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
48053	As for slavery on the haciendas, when is a man a slave?
42371	T. Hanmer''s(?)
45744	Huntington?)
45744	Portrait of Sebastian Cabot,( 1477- 1557?)
45744	_ Falstaff._--Shall I?
17373	Proceeding by the first, we ask, what are the general styles of treatment in which Madonna pictures have been rendered?
17373	The Virgin can not be called either intellectual or spiritual, but"where,"as a noted critic has asked,"can we find a face more winsome and appealing?"
17373	The first examines the mechanical arrangement of the figures; the second asks, what is the real relation between them?
43602	But what must it have been in the time of the Arabs?
28422	And who can see without marvelling the works of Francesco Marcolini of Forlì?
28422	Which done, Giovan Francesco said:"Did you observe, Father Guardian, that you neither knelt down nor rose up with both knees together?
13485	Does not the perception of human excellence immediately relate to the source of all excellence?
13485	FRANCES REYNOLDS(?
13485	May it not be owing to these expressions, so familiar to every eye, that the general sense of good taste eternally exists?
13485	T. Hanmer''s(?)
31940	61- the_ Gobbi_, the_ Beggars_?"
31940	A LIONESS_ From a bronze by Barye_] In what does the extraordinary quality of this work consist?
31940	How is it, then, that we fearlessly may range ourselves on the side of the public in admiration of Sorolla''s art?
28421	Should I not know it, when I recognize the very strokes that I made with my own brush?
28421	What?
28421	FOOTNOTE:[ 9]"What is it that I feel, if it is not love?"
28421	Why say more?
26473	Where is the light of thine eye?
26473	Where is thy pearl, and thy silver and gold, And the diadem bright on thy head of old? 26473 Why is that cypress tree bowed and bent?"
26473	Ere A, B, C, are rightly apprehended, How canst thou con the pages of the_ QUR''AN?
26473	He asked after the King, saying,''How is my son the King?
26473	What was the vital force that brought about this cultural evolution and unification?
26473	_"Where is thy youth, and thy beauty, and pride?"
26473	is he in good health?''
2176	But if industry carried them thus far, may not you also hope for the same reward from the same labour?
2176	How many men of great natural abilities have been lost to this nation for want of these advantages?
2176	Is not, he may say, art an imitation of nature?
2176	Must he not, therefore, who imitates her with the greatest fidelity be the best artist?
2176	Nor, whilst I recommend studying the art from artists, can I be supposed to mean that nature is to be neglected?
2176	On whom, then, can he rely, or who shall show him the path that leads to excellence?
8701	And God heard the voice of the lad; and the angel of God called to Hagar out of heaven, and said unto her, What aileth thee, Hagar?
8701	And he said, I know not Am I my brother''s keeper?
8701	And he said, What hast thou done?
8701	And she said, Who would have said unto Abraham, that Sarah should have given children suck?
8701	And the Lord said unto Cain, Where is Abel thy brother?
8701	And the Lord said unto Cain, Why art thou wroth?
8701	Behold now this city is near to flee unto, and it is a little one: Oh, let me escape thither( is it not a little one?)
8701	If thou doest well, shalt thou not be accepted?
8701	and why is thy countenance fallen?
44334	Addressing himself to a young Englishman who was in his camp, he said,"Have you ever seen how a battle is lost?"
44334	Does not this picture imply that Woman at all ages holds in her hand the Empire of the World?"
44334	For was it not here, in these woods and on these lakes, that they had lived and feasted in the manner recorded in the chronicles of their time?
44334	Or was it not rather the intention of Raphael to represent the_ Three Ages of Womanly Beauty_?
44334	The Duc d''Aumale expresses himself about it in the following terms:"Are these really the_ Three Graces_ whom we have here before us?
44334	To the complaints of her Italian courtiers that she spent too much money upon her compatriots she replied,"_ Que voulez- vous?
44334	Was this her Majesty''s gratitude for the victories he had gained against the enemies of France?
5620	Does not that power of production appear to be intelligence in the seed?
5620	Does the tapir stand for South America?
5620	Has it not been so at the Panama Canal?
5620	Has not the seed produced the bearded barley head you see represented?
5620	Have not many done the labor that the United States, the Adventurous Bowman, may win?
5620	It should, for is it not the vital part of this great Exposition?
5620	San Francisco has a few(?)
5620	Who would not mount Pegasus at such a glorious Exposition?
31938	And so, when Vasari rode into their midst on his horse, Jacone said to him:"Well, Giorgio, how goes it with you?"
31938	But why do I dally over describing all the details?
31938	But why say more?
31938	But, if women know so well how to produce living men, what marvel is it that those who wish are also so well able to create them in painting?
31938	Consider, you who do all the work in Rome, how it would appear to you if others were to value your labours as you do theirs?
31938	What, likewise, of the various musical instruments that are there, all as real as the reality?
28420	Does it not?
28420	But the Pope answered him in anger,"Do you believe that you are the only Giuliano da San Gallo to be found?"
28420	But what need is there to say more about this man?
28420	But why say more?
28420	What more, indeed, is there to say?
28420	[ Illustration: CATERINA, QUEEN OF CYPRUS(_ After the painting by= Giorgione da Castelfranco=(?).
28420	[ Illustration: MADONNA AND CHILD, WITH SAINTS(_ After the panel by= Domenico Puligo=(?).
47512	(?)
47512	----_ flo._ 1686(?)
47512	Do we not read in Proverbs,"The buyer saith it is naught, it is naught, and when he goeth his way he rejoiceth"?
47512	Girolamo da Trevigi 1497- 1544 Herbert Tuer-- 1680(?)
47512	In reply to the question, What constitutes a miniature portrait?
47512	and you want to know the best way to set about it?
21790	Dy moy donc par Astrologie Quand tu deburas a moy uenir?
21790	Et de la Mort, qui tout assomme, Puisse son Ame recourir?
21790	Mais dy moy, fol, a qui uiendra Le bien que tu as amassé?
21790	Que vault à l''homme tout le Monde Gaigner d''hazard,& chance experte, S''il recoit de sa uie immonde Par Mort, irreparable perte?
21790	Qui est celluy, tant soit grande homme, Qui puisse uiure sans mourir?
21790	Qui hors la chair veult en Christ viure Ne craint mort, mais dit un mortel, Helas, qui me rendra deliure Pouure homme de ce corps mortel?
21790	Quid prodest homini, si vniuersum Mundum lucretur, animæ autem suæ detrimentum patiatur?
21790	Quis est homo qui viuet,& non videbit mortem, eruet animã suam de manu inferi?
21790	Quis nie liberabit de corpore mortis huius?
21790	Sciebas quòd nasciturus esses,& numerum dierum tuorum noueras?
21790	Stulte hac nocte repetunt animam tuam,& quæ parasti cuius erunt?
21790	Voy tu pas l''heure qui approche?
8705	And he said unto me; Son of man, can these bones live?
8705	And seekest thou great things for thyself?
8705	And the king said to him: Doth not Bel seem to thee to be a living God?
8705	And the king said unto him: Why dost thou not adore Bel?
8705	And the king said: Are the seals whole, Daniel?
8705	Nebuchadnezzar spake and said unto them, Is it true, O Shadrach, Meshach, and Abed- nego?
8705	Seest thou not how much he eateth and drinketh every day?
8705	Who can tell if God will turn and repent, and turn away from his fierce anger, that we perish not?
8705	do not ye serve my gods, nor worship the golden image which I have set up?
22564	At first we are mystified, for was not Pilate''s house in Jerusalem?
22564	But how could he paint even a small picture with no canvas at hand?
22564	How did the Louvre come by this magnificent monument of Spanish art when so much that is glorious has been kept within the boundaries of Spain?
22564	How does Durer represent this insidious and fatal enemy?
22564	It very soon became evident that he was to be a painter-- good or bad-- who could tell in those early days?
22564	May we not add our mite, tiny though it be, to the ever- growing volume of truth?
22564	On what could he draw the beautiful group?
22564	What charms can even her favorite instrument have for her when streams of heaven''s own music are reaching her from the angel choir above?
22564	What though Death reminds him by the uplifted hourglass that his life is nearly ended?
22564	or that Satan himself stands ready to claim the Knight''s soul?
14400	278.--Spoon( or lamp?).]
14400	Did they carry their taste for enamelled ware so far as to cover the walls of their houses with glazed tiles?
14400	How many centuries had it taken to arrive at this degree of maturity and perfection?
14400	How, in fact, was it possible to find in the Fayûm a site which could have contained a basin measuring at least ninety miles in circumference?
14400	Lamp, 19, 307(?).
14400	Of what is he thinking?
14400	Of what use, it may be asked, were all these weapons to a woman-- and a dead woman?
14400	Once it had disappeared, what was to become of the Double?
14400	They carved the houses of the dead in the mountain side; why, therefore, should they not in like manner carve the houses of the gods?
14400	Unguent vase, or spoon( lamp for suspension?)
14400	Was a supply of meat required to last for eternity?
14400	Was it in the time of Horemheb, or during the reign of Rameses I., that this gigantic work was accomplished?
14400	Were they, as it has been ofttimes asserted, ignorant of the art of composition?
39264	Is the centaur but a symbol of Apollo himself?
39264	The bird-- lectern or not-- has round its head a kind of aureola or glory; it is probably an eagle, but who shall say it is not a dove?
39264	What is it at which we laugh?
39264	Yet how do many of his followers act?
39264	[ 2] At Augsburgh(?)
39264	[ Illustration: HAWKS OR EAGLES?
8706	And he said unto them, Have ye never read what David did, when he had need, and was an hungered, he, and they that were with him?
8706	And he said unto them, How is it that, ye sought me?
8706	And he saith unto them, Why are ye fearful, O ye of little faith?
8706	And his sisters, are they not all with us?
8706	And the Pharisees said unto him, Behold, why do they on the sabbath day that which is not lawful?
8706	And when they saw him, they were amazed: and his mother said unto him, Son, why hast thou thus dealt with us?
8706	Is not this the carpenter''s son?
8706	Whence then hath this man all these things?
8706	and his brethren James, and Joses, and Simon, and Judas?
8706	is not his mother called Mary?
8706	wist ye not that I must be about my father''s business?
8709	And as Paul was to be led into the castle, he said unto the chief captain, May I speak unto thee?
8709	And he said unto them, What manner of communications are these that ye have one to another, as ye walk, and are sad?
8709	And he said unto them, What things?
8709	And he said, Who art thou, Lord?
8709	And he trembling and astonished said, Lord, what wilt thou have me to do?
8709	And he, said unto them, Unto what then were ye baptized?
8709	And the evil spirit answered and said, Jesus I know, and Paul I know; but who are ye?
8709	And they said one to another, Did not our heart burn within us, while he talked with us by the way, and while he opened to us the scriptures?
8709	Art not thou that Egyptian, which before these days madest an uproar, and leddest out into the wilderness four thousand men that were murderers?
8709	Then said the high priest, Are these things so?
8709	When they therefore were come together, they asked of him, saying, Lord, wilt thou at this time restore again the kingdom of Israel?
8709	Who said, Canst thou speak Greek?
8708	And Jesus answered and said unto them, Are ye come out, as against a thief, with swords and with staves to take me?
8708	And about the ninth hour Jesus cried with a loud voice, saying, Eli, Eli, lama sabachthani?
8708	And he cometh unto the disciples, and findeth them asleep, and saith unto Peter, What, could ye not watch with me one hour?
8708	And some of them said, Could not this man, which opened the eyes of the blind, have caused that even this man should not have died?
8708	And they were exceeding sorrowful, and began every one of them to say unto him, Lord, is it I?
8708	And when he rose up from prayer, and was come to his disciples, he found them sleeping for sorrow, and said unto them, Why sleep ye?
8708	Hath no man condemned thee?
8708	Jesus saith unto her, Said I not unto thee, that, if thou wouldest believe, thou shouldest see the glory of God?
8708	Now Moses in the law commanded us, that such should be stoned: but what sayest thou?
8708	Then Judas, which betrayed him, answered and said, Master, is it I?
8708	When Jesus had lifted up himself, and saw none but the woman, he said unto her, Woman where are those thine accusers?
8708	that is to say, My God, my God, why hast thou forsaken me?
31845	And you,asked Baccio,"what do you say of them?"
31845	Jews or no Jews,said Cristofano,"what have you to do with them?"
31845	Look here,he would say,"what devilments are these?
31845	At which both laughing, the Duke said:"What is your idea in always wearing your cloak inside out?"
31845	But what can we or ought we to do save have compassion upon him, seeing that the men of our arts are as much liable to error as others?
31845	Devil take it, can a man not live in his own way in this world, without the enemies of comfort giving themselves all this trouble?"
31845	Dumbfounded at the appearance of Baccio, Solosmeo turned to Ridolfi and said:"What tricks are these, my lord?
31845	Giuliano once relating to Bronzino how he had seen a very beautiful woman, after he had praised her to the skies, Bronzino said,"Do you know her?"
31845	Michelagnolo, having risen and looked at the portrait, said to Giuliano, laughing:"What the devil have you been doing?
26860	If it were so, thinkest thou that the citizen would have bought the picture?"
26860	When I came here before, these angels had red caps on their heads, and now they have not; what does it mean?"
8707	And Jesus, immediately knowing in himself that virtue had gone out of him, turned him about in the press, and said, Who touched my clothes?
8707	And he saith unto them, Whose is this image and superscription?
8707	And his disciples said unto him, Thou seest the multitude thronging thee, and sayest thou, Who touched me?
8707	And upon this came his disciples, and marveled that he talked with the woman: yet no man said, What seekest thou?
8707	And when he was come in, he saith unto them, Why make ye this ado, and weep?
8707	And when he was come into Jerusalem, all the city was moved, saying, Who is this?
8707	Art thou greater than our father Jacob, which gave us the well, and drank thereof himself, and his children, and his cattle?
8707	But he, knowing their hypocrisy, said unto them, Why tempt ye me?
8707	But he, willing to justify himself, said unto Jesus, And who is my neighbor?
8707	Shall we give, or shall we not give?
8707	The woman saith unto him, Sir, thou hast nothing to draw with, and the well is deep from whence then hast thou that living water?
8707	Then saith the woman of Samaria unto him, How is it that thou, being a Jew, askest drink of me, which am a woman of Samaria?
8707	Which now of these three, thinkest thou, was neighbor unto him that fell among the thieves?
8707	or, Why talkest thou with her?
40604	As a steel- engraver, who in this century has produced work that is much superior to his superb engraving of Vanderlyn''s"Ariadne?"
40604	But he died young, and( shall we not say?)
40604	Have we none with the knowledge or the power to render the subject with the vigor it demands?
40604	If such a topic is permissible in letters, may it not also be allowed sometimes in painting?
40604	What is art but a reaching out after the ideal, the most precious treasure given to man in this world?
40604	When shall we see his like again?
40604	Who has not seen his splendid painting of the"Gorge of the Yellowstone,"now in the Capitol at Washington?
40604	Who has not seen the famous"Greek Slave,"inspired by the enthusiasm for the Greeks struggling with the Turk for existence?
40604	Who of our artists has been able both to design and to engrave such a work as his"Musidora?"
40604	Why have none of our artists attempted to paint them?
40604	Why is it that his colors are as brilliant, as pure, as forcible, as harmonious, to- day as when he laid them on the canvas nearly a century ago?
21212	Oh,I exclaimed,"Art thou not Oderigi, art not thou Agobbio''s glory, glory of that art Which they of Paris call the limner''s skill?
21212	Well,said Giotto,"are they not here, are any wanting?"
21212	What did you ask me to paint?
21212	Will you think it rubbish to pay for it?
21212	Denique sum Jottus, quid opus fuit illa referre?
21212	Did not Attalus do the same?
21212	Has someone sent him here to play a trick on me?
21212	If you had been one of the Bardi, well and good, but what arms do you bear?
21212	Miraris turrim egregiam sacro aere sonantem?
21212	The latter, who thought he was joking, said:"Am I to have no other design but this?"
21212	When Giotto was alone he reflected:"What is the meaning of this?
21212	When it arrived this gentleman by proxy looked hard at it and said to Giotto:"What rubbish have you painted here?"
21212	Where do you come from?
21212	Who were your ancestors?
8702	Again he said unto her, Stand in the door of the tent, and it shall be, when any man doth come and enquire of thee, and say, Is there any man here?
8702	And Deborah said unto Barak, Up; for this is the day in which the Lord hath delivered Sisera into thine hand: is not the Lord gone out before thee?
8702	And Isaac said unto his son, How is it that thou hast found it so quickly, my son?
8702	And Joseph said unto his brethren, I am Joseph; doth my father yet live?
8702	And Judah said unto his brethren, What profit is it if we slay our brother, and conceal his blood?
8702	And Laban said unto Jacob, Because thou art my brother, shouldest thou therefore serve me for naught?
8702	And he came unto his father, and said, My father: and he said, Here am I; who art thou, my son?
8702	And he said, Art thou my very son Esau?
8702	And he said, Behold the fire and the wood: but where is the lamb for a burnt offering?
8702	And he told it to his father and to his brethren; and his father rebuked him, and said unto him, What is this dream that thou hast dreamed?
8702	And his brethren said to him, Shalt thou indeed reign over us?
8702	And it came to pass that in the morning, behold, it was Leah: and he said to Laban, What is this thou hast done unto me?
8702	Is not this written in the book of Jasher?
8702	Then said his sister to Pharaoh''s daughter, Shall I go and call to thee a nurse of the Hebrew women, that she may nurse the child for thee?
8702	did not I serve with thee for Rachel?
8702	or shalt thou indeed have dominion over us?
8702	tell me, I pray thee; is there room in thy father''s house for us to lodge in?
8702	tell me, what shall thy wages be?
8702	wherefore then hast thou beguiled me?
8704	And Joab said unto the man that told him, And, behold, thou sawest him, and why didst thou not smite him there to the ground?
