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 |
|---|---|
| A60467 | 1648? |
| A60467 | 1648? |
| A36766 | And how, continues he, can we be touch ● ● d, since the Passions are not in our power? |
| A36766 | How many fair women do we see, who please us much less than others, who have not such beautifull Features? |
| A36766 | Praxiteles being ask''d which of all his Works he valued most? |
| A31652 | And after all this, what are we to expect of tollerable in this famous piece? |
| A31652 | But presupposing it so; what made Diogenes amongst these learned persons? |
| A31652 | Is it to be conceiv''d he should not think of what he was to do, before he took Pencil in hand? |
| A31652 | what regard, think you, would they have to this Age of ours, which has so unworthily abandon''d her? |
| A94194 | And Affection, what? |
| A94194 | And if Poets devise these double Natur''d- Creatures, why, not the Painters; who can do what the other but bespeake? |
| A94194 | And what''s her fancie, would you think? |
| A94194 | And who so just, that does not sometimes try, To turn pure Painter, and deceive the eye? |
| A94194 | Ann ● Hunc quòd ames? |
| A94194 | Anne magis radio Pictor Apollo suo? |
| A94194 | Anne quòd Essigiem subrepti Martyris, Orbis Quà patet, indomito more& honore colat? |
| A94194 | But if we looke upon Paintings of late ages, how ill doth the apparrell in use then, become the Picture now? |
| A94194 | Colouring, what? |
| A94194 | Designing Lines, what? |
| A94194 | Drapery what? |
| A94194 | Energia what? |
| A94194 | Harmogia what? |
| A94194 | How for light? |
| A94194 | How many men that have Organs, and de hear, yet can not distinguish the Excellency of Musicall sounds, and find not the defect? |
| A94194 | How the spruce trim Lasse, Dotes on a Picture in the Looking- glasse? |
| A94194 | In all, do not imitate outward Ornaments, but express inward force? |
| A94194 | Neuter adest; sed uterque tamen: sed major utroque Sive homines lubeat pingere sive Deos? |
| A94194 | OUis precor hic? |
| A94194 | Parergia what? |
| A94194 | Templa Paretoniis onerâsse Altaria Monstris Quis negat? |
| A94194 | Tonus, what? |
| A94194 | What Colours in our Rhetorick, can show Thine, which more various are, than those''i th Bow? |
| A94194 | What think ye of the gods, to whose huge name The Pagans bow''d their humble knees? |
| A94194 | Whence came Their immortalities, but from a Shade, But from those Pourtraictures the Painter made? |
| A94194 | With Force, what it is? |
| A94194 | Yet, what''s the Sun? |
| A94194 | iterúmne Orbi comparet Apelles? |
| A94194 | vel quòd te redamârit, erat? |
| A26548 | All this while, these are all Greek Masters; had the Romans none of their own? |
| A26548 | And who were his Contemporaries? |
| A26548 | But here we must not omit his Generosity to Vrbino his Schollar and Servant; to whom one day he said, If I die, Vrbino, what will become of thee? |
| A26548 | But pray Inform me yet a little further: Did Painting after their Time decay? |
| A26548 | Cimabue astonished, stood still, and having considered the Child and his Work, he ask''d him, If he would go and Live with him at Florence? |
| A26548 | Friend, About what time did Leonardo da Vinci live? |
| A26548 | Friend, Before you undertake to tell me the progress of the Art in these Modern Times, pray inform me how long it lay buryed in Oblivion? |
| A26548 | Friend, Can you Paint in Oyl upon a Wall? |
| A26548 | Friend, Did Painting get so early into Italy? |
| A26548 | Friend, Did ever any Painter arrive to that Perfection you mention? |
| A26548 | Friend, Did the Antients use Oyl Painting? |
| A26548 | Friend, Did the Gentry and Nobility Learn to Design? |
| A26548 | Friend, Has there been no Painters of the first Rank out of Italy? |
| A26548 | Friend, How came they at last to recover themselves? |
| A26548 | Friend, How is it possible to erre in imitating Nature? |
| A26548 | Friend, How long was it from the time of Cimabue to the time of Masaccio? |
| A26548 | Friend, How much was a Talent? |
| A26548 | Friend, I have heard Painters blamed for Finishing their Pieces too much: How can that be? |
| A26548 | Friend, I hear, you Travellers talk of Painting in Fresco, in Distemper, in Oyl, in Chiaro Scuro: pray, What is the meaning of all those Words? |
| A26548 | Friend, Is there any Rule for that? |
| A26548 | Friend, Pray what is Painting in Distemper? |
| A26548 | Friend, Pray what is painting in Chiaro Scuro? |
| A26548 | Friend, Pray, what was the great reason of that Decay? |
| A26548 | Friend, Pray, who were the chief Schollars of this School of the Caraches? |
| A26548 | Friend, Was there any thing left of Protogenes''s doing? |
| A26548 | Friend, Was there many of them preserved to the Time of the Romans? |
| A26548 | Friend, What is Oyl Painting? |
| A26548 | Friend, What is it you call Design? |
| A26548 | Friend, What were his most Famous Works? |
| A26548 | Friend, When a Painter has acquired any Excellency in Desinging, readily and strongly; What has he to do next? |
| A26548 | Friend, Wherein particularly lies the Art of Colouring? |
| A26548 | Friend, Would you have a Painter study nothing but Humane Figures? |
| A26548 | How can they be otherwise? |
| A26548 | It seems, he was also an Admirable Statuary; for Praniteles being asked, which of all his Statues he valued the most? |
| A26548 | Or, has it since been Improved by more Modern Painters? |
| A26548 | Pray for which Sence was this Figure made? |
| A26548 | Pray, what is properly Invention in a Picture? |
| A26548 | Pray, who were the great Painters of this Second AGE, as one may call it? |
| A26548 | Says the Courtier, half angry, Shall I have nothing but this to show the Pope? |
| A26548 | Were all these Masters Graecians? |
| A26548 | What is properly the Colouring of a Piece of Painting? |
| A26548 | What shall we have for Dinner to day, now you have let it all fall upon the Ground? |
| A26548 | What was Represented in this Picture? |