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 |
|---|---|
| 29928 | Why was he able to do this, and why could it be done without trouble by others after him? |
| 40589 | 1550?) |
| 40589 | As on his shoulders he bears the Lord of the World, can we fail to remark his upturned glance, inquiring why he is thus bowed down by a little child? |
| 40589 | Christoph Jegher was born in Germany in 1590(?) |
| 40589 | Is not he famous as a giant? |
| 40589 | [? |
| 40589 | [? t] has a sort of streamer to**** the left and curling down. |
| 40589 | [? t]=_et_ in later times. |
| 40589 | ]=_ er_, or_ re_, as the sense requires,_ e.g._[? t]ra=_terra_,[? p]dictus= predictus,_ i.e.__ prædictus_. |
| 40589 | ]=_ er_, or_ re_, as the sense requires,_ e.g._[? t]ra=_terra_,[? p]dictus= predictus,_ i.e.__ prædictus_. |
| 27268 | But might not more have been done by three thousand lines to a square inch? |
| 27268 | Conquered the world? |
| 27268 | ''My hand should be enough for you; what matters my name?'' |
| 27268 | ''Oh, little one, must you lie out in the fields then, not even under this poor torn roof of thy mother''s to- night?'' |
| 27268 | ( Can Simonetta be traced in any of them? |
| 27268 | 1st, Is engraving to be only considered as cut work? |
| 27268 | 2d, For present designs multipliable without cutting, by the sunshine, what methods or instruments of drawing will be best? |
| 27268 | A man who ca n''t help his hiccough leaves the room: why do they not leave the England they pollute? |
| 27268 | And do you see the size of this head? |
| 27268 | And what graving on the sacred cliffs of Egypt ever honored them, as that grass- dimmed furrow does the mounds of our Northern land? |
| 27268 | Are not the leaves and fruits of earth in the Sun''s hand? |
| 27268 | But are you prepared absolutely to accept this limitation with respect to engraving as a pictorial art? |
| 27268 | But before you call a man a master, you should ask, Are his pupils greater or less than himself? |
| 27268 | But do you suppose Holbein himself, or any other Northern painter, could wholly quit himself of the like accusations? |
| 27268 | But how came the upper church of Assisi there? |
| 27268 | But how is it that I can drop just the cards I want out of my pack? |
| 27268 | But is it only of the bones, think you, that Holbein is careless? |
| 27268 | But is there any reason, do you suppose, for their being neat, and each like the other? |
| 27268 | But is this necessarily a disadvantage? |
| 27268 | But that is not a line at all, you think? |
| 27268 | But what has_ your_ fault been, gentlemen? |
| 27268 | But what is the use of explaining or analyzing it? |
| 27268 | But why is a large stone in any building grander than a small one? |
| 27268 | But why should four unfortunate masters be dropped out? |
| 27268 | But why, in wood, lines at all? |
| 27268 | Can you match it with your academy drawings, think you? |
| 27268 | Do you not continually mistake a luminous cloud for it, or wonder where it is, behind one? |
| 27268 | Do you suppose Michael Angelo learned his business by dashing or hitting at it? |
| 27268 | Do you suppose that is not enough to make the difference between mortal and immortal art,--the original genius being supposed alike in both? |
| 27268 | Do you think Dürer''s work would be better if it were more like that? |
| 27268 | Even in these days, when every man is, by hypothesis, as good as another, does not the question sound strange to you? |
| 27268 | FOOTNOTES:[ BH]"Would not the design have looked better, to us, on the plate than on the print? |
| 27268 | First, then, we ask how they attained this rank;--who taught_ them_ what they were finally best to teach? |
| 27268 | Have I not good reason to separate the masters of such pupils from the schools they created? |
| 27268 | Have you ever considered, in the early history of painting, how important also is the history of the frame maker? |
| 27268 | His chosen works before the Pope in Rome?--his admired Madonnas in Florence?--his choirs of angels and thickets of flowers? |
| 27268 | How are we to know, then, that he speaks in vain? |
| 27268 | How came Giotto to be asked to paint upon it? |
| 27268 | How came it to be vaulted-- to be aisled? |
| 27268 | How did his studies prosper his art? |
| 27268 | How far must every people-- how far did this Florentine people-- teach its masters, before_ they_ could teach_ it_? |