8704	And Joab said, Wherefore wilt thou run, my son, seeing that thou hast no tidings ready?
8704	And as Jehu entered in at the gate, she said, Had Zimri peace, who slew his master?
8704	And he lifted up his face to the window, and said, Who is on my side?
8704	And he said unto them, What manner of man was he which came up to meet you, and told you these words?
8704	And the king said again unto Esther on the second day at the banquet of wine What is thy petition, queen Esther?
8704	And the king said unto Cushi, Is the young man Absalom safe?
8704	And the king said, Is the young man Absalom safe?
8704	And their father said unto them, What way went he?
8704	And when the messengers turned back unto him, he said unto them, Why are ye now turned back?
8704	Then said the king, Will he force the queen also before me in the house?
8704	Then the king Ahasuerus answered and said unto Esther the queen, Who is he, and where is he, that durst presume in his heart to do so?
8704	and it shall be granted thee: and what is thy request?
8704	who?
32362	Why so?
32362	A Bishop then said to the groom,"Perhaps you do not know this man?"
32362	And what can I say of the Night, a statue not rare only, but unique?
32362	But what a waste of time is this?
32362	But what shall I say of the Dawn, a nude woman, who is such as to awaken melancholy in the soul and to render impotent the style of sculpture?
32362	Gli amorosi pensier''già vani e lieti Che sien''or'', s''a due morti mi avvicino?
32362	The Pope flew into a rage and said:"I have had this desire for thirty years, and now that I am Pope do you think I shall not satisfy it?
32362	This Urbino was his man of all work, and had served him a long time; and Michelagnolo said to him:"If I die, what will you do?"
32362	What greater vanity is there than that of those who concern themselves more with the name than the fact?
32362	Wherefore, when it was finished, the man gazed at it marvelling; and Michelagnolo said:"What do you think of it?"
32362	Who is there who has ever seen in that art in any age, ancient or modern, statues of such a kind?
8703	After whom is the king of Israel come out?
8703	And David said to Saul, Wherefore hearest thou men''s words, saying, Behold, David seeketh thy hurt?
8703	And Naomi said, Turn again, my daughters: why will ye go with me?
8703	And it came to pass, when David had made an end of speaking these words unto Saul, that Saul said, Is this thy voice, my son David?
8703	And she said unto him, How canst thou say, I love thee, when thine heart is not with me?
8703	And the Philistines called for the priests and the diviners, saying, What shall we do to the ark of the Lord?
8703	For if a man find his enemy, will he let him go well away?
8703	Her wise ladies answered her, yea, she returned answer to herself, Have they not sped?
8703	If I should say, I have hope, if I should have a husband also to night, and should also bear sons; would ye tarry for them till they were grown?
8703	The mother of Sisera looked out at a window, and cried through the lattice, Why is his chariot so long in coming?
8703	Then said Boaz unto Ruth, Hearest thou not, my daughter?
8703	Then said Boaz unto his servant that was set over the reapers, Whose damsel is this?
8703	Then said they, What shall be the trespass offering which we shall return to him?
8703	Wherefore then do ye harden your hearts, as the Egyptians and Pharaoh hardened their hearts?
8703	Why tarry the wheels of his chariots?
8703	after whom dost thou pursue?
8703	are there yet any more sons in my womb, that they may be your husbands?
8703	when he had wrought wonderfully among them, did they not let the people go, and they departed?
8703	would ye stay for them from having husbands?
33203	Audis ut resonet lætis clamoribus æther, Et plausu et ludis Austria cuncta fremat?
33203	Ch''amor, d''amor ribello, Di se stesso e di Psiche oggi sia preda?
33203	Chi le saette?
33203	Etrusca attollet se quantis gloria rebus Conjugio Austriacæ Mediceæque Domus?
33203	Flora lieta, Arno beato, Arno umil, Flora cortese, Deh qual più felice stato Mai si vide, mai s''intese?
33203	Pater Arne tibi, et tibi Florida Mater, Gloria quanta aderit?
33203	QUID TOT NUNC REFERAM INSIGNES PIETATE VEL ARMIS MAGNANIMOSQUE DUCES EGREGIOSQUE VIROS?
33203	Quid statis juvenes tam genialibus Indulgere toris immemores?
33203	When Giovio had finished his discourse, the Cardinal turned to me and said:"What do you say, Giorgio?
33203	Will not that be a fine work and a noble labour?"
33203	ma chi sia che cel creda?
5321	Already in that very question"how?"
5321	And if it does so attain, will men be able to rely on its solution?"
5321	And they ask themselves:"Will science, if it continues on the road it has followed for so long, ever attain to the solution of these problems?
5321	But how are we to do it?
5321	By what method are these material objects to be reproduced?
5321	Can the distinctions we make between matter and spirit be nothing but relative modifications of one or the other?
5321	Despite memorials and statues, are they really many who have risen to his level?
5321	For when this"how?"
5321	How many years will it be before a greater segment of the triangle reaches the spot where he once stood alone?
5321	If the emotional power of the artist can overwhelm the"how?"
5321	In other words, how far may we go in altering the forms and colours of this nature?
5321	Is everything material?
5321	Is whatever can not be touched with the hand, spiritual?
5321	Must we then abandon utterly all material objects and paint solely in abstractions?
5321	Spots appear on the sun and the sun grows dark, and what theory can fight with darkness?
5321	The question most generally asked about Kandinsky''s art is:"What is he trying to do?"
5321	The question"what?"
5321	This"what?"
5321	What is the message of the competent artist?
5321	Whither is this lifetime tending?
5321	Why did they come?
5321	[ Footnote 2: Are not many monuments in themselves answers to that question?]
5321	[ Footnote: Among artists one often hears the question,"How are you?"
5321	disappears from art; only the question"how?"
5321	or is EVERYTHING spiritual?
27194	And what are the pictures that in general draw the popular attention?
27194	At last he turned in upon himself: What does this canvas mean to me?
27194	But all the while, which of these conceptions figures the"real"newsboy?
27194	But what is the poor seeker after art to do?
27194	But what of new significance, energy, life, has this work to express to me?
27194	But who shall say that, seen in the fastnesses of his native rivers, he is not the beautiful perfect fulfilling of nature''s harmony?
27194	Can it be that the painter has seen a new wonder in nature, a new significance in human life?
27194	For after all, what is the reality?
27194	Is it a fair test?
27194	The appreciator need simply ask himself,"What has this work to reveal to me of beauty that I have not perceived for myself?
27194	The appreciator need simply ask, What is the beauty, what the idea, which the artist is striving to reveal by these symbols of color and form?
27194	What is the meaning of all this striving after expression?
27194	What lover of beauty is not ever awake to the revelation of new beauty?
27194	What man is wholly indifferent to the display of human skill?
27194	What was the aim of these men who have left their record here?
27194	What was their moving impulse?
27194	Whence comes this beauty, this strength, this graciousness?
27194	Who is there without his store of pleasurable associations, who is not stirred by any call which rouses them into play?
27194	Why, why does the human spirit seek to manifest itself in forms which we call beautiful?
27194	to the"Why?"
46330	500,000(?)
46330	5[ Greek: g.] Is Scientific Treatment_ appropriate_ to Art?
46330	83([ Greek: g]) Some Arts can not be called Imitative 85(_ b_)_ Humani nihii_--?
46330	87(_ c_) Mitigation of the Passions?
46330	But when in place of the abstract,"Is man free?"
46330	Crown 8vo, 2_s._ 6_d._= Salvator Mundi=; or, Is Christ the Saviour of all Men?
46330	Does Art_ merit_ Scientific Treatment?
46330	He never asks,"Is it?"
46330	In presence of such a demand we are at once met by the question,"Whence do we get this conception?"
46330	Is it visible and tangible, like the unity of a human body?
46330	Was he insensible to sound in poetry?
46330	What even of an army?
46330	What is man''s need to produce works of art?
46330	What is this unity?
46330	Work of Art as addressed to Man''s Sense 60- 78[(_ a_) Object of Art-- Pleasant Feeling?
46330	[ The Interest or End of Art( 79- 106)(_ a_) Imitation of Nature?
46330	_ Cf._:--"''Tell me, good Brutus, can you see your face?''
46330	but always"What is it?"
46330	retains the accessory meaning of the question,"What is the_ use_?".
51459	And indeed how should they?
51459	And what sufficient reason can be given why the same may not be said of the rest of the body?
51459	Have not many gothic buildings a great deal of consistent beauty in them?
51459	How inelegant would the shapes of all our moveables be without it?
51459	How solemn and pleasing are groves of high grown trees, great churches, and palaces?
51459	If anyone should ask, what it is that constitutes a fine- proportion''d human figure?
51459	If uniform objects were agreeable, why is there such care taken to contrast, and vary all the limbs of a statue?
51459	In a landskip, will the water be more transparent, or the sky shine with a greater lustre when embrown''d and darken''d by decay?
51459	and do n''t we find by experience what weight, or dimension should be given, or taken away, on this or that account?
51459	has not even a single spreading oak, grown to maturity, acquir''d the character of the venerable oak?
51459	or when a spring is not sufficient?
16178	97 THE ARTIST AND THE TRADESMAN 110 PROFESSIONALISM IN ART 120 WASTE OR CREATION?
16178	Are we humbled enough to listen to the wisdom of the ages, which tells us that we can be wise only if we listen for a wisdom that is not ours?
16178	Are we, with our money, forcing him to work that is for him worth doing; are we, to use an old phrase, considering the good of his soul?
16178	But will they learn from their sufferings, shall we all learn, that doing is not everything?
16178	Does an Academician value the criticism of a Vorticist, or_ vice versa_?
16178	Each is a heretic with some truth in his heresy; what is the true doctrine?
16178	He would say to himself, not How can I protect myself with this against the tyranny of the struggle for life?
16178	How are we to get rid of this distinction we have made between the artist and the tradesman?
16178	How are we to recover for the artist the virtues of the craftsman and for the craftsman the virtues of the artist?
16178	How otherwise can we explain the passion for superfluous machine- made ornament which makes our respectable homes so hideous?
16178	If no one prized art, why should sham art have come into existence?
16178	Is this a platitude?
16178	O mighty process, what talent can avail to penetrate a nature such as thine?
16178	Process or Person?
16178	Rather he seems to cry, like Poe, of everything that he draws-- O God, can I not grasp Them with a tighter clasp?
16178	Still, the question remains, How is the artist to be recognized?
16178	The Venetians have done this much better, we think; and why, if Poussin was going to paint like Titian, did he not use Titian''s colour?
16178	The question is, Was it painted by Romney?
16178	There is a riddle-- When is an artist not an artist?
16178	Waste or Creation?
16178	What can they know about Greek sculpture if their own drawing- rooms are hideous?
16178	What did he do in thought compared with St. Thomas, or in art compared with the builders of Chartres or Bourges?
16178	What is the difference, as of different worlds, between Rubens at his best and Tintoret at his best?
16178	What tongue will it be that can unfold so great a wonder?
16178	Who would believe that so small a space could contain the images of all the universe?
16178	Why adorned with wreaths of myrtle?
16178	but What can I do with this?
16178	not How can I invest this?
58981	But compared with ourselves, has our course also been progressive?
58981	But how does this accord with fact and with usefulness?
58981	Does not this establish the existence of taste coeval with the earliest traces of information?
58981	Has not the pencil''ample verge''and''room''appropriate?
58981	Here, however, it may be asked, how far has prescription the power to determine this matter?
58981	How, then, are facts seemingly so discordant to be reconciled?
58981	Is it, then, the fate of the human spirit, like human institutions, to fall away immediately on attaining a degree of perfection?
58981	Shall we say with some, that to decide on the relations of truth and falsehood, is the sole province of the judgment or understanding?
58981	Since Zion''s desolation, when that He Forsook his former city, what could be Of earthly structures, in his honor piled, Of a sublimer aspect?
58981	The subjects of discussion here involve two questions-- first, Whence and by whom this style was introduced?
58981	What then constitutes the essential difference between the beautiful in general language, and the beautiful in the fine arts?
58981	or, which is identical, the difference between the powers of judgment and of taste?
58981	secondly, From what prototype the idea was originally derived?
58981	thy grand in soul?
58981	where, Where are thy men of might?
38500	Hail MaryLuke 1:28 TITIAN"Blessed art thou among women"Luke 1:28 HOFMANN"Thou hast found favor with God"Luke 1:28 RENI"How shall this be?"
38500	If a woman lose a coin, does she not light a candle and search carefully until she finds it?
38500	Is it nothing to you, all ye that pass by? 38500 14:30 SCHWARTZWherefore didst thou doubt?"
38500	Do they help?
38500	Does Mary seem already to behold the Lamb of God which taketh away the sin of the world?
38500	If God so clothe the grass of the field, shall he not much more clothe you?
38500	It is the moment described in Luke 2:48, when his mother speaks to Jesus,"Son, why hast thou dealt thus with us?"
38500	Jesus, awakened from a sound sleep, says calmly,"Why are ye fearful, O ye of little faith?"
38500	Some of the disciples wonder( John 13:22), some ask,"Is it I?"
38500	The Master seems to be saying,"Have ye not read what David did when he was an hungered, and they that were with him?
38500	The moment is that when Jesus says,"If I have told you earthly things and ye believe not, how shall ye believe if I tell you heavenly things?"
38500	The perpetual questions should be, What do you see?
38500	The picture shows also, without doubt, the influence of the well- known hymn, by Mrs. Stowe,"Knocking, knocking, who is there?"
38500	The speaker is asking,"Was not the Christ bound to undergo all this before entering upon his glory?"
38500	The sphinx riddle was"What is man?"
38500	What does it contribute to the total content of the picture?
38500	What does it mean?
38500	What does the picture as a whole have to say?
38500	What is that for?
38500	Which artist has told the story most simply and directly?
38500	Which has embodied more perfectly the first, or the second, or the third?
38500	Which has introduced elements of his own?
38500	Which has, on the whole, told the story most vividly?
38500	Which most beautifully?
38500	Why is that here?
38500	Why?
38500	Why?
38500	_ Baroccio, Plate 5,_ seems to have seized upon the moment when Mary has just asked"How shall this be?"
38500	_ Hunt, Plate 40_, has invented an occasion to emphasize the prophetic words often applied to Mary,"Is any sorrow like unto my sorrow?"
47610	Again, why should there not have been a Homer as there was a Dante, in lieu of an aggregation of men?
47610	And why?
47610	But if industry carried them thus far, may not you also hope for the same reward from the same labour?
47610	From whence does this proceed?
47610	If it is asked, how is more skill acquired by the observation of greater numbers?
47610	Is not art, he may say, an imitation of nature?
47610	It seems as if Shakespeare asked himself, What is a prince likely to say to his attendants on such an occasion?
47610	Must he not, therefore, who imitates her with the greatest fidelity be the best artist?
47610	On whom, then, can he rely, or who shall show him the path that leads to excellence?
47610	Sir Joshua Reynolds-- to whom is the name unfamiliar?
47610	That novelty is a very sufficient reason why we should admire is not denied; but because it is uncommon, is it therefore beautiful?
47610	Variety and intricacy is a beauty and excellence in every other of the arts which address the imagination: and why not in Architecture?
47610	What has reasoning to do with the art of painting?"
47610	What is there in this fragment that produces this effect, but the perfection of this science of abstract form?
47610	Who can read, for instance, without a smile, the words of Blake, that sweet, childlike mind, which was at once so penetrative and so uncritical?
47610	With what additional superiority, then, will the same artist appear when he has the power of selecting his materials as well as elevating his style?
47610	to whom, hearing it, does not appear in mental vision the equally familiar autograph portrait of the deaf artist?
18383	''Have you heard what has been determined about the horses?'' 18383 Why is this?"
18383	''How?''
18383	''If you take them at all, why not take them in the face of day?
18383	''You have made a great improvement by so doing,''I replied;''but are the British employed on this work?''
18383	And again,"Can these Goths be the inventors of that architecture vulgarly called Gothic?
18383	And what shall we say of those lofty, slender, and finely fluted columns, which appear a part of the sublime structure they support?
18383	As for the poor weary wife, she thought of her crockery, and remarking in a matter of- fact way,"What shall we have for supper now?"
18383	But how can I help you in the matter, seeing that the work is not mine?
18383	But who can any longer consider these as wonders, after having seen so many in Rome?
18383	I asked one of the soldiers what they were there for?
18383	Milizia says of Theodoric,"Is this the language of a Gothic barbarian, the destroyer of good taste?
18383	One day I asked him, how he had attained to such a degree of perfection as to have gained so high a rank among the great painters of Italy?
18383	What were the Greeks then doing?"
18383	What would the ancients say, could they see our modern imitations of their labyrinths?
18383	Which are the most profane-- these pictures, or the Venus Anadyomene of Apelles, the Venus of Titian, and the Leda of Correggio?
18383	and are these the barbarians said to have been the destroyers of the beautiful monuments of antiquity?
18383	and if Filippo be ill, is that his fault?''
18383	and what dost thou mean us to have for dinner, since thou hast overturned everything?''
18383	do n''t you see that to create form and relief on a flat surface, is a greater labor than to fashion one shape into another?"
18383	eh?
18383	eh?''
18383	is not Lorenzo there?
18383	said one of them,''do you not know what his intentions are?''
18383	why does not he do something?
18383	why wilt thou not speak?"
17244	Qu''est que ça me fait si elle suait sous les bras, ou au milieu du dos?
17244	Are we never to have your skill, your observation, your amassing of"documents"turned to any account?
17244	But,_ Can_ they be successful if the accepted masterpieces of modern sculpture are not to be set down as insipid?
17244	Can anyone doubt it who sees an exhibition of their works?
17244	Does nature look like this?
17244	How many foreigners know that he painted what are called architectural subjects delightfully, and even_ genre_ with zest?
17244	III What do we mean by style?
17244	In the event of such an irruption, would there be any torsos left from which future Poussins could learn all they should know of the human form?
17244	Indeed one is tempted often to inquire of the latter, Why so much interest in what apparently seems to you of so little import?
17244	Is it caution or perversity?
17244	Is not sympathy with what is modern, instant, actual, and apposite a fair parallel of patriotism?
17244	Is the absolute value of the parts in shadow lowered or raised?
17244	Is there more individuality in a thirteenth- century grotesque than in the"Faun"of the Capitol?
17244	It was felicitously of him, rather than of Dupré or Corot, that the naif peasant inquired,"Why do you paint the tree; the tree is there, is it not?"
