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
44392	Again, if only Andalusia was able to produce such tiles, why did the Almirante''s wife order them from Toledo?
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?
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?"
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?
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?