| 27268 | How much have you received, or may you yet receive, think you, of that teaching? |
| 27268 | I despise the poor!--do I, think you? |
| 27268 | I mean, will the virtue of an engraving be in exhibiting these imperfect means of its effect, or in concealing them? |
| 27268 | If it need not be cut work, but only the reproduction of a drawing, what methods of executing a light- and- shade drawing will be best? |
| 27268 | In writing our Florentine Dunciad, or History of Fools, can we possibly begin with a better day than All Fools''Day? |
| 27268 | Is all engraving to be cut work? |
| 27268 | Is beauty contrary to law, and grace attainable only through license? |
| 27268 | Is it not also better, and wiser, than the sneer of modern science? |
| 27268 | Is it so here, think you? |
| 27268 | Is it so vain to study the style of Botticelli? |
| 27268 | Is not that a little better, and a little wiser, than Bewick''s jackass? |
| 27268 | Is the sun''s likely to be so, rising on the evil and the good? |
| 27268 | Lastly, what will the Libyan Sibyl say to you? |
| 27268 | May no soldier of Christ bid them stay otherwise than so? |
| 27268 | Must then setting sun and risen moon stay, he thinks, only to look upon slaughter? |
| 27268 | On the plate, the reins would be in the left hand; and the whole movement be from the left to the right? |
| 27268 | Rembrandt''s etchings, and Lupton''s mezzotints, and Le Keux''s line- work,--do you mean to tell us that these ignore light and shade?'' |
| 27268 | Shall he worship Thor again, and mourn over the death of Balder? |
| 27268 | So contemptible the question of style, then, in painting, though not in literature? |
| 27268 | That makes twenty- five altogether,--an exorbitant demand on your attention, you still think? |
| 27268 | The Nations ask her, What wouldst thou? |
| 27268 | The two different forms that the radiance takes would symbolize respectively heat and light, would they not?" |
| 27268 | Too savage to be Christian? |
| 27268 | Twenty!--you think that a grievous number? |
| 27268 | Well,_ do n''t_ you, usually, as it rises? |
| 27268 | What answer would you make to me, if I asked casually what engraving was? |
| 27268 | What are the simplest means you can produce it with? |
| 27268 | What is the habit of soul of every modern engraver? |
| 27268 | What is the reason? |
| 27268 | What then, we have to ask, is a man_ conscious of_ in what he sees? |
| 27268 | What we gain in language, shall we lose in thought? |
| 27268 | What would that be, think you? |
| 27268 | What, on the contrary, has ignorant Holbein done for you? |
| 27268 | Whence do you think this marvelous charm has come? |
| 27268 | Which of these methods is the best?--or have they, each and all, virtues to be separately studied, and distinctively applied? |
| 27268 | Who thought of these;--who built? |
| 27268 | Why do you think the goldsmith''s apprenticeship is so fruitful? |
| 27268 | Why is the English one vulgar? |
| 27268 | Why not cut out white_ spaces_, and use the chisel as if its incisions were so much white paint? |
| 27268 | Why, then, is it_ not_ immortal? |
| 27268 | Will these two powers, do you suppose, be united in the same manner in the contemporary Northern art? |
| 27268 | Will you call nothing an engraving, except a group of furrows or cavities cut in a hard substance? |
| 27268 | Yes, but_ what_ art? |
| 27268 | Yes; but do you not see, nearly joining with them, what is not a horse tail at all; but a flame of fire, kindled at Apollo''s knee? |
| 27268 | You know how far from exemplary or delightful your boy''s first quite voluntary exercises in white line drawing on your slate were? |
| 27268 | You thought it ugly and grotesque at first, did not you? |
| 27268 | You would think, would you not? |
| 27268 | [ AN] It may be asked, why not corn also? |
| 27268 | [ BP] The engraving of Turner''s"Scene on the Rhine"( near Bingen?) |
| 27268 | and in what we add of labor, more and more forget its ends? |
| 27268 | do you ask me; and is all the common teaching about generalization of details true, then? |
| 27268 | if we knew, would not we all be Gainsboroughs? |
| 27268 | what the patrons''fault, who have permitted so wide waste of admirable labor, so pathetic a uselessness of obedient genius? |
| 27268 | with the brass plate over the way; and of a virgin, Miss---- of the---- theater? |