17244	The first thought is not, Are the"Saint Jean"and the"Bourgeois de Calais"successful works of art?
17244	What does a canvas of Claude Monet show in this respect?
17244	What has been gained?
17244	What is the effect where considerable portions of the scene are suddenly thrown into marked shadow, as well as others illuminated with intense light?
17244	What was he thinking of?
17244	Where is the realistic tragedy, comedy, epic, composition of any sort?
17244	Wherein does the charm consist?
17244	Who knows?
17244	Why is he so obviously great as well as so obviously extraordinary?
17244	Why should not one feel the same quick interest, the same instinctive pride in his time as in his country?
17244	Why?
17244	Will it?
17244	Would there be any_ disjecta membra_ from which skilled anatomists could reconstruct the lost_ ensemble_, or at any rate make a shrewd guess at it?
12045	And I?
12045	1552- 1619(?).
12045	A series of her mural decorations was exhibited in various German cities, and finally shown at the Paris Exposition of 1890(?
12045	Among the latter are"What Will Become of the Child?"
12045	An amphora decorated with landscape and figures was exhibited at the Promotrice in Florence in 1889(?)
12045	At Milan, 1886, her"Will He Arrive?"
12045	Because the artist was a foreigner?
12045	Can one doubt that such a Museum must be an element of artistic development in those who are in contact with it?
12045	Did not women paint those pictures of Isis-- goddess of Sothis-- that are like precursors of the pictures of the Immaculate Conception?
12045	Does this mean that she had been ungenerous in depriving him of the privilege of asking for what she so freely bestowed?
12045	Have I achieved a success, in the true, serious meaning of the word?
12045	How pathetic her written words:"I have spent six years, working ten hours a day, to gain what?
12045	In 1895 she settled in Berlin, where she has made a specialty of women''s and children''s portraits in olgraphy(?)
12045	Is it not more than the mere ableness of method, still more than the audacity of brush work, that often passes for style?
12045	Is it not the aim of painting to copy nature?
12045	Is it possible to dissociate the manner of a picture from its embodiment of some fact or idea?
12045	Is not this the key to the charm of her works?
12045	Miss Halse executed the reredos in St. John''s Church, Notting Hill, London; a terra- cotta relief called"Earthward Board"(?)
12045	Of this time she writes:"Am I satisfied?
12045	Paints genre subjects, some of which are"Captain John,"in National Museum;"Laughing Child,"in C. P. Huntington Collection;"Who Comes?"
12045	Was Constable in advance of his critics?
12045	Were there not artists among them who decorated temples and tombs with their imperishable colors?
12045	What could Henriette Knip do except paint pictures?
12045	Who knows?
12045	Why was this verdict not confirmed by the jury?
12045	Will the judgments of the present be thus reversed in the future?
12045	You have guessed it, have you not?
27183	All architecture is what you do to it when you look upon it,( Did you think it was in the white or gray stone? 27183 Who cares,"exclaims a clever maker of epigrams,"whether Mr. Ruskin''s views on Turner are sound or not?
27183	And how may he win that knowledge?
27183	And just what is it designed to express?
27183	But how to determine, each man for himself, what is the direction of our development?
27183	But what does his_ picture_ mean?
27183	But what is his subject?
27183	But what is the beauty in the unspeakable witch on the canvas of Frans Hals?
27183	But whence comes the majesty of this rude peasant, the dignity august of this rough and toil- burdened laborer, his power to move us?
27183	Has the painter through these forms, however crude or however accomplished, uttered what he genuinely and for himself thought and felt?
27183	In his rendering of the composer''s work what has he of his own to contribute by way of interpretation?
27183	Out of the complex of interests and appeals which an object offers, what is the_ truth_ of the object?
27183	The layman may ask himself, then, To what extent is a knowledge of technique necessary for appreciation?
27183	To a thoughtful student of these pictures sooner or later the question comes, Whence are these likenesses and these differences?
27183	What does it matter?
27183	What events did he shape to his own purpose by the active force of his genius?
27183	What is the bridge of transition between the work and the spirit of the appreciator by which the subtle connection is established?
27183	What is the special nature of the experience which the work communicates to us in terms of feeling?
27183	What is, then, we may ask, the relation of the fact of the subject to the beauty and final message of the work?
27183	What shapeless lump is that, bent, crouch''d there on the sand?
27183	What was the special angle of vision from which he looked upon the world?
27183	What were the circumstances that moulded his character and decided his course?
27183	Which one is that?
27183	_ A woman:_ Is that it?
27183	_( Stopping suddenly?
27183	or the lines of the arches and cornices?)
27183	that form in the dark, with tears?
2901	And how has it come, this slowly growing faith in Perfection for Perfection''s sake?
2901	And in what sort of age-- I thought-- are artists living now?
2901	And it began to ask itself in this uncertainty: Do I then desire to go on living?
2901	And what are we-- ripples on the tides of a birthless, deathless, equipoised Creative- Purpose-- but little works of Art?
2901	And what-- I thought do I mean by that?
2901	And what-- I thought-- is Realism?
2901	Are conditions favourable?
2901	Are there not all the signs of it?
2901	For, what is Style in its true and broadest sense save fidelity to idea and mood, and perfect balance in the clothing of them?
2901	Has he, on discovering its true nature, the right to call on the bookseller to refund its value?
2901	If my thoughts be"What could I buy that for?"
2901	Impulse of acquisition; or:"From what quarry did it come?"
2901	Impulse of inquiry; or:"Which would be the right end for my head?"
2901	Is it descriptive of technique, or descriptive of the spirit of the artist; or both, or neither?
2901	Shall not each attempt be judged on its own merits?
2901	Shall we waste breath and ink in condemnation of artists, because their temperaments are not our own?
2901	Was Turgenev a realist?
2901	Was he a realist?
2901	Were they realists?
2901	What is the meaning of that word so wildly used?
2901	What then is the heart of this term still often used as an expression almost of abuse?
2901	What then-- I thought-- is Art?
2901	What, then, in the light of the proved justice and efficiency of the Censorship of Drama, is the reason for the absence of the Censorship of Art?
2901	When a thing is new how shall it be judged?
2901	Why, then, have we no Censorship to protect us from the possibility of encountering works that bring blushes to the cheek of the young person?
19164	You can not travel in Greece?
19164	_ Must it be then only with our poets that we insist they shall either create for us the image of a noble morality, or among us create none? 19164 And if Miranda is immoral to Caliban, is that Miranda''s fault? 19164 Could it not be sung at all, or only sung ludicrously? 19164 Do you think the+ mênis Achilêos+ came of a hard heart in Achilles, or thePallas te hoc vulnere, Pallas,"of a hard heart in Anchises''son?
19164	First: What ground have we for thinking that art has ever been inspired as a message or revelation?
19164	If, in such times, fair pictures have been misused, how much more fair realities?
19164	Is there to be no king in it, think you, and every man to do that which is right in his own eyes?
19164	Next, what does that Greek opposition of black and white mean?
19164	Now, is not this a work which we may set about here in Oxford, with good hope and much pleasure?
19164	One kingdom;--but who is to be its king?
19164	Or only kings of terror, and the obscene empires of Mammon and Belial?
19164	These figures, he says,"Raphael drew and sent to Albert Dürer in Nürnberg, to show him"--What?
19164	This is grievous, you think, and hopeless?
19164	What internal evidence is there in the work of great artists of their having been under the authoritative guidance of supernatural powers?
19164	What is the purpose of your decoration?
19164	Which of us knows what the valley of Sparta is like, or the great mountain vase of Arcadia?
19164	Whom will_ you_ be governing by your thoughts, two thousand years hence?
19164	Would it not be well to know this?
19164	Yes, but of which king?
19164	which of us, except in mere airy syllabling of names, knows aught of"sandy Ladon''s lilied banks, or old Lycæus, or Cyllene hoar"?
21198	Do I?
21198	Have you, sir; what is the subject?
21198	How do you like it?
21198	How do you like my picture?
21198	How do you like my picture?
21198	How goes it with thee, Rosa?
21198	How much?
21198	How so?
21198	How the devil should you know him?
21198	Now who the devil has done this?
21198	Of what avail is your threat,replied Giotto,"to a man whom you have doomed to death at any rate?"
21198	Pray, sir, what is that old man afraid of?
21198	Reasons, and good ones,said the artist, laughing;"see-- where could I find such a picture of life as that, unless among the originals of The Cabin?"
21198	Subject? 21198 What do you see, sir?"
21198	What does this signify, Giotto?
21198	Yes,said Blake,"the Virgin Mary appeared to me and told me it was very fine; what can you say to that?"
21198	''Am I to have nothing more than this?''
21198	''And how goes it with Salvator?''
21198	After a hearty shake of the hand, the boxer turned to his neighbor the chimney- sweep and said,"Why, Dick, do n''t you know this here gentleman?
21198	Dante, one day, quizzed him by asking,"Giotto, how is it that you, who make the children of others so beautiful, make your own so ugly?"
21198	Have prices risen or fallen?"
21198	I have been disappointed hitherto by the deceit of pretended friends-- shall I offend you if I offer myself next election?"
21198	Morland wistfully reconnoitered the house, and at length accosted the landlord--"Upon my life, I scarcely knew it: is this the Black Bull?"
21198	Once, when pressed about it, he peevishly exclaimed,"How should I know?
21198	One day Bonnycastle said to him, after dinner,"Fuseli, you can write well,--why do n''t you write something?"
21198	One day, his friend Donatello met him, and asked him,"What kind of work is this of thine, that thou art shutting up so closely?"
21198	Ten days had scarcely elapsed before every one who passed by enquired with eager curiosity,"when the picture would be finished?"
21198	The grateful painter once waited on the banker, and said,"I have finished the best of all my works-- the Lazar House-- when shall I send it home?"
21198	The_ something new_ startled a man whose imagination was none of the brightest, and he said,"How shall I find something new?"
21198	When he rose he enquired of Buonamico, if"he had seen more than a thousand demons wandering about his room, as he had himself in the night?"
21198	returned the lady,"pray, Mr. Jervas, what is a handsome ear?"
21198	what shall I write?"
21198	you will drive me mad-- Reynolds and Raffaelle!--a dwarf and a giant!--why will you waste all your fine words?"
16655	After Impressionism, what?
16655	And if it be novel without being great, how shall we be the better off?
16655	And if progress was illusory in some instances, may it not, possibly, have been so in all?
16655	But the question occurs: Have we an American school in a more specific sense than this?
16655	Did he not say of the"Woman Carrying Water":"I have avoided, as I always do, with a sort of horror, everything that might verge on the sentimental"?
16655	Does a room full of American pictures have a different look from a room full of pictures by artists of any other nationality?
16655	Does any one care?
16655	Has any one else had this power since Michelangelo created his"Adam"?
16655	Have we a body of painters with certain traits in common and certain differences from the painters of other countries?
16655	Have we produced anything, I will not say greater, but anything as great as the noblest works of Bach and Beethoven?
16655	He may have meant them to express that, but do they?
16655	How could they succeed?
16655	If a man were to rise and recite, with a solemn voice, words like"Ajakan maradak tecor sosthendi,"would you know what he meant?
16655	If so much may be taken as proved, the question remains for consideration: What are the characteristics of the American school of painting?
16655	Is it not enough that they are beautiful pictures?
16655	Is it similarly and equally reasonable to speak of an American school?
16655	Is she Nirvana?
16655	Is she The Peace of God?
16655	Now the form in which volume is most easily apprehended is the cube; do we not measure by it and speak of the cubic contents of anything?
16655	Or who, looking at the exquisite landscapes or delicate figure pieces of Weir, would find anything to recall the name of Gérôme?
16655	What difference does it make, he asks, whether you draw a head round or square?
16655	What would Raphael have thought of such a notion, or that consummate man of the world, Titian?
16655	What would the serene and mighty Veronese have thought of it, or the cool, clear- seeing Velazquez?
16655	Why do they introduce, in the very midst of a design in which everything else is dislocated, a name or a word in clear Roman letters?
16655	Why draw a head at all?
16655	Why should not they learn the universal language of art?
16655	Why should we?
18653	After that what is left?
18653	Ah, why was I not a pupil of Ingres?
18653	Are you able to name any one who has conceived this beauty of the life of men?
18653	But Corot?
18653	But how much of our feeling of reverence is inspired by time?
18653	But what does the skin matter?
18653	Ca n''t they then simply admit such ideas as may occur to the mind in looking at a man doomed to gain his living by the sweat of his brow?
18653	Do you mean that you can not get the price you ask?
18653	Do you think I send you to the Louvre to find there what people call"le beau idéal,"something which is outside nature?
18653	Do you think, when I tell you to copy, that I want to make copyists of you?
18653	Has Schwind, with his splendid and varied gifts, ever been able to model a head with a brush?
18653	Has he succeeded?
18653	I remember Thackeray saying to me, concerning a certain chapter in one of his books that the critics agreed in accusing of carelessness;"Careless?
18653	In what club have my critics ever encountered me?
18653	Is it natural that a face seen in light should stand out against a really dark background-- that is to say, one which receives no light?
18653	Is there not in every artist worthy of the name a something which sees to this naturally and without effort?
18653	Of a passion, an emotion, a mood?
18653	One drop of rain is as another, and the sun''s prism in all: and shalt not thou be as he, whose lives are the breath of One?
18653	Or do you only mean that you are not satisfied with your work?
18653	Ought not the light which falls on the figure to fall also on the wall, or the tapestry against which the figure stands?
18653	Quite true, but expression of what?
18653	Soon we shall be saying,"Who will deliver us from realism?"
18653	W. Furse._ CLXXIII Why have I not before now finished the miniature I promised to Mrs. Butts?
18653	We left them, notwithstanding, the other day; and even if we had stayed, do you think we should have continued to enjoy them?
18653	What if Van der Velde had quitted his sea- pieces, or Ruysdael his waterfalls, or Hobbema his native woods?
18653	Where was there an apostle apter to receive this doctrine, so convenient for me as it was-- beautiful Nature, and all that humbug?
18653	Which of the two is right?
18653	Why are we to be told that masters, who could think, had not the judgment to perform the inferior parts of art?
18653	Yet, I repeat, why was I not his pupil?
18653	You have now got your exhibition open in Edinburgh: do you find tone and depth an advantage there or not?
18653	You know, I suppose, that this period of the day between daylight and darkness is called"the painter''s hour"?
18653	You see that it is a difficult problem to solve; how does Claude do it?
18653	_ Paul Huet._ CLXXXVI From what motives springs the love of high- minded men for landscapes?
18653	_ Reynolds._ LXIX What do you mean-- that you have been working, but without success?
18653	_ Whistler._ XXXIII It has been said,"Who will deliver us from the Greeks and Romans?"
38154	_ Makers of song, did you say? 38154 ''Lady Moon, Lady Moon, whom are you loving?'' 38154 = A New Interest.= If any one should ask you to tell what part of the picture interested you most, what would you say? 38154 = Keeping a Journal.= Did you ever hear of a person who kept a journal, and wrote in it the interesting things that happened from day to day? 38154 = Perspective of a Street.= Do you see anything on page 64 that makes you think of the railroad? 38154 = Pictures in Your Own Town.= Where are the interesting places in the town in which you live? 38154 But who would care for a picture that expressed so little of real interest? 38154 Can you not imagine how much such a picture would lose in interest? 38154 Can you see how the big curves seem to mark the beats? 38154 Can you tell how it was held? 38154 Can you tell the positions in which they were held? 38154 Can you tell what two colors were used in painting the berries? 38154 Can you tell why they are not alike? 38154 Did you ever notice that the snow at sunset does not seem to be white as you look across it to the horizon? 38154 Do you know what suggested the unit shown in one of the small sketches above the tree? 38154 Do you not know when your dog is glad or sorry, thirsty or hungry, proud or ashamed? 38154 Do you not think the sketch of the tomato is much more interesting because it shows the growth of the plant? 38154 Do you notice in the picture, the fine arrangement of light and dark? 38154 Do you notice that the flower- head does not show each blossom, separate and distinct? 38154 Do you think that the landscape alone, or the most interesting of plants and flowers would be enough to make you happy? 38154 Do you think this group as pleasing as the group shown in sketch 5? 38154 Does a railroad run through the place? 38154 Does the hyacinth show these contrasts? 38154 Have you a dog that will sit up and beg, or carry a basket? 38154 Have you ever been in the country, or in a city park, after the green of the maple- trees has turned to scarlet and gold? 38154 Have you ever heard any one read aloud in an even tone of voice, without changing the pitch or giving what is called expression to the story? 38154 Have you ever tried it yourself? 38154 Have you thought of looking for pictures in places like these? 38154 How does he tell you? 38154 In the sketch on this page do you see that there are two values shown on the inside of the bowl? 38154 Is it half as high, or only a fourth or a third? 38154 Is it of the same thickness at every point? 38154 Is the town near the water? 38154 Is there a machine shop, a mill, or a quarry? 38154 Make a brush drawing to illustrate:''Lady Moon, Lady Moon, where are you roving?''
38154	Or would you say at once that it was the presence of the boys in the picture that first attracted you?
38154	What is it, then, that tells the story?
38154	What values were used in the moonlight picture on page 10?
38154	Where would the top be to look like that?
38154	Which in lightest?
38154	Which of all the colors used do you think should be shown in darkest value?
38154	Which picture of the half- apple do you like best?
38154	Would you have liked the picture as well?
38154	Would you think first of the stream, its pleasant banks, the tall trees, the large stones, the distant hills and fields?
38154	[ Illustration: WHAT NEED HAD YOU OF MONEY, MY BOY, OR THE PRESENTS MONEY CAN BRING, WHEN EVERY BREATH WAS A BREATH OF JOY?
38154	[ Illustration] Do you see what has been done with the drawing of grasses?
