they prophets, saints, priests, or kings? |
7291 | but, How high can I build-- how wonderfully can I hang this arch in air, or weave this tracery across the clouds? |
7291 | how bring it down into patterns, and all that you are called upon as operatives to produce? |
7291 | how make it the means of your livelihood, and associate inferior branches of art with this great art? |
7291 | or do we indeed want no end of mills? |
7291 | to what fortunate islands of style are your architectural descendants to sail, avaricious of new lands? |
7291 | where is all this going on? |