28072	[ 35] How far did that diversity go? 28072 ***** When we attempt to mount the stream of history and to pierce the mists which become ever thicker as we near its source, what is it that we see? 28072 350- 3(?). 28072 Again, is not the building on the left of the picture obviously a flat- roofed house? 28072 And is not that enough to suggest a probable reason for the want of windows characteristic of an Oriental dwelling? 28072 And may not these groups, though distinct, have been more closely connected than the Jews were willing to admit? 28072 Are they ideographic signs or funeral offerings? 28072 But how to represent the wooded mountains on this side of the water? 28072 Can any other instance be cited of an art so well endowed entirely suppressing what we should call the civil element of life? 28072 Granting wooden roofs, how is such an accumulation to be accounted for? 28072 How many stages were there? 28072 In the case of vaults how are we to suppose that the rooms were lighted? 28072 Is it too much to suppose that by means of rivers and canals those of Nineveh may have been taken there too? 28072 M. Halévy has translated an Assyrian text, whose meaning he thus epitomizes:What becomes of the individual deposited in a tomb?
28072	Must they not have trembled for the security of tombs surrounded by a rebellious and angry populace?
28072	Must we believe that it was never finished or used?
28072	Must we conclude that stone columns were unknown in Chaldæa and Assyria?
28072	Must we take it to be the plan of his royal city as a whole, or only of his palace?
28072	Nineveh,"the dwelling of the lions,""the bloody city,"saw its last day;"Nineveh is laid waste,"says the prophet Nahum,"who will bemoan her?
28072	Supposing such an arrangement to have obtained in Mesopotamia, of what material were the piers or columns composed?
28072	Was it impelled by mere inability to distinguish, by varieties of feature, form and attitude, between the different gods created by the imagination?
28072	Was it the same in Chaldæa?
28072	What then were we to make of these arched blocks, also coated with stucco, but found in the centre of the rooms and far away from the walls?
28072	What, it is asked, do these men want with light?
28072	When wooden roofs were used were they upheld by wooden uprights or by columns of any other material?
28072	Why did art, in creating divine types, give such prominence to features borrowed from the lower animals?
28072	Why is it that such works have perished and left no sign?
28072	Why were these battlements given a height beyond those of the royal palace?
28072	[ 325]?--ED.
28072	[ 420] What then did the Assyrians do with their dead?
37313	), Joseph Interpreting Dreams( 1648); Jacob de Wet( 1610?-71?
37313	= Esaias Bourse.=--Esaias Bourse( 1630-?)
37313	= His Brother Gerard''s Cologne.=--His brother Gerard Berckheyde( 1631- 98?)
37313	= Jacob G. Cuijp''s Scène Champêtre.=--Jacob Gerritsz Cuijp( 1594- 1651?
37313	= Jan Vonck.=--Jan Vonck( 1630-?
37313	= Koninck''s Famous Gold Weigher.=--Of single figures perhaps the most famous is by Salomon Koninck( 1609- 68?
37313	= Nicolas Moeyaert''s Best Points.=--A follower of Elsheimer, who later became a disciple of Rembrandt, was Nicolas Moeyaert( 1630-?
37313	= Other Painters belonging to the Same Group.=--An interesting and curious work is Shells, by Balthasar van der Ast(?-1656).
37313	= Three Excellent Pictures by Hendrik Dubbels.=--Hendrik Dubbels( 1620- 76?
37313	= Two Portraits by Mostert, and One by Queborn.=--Jan Mostert( 1474-?
37313	= Van Gaesbeeck and Van der Kuyl.=--Adriaen van Gaesbeeck(?-1650), of the same period, was probably one of G. Dou''s pupils.
37313	A. Kruseman( 1804- 62), Elisha and the Shunammite; Pieter Pietersz Lastman( 1583- 1633), The Sacrifice of Abraham; Willem de Poorter(?-1645?
37313	A. Kruseman( 1804- 62), Elisha and the Shunammite; Pieter Pietersz Lastman( 1583- 1633), The Sacrifice of Abraham; Willem de Poorter(?-1645?
37313	And why, indeed, should he do so?
37313	Another painter of_ genre_, who is represented here by two charming pictures, is Gysbert van der Kuyl(?-1673).
37313	Breughel''s Still- life Pictures.=--His pupil, Abraham Breughel( 1631-?
37313	C. van Vliet.=--Hendrik Cornelisz van Vliet( 1608- 66?
37313	How did he always know how to discover the paintable spot?
37313	How had he observed them?
37313	In some of his pictures of this class Steen adds the legend"_ Wat baet hier medecyn-- het is der minne pijn_"( Of what use is medicine here?
37313	Is the supply exhausted?
37313	Jan Paul Gillemans( 1618-?)
37313	On the wall beside it hangs another flower piece by the brush of Elias van Broeck(?-1708).
37313	Rachel Ruijsch was a pupil of Willem van Aelst( 1626- 83?
37313	Salomon Ruisdael(?-1670) has two fine landscapes, The Halt, dated 1660, and The Village Inn, dated 1655.
37313	The latter is particularly interesting, because, although the catalogues give it to Cornelis Drost( 1638-?
37313	Who can it be that painted the fine figures in this picture?
37313	Who is the hero or heroine of the scene?
37313	and King Solomon Sacrificing to Idols; Mechior Brassauw( 1709- 57?
37313	de Molyn''s Farm.=--Pieter de Molyn the Elder(?-1661) has a pretty picture of a farm, where two peasant men are talking to a peasant woman.
31045	Knowest thou the balancings of the clouds?
31045	Of whom shall I be afraid?
31045	Cut itself a bed?
31045	Has it hidden a cloudy treasure among the moss at their roots, which it watches thus?
31045	Has the reader any distinct idea of what clouds are?
31045	Has the reader ever considered the relations of commonest forms of volatile substance?
31045	High above all sorrow?
31045	If ever in autumn a pensiveness falls upon us, as the leaves drift by in their fading, may we not wisely look up in hope to their mighty monuments?
31045	If in our moments of utter idleness and insipidity, we turn to the sky as a last resource, which of its phenomena do we speak of?
31045	Is the answer ever to be one of pride?
31045	Is_ our_ knowledge ever to be so?...
31045	One short sentence from Ecclesiastes is the sum of it:"How can one be warm alone?"
31045	Or has some strong enchanter charmed it into fond returning, or bound it fast within those bars of bough?
31045	Or is it the descendant of a long race of mountains, existing under appointed laws of birth and endurance, death and decrepitude?
31045	Or those war clouds that gather on the horizon, dragon- crested, tongued with fire,--how is their barbed strength bridled?
31045	The wondrous works of Him, who is perfect in knowledge?
31045	Was it a blue cloud, a blue horizontal bar of the air that Titian breathed in youth, seen now far away, which mortal might never breathe again?
31045	Was it a mirage-- a meteor?
31045	Was the great precipice shaped by His finger, as Adam was shaped out of the dust?
31045	What bits are those they are champing with their vapourous lips, flinging off flakes of black foam?
31045	What has it to do with that clump of pines, that it broods by them, and weaves itself among their branches, to and fro?
31045	What then were they once?
31045	When did the great spirit of the river first knock at these adamantine gates?
31045	When did the porter open to it, and cast his keys away for ever, lapped in whirling sand?
31045	When people read,"The law came by Moses, but grace and truth by Christ,"do they suppose it means that the law was ungracious and untrue?
31045	Where are set the measures of their march?
31045	Where ride the captains of their armies?
31045	Who saw the dance of the dead clouds when the sunlight left them last night, and the west wind blew them before it like withered leaves?
31045	Who saw the narrow sunbeam that came out of the south, and smote upon their summits until they melted and mouldered away in a dust of blue rain?
31045	[ 5] What single example does the reader remember of painting which suggested so much as the faintest shadow of their deeds?
31045	or how shall we follow its eternal changefulness of feeling?
15092	But what village is_ not_ the peculiar property of the race?
15092	Did I say I loved you, Mary?
15092	Do you know,she cried,"I have just learned that we were about to leave the place without visiting one of its greatest curiosities?
15092	Is it not so, my friend? 15092 There are the rabbits to hear from, the pigeons, the sparrows, the mole, and the striped snake who lives by the garden gate?"
15092	What''s coming next?
15092	What, nothing? 15092 Who is she?"
15092	Why does not Mr. Harrison come himself?
15092	*****_ Quid me ploras?
15092	And rejoiced still more when we were out of school?
15092	And yet, who would have the heart to slander the daisy, or cause a blush of shame to tint its whiteness?
15092	But then one wakes, and where am I?
15092	But who is Mr. Miller, and what has he done?
15092	Can you--_will_ you not love me?"
15092	Could you offer me a fly, or a beetle?
15092	Do they read Byron?
15092	Do you find yourself at home in this life, madame?"
15092	Gaiser_) 92"Which in infancy lisped"246"Who Said Rats?"
15092	Had this exquisite creature, after all, no better sense of the appropriate?
15092	He is right, for the bat whirrs up to the ceiling and from that height accosts us in a squeaking voice:"I am weak- eyed, am I?
15092	How arraign Sam of harboring murderous designs which he had himself implanted in his bosom?
15092	How, indeed, expect him to comprehend conversation so entirely foreign to his experience?
15092	If the fancy of an unreal crime almost drove me mad, what must be the remorse of an actual criminal?"
15092	Let me see, what mandarin shall I murder?
15092	Nonne decessi gravis senectute?
15092	Piguet_ 53 Watering the Cattle_ Peter Moran_ 171 Wayside Inn, The( After_ Hill_) 107 Weber, Von, Last Moments of 206 What Was That Knot Tied For?
15092	Polly held her up, and she cunningly combed her furry wings with her hind feet, and said:"Polly, dear, I itch dreadfully; do you mind plain speaking?
15092	She raised her luminous eyes to his, and murmured reproachfully:"Why speak to me of Life?
15092	They will carry off this casket that was my father''s-- this locket, with the hair of-- of-- what the deuce was her name?
15092	Was a glimpse ever caught of Fairyland there?
15092	What do you think she gave me?
15092	Why ca n''t you keep your forgiveness until it''s wanted?"
15092	Why do n''t you stay at home, in your brick cages that stand on heaps of flat stones?
15092	Will you marry me?"
15092	With such a school record as this, is it to be wondered at that we rejoiced when school was out?
15092	Yet how could he argue and expostulate against himself?
15092	_ THE QUEEN''S CLOSET._ Did anybody ever see a fairy in the city?
15092	and my wings are leathery?
15092	no hope?
15092	sang out that young gentleman,"what new deviltry are you up to?
15092	sobbed Constance, falling upon the sofa,"hast thou not made me what I am?"
37495	Are the leaf stems the same color as the bough?
37495	Brown?"
37495	Can you find it?
37495	Can you see the flower- cup?
37495	Do these lines tell the truth about your field- day picnic?
37495	Do these?
37495	Do they grow on the flower- stem?
37495	Do you see how to draw a row of these shapes, or a border of semicircles?
37495	Does it grow smaller toward the end?
37495	Does it not seem strange that you can make a lump of moist clay into a beautiful bowl?
37495	Does the blossom droop, or nod, or stand erect?
37495	Have you noticed the beautiful shape of Christmas trees?
37495	Have you seen an evergreen tree against a sunset sky?
37495	How do you think mother liked to be surprised in this way?
37495	How many of these colors are in your stained glass window?
37495	In what ways are the leaves not like the dandelion leaves?
37495	In what ways is this stem not like the flower- stem of the dandelion?
37495	Is your bough bent or straight?
37495	Is your rug for a hall, a parlor, a dining- room or a bedroom?
37495	WHO''LL BUY?"]
37495	Were you in the fields or in the woods?
37495	What color is the grass?
37495	What color that looks well with this, will you choose for the stripes?
37495	What colors do you see in the leaves?
37495	What colors do you see in the long, narrow, hooked leaves?
37495	What colors will you use to paint your flower?
37495	What do you see where the stems join the bough?
37495	What does it look like in other positions?
37495	What plant is shaped like a hemisphere on a round stem?
37495	What two colors are blended in red- orange?
37495	What two colors blend to make yellow- green?
37495	What would you like with a doll?
37495	When the pie was opened, The birds began to sing; Was not that a dainty dish To set before a King?
37495	Where does the violet look more red than blue?
37495	Where is the deep blue?
37495	Which fruit is shown in the picture?
37495	Which is darker, the sky or the sea?
37495	Which is easier to paint-- this flower, or the dandelion?
37495	Which is lightest gray-- sky, trees, or ground?
37495	Which row would you like best for a border on your book cover?
37495	Which tree is like a leafy tent or umbrella?
37495	Which tree looks like a spire?
37495	Which tree stands with trunk tall and straight from the root to the pointed top?
37495	Why do you like the picture of a tub with a wash- board?
37495	Why not a drum?
37495	Why not a flat- iron and a whip?
37495	Why?
37495	[ Illustration] Have you seen how sunset light over snow warms the white to a violet glow?
37495	[ Illustration] How do you know this plant without seeing its colors?
37495	[ Illustration] What dishes do you use in your play kitchen when you are getting ready for a tea- party?
37495	[ Illustration] Who can jump the rope without tripping?
37495	[ Illustration] Would you like to tell the story of the life of the bean from seed to fruit?
38724	Quid prodest homini, si universum mundum lucretur, animæ autem suæ detrimentum patiatur?
38724	Quis est homo qui vivet, et non videbit mortem, eruet animam suam de manu inferi?
38724	Stulte, hac nocte repetunt animam tuam: et quæ parasti, cujus erunt?
38724	Vais- je bien? 38724 88,... 10, after_ difficulty_ add? 38724 Argenteis referto bulga nil movet? 38724 At bottom, Hie sage wer es sagen kan| Here let tell who may: Wer konig sey? 38724 Below, the lines from Hamlet,Where be his quiddits now?
38724	But how shall we account for the introduction of so many of the spurious and inferior designs, if he had the means of using the originals?
38724	Hiccine est sceletus?
38724	Hæccine est larva?
38724	In both these cases, had there been any former_ German verses_, would they not have been retained in preference?
38724	It may be asked in what German biography is such a person to be found?
38724	Nil aurei?
38724	Nuncius ecce ego sum, qui nuncia perfero pernix Sed retrospectans post terga, papæ audio quidnam?
38724	Or in what catalogue of any library is it recorded?
38724	Over the gate a scull on each side, and on the outer edge of the arch is the inscription,"Quis Rex, quis subditus hic est?"
38724	Qu''entends- je?
38724	Quid ais?
38724	Quid dabitur fructus, tanti quæ dona laboris?
38724	Quid fers?
38724	Quid fers?
38724	Quid fers?
38724	Sciebas quod nasciturus esses, et numerum dierum tuorum noveras?
38724	Sciebas quod nasciturus esses, et numerum dierum tuorum noveras?"
38724	Stulta, quid in vana spe jactas?
38724	Sus?
38724	The motto,"Vesani calices quid non fecere,"a parody on the line,"Fecundi calices quem non fecere disertum?"
38724	Vita quid est hominis?
38724	Vita quid est hominis?
38724	Vita quid est hominis?
38724	What''s yet in this That bears the name of life?
38724	Whence the proverb in many languages: When Adam delv''d and Eve span Where was then the gentleman?
38724	XLI THE GAMESTERS[ Illustration] Quid prodest homini, si universum mundum lucretur, animæ autem suæ detrimentum patiatur?
38724	XVI THE GENTLEMAN[ Illustration] Quis est homo qui vivet, et non videbit mortem, eruet animam suam de manu inferi?
38724	XXVIII THE MISER[ Illustration] Stulte, hac nocte repetunt animam tuam: et quæ parasti, cujus erunt?
38724	[ 14] Q. Cowick in Yorkshire?
38724	cruciatus et error, Vita quid est hominis?
38724	how it has happened that this_ famous_ Macaber is so little known, or whether the name really has a Teutonic aspect?
38724	nil te coronati juvant?
38724	porque curas De vida tan breve en punto passante?"
38724	quis me liberabit de corpore mortis hujus?
38724	quis me liberabit de corpore mortis hujus?"
38724	which the subject?
38724	| Or, which be the king?
36427	( G. B. Farinati), 1532- 1592, Italian--Vision of Resurrection, 267 Foppa, Vincenzo, 1427(?
36427	And what of the struggling artists?
36427	And what was the result?
36427	But the objects are distinguished by our knowledge and experience, and if we are to eliminate these in one art, why not in another?
36427	But where is the Phidian Demeter?
36427	Does the impressionist see these things?
36427	How can he paint her anointed with ambrosial oil which is ever struggling for freedom to bathe the rolling earth in fragrance?
36427	How many artists now would have the patience to make such a mould?
36427	If we accept beauty as the expression of emotion, how far have we progressed towards the indicated goal?
36427	Let us suppose that a painter could be found who could execute such a figure: how could he isolate it to the mind?
36427	Mars may disappear with the wolf, but who can hide the glory of Rome?
36427	Now what does this mean?
36427	Such was Turner according to Ruskin, but is there any sign of this in his works?
36427	There must come a period when the optic or aural nerves can be attuned no further; and is the limit equal in all persons?
36427	What human being can appropriately describe the great ideals in art of ancient Greece?
36427	What imagination can picture the expansion of art throughout the world had its flight been free since the dawn of history?
36427	What is there then to compensate the artist for this limitation?
36427	What of these?
36427	What was it then that established the eternal fame of her beauty?
36427	What were these to do at a time when at the best the outlook was poor?
36427	Who would weep when in front of the greatest marvels of Greek sculpture?
36427	Why should the artist remember the orgies of Rome, and forget the Grecian pastoral fancies?
36427	Why should the dance be turned into a drunken revel?
36427	Why trouble about carving in the round when we only actually see in the human figure a flat surface defined by colour?
36427	With what other term than"limitless"can we describe the imagination of a Shakespeare?
36427	[ 10] Of course these observations are general, for there arises the question, to what extent can the senses and imagination be trained?
36427	[ a]_ What is Art?_ Aylmer Maude translation, 1904.
36427	[ b]_ What is Art?_ Aylmer Maude Translation.
36427	[ c] What can be said of so amazing a declaration?
30693	Then they are devils?
30693	Where is your daughter?
30693	And all not so long ago?
30693	And did not Dante relate a journey into Hell, Purgatory, and Paradise?
30693	And why not, dear friends?
30693	At other times she is pious, resigned, almost serene; for is that not Abélard''s wish?
30693	But how show that they too had seen them?
30693	But of the feeling, the poetry of this greatest of all scenes, what is there?
30693	For what was the sacrifice which witches and warlocks notoriously offered their Master?
30693	Had not St. Anthony of Padua held the Divine Child in his arms?
30693	Hast never heard of the familiar dæmon of Socrates, whispering to him superhuman wisdom?
30693	Here you have your arm working up, backwards or forwards; but how about pulling it down?
30693	How could St. Luke recommend us to desist from getting back our stolen property?
30693	How then do matters stand between art and civilisation?
30693	Jervase and Protasius?
30693	Look at the human arm: what engineer would have dared to fasten anything to such a movable base as that?
30693	Might we not be tempted to believe that the divine son of Semele had vouchsafed a similar boon to the happy sculptor of this marble?"
30693	Nay, is not the suffering Christ a fresh creation of the Middle Ages, made really to bear the sorrows of a world more sorrowful than that of Judea?
30693	Nay, why should God prefer the penitence of one sinner to the constant goodness of ninety- nine righteous men?
30693	Two orders, did I say?
30693	V What art would there have been without that Franciscan revival, or rather what emotional synthesis of life would art have had to record?
30693	What train of thought has been set up?
30693	Will the beloved have no mercy?
30693	Yet, let us ask ourselves, what is the value of the result?
30693	become absentees from the poor, much troubled Present; turn your backs to Realities, become idle strollers in the Past?
30693	what was the emotional synthesis of life given by those who had come too early to partake in the new religion of love?
30693	why not admit, just because work has to be done and loads to be borne, that we can not grind and pant on without interruption?
30693	why not recognise the need for a holiday?
30693	why should we sicken ourselves with the thought of this long dead and done for abomination?
12047	And are thou come for saving, baby- browed And speechless Being? 12047 But he answering, said to him that told him,''Who is my mother?
12047	Then drew near the last day of the feast of the Lord; and Judith her handmaid said to Anna,''How long wilt thou thus afflict thy soul? 12047 Whence is this to me,"exclaims Elizabeth,"that the mother of my Lord should come to me?"
12047	),"Who is this that ariseth from the wilderness leaning upon her beloved?"
12047	10;) on another,"_ Quæ est ista quæ ascendit de deserto deliciis affluens super dilectum suum?_"( Ca nt.
12047	5;) and on the third,"_ Quæ est ista quæ ascendit super dilectum suum ut virgula fumi?_"( Ca nt.
12047	A group of three learned Bishops, who had especially defended the immaculate purity of the Virgin, St. Cyril, St. Anselm, and St. Denis(?).
12047	A man coming forward seems to ask of Mary,"Whose son is this?"
12047	And Judith her maid answered,''What evil shall I wish thee since thou wilt not hearken to my voice?
12047	And fear thou not the evil spirit, for hast thou not bruised his head and destroyed his kingdom?"
12047	And he said unto them,"How is it that ye sought me?
12047	And on the third day, Jesus said to the angels,"What honour shall I confer on her who was my mother on earth, and brought me forth?"
12047	And she said unto him,"Son, why hast thou thus dealt with us?
12047	And the Hebrew woman being amazed said,"Can this be true?"
12047	And the angel said,"Why dost thou ask my name?
12047	And they asked again,"How long is it since?"
12047	And what were these gifts?
12047	As for this fillet, some wicked person hath given it to thee; and art thou come to make me a partaker in thy sin?''
12047	Being come there, they asked at once,"Where is he who is born king of the Jews?"
12047	But thou, with that close slumber on thy mouth, Dost seem of wind and sun already weary, Art come for saving, O my weary One?
12047	But where?
12047	He replied,"Woman, what have I to do with thee?
12047	In an altar- piece by Cigoli, she is seated on the earth, looking out of the picture, as if appealing,"Was ever sorrow like unto my sorrow?"
12047	In his own heart?
12047	In the compartment on the right stand St. James Major and St. Catherine; on the left, St. Bartholomew and St. Elizabeth of Hungary(?).
12047	In the first place, who were these Magi, or these kings, as they are sometimes styled?
12047	It is not indeed so written in the Gospel; but what of that?
12047	Lady, wilt thou choose to alight?
12047	Morales and Ribera excelled in the Mater Dolorosa; and who has surpassed Murilio in the tender exultation of maternity?
12047	Shall I attempt a rapid classification and interpretation of these infinitely varied groups?
12047	Show me that you love me: Am I not here to be your little servant, Follow your steps, and wait upon your wishes?"
12047	Such was the reasoning of our forefathers; and the premises granted, who shall call it illogical or irreverent?
12047	They had travelled many a long and weary mile;"and what had they come for to see?"
12047	Vuoi, Signora, scavalcare?
12047	Where has it been attained, or even approached?
12047	Wise ye not that I must be about my Father''s business?"
12047	[ Footnote 1: In the Casa Ruccellai(?)
12047	and she, weeping tears of joy, responded,"Is it thou indeed, my most dear Son?"
12047	and the angels, who received her into heaven, sung these words,"Who is this that cometh up from the wilderness leaning upon her Beloved?
12047	and who are my brethren?''
12047	art thou come for saving?
12047	in his dreams?
12047	is she indeed so divine?
12047	or does not rather the imagination encircle her with a halo of religion and poetry, and lend a grace which is not really there?"
12047	to what shall I be likened?
12047	to what shall I be likened?
12047	to what shall I be likened?
12047	to what shall I be likened?
12047	who hath begotten me?
12047	who hath brought me forth?
8523	( A lively piece,"pezza gagliarda") Barry of( how many?)
8523	A man to be enquired about, is not he?
8523	And then, even if we know what the quarry bedding is, how are we to keep it always in our building?
8523	Are we, then, also to be strong by following the natural fact?
8523	Argent; a needle,(?)
8523	As the_ eyes_[ 1] of the building, what?
8523	Azure; a lion( passant?)
8523	But now, what opposition is there between their divine natures?
8523	Do you see how important the word"Capulet"is becoming to us, in its main idea?
8523	Do you see, by the way, how perfectly the image is carried out by Sir Walter in putting his Diana on the border country?
8523	Do you suppose I ought to have said carelessly?
8523	First, how_ do_ they lie in the quarry?
8523	Have you ever considered the infinite functions of protection to mountain form exercised by the mosses and lichens?
8523	Him England had contrived to realize: were there not ideas?
8523	His mouldings may be careless, but do you think his joints will be?
8523	His mouldings may be cut hastily, but do you think his_ joints_ will be?
8523	How do they lie in the quarry?
8523	How do you judge that Christian architecture in the deepest meaning of it to differ from all other?
8523	Hubert of Lucca-- How came they, think you, to choose_ him_ out of a stranger city, and that a poorer one than their own?
8523	If men like these submit to the merchant, who shall rebel?
8523	In this endeavour to teach they almost unawares taught themselves; the question"How shall I represent this most clearly?"
8523	Is Vasari entirely wrong then?
8523	Is it altogether, think you, by blundering, or by disproportion in intellect or in body, that Theseus becomes St. Athanase?
8523	Is not that a greater difference, think you, than one of mere decadence?
8523	Jehu the son of Nimshi is not swifter of answer to Ahaziah''s messenger than the fiery Christian king, in his''What hast thou to do with peace?''
8523	Perhaps you like this''improved''action better?
8523	Secondly, how can we lay them so in every part of our building?
8523	The King answered wisely,"It does not appear to me Arab''s money; you Pisans, what golden money have_ you_ got?"
8523	The"long- drawn aisle"is here, indeed,--but where is the"fretted vault"?
8523	This''maniera goffa e sproporzionata''of Vasari is not, then, merely the wasting away of former leonine strength into thin rigidities of death?
8523	Thou art a strange fellow-- a tailor make a man?
8523	Unnatural, perhaps, to Niccola?
8523	Very wicked, you think, of the Pope''s legate, acting thus against quasi- Protestant Florence?
8523	Was he never, then, in those fleets that brought the marbles back from the ravaged Isles of Greece?
8523	Was there no Florentine then, of all this rich and eager crowd, who was fit to govern Florence?
8523	What logos,_ about_ this Logos, have they learned, or can they teach?
8523	Yes; but when is that?
8523	You have seen such cusped arches before, you think?
8523	You may have been a little impatient,--how could it well be otherwise?
8523	You may lay the stones of a wall carefully level, but how will you lay those of an arch?
8523	You think at first that this is remarkably like the course of republican reformations in the present day?
8523	became to themselves, presently,"How was this most likely to have happened?"
8523	was he at first only a labourer''s boy among the scaffoldings of the Pisan apse,--his apron loaded with dust-- and no man praising him for his speech?
7227	St. Elizabeth, you think, is nice?
7227	The cup which my Father hath given me, shall I not drink it?
7227	Who goes forth, conquering and to conquer?
7227	( Are not his fingers yet short; growing?)
7227	( Trajan''s suppliant widow?)
7227	("Thy rod and Thy staff, they comfort me?")
7227	All these works belong to the same school of silent admiration;--the vital question concerning them is,"What do you admire?"
7227	And if this-- by what manner of end?
7227	And if we ever pray the solemn prayer that we may be taught to number them, do we even try to do it after praying?
7227	And what more is left for his favourite shepherd boy Giotto to do, than this, except to paint with ever- increasing skill?
7227	Are you sure they are graceful?
7227	But that St. Louis?
7227	But who was ever so betrayed?
7227	Contemplative of what?
7227	Does this mean that one girl out of every two should not be able to read or write?
7227	Francis?--_did_ he ever receive stigmata?--_did_his soul go up to heaven-- did any monk see it rising-- and did Giotto mean to tell us so?
7227	Goodness!--nothing to be seen, whatever, of bas- reliefs, nor fine dresses, nor graceful pourings out of water, nor processions of visitors?
7227	Have you ever chanced to read carefully Carlyle''s account of the foundation of the existing Prussian empire, in economy?
7227	How comes he to do that Resurrection so badly?
7227	How long do you think it will take you, or ought to take, to see such a picture?
7227	How many and how much do we want?
7227	How many and how much have we?
7227	In counting of minutes, is our arithmetic ever solicitous enough?
7227	In counting our days, is she ever severe enough?
7227	In red,--again the sign of power,--crowned with a black( once golden?)
7227	Is this ignorance, think you, in Giotto, and pure artlessness?
7227	It is St. Louis, under campanile architecture, painted by-- Giotto?
7227	It is a weakness of Botticelli''s, this love of dancing motion and waved drapery; but why has he given it full flight here?
7227	Many a morn and eve have passed since it began-- and now-- is this to be the ending day of it?
7227	Might he not, had he chosen, in either fresco, have made the celestial visions brighter?
7227	Nevertheless, somehow, you do n''t really enjoy these frescos, nor come often here, do you?
7227	Pear, and fig, and a large- leaved ground fruit( what?)
7227	She points through it with her rod, holding a fruit(?)
7227	So easy a matter that, you think?
7227	So much more difficult and sublime to paint grand processions and golden thrones, than St. Anne faint on her pillow, and her servant at pause?
7227	The servant stops, seeing her so quiet; asking the midwife, Shall I give it her now?
7227	Was it, in the first place, to Giotto, think you, the"composition of a scene,"or the conception of a fact?
7227	Was there any need for Giotto to have put the priest at the foot of the dead body, with the black banner stooped over it in the shape of a grave?
7227	Well, that is really so; and now, will you take the pains to see why?
7227	What is the use of lecturing us on this?''
7227	What kind of boy is this, think you, who can make Titian his copyist,--Dante his friend?
7227	What new power is here which is to change the heart of Italy?--can you see it, feel it, writing before you these words on the faded wall?
7227	What would have been the use of Eve spinning if she could not weave?
7227	Who ever saw such a sword thrust in his mother''s heart?"
7227	Yes;"and she says,''Whence is this to me, that the mother of my Lord should come to me?''
7227	You do n''t believe, however, that any real soul of a Margaret ever appeared to any mortal in that manner?
7227	You know the story of Joachim and Anna, I hope?
7227	You probably, if a fashionable person, have seen the apotheosis of Margaret in Faust?
7227	You think Rhetoric should be glowing, fervid, impetuous?
7227	You think Tubal- Cain very ugly?
7227	You think the function of words is to excite?
7227	or the last Florentine painter who wanted a job-- over Giotto?
7227	or warning?)
7227	really with a great deal of serious feeling?"
11242	Who would not quake with terror while dipping his brush into the dreadful theme? 11242 Why do you say that?"
11242	Why will you not repay my devotion to your divine qualities by the gift of some scrap of a drawing, the least valuable in your eyes? 11242 ''What book?'' 11242 ); MARCO DI GIORGIO of Caprese; GIOVANNI DI BIAGIO of Caprese; ANDREA DI BIAGIO of Caprese; FRANCESCO DI JACOPO DEL ANDUINO(?) 11242 A Lucchese bishop, seeing this, said to the groom:''Do you not know who that man is?'' 11242 And you, his tribes, a vile calf did you cast? 11242 Are you afraid lest I should change my mind, as some one may perhaps have put it into your head? 11242 Bending forward, leaning his chin upon his wrist, placing the other hand upon his knee, on what does he for ever ponder? 11242 But if this was his meaning, why did he not make Adam a corresponding symbol of fatherhood? 11242 But what else can one expect from a couple of the basest scoundrelly villains?
11242	Cambi, in a passage quoted above, writing at the end of March 1520(?
11242	Dare we conjecture that the sack of 1527 would have been averted?
11242	Do you not know that men of that great age are always wanting in one or two?"
11242	Do you not know that there are sciences which demand the whole of a man, without leaving the least portion of his spirit free for your distractions?"
11242	Do you not see that your Mercury is too short by more than a third of a cubit from the knees to the feet?
11242	Do you not see what a reputation you have given me by saying I have turned you out?
11242	Has he outlived his life and fallen upon everlasting contemplation?
11242	How can you go about saying I have turned you out of doors?
11242	How much more would this be the case with a virgin, into whose breast there never crept the least lascivious desire which could affect the body?
11242	If his son, would he not rather have appeared to him than to some one else?''
11242	Is he brooding, injured and indignant, over his own doom and the extinction of his race?
11242	Is he condemned to witness in immortal immobility the woes of Italy he helped to cause?
11242	Is it possible you think a man like me could be a trader?''
11242	Is there not enough of mine at Florence to content you?
11242	Michelangelo asked,"What do you think of it?"
11242	Michelangelo did as he was bidden, and when he had examined the portrait, he laughed and said:"What the devil have you been about?
11242	O wise, and dear to God, old man well born, Who in so many, so fair ways, make fair This world, how shall your dues be dully paid?
11242	Or has the sculptor symbolised in him the burden of that personality we carry with us in this life, and bear for ever when we wake into another world?
11242	Roaming those galleries and gazing from those windows, he is said to have exclaimed in the words of Job:"Why died I not from the womb?
11242	The Pope grew angry, and exclaimed:''It is thirty years that I have cherished this desire, and now that I am Pope, may I not indulge it?
11242	Therefore, because I can not shun the blow I rather seek, say who must rule my breast, Gliding between her gladness and her woe?
11242	Those amorous thoughts which were so lightly dressed, What are they when the double death is nigh?
11242	What claim by right have you on him?
11242	What would my arms do in that girdle''s place?_ The second can be ascribed with probability to the year 1534 or 1535.
11242	What, for example, occupies Lorenzo''s brain?
11242	When I saw him, I said that I did not think it right and seemly for him to be going about in such weather''What do you want?''
11242	Where is the contract?
11242	Which do you think Lorenzo loved best, his son or you?
11242	Why do you not begin in earnest to make plans for leaving Florence?
11242	Why need my aching heart to death aspire, When all must die?
11242	Why not an idol worth like this so much?
11242	Why should he be interrupted in the full swing of triumphant energy?
11242	Why should you force him to take part in those vain pastimes, which his love for a quiet life induces him to shun?
11242	Yet, could this brawny man have ever suggested any distinctly religious idea?
11242	he whose living lips, that start, Speak eager words?
11242	of Caprese; SER BARTOLOMMEO DI SANTI DEL LANSE(?
11242	to what extent are you satisfied with him?''
11242	why did I not give up the ghost when I came out of the belly?"
39380	''As fine as Van Dyke?'' 39380 ''Do you mean living or dead?''
39380	''How fine?'' 39380 How shall we speak of him?
39380	It is now thirty years,cried Paul III.,"that I have had this desire; and, now that I am pope, shall I not be able to effect it?
39380	Was there ever,says Hamerton,"a more exquisitely beautiful instance of self- sacrifice?"
39380	''And the others?''
39380	''Let us see what thou art carrying away?''
39380	''What dost thou here, my Elizabeth?''
39380	''What have you been doing?''
39380	Am I dispensing a curse, or a blessing?"
39380	And they were exceeding sorrowful, and began every one of them to say unto him, Lord, is it I?"
39380	And what could be better practice?"
39380	And what does the raised right hand denote?
39380	But Louis would not listen to them; he cut them short, repeating,''How is my dear wife?
39380	But how?
39380	But of these, who are to be models-- the guides?"
39380	By what light?
39380	Can we mention a violent act of Raphael''s, Goethe''s, or Shakespeare''s?
39380	Could it possibly have been Cecilia, the lady whom Titian married about this time?
39380	Did he intend thus to immortalize her, while he immortalized himself?
39380	Even had this misfortune not been preceded by a long affection, ought I to show so much hatred as not to be able to pardon a fault against me?...
39380	Fuseli, the keeper of the Academy, was much pleased with him, and, looking around the room upon the students, would say,"Where is my little dog boy?"
39380	Had she been married to another, all these years?
39380	He helped everybody, and what more is there in life than this?
39380	He is said to have replied in the words of the Syrian messenger to the prophet Elisha:"Is thy servant a_ dog_, that he should do this great thing?"
39380	He seemed at the zenith of his powers when death came; but who shall estimate the value of a life by its length?
39380	He would start off alone, or with John( Thomas?)
39380	How could Michael Angelo have carved this work at twenty- four?
39380	How otherwise shall we name that son of a miller?
39380	I wonder what they think the sea''s like?
39380	If there is no more pity in this world, to whom shall I apply?
39380	In 1726 an artist named Belotti restored(?)
39380	Is it possible that Murillo, that servile imitator of my uncle, can be the author of all this grace and beauty of coloring?"
39380	Is it the light of the sun?
39380	Is this a form fitted to such base mechanical uses?
39380	Mightily pleased thereat, it began to reason with itself after this fashion:''Shall I now go back to the shop which I have just quitted?
39380	Miss Mackey says, in_ Cornhill_, concerning his last long illness:"Was ever any one more tenderly nursed and cared for?
39380	O thou spirit of grace, Where art thou now?
39380	One day the artist said to him,"When I die, what wilt thou do?"
39380	The artist is said to have once remarked to his friend Chantrey, the sculptor:"Will you promise to see me rolled up in the''Carthage''at my burial?"
39380	The canon of the cathedral said to Van Egmont,"Why did your master not come himself?"
39380	The husband did not purchase the picture of the artist-- did he not value the beauty?
39380	The pope was now fully angry, and exclaimed,"Do you venture to say things to this man which I would not have said to him myself?
39380	These are human faces, it is true, but can you imagine any purer, more innocent, more gentle faces?...
39380	To whom should he go?
39380	What cared he for the bared backs or the spiteful mewlings of her miserable offspring, little cats as they were?
39380	What has become of my once brilliant surface?
39380	What helps had any of them which we have not?"
39380	What prospect was there that this boy, without father or mother, without riches or distinguished family, would work his way to renown?
39380	What were they which we are not or may not be?
39380	When a school of art arose which aimed at uniting the characteristics of both, what was the result?
39380	Where is the contract, that I may tear it?"
39380	Who can estimate such influence over a youth?
39380	Who can measure the good that Lorenzo de''Medici was doing for the world unwittingly?
39380	Who was Saskia?
39380	Who was this new model?
39380	Why thank a man for performing a simple duty?''
39380	Why, then, should I thank them?
39380	Will you follow us and pray for his sinful soul?''
39380	are they well?
39380	how are my children?
39380	or of the moon?
39380	or of the torches?
39380	or was the old affection renewed in these latter days?
39380	said the courtier,"does his Most Catholic Majesty''s representative amuse himself with painting?"
39380	what would they have?
23593	Lo, whet ich se?
23593	Turner,_ what_ have you been doing to your picture?
23593	Well, but what are we to do?
23593	Well, but,you will say,"how can we decide what we ought to buy, but by our likings?
23593	What could I have done better?
23593	''"[ 12] Would you have thought the poem improved?
23593	And can you really suppose that what has so much power over you in words has no power over you in reality?
23593	And if not, why would it be spoiled?
23593	And why beautiful?
23593	Are you not more accustomed to the ordinary voices of men than to the perfect accents of sweet singing?
23593	Are you not much more accustomed to gray whinstone and brown sandstone than you are to rubies or emeralds?
23593	But how much of Nature have you in your Greek buildings?
23593	But with whom is the fault?
23593	Can you for an instant suppose that the architect was a greater or wiser man who built this, than he who built that?
23593	Did you read the account of the proceedings at the Crystal Palace at Sydenham the other day?
23593	Do you recollect the west window of your own Dunblane Abbey?
23593	Do you suppose he studied dogs and eagles out of the Elgin Marbles?
23593	Do you think that by any splendor of architecture-- any height of stories-- you can atone to the mind for the loss of the aspect of the roof?
23593	Do you think there is any group of words which would thus interest you, when the things expressed by them are uninteresting?
23593	First, then, What is the real difference between the principles on which art has been pursued before and since Raphael?
23593	For instance, in matters of history, is not the Retreat of the Ten Thousand romantic?
23593	For instance, when you spend a guinea upon an engraving, what have you done?
23593	Has it ever occurred to you to ask the question, what effect the cottage would have upon your feelings if it had_ no roof_?
23593	Have not these words, Pinnacle, Turret, Belfry, Spire, Tower, a pleasant sound in all your ears?
23593	How are we to understand these opposing statements?"
23593	How did Hogarth rise?
23593	How did Reynolds rise?
23593	How do you like it?
23593	How is this?
23593	How many windows precisely of this form do you suppose there are in the New Town of Edinburgh?
23593	If you bought some pictures to decorate such a room as this, where would you put them?
23593	If you really make up a party of pleasure, and get rid of the forms and fashion of public propriety for an hour or two, where do you go for it?
23593	Is it Christian history, or the histories of Pan and Silenus?
23593	Is not the death of Leonidas?
23593	It is written,"If thou sayest, Behold, we knew it not; doth not He that pondereth the heart consider it?
23593	It may be asked why we are to build only the tops of the windows pointed,--why not follow the leaves, and point them at the bottom also?
23593	Not on a level with the chandelier?
23593	Now what is the custom of your British Parliament in these days?
23593	Now, do you suppose that which is so all- important in a cottage, can be of small importance in your own dwelling- house?
23593	Of course it would; but why?
23593	On a level with the eye, I suppose, or nearly so?
23593	Or, again, what do you suppose was the proclaimed and understood principle of all Christian_ governments_ in the Middle Ages?
23593	What are your daughters drawing upon their cardboard screens as soon as they can use a pencil?
23593	What do you at present_ mean_ by historical painting?
23593	What do you see your children doing, obeying their own natural and true instincts?
23593	What do you suppose our descendants will care for our imaginations of the events of former days?
23593	What do you suppose was the substance of good education, the education of a knight, in the Middle Ages?
23593	What was taught to a boy as soon as he was able to learn anything?
23593	What, you would say to me, do you mean to tell us that_ we_ deny Christ?
23593	Where do you go to eat strawberries and cream?
23593	Who are the men who have made an impression upon you yourselves-- upon your own age?
23593	Why, if I were to say the same thing over and over again, for the single hour you are going to let me talk to you, would you listen to me?
23593	You would not have us buy what we do n''t like?"
23593	[ 38] Do you suppose that was the way the Duke sat when your destinies depended on him?
23593	and He that keepeth thy soul, doth not He know it?"
23593	and yet will you tell me you think them as beautiful?
23593	did you ever see one sunrise like another?
23593	does not God vary His clouds for you every morning and every night?
23593	is there no physician there?"
23593	of the Horatii?
23593	or that in the arrangement of these dull and monotonous stones there is more wit and sense than you can penetrate?
23593	what would this person, or that, have done under the circumstances?
23593	yet do you not instantly declare the song to be loveliest?
6306	And about the frescos?
6306	And honestly now: I''ll never tell,said Andersen with a sly twinkle in his blue eyes--"did you ever repeat the offense?"
6306	And know the value of pictures?
6306	And what do you think of it?
6306	And you recommended the defendant to buy this picture for two hundred pounds?
6306	At least you have your own ideas about values?
6306	Do you want to go to jail?
6306	Is that your brother?
6306	Me? 6306 Mr. Whistler, it is reported that you received a goodly sum for this recommendation-- is there anything in that?"
6306	Oho, Simon, what do you think of that?
6306	Shall I paint the thing just as I see it?
6306	Well, and what are you going to make of William?
6306	Who is your favorite author?
6306	Would you advise me to take a course in elocution?
6306	You see what it is meant for, Simon?
6306	And again he might not-- what more idle and fascinating than such speculation?
6306	And how about the divine Giorgione who called him father?
6306	And since Rembrandt at his best was never surpassed, who could have instructed him?
6306	And who is Giorgione?
6306	And why should Pacheco not have been pleased?
6306	Anyway, Abildgaard used to say, long years after,"What did I tell you?"
6306	At last the little girl turned to her mother and said,"Mamma, did you ever see so many bare legs in all the born days of your life?"
6306	Aye, was n''t he teaching the lad a trade himself, as it was?"
6306	CORREGGIO What genius disclosed all these wonders to thee?
6306	Completing, did I say?
6306	Did not Thackeray say that the people of England regarded Jehovah as an infinite George the Fourth?
6306	Do n''t you know how Rembrandt painted the"Christ at Emmaus"?
6306	Do then men love dead women better than they do the living?
6306	Do you know the face of Oliver Goldsmith, the droop of the head, the receding chin and the bulging forehead?
6306	Gian Bellini?
6306	Had I not seen Gian the painter go not half an hour before?
6306	Had such loveliness aught to do with life or death?
6306	Has Nature only just so much genius at her disposal?
6306	Have n''t we overrated this precious gift of authorship just a trifle?
6306	Have not some of the great books of the world been written in prison?
6306	He smiled and said,"Who is Rose?"
6306	How would he know that other men were contemptible, did he not look into his own heart and there see the hateful things?
6306	I am only a poor gondolier-- why should I trouble myself about what great folks do?
6306	I looked around-- and what do you believe?
6306	If Corot saw more than we, why denounce Corot?
6306	If he did not believe in himself, how could he make others believe in him?
6306	It hears the yelping of the pack, and there creeps in the question,"What if they are right?"
6306	Loaves alone are not quite enough-- we want also the bread of life, and the bread of life is love, and did n''t I say that flowers symbol love?
6306	Me?
6306	Sculptors have carved this lion, painters have painted it, artists have sketched it, but did you ever see a reproduction of"The Lion of Lucerne"?
6306	She picked it up and turned the leaves aimlessly; then she opened her Boston bag and slipped the book inside, saying as she did so:"You do not mind?"
6306	Should it be the law- school or the studio of Herrera the painter?
6306	So they kept on, each one saying,"And what will our folks say tonight?"
6306	The cross- examination ran something like this:"You are a painter of pictures?"
6306	The question is sometimes asked,"What becomes of all the Valedictorians and Class- Day Poets?"
6306	Was ever such an example of concentration, energy and industry known in the history of art?
6306	Was she only a thing?
6306	Was this the end?
6306	What had she done?
6306	What kind of a man was Leonardo?
6306	When did they begin?
6306	Who was she, anyway, that she should thus bare her beauty before such a creature?
6306	Would he allow me to ride with His Highness?
6306	Would he not kindly comply?
6306	Yet since"Hamlet"was never equaled, who could have taught its author how?
6306	and"To whom are you going to marry Fanny?"
6306	he answered, and then pulling something from under his sash he said,"Is this your cap, signor?"
6306	is that the man who felt that he was dying?
6306	that the transparent, unearthly thing lying there so prone and pale was dead?
27939	After all, is it not often the case with pictures, statues, journeys, and the reading of books?
27939	Again, do we not prefer the books which deal with habits simpler than our own?
27939	And are we really much refreshed?
27939	And what for?
27939	And, on the other hand, is not the truth of æsthetics, the bare, hard fact, a very different matter?
27939	But decoration of what?
27939	But may the whole world sit idly watching the raptures and death- throes of Tristram and Yseult?
27939	But since life has got two rhythms, why should art have only one?
27939	But what if we_ do not care for white_?
27939	But what is to be done?
27939	But why not more than merely that?
27939	But with what are you going to replace religion itself in art?
27939	But_ can_ we?
27939	Can we get the full taste of pleasure sought for pleasure''s own sake?
27939	Can we put them into an individual life; can anything be put into an individual life save furniture and garments, intellectual as well as material?
27939	Do we not love the Odyssey partly because of Calypso weaving in her cave, and Nausicaa washing the clothes with her maidens?
27939	Do you remember La Bruyère''s famous description of the peasants under Louis XIV.?
27939	Does it free his art from my rather miserable imputation?
27939	Does it not lend additional divinity that Christianity should have arisen among peasants and handicraftsmen?
27939	Does not this give to Pleasure a certain freedom, a humane character wholly different from the awful, unappeasable tyranny of Pain?
27939	For is not pleasing the fancy and exciting the feelings the real, final use of art?
27939	Hills and a few cypresses, such as his contemporaries used for background?
27939	How may I bring this home, without introducing a sickly atmosphere of decadent art and literature into my valley of the bay- trees?
27939	How often have not some of us felt like that; and how much might not those of us who never have, learn, could they learn, from those words of Elia?
27939	I say_ call_ ourselves: for can we be sure we really possess them?
27939	In what shape shall the various members of our soul proceed on their journey; which forming the van, which the rear and centre?
27939	Is it not stupid thus to"blink and shut our apprehension up?"
27939	Is this a superstition, a mere myth, perhaps, born of words?
27939	It is sad, not for the beasts but for our souls, that, since we must kill beasts for food( though may not science teach a cleaner, more human diet?)
27939	Might one not search long for a better symbol of what we may all do by our life?
27939	Nay, if those grumous and speckly viscosities of evil green, orange, poppy purple, and nameless hues, are the only things which give us any pleasure?
27939	Nay, worse, is it not positively heartless, brutal?
27939	Or shall there be neither van, nor rear, nor wedge- like forward flight?
27939	Some Tuscan scene, think you?
27939	The future?
27939	The persons who maintained just now( and who does not feel a hard- hearted Philistine for gainsaying them?)
27939	To put into their pockets or, like Marshall Villeroi("a- t- on mis de l''or dans mes poches?
27939	To whom?
27939	We may put beautiful objects, dignified manners, harmonious colours and shapes, but can we put dignity, harmony, or beauty?
27939	Whither are we going?
27939	Why else are certain things_ those which have to be done_; whence otherwise such expressions as_ social duties_ and_ keeping up one''s position_?
27939	Why so?
27939	With what, I ventured to ask just now, are you going to fill the place of religion in art?
27939	Would it not be worth while to reorganise this diet of ideas?
27939	You say we are abnormal, unwholesome, decaying; very good, then why should we not get pleasure in decaying, unwholesome, and abnormal things?
27939	or is it, seen in some wider connection, even like that clumsy glass inkstand in the oak panelled and brocade hung room?"
13395	And what about discrimination?
13395	Picasso?
13395	What about the very meaning of the word?
13395	What are its consequences?
13395	What is the cause of French conventionality?
13395	Why am I doing it?
13395	( Whom can he mean?)
13395	Again: if rules were made by pedants for pedants, must not mere lawlessness be a virtue?
13395	Also, so cosmopolitan is Paris, there were those who would put in the query:"Et Picasso?"
13395	And did Mr. Epstein see Him with the eyes of one who knew what for ages Christ had meant to Europe, or with those of a Jew of the first century?
13395	And how is his emotion to be kept at white heat through the long, cold days of formal construction?
13395	And how many Frenchmen do know anything?
13395	And now come the inevitable questions-- where were these things made, and when?
13395	And of Flandrin-- what has become of him?
13395	And we, ourselves, did we never despise what to- day we adore?
13395	And what of Delaunay?
13395	And what shall I say of the home- grown article?
13395	And, I will add, could anyone be less_ gavroche_?
13395	Are we, then, to assume that there is no connection between art and civilization?
13395	But a great painter?
13395	But at what moment did his dissent become acute, and to what extent was he aware from the first of its existence?
13395	But had it really changed so much as we?
13395	But how, said they, should deep call to deep in Alexandrines and a pseudo- classical convention, to say nothing of full- bottomed wigs?
13395	But if, as I am told, we all owe money to America, has not America acquired, along with her financial supremacy, certain moral obligations?
13395	But is even this a serious misfortune?
13395	But were not European Primitives and Buddhists similarly bound, and did they not contrive to circumvent their doctrinal limitations?
13395	But what English painter could conceive and effectively carry out a work of art?
13395	But what does he want this genius of his to do?
13395	But who ever thought of going there to look for a work of art?
13395	Can he create something that shall be uncompromising as art and at the same time humane?
13395	Can he do what Raphael and Racine did?
13395	Could anyone be less of a reactionary and at the same time less of an anarchist?
13395	Could anyone be moved by the verisimilitude of Uccello?
13395	Did ever Frenchmen sympathize absolutely with Don Quixote?
13395	Do they?
13395	He will pose the question--"Why is Milton a great poet?"
13395	How many mute, inglorious Miltons, Raphaels, and Mozarts may not have lost heart and gone under in the savage insecurity of the dark ages?
13395	How shall we explain his enthusiasm for Macpherson''s fraud?
13395	How should that race which above all others understands and revels in life care for an art of abstractions?
13395	How should they love anything so uncongenial to their temperament?
13395	How, having raised good sense to the power of genius, should France quite approve æsthetic fanaticism?
13395	Is it a mistake to find him intolerable now?
13395	It is one the answer to which must depend a good deal on our answer to that old and irritating query-- is beauty absolute?
13395	Niggers can be admired artists without any gifts more singular than high spirits; so why drag in the intellect?
13395	Now such questions lead inevitably to an immense query--"What is Art?"
13395	On the other hand, those who queried:"Et Bonnard?"
13395	Only, can we recognize it?
13395	So why, because he happened to have an astonishing gift of statement and rapid generalization, should Zola be treated as though he were a monster?
13395	So, if an artist happens also to be a Frenchman-- and the combination is admirably common-- what is he to do?
13395	The protagonists of the heroic epoch( 1904--1914 shall we say?)
13395	This is plain speaking; how else should a critic, who believes that he has diagnosed the disease, convince a modern patient of his parlous state?
13395	To be sure there was Shakespeare and the celebrated Hugo-- or was it Gambetta?
13395	Was Christ intelligent or was He something nobler, and what has Mr. Epstein to say about it?
13395	Was He disdainful or was He sympathetic?
13395	Was He like Mr. Bertrand Russell or more like Mr. Gladstone?
13395	Was he really a great painter?
13395	Was it a mistake in 1890 to rave about Wagner?
13395	We contemplate the object, we experience the appropriate emotion, and then we begin asking"Why?"
13395	Were they really born to be painters?
13395	What could be more orderly?
13395	What engine is to generate the heat and make taut the energies by which alone significant form can be created?
13395	What has become of Chabaud, who was a bit too clever, and a little vulgar even?
13395	What is it Derain wants of them?
13395	What is the meaning of this?
13395	What matters, however, are not theories, but works: so what of the works of Jazz?
13395	What of critical practice?
13395	What shall he do?
13395	What would Poussin have said to so passionate a negation of common sense?
13395	What, for instance, is the history of his relations with Impressionism?
13395	Who but feels that Wilson, Blake, Reynolds, Turner, and Rossetti were remarkable men?
13395	Yet when I ask myself:"Is Ibsen''s moralizing worse than anyone else''s?"
13395	and"How?"
13395	and,"What was His character?"
19980	But who wantonly destroys it?
19980	She is more precious than rubies--but do you think that is only because she will help you to buy rubies?
19980	A certain quantity of able hands and heads being placed at our disposal, what shall we most advisably set them upon?
19980	A fine prosperous business that would be, would it not?
19980	And do not you see what a pretty and pleasant come- off there is for most of us, in this spiritual application?
19980	Behold, is it not of the Lord of Hosts that the people shall labour in the very fire, and the people shall weary themselves for very vanity?"
19980	But because you can not be Handel and Mozart-- is it any reason why you should not learn to sing"God save the Queen"properly, when you have a mind to?
19980	But do you suppose that it is the law of God, or nature, that people shall be paid in money for becoming wiser and happier?
19980	But far more than all this, is it a question not of clothes or weapons, but of men?
19980	But you do n''t suppose that_ that''s_ goldsmith''s work?
19980	Can it be Liberality then?
19980	Can you guess what?
19980	Can you guess which it is likely to be?
19980	Christ,--no cure, No help for women, sobbing out of sight Because men made the laws?
19980	Do you mean that the laws of all civilised nations are perfect?
19980	Do you suppose it is in the long run good for Manchester, or good for England, that the Continent should be in the state it is?
19980	Do you think that is only because she will enable you to get all the things you desire?
19980	Do you think that, by learning to draw, and looking at flowers, you will ever get the ability to design a piece of lace beautifully?
19980	Hast thou found No remedy, my England, for such woes?
19980	Have n''t we built a perfectly beautiful gallery for all the pictures we have to take care of?"
19980	Have you nothing best, Which generous souls may perfect and present, And He shall thank the givers for?
19980	How do you distinguish between great and small sins?
19980	How high can we raise the level of a diffused Learning and Morality?
19980	I can not stay now to dispute that, though I would willingly; but do you think it is_ still_ necessary for that development?
19980	If they all choose to have lace too-- if it ceases to be a prize-- it becomes, does it not, only a cobweb?
19980	Is it a question of classical dress-- what a tunic was like, or a chlamys, or a peplus?
19980	Is n''t your shilling''s worth the best bargain?
19980	Is your courage spent In handwork only?
19980	It may be very amusing now, and look much like a work of genius; but what will be its value a hundred years hence?
19980	No cure for wicked children?
19980	No hope for Rome, free France, chivalric France?
19980	No mercy for the slave, America?
19980	No outlet, Austria, for the scourged and bound, No call back for the exiled?
19980	No pity, O world, no tender utterance Of benediction, and prayers stretched this way For poor Italia, baffled by mischance?
19980	Or what other means of judgment will you employ, to separate the things which ought to be formally regulated from the things which ought not?
19980	Or, waiving this, is it not indisputable that the claim of the State to the allegiance, involves the protection of the subject?
19980	Should it, for instance, as in Greece, be of physical beauty,--emulation,( Hesiod''s second Eris),--pugnacity, and patriotism?
19980	So that the first question of a good art- economist respecting any work is, Will it lose its flavour by keeping?
19980	Suppose all the gossamer were Nottingham- made, would a sensible spider be either prouder, or happier, think you?
19980	That you might tread upon them, and starve them, and get the better of them in every possible way?
19980	Well then, supposing we wish to employ it, how is it to be best discovered and refined?
19980	Well, supposing them sculptors, will not the same rule hold?
19980	Well, who made him more persevering or more sagacious than others?
19980	Were we any the better of the course of affairs in''48?
19980	What can he do, but go and lay it on his mother''s grave?
19980	What can we do, if we would?
19980	What do you suppose I mean by a pretty fancy?
19980	What do you suppose fools were made for?
19980	What is it to him, if the angels of Assisi fade from its vaults, or the queens and kings of Chartres fall from their pedestals?
19980	What must we do, whether we will or not?
19980	What shall he do with it?
19980	What should we do with houses in Verona?"
19980	Where is the product of that work?
19980	Why are your carriages nicely painted and finished outside?
19980	Why are your exteriors of houses so well finished, your furniture so polished and costly, but for other people to see?
19980	Why is one man richer than another?
19980	Would you not at once assert of such a mistress that she knew nothing of her duties?
19980	Would you not say that the prudent and kind young lady was, on the whole, answerable for the additional touches of claw on the Vandykes?
19980	Yes, gentlemen of the common council; but what has been doing in the time of the transfer?
19980	Yet surely a spider is clever enough for his own ends?
19980	You do n''t think that it would be convenient, or even creditable, for women to wash the doorsteps or dish the dinners in lace gowns?
19980	You will( I hope) finally ask me what is the outcome of all this, practicable tomorrow morning by us who are sitting here?
19980	_ R._--Or that they are perfect at least in their discrimination of what crimes they should deal with, and what crimes they should let alone?
19980	_ R._--What_ do_ you mean, then?
19980	and how far shall we be compelled, if we limit, to exaggerate, the advantages and injuries of our system?
19980	no brothel- lure Burnt out by popular lightnings?
19980	no light Of teaching, liberal nations, for the poor, Who sit in darkness when it is not night?
19980	no repose, Russia for knouted Poles worked underground, And gentle ladies bleached among the snows?
19980	or has the stabling of the dragoon horses in the great houses of Italy any distinct effect in the promotion of the cotton- trade?
19980	or, as in modern England, of physical ugliness,--envy,( Hesiod''s first Eris),--cowardice, and selfishness?
19980	test of good, will it please a century hence?
19980	you will say,"are we not to produce any new art, nor take care of our parish churches?"
19980	you will say,"when do we do such things?
20237	Is he employed in the service of the Grand Cophte?
20237	What else do you see?
20237	''Are you not tired of those eternal robes?
20237	''But did it make you laugh?''
20237	''Do you think, sir, that I ought to be a pupil to anybody?''
20237	''Hee zays zo, does hee?
20237	''How can you talk such trash, Cosway?''
20237	''How did you like the play?''
20237	''Is English wet weather one of the things which we would desire to see art give perpetuity to?''
20237	''Shall I give you an account of it?''
20237	''The nose?
20237	''True, sire,''answered the painter;''but does your Majesty keep an open table as I do?''
20237	''Well, Verrio,''the king inquired,''what is your request?''
20237	''Were the articles authentic?''
20237	''What do you know,''he was asked,''of the Prince of Wales, that he so often speaks of you?''
20237	''What has the Academy done for me?''
20237	''Who''s to teach''ee here?
20237	''Will hee?
20237	''Yes,''Northcote answered;''but how am I to paint the sound of dump, dump, dump?''
20237	''[ 25] But was Mr. Ruskin in any better plight?
20237	''[ 26][ 25]''What can I say of the Napoleon of Mr. Turner?
20237	A bystander inquires what has become of the nose of the bust?
20237	And Macpherson?
20237	And after painting all his Whig friends and associates, what was he to do?
20237	And then the difficult question arises: when is he to assert his independence?
20237	And then why, was indignantly asked, why had the artist arranged the portraits so cruelly?
20237	And was he a male coquette?
20237	And what claims upon society had the man who chose to conduct himself towards it after this manner?
20237	And what did she think of his art?
20237	And why do they assume these forms?
20237	At this juncture his father abruptly entered the room, crying out,''You play Jaffier, Tom?
20237	At what period in his career is he to cease leaning on his teacher, and to pursue his own devices unaided and alone?
20237	Boswell?)
20237	But is this for a moment sustainable?
20237	But to live?
20237	But what could he do?
20237	Could one man only have art abilities and ambitions, and make for himself the opportunity to employ and gratify them?
20237	Did_ she_ ever stand before his easel and contemplate his works?
20237	Do you think he was overawed by_ they_?
20237	Dr. Blair wrote in defence,''Could any man, of modern age, have written such poems?''
20237	For when there arose a cry of''Who wrote Sir Joshua''s discourses, if not Burke?''
20237	Harley?''
20237	He was then asked which was his favourite recitation in Milton?
20237	How the devil should we distinguish the works of the ancients if they were perfect?
20237	How to live?
20237	In short, I can think of no reason in the world against your going there but one:_ do you know his youngest brother?_?
20237	In short, I can think of no reason in the world against your going there but one:_ do you know his youngest brother?_?
20237	In society he was a power; for could he not by means of his pencil bestow, as it were, a certificate of beauty upon whom he would?
20237	Is it well to watch them like Turner?
20237	Is not the comparison impressive?
20237	May, then, clouds be formed of minute hollow globules of water swimming in the air, balloon- like?
20237	Messieurs ACADEMICIANS, when you''re dead, Where can your impudences hope to go?
20237	Mr. Ruskin asks two questions only--''Are these works accurate renderings of nature, as I by education and study now know nature to be?''
20237	Northcote, pray how long do you devote to the duties of the toilet?''
20237	Patronized by the Prince of Wales, what could he do but imitate his patron-- who was nothing if not''dressy?''
20237	Poor human nature, when wilt thou come to years of discretion?''
20237	See what it is to gain a monarch''s smile, And hast thou missed it, REYNOLDS, all this while?
20237	Should they submit, serve where they had once ruled, sink into simple Fellows, and thus, as it were, grace the triumph of their foes?
20237	The diving[ divining?]
20237	The plays performed were_ The Wedding Day_, and_ Who''s the Dupe?_ Lawrence represented Lord Rakeland in the one, and Grainger in the other.
20237	These and a hundred other questions; and what is the use of asking them?
20237	To be merely a foil?
20237	To which did he incline?
20237	Was n''t he the Prince''s painter?
20237	Was_ he_ any nearer the painter''s meaning?
20237	What are clouds?
20237	What care I for the nose?''
20237	What could have induced simple- minded Mr. De Loutherbourg to put trust in this arch- juggler?
20237	What does he live upon?
20237	What had a painter to do with politics?
20237	What is a picture of Ramsay or Romney now worth?
20237	What is he to do?
20237	What need of further holocausts?
20237	What says he of himself?
20237	What was all this to Runciman?
20237	What was now to be their course?
20237	What zort of peinter?''
20237	Who cares about Agandecca,''with red eyes of tears''--''with loose and raven locks?''
20237	Who knows anything now about Catholda, and Corban Cargloss, and Golchossa and Cairbar of the gloomy brow?
20237	Who reads Ossian now?
20237	Who was Laguerre?
20237	Who was Verrio?
20237	Why is the soft, level, floating, white mist so heavy?
20237	Why should you want to know what he did n''t?''
20237	Will you be so friendly as to come and sit an hour with me in the evening?''
20237	Will you have the kindness to lend me an umbrella?''
20237	Would he be a player or a painter?
20237	Your vather is n''t a moneyed man, is he?''
20237	_ Was_ he unappreciated?
20237	and next,''Are these high art in its purest, and most ideal, and most godly form?''
20237	asks Hazlitt; and he answers his own question--''What matter?
20237	cried Garrick,''was Shakespeare marked with mulberries?''
20237	does Northcote keep a dog?
20237	he exclaimed, afterwards telling the story,''what could I say?
20237	he would ask petulantly;''they knighted Calcott, why do n''t they knight me?''
20237	his favourite exclamation in his west country dialect,''what, is it_ you_?
20237	or to neglect them with Claude, Salvator, Ruysdael, Wouvermans, never to look nor portray?
20237	the long legs and the flying draperies?
20237	what''s he tu du here?
20237	who would give it?
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?
45504	A good land here; but what is there to come, where Art begins?
45504	A tailor?
45504	Ah, when will the power of it cease?
45504	And how should we know what ought to be, and what ought not to be, in our model, if we are ignorant of his or her construction?
45504	And why not?
45504	And yet, what does it matter in the end what we have to do in order to keep up the life, if the life is devoted to the thought?
45504	And, after all, what does it matter whether people say we are like So- and- so or not, if we are doing our very best?
45504	Are those eyes exactly like the eyes of the one you love or mourn for?
45504	Are you a gardener?
45504	As for the other class, do they help the work done, or that has to be done?
45504	But to believers, what is it but a continuation of everlasting joy?
45504	But to the hopeless, or spirits who can not rest upon a hope, what are the pleasures of time but days spent in a condemned cell to the doomed?
45504	But what made critics of this class?
45504	But what of all that?
45504	But who can grow affectionate over''plates of iron''?
45504	Can the painter do any better than imitate the street showman with the three colours?
45504	Can the_ wish_ engender power?
45504	Could any man want to paint better?
45504	Did Milton look the poet to Cromwell that he is to us?
45504	Did they look like mice peeping in and out as she tripped( limped) along according to the poet?
45504	Did they not comfort you more then than now when you know what they really are, as you watched them grow moist with their great sympathy?
45504	Did you ever see the like of that?''
45504	Do moths add to the value of clothes?
45504	Do the waves and the winds claim a unity with the ship now as they did then?
45504	Do you want the cold clay that is lying under the senseless stones, or the spirit which is hovering about you still?
45504	Does not the painter paint his picture to be seen, and can anyone admire the modesty that will not hold it up to the passer- by?
45504	For instance, if we are eating something nice, is it no longer nice if our neighbour says it is not?
45504	For what?
45504	From what?
45504	Has the painter, in letting go the exact facsimile, not given you something beyond and better-- the motion and soul of that cornfield?
45504	Have I made it?
45504	Have I made it?
45504	How, then, ought we to do it?
45504	If it was delicate, refined, bold, masterly before, how could it be vulgar, coarse, or commonplace afterwards?
45504	In summer, ay, or in winter either, are we warmer gloved or ungloved on a winter day?
45504	Is Whistler wrong in his mode of expressing himself?
45504	Is it a sign of ignorance to frankly confess that this sort of thing is beyond you?
45504	Is it a_ dead_ or a_ living_ portrait of the corn- ears?
45504	Is it not a good land to poet, painter, utilitarian, agnostic, and devotionalist?
45504	Is it not all equally pitiful in its progression as we watch the stages?
45504	Is it red, blue, green, orange, purple, yellow, or gems and sparkles of fire?
45504	Is it subtlety to mask over your meaning with words?
45504	Is it the heat fumes which are growing denser as the day advances?
45504	Is it the sound of the instruments we are listening to?
45504	Is the painted cornfield exactly like the cornfields you have seen?
45504	Is this not a better picture than their-- consumptive saints?''
45504	It seems perfect, can I wonder that it is not understood?
45504	Shall we alter what nature has done so well, introduce our poor little rules, and tailorise the picture until it stands reproachless?
45504	Take what you please, as an example,--a street scene crowded with people,--what is it to the looker out of a window?
45504	The noble path of honour is pointed out, and we glow as we read, with the desire to follow: what sermon could teach us more?
45504	They may be the exact shape and size and shade, but are they the eyes you used to look into and let out your soul after?
45504	Through dark hours of cold affliction, from sharp thorns we pulled the rose; Marvel you at our assurance, at the pride of our repose?
45504	Walk hard, because fatigue ought to be a pleasure?
45504	Were they not happy times when Jack the Giant- Killer was the veritable history of a brave boy?
45504	What about?
45504	What are rags and empty purses when to heights like these they rise?
45504	What difference did that signature make in the merit of the picture?
45504	What does this suggest, if not the grand cathedrals with their pillars and arched domes?
45504	What had their battles done but for his pen?
45504	What is glazing and scumbling?
45504	What is our pain or our pleasure to the partner of it all?
45504	What is that which we have given it?
45504	What sailor of the grand old school can take a pride in cold iron or cast steel?
45504	What so unlike this idea as the fashionable votary, while she strangles and strains to get out of the superfine, creaseless kid cages?
45504	Where is the mock modesty that dares to blush before these perfections?
45504	Which feels the cold most, the Highlander with his kilt and bare legs, or the Sassenach with his drawers and breeches?
45504	Which protects the nose most in a frost, a veil or a handful of snow rubbed briskly over that organ?
45504	While, as for the next great naval engagement, when ironclad faces ironclad, what chance will they have for their lives?
45504	Who is it by?
45504	Who wants to see mice under petticoats?
45504	Who, with poetry or taste, cares to see feet that can be compared to mice?
45504	Why ca n''t you do it like this, now?''
45504	Why not save our precious time for something so much more worthy of it-- the picture?
45504	Why should we not correct our sketches-- done for the sake of the colour and feeling, and not for the form-- from faithful photographs?
45504	Why?
45504	Will my pain give me yours?
45504	Would he be charmed with the colour of a mashed- up bit of flesh?
45504	Would this man care to have a wife without a nose or with indefinite features?
45504	Yet in the hands which have made it what it is, what may we, the lookers- on, not make out of it?
45504	_ BEAUTY_ What is Beauty?
45504	_"What is that horrid thing?"
45504	do they add to the pleasure of the spectator, or instruct the worker by their pertness or sneers?
45504	does mildew improve walls?
45504	does rust assist the brightness of polished steel?
45504	or do white ants strengthen the rafters they bed in?
45504	the tinkle of the silver ornaments round the ankles of the dancers?
45504	the voices of the singers?
45504	what?
13296	Distinguishedin what?
13296	Stands Ulster where it did?
13296	That stuff they like up there, do they? 13296 12mo,$ 1.50 TO: FREDERICK JAMES GREGG-Let us promenade our prejudices."--Stendhal(?)
13296	70 in the catalogue)?
13296	And Botticelli?
13296	And are they any fairer to young talent than official critics?
13296	And he adduced certain canvases painted with the misty- edged trees long before-- but why continue?
13296	And is there more noble, more virile music in all art than The Surrender of Breda?
13296	And the bull- fights?
13296	And why not?
13296	Balzac, and later Disraeli, asked:"After all, what are the critics?
13296	Bles, for example, as seen in the Rijks Museum, is a fascinating subject to the student; but are we really looking at his work?
13296	Bruges the Dead?
13296	But are you the first to endure them?
13296	But only this?
13296	But understood?
13296	But what can be said that is new about Rubens or Van Dyck?
13296	But what of the remainder of this insignificant composition with its toad and cows, its meaningless landscape?
13296	But where now is the painter critic and the professional critic?
13296	But who shall pass judgment upon this unhappy man?
13296	Can the record of criticism made by plastic artists show a generous Robert Schumann?
13296	Did Hamerton see a fine plate?
13296	Did any of the later Dutch conjurers in paint attain such transparency?
13296	Do his friends not overdo their glorification, his critics their censure?
13296	Does n''t the perverse clash in such a complex temperament give us exotic dissonances?
13296	For sculpture is a static, not a dynamic art-- is it not?
13296	Goethe, the imperial the myriad- minded Goethe, the apostle of culture, the model European man of the nineteenth century-- what of him?
13296	Had he, Meryon, not written poems himself?
13296	Had not the mighty Victor Hugo addressed flattering words to him?
13296	Has any one so told the truth concerning the ex- seminarian, casuist, and marvellous prose writer of France?
13296	Have they always-- as befits honest critics-- recognised the pupils of other men, pupils and men both at the opposite pole of their own theories?
13296	Have you more genius than Chateaubriand and Wagner?
13296	Have you seen his Spanish Dancers?
13296	He painted the sparkle of the eyes and also the look in them, the challenging glance that asks:"Are we, too, not humans?"
13296	He was fanciful rather than poetic, and the picture of Napoleon in hell enduring the reproaches of his victims( why should they be there?)
13296	Heine in his Deutschland asks: Kennst du die Hölle des Dante nicht, Die schreckliche Terzetten?
13296	How account for the violent changes in popular taste?
13296	How can a critic criticise a creator?
13296	How does he secure such intensity of pitch in his painting of atmosphere, of sunshine?
13296	How many have realised the charm of the rear view of Santa Maria Salute?
13296	How to persuade the patient to swallow the dose?
13296	II Who was Herri met de Bles?
13296	If Degas is an impressionist, pray what then is Monet?
13296	If he did not believe, why should he have displayed such continual scorn?
13296	If you painted like Monet, paralysis of the optical centre had set in-- but why continue?
13296	Into what morgue fell John Martin before his death?
13296	Is Saul smiling or crying behind the uplifted cloak?
13296	Is all this nothing more than"distinguished"?
13296	Is he contemplating in his neurasthenia an attempt on David''s life with a whizzing lance?
13296	Is it necessary to add that the handling takes your breath away because of its consummate ease and its realisation of the effects sought?
13296	Is it not dangerous to say of a genius that his work alone should count, that his life is negligible?
13296	Is it not the last word of the art of Velasquez-- though it preceded The Maids?
13296	Is it only a trick of the wrist, a deft blending of colours by this artist, who has been called, wrongfully-- the"Shakespeare of the brush"?
13296	Is it young genius in the raw, awaiting the sunshine of success to ripen its somewhat terrifying gifts?
13296	Is n''t Candida delicious in green, with black head- dress of lace-- isn''t she bewitching?
13296	Is the absolute value of the parts in shadow lowered or raised?
13296	Is the secret of the organ tone lost like the varnishing of Cremona fiddles and the blue of the old Delft china?
13296	Is there any strain of tendency, any central current to be detected?
13296	Is there no midway spot, no safety ground for that weary Ishmael the professional critic to escape being gored?
13296	It is something, is it not, to evoke with needle, acid, paper, and ink the dualism of such a brain and temperament as was Renan''s?
13296	Music?
13296	Must we stop before Mabuse, or before the cattle piece of the Dutch school, seventeenth century?
13296	Need we add that after the death of his father he soon wasted a fortune?
13296	Need we add that this French author by no means sees Botticelli in the musical sense?
13296	Need we say that Degas is a great wit, though not a writer; a wit and a critic?
13296	Now, if there is a dark spot in a highly lighted subject it is the question, Who was the first impressionist?
13296	Or is the exhibition a huge, mystifying_ blague_?
13296	Or of his liver?
13296	Or of his soul?
13296	Rembrandt is unlike any other Dutch painter-- Hals, Vermeer, Teniers, Van der Heist-- what have these in common with the miller''s son?
13296	Sattler, Charlet, Raffet, James Ensor, Rethel, De Groux, Rops, Edvard Münch( did you ever see his woman wooed by a skeleton?
13296	Señor Sorolla is also one of the half- dozen( are there so many?)
13296	Shelley?
13296	Study that Boy With the Sword at the Metropolitan Museum-- is there anything superficial about it?
13296	Style, character, paint quality, vision of the beautiful?
13296	That fatal(?)
13296	The American went to Daumier''s atelier, and seeing a picture on the easel, asked,"How much?"
13296	The agony of the man( do you recall The Torture by Hope of Villiers de l''Isle- Adam?)
13296	The poet of air, sunshine, and beautiful women-- can we ever forget his Jeanne Samary?
13296	The revolt, the passion, the scorn, were they all the result of his health?
13296	The spire of Notre Dame and the apsis may be seen up( or is it down?)
13296	There is Rops, for example, whose etchings may be compared to Meryon''s; yet who except a few amateurs seeks Rops?
13296	This is called_ dissociation_ of tones; and here is a new convention; why banish all save the spectrum?
13296	To the layman who asked,"What is impressionism?"
13296	To the painter the poet scornfully wrote:"You complain about attacks?
13296	Under which king?
13296	Was Botticelli a"comprehensive"--as those with the sixth or synthetic sense have been named by Lombroso?
13296	Was Carrière a decorative painter by nature-- setting aside training?
13296	Was n''t this the exhibition of which Albert Wolff wrote that some lunatics were showing their wares, which they called pictures, etc.?
13296	Was not the spiritual impulse missing in this man?
13296	What could be more tangibly massive than the plate called Breaking Up of the Hannibal?
13296	What crimes were committed to merit such atrocious punishment?
13296	What has sugar to do with sound?
13296	What if they do not mean much?
13296	What is the effect where considerable portions of the scene are suddenly thrown into marked shadow, as well as others illuminated with intense light?
13296	What was this shocking canvas like?
13296	What would he have said in the presence of this captivating evocation of a historic event?
13296	Whatever is to become of poor Piranesi?
13296	Where are the polished surfaces of the cultured studio worker; where the bric- a- brac which we inseparably connect with pseudo- Spanish art?
13296	Where did he receive his artistic training?
13296	Who can tell the renunciations made by the Frenchman in his endeavour to wrest the enigma of personality from its abysmal depths?
13296	Who does n''t remember that young lady dressed in white satin and standing with her back to you?
13296	Who was he?
13296	Why all the excitement in official circles?
13296	Why did Goya conceive his_ Caprichos_?
13296	Why?
13296	Why?
13296	Will the eye ever tire of its glorious gloom, its core of tonal richness, its virile exaltation of everyday existence?
13296	William Blake is in vogue; perhaps Martin--?
13296	Would Baudelaire''s magic verse and prose sound its faint, acrid, sinister music if the French poet had led a sensible life?
13296	Yet is Rodin justly appraised?
13296	Yet, is there anything sadder under the sun than a soul incapable of sadness?
13296	You are also a painter?"
13296	ZORN Anders Zorn-- what''s in a name?
13296	elle a done un rendezvous avec le valet de chambre?"
8536	And is the one you are going to relate true?
8536	Any expense that may be incurred would you kindly let me know? 8536 Aunt Mary is dead?"
8536	Auriez- vous la bonté de me fournir quelques dates sur votre vie et sur vos autres ouvrages, que je pourrais utiliser pour l''introduction?
8536	Avez- vous vu le château de Zahringen? 8536 But how am I to know that his head really aches?"
8536	But what has he said to put you in such a state?
8536	But what made you think I was ready to undertake such a pilgrimage?
8536	Can you follow what is said by others?
8536	Did you see I had joined the band of the rejected? 8536 Do you really still cherish hopes of that kind?"
8536	Happy?
8536	How has the cruising gone? 8536 I do n''t pretend to have genius; I never said I had; then why make it a reproach?"
8536	Mais pourquoi? 8536 Talk?"
8536	Then the parson he sighed in despair--''Where are my two pictures?--O where?'' 8536 What do they live upon then?"
8536	What is her name?
8536	What stonemason or bricklayer,said he,"would think of building his chimney before he had laid the first row of stones on the foundation?"
8536	Where shall I hide?
8536	Who_ is_ that gentleman?
8536	Why did you tear that piece of paper?
8536	Will you remember me to Mrs. Hamerton and your son? 8536 Would it not be better to ask another artist to undertake the remaining part?"
8536	Wrong? 8536 You would like me to exaggerate, then?"
8536	''Do you think it unusually good guide- book?''
8536	''In what form?''
8536	''What is the nature of the deed?''
8536	... Then I was interrupted by--"I was sure of it; now_ what_ is wrong with it?"
8536	And now what was to be done?
8536	And why also those immense washing- basins?
8536	At first I felt annoyed: what could be so strange about my person?
8536	Aunt Mary, who was kept_ au courant_, wrote:"How can you, dear Philip Gilbert, find time to paint so much, and to write so much?"
8536	Being obliged to take Mary to her last music- lesson, I asked Richard when I should see him again?...
8536	Besides, who was to teach the boys when he was away?
8536	But just might I delete two words in your testimonial?
8536	But my husband?...
8536	But where was I to go?
8536	But who can tell?...
8536	But why on earth do they spell Londres, London; Glascow, Glasgow; and Cantorbéry, Canterbury?
8536	Ca n''t you whip better than that?
8536	Can anything more conclusively prove the wonderful virtue of early hours and the healthy northern air?
8536	Could I think of leaving him a prey to this terrible anxiety, and to all the dangers of a return of the old nervous attacks?
8536	Could it be published in an incomplete state and called"The Upper Saône?"
8536	Could your recommendation introduce me to an American publisher?
8536	Did I not know by experience that the solitude of Loch Awe was delightful?
8536	Did you ever see a drawing or an etching by Victor Hugo?
8536	Do n''t you like it?
8536	Does the reader perceive the impossibility?
8536	Excuse my curiosity, but I should like to know how much you will have to pay for such a repast?"
8536	For what had I ever said or done to deserve censure?
8536	From West Lodge he wrote, in answer to one of my letters:--"Our present business is to look simply to the question, what will be most economical?
8536	Have you been all over the house?
8536	His mother asked what attracted his attention, and the child said,"Do n''t you see, mamma, the old gentleman who is sitting in that chair?"
8536	How are your pictures progressing?
8536	How is little Lala, lal, a, lala?
8536	How should we get out of it, and when?...
8536	How would''Modern Frenchmen''do?"
8536	I asked, who could help the young students when they were in a fix?
8536	I asked:''Quel chemin doit on prendre pour aller chez Monsieur Amertone, dans l''île d''Ineestreeneeche sur le lac Ave?''
8536	I ca n''t eat all that, then why serve it me?...
8536	In a letter to Miss Betham- Edwards he had said once:"Have you observed how_ very_ careful Tennyson has always been never to publish prose?
8536	In answer to my suggestion that marriage would perhaps give him what he wanted, he had answered:"No doubt; but where shall I find the wife?
8536	Is n''t it pleasant to have readers of that class?..."
8536	Is not that jolly?
8536	Mr. Hamerton and his wife will remain at the other end of the salon, behind your back; and what then if you break down?...
8536	Mr. Seeley wrote:"Nature evidently intended you for a savage; how in the world did you come to be a literary man?
8536	Must not my Paradise be a Paradise for any daughter of Eve?
8536	Now you will certainly come and see me, wo n''t you?
8536	Now, considering all this-- are you happy?"
8536	On coming back into the house one morning, I met my father, who said,"Have you done your fifteen minutes?"
8536	Or perhaps you would rather write an entirely new novel?
8536	Roberts Brothers wrote:"We have been selling three thousand copies of''Human Intercourse;''does not that speak well for your popularity here?
8536	Some one asked him if he had not the"Legion d''honneur"?
8536	That was quite plain, was not it?...
8536	The case is this: If you are fond of reading and have an evening at your disposal, you will wish to read, will you not?
8536	The girl I introduce into society as_ my_ wife must be very beautiful, else what would society think of my taste as an artist?...
8536	The rain might be troublesome and interfere with work, but were not the splendid colors of the landscape due to it?
8536	Then how should we ever get home again?...
8536	Then what was the use now of those empty cellars, dreary paved courtyard, and formal office?
8536	Then why not omit the chapter altogether?
8536	They also said:--"Suppose we should wish to bring out an edition of''Wenderholme''this autumn, would you abridge and rewrite it?
8536	Was it my cold which made me dull and inattentive?
8536	We had no pleasant associations there, having made no friends on account of our mourning-- why should we remain against our inclination?
8536	What must Frenchmen think of you, in Paris and miserable?
8536	What was to be done with the book?
8536	What was to be done?
8536	What were we to do?
8536	Who betrayed him?...
8536	Why had I put in such and such words of my own?
8536	Why such a big house for two solitary beings?...
8536	Will you kindly allow us to consult you in any legal difficulty?"
8536	Young men both over- estimate and under- estimate their own gifts,--they do not know themselves, as indeed how should they?
8536	and would he always find spare time to do it, and regular hours also?
8536	and would they be always inclined to apply themselves steadily to their tasks without supervision?
8536	ca n''t you?"
8536	exclaimed the simple woman, with an air of consternation;"est- ce que vous n''êtes pas bien ici?"
8536	he did not say much; only,''Lazarette, why will you scratch off the paint with the matches?''
8536	he would fetch instantly what was required; or should I like something hot for my cold?''
8536	pensez- vous donc que j''aie tout à fait la berlue pour n''avoir pas découvert de prime abord tout l''insidieux de votre proposition?
8536	pourquoi vous en aller?"
8536	she said;"and will your healths be able to stand the severity of the climate when you are no longer so young?
8536	what must I do?''
8536	where must I be?
8710	After whom is the king of Israel come out?
8710	Again he said unto her, Stand in the door of the tent, and it shall be, when any man doth come and enquire of thee, and say, Is there any man here?
8710	And David said to Saul, Wherefore hearest thou men''s words, saying, Behold, David seeketh thy hurt?
8710	And Deborah said unto Barak, Up; for this is the day in which the Lord hath delivered Sisera into thine hand: is not the Lord gone out before thee?
8710	And God heard the voice of the lad; and the angel of God called to Hagar out of heaven, and said unto her, What aileth thee, Hagar?
8710	And Isaac said unto his son, How is it that thou hast found it so quickly, my son?
8710	And Jesus answered and said unto them, Are ye come out, as against a thief, with swords and with staves to take me?
8710	And Jesus, immediately knowing in himself that virtue had gone out of him, turned him about in the press, and said, Who touched my clothes?
8710	And Joab said unto the man that told him, And, behold, thou sawest him, and why didst thou not smite him there to the ground?
8710	And Joab said, Wherefore wilt thou run, my son, seeing that thou hast no tidings ready?
8710	And Joseph said unto his brethren, I am Joseph; doth my father yet live?
8710	And Judah said unto his brethren, What profit is it if we slay our brother, and conceal his blood?
8710	And Laban said unto Jacob, Because thou art my brother, shouldest thou therefore serve me for naught?
8710	And Naomi said, Turn again, my daughters: why will ye go with me?
8710	And about the ninth hour Jesus cried with a loud voice, saying, Eli, Eli, lama sabachthani?
8710	And as Jehu entered in at the gate, she said, Had Zimri peace, who slew his master?
8710	And as Paul was to be led into the castle, he said unto the chief captain, May I speak unto thee?
8710	And he came unto his father, and said, My father: and he said, Here am I; who art thou, my son?
8710	And he cometh unto the disciples, and findeth them asleep, and saith unto Peter, What, could ye not watch with me one hour?
8710	And he lifted up his face to the window, and said, Who is on my side?
8710	And he said unto me; Son of man, can these bones live?
8710	And he said unto them, Have ye never read what David did, when he had need, and was an hungered, he, and they that were with him?
8710	And he said unto them, How is it that, ye sought me?
8710	And he said unto them, What manner of communications are these that ye have one to another, as ye walk, and are sad?
8710	And he said unto them, What manner of man was he which came up to meet you, and told you these words?
8710	And he said unto them, What things?
8710	And he said, Art thou my very son Esau?
8710	And he said, Behold the fire and the wood: but where is the lamb for a burnt offering?
8710	And he said, I know not Am I my brother''s keeper?
8710	And he said, What hast thou done?
8710	And he said, Who art thou, Lord?
8710	And he saith unto them, Whose is this image and superscription?
8710	And he saith unto them, Why are ye fearful, O ye of little faith?
8710	And he told it to his father and to his brethren; and his father rebuked him, and said unto him, What is this dream that thou hast dreamed?
8710	And he trembling and astonished said, Lord, what wilt thou have me to do?
8710	And he, said unto them, Unto what then were ye baptized?
8710	And his brethren said to him, Shalt thou indeed reign over us?
8710	And his disciples said unto him, Thou seest the multitude thronging thee, and sayest thou, Who touched me?
8710	And his sisters, are they not all with us?
8710	And it came to pass that in the morning, behold, it was Leah: and he said to Laban, What is this thou hast done unto me?
8710	And it came to pass, when David had made an end of speaking these words unto Saul, that Saul said, Is this thy voice, my son David?
8710	And seekest thou great things for thyself?
8710	And she said unto him, How canst thou say, I love thee, when thine heart is not with me?
8710	And she said, Who would have said unto Abraham, that Sarah should have given children suck?
8710	And some of them said, Could not this man, which opened the eyes of the blind, have caused that even this man should not have died?
8710	And the Lord said unto Cain, Where is Abel thy brother?
8710	And the Lord said unto Cain, Why art thou wroth?
8710	And the Pharisees said unto him, Behold, why do they on the sabbath day that which is not lawful?
8710	And the Philistines called for the priests and the diviners, saying, What shall we do to the ark of the Lord?
8710	And the evil spirit answered and said, Jesus I know, and Paul I know; but who are ye?
8710	And the king said again unto Esther on the second day at the banquet of wine What is thy petition, queen Esther?
8710	And the king said to him: Doth not Bel seem to thee to be a living God?
8710	And the king said unto Cushi, Is the young man Absalom safe?
8710	And the king said unto him: Why dost thou not adore Bel?
8710	And the king said, Is the young man Absalom safe?
8710	And the king said: Are the seals whole, Daniel?
8710	And their father said unto them, What way went he?
8710	And they said one to another, Did not our heart burn within us, while he talked with us by the way, and while he opened to us the scriptures?
8710	And they were exceeding sorrowful, and began every one of them to say unto him, Lord, is it I?
8710	And upon this came his disciples, and marveled that he talked with the woman: yet no man said, What seekest thou?
8710	And when he rose up from prayer, and was come to his disciples, he found them sleeping for sorrow, and said unto them, Why sleep ye?
8710	And when he was come in, he saith unto them, Why make ye this ado, and weep?
8710	And when he was come into Jerusalem, all the city was moved, saying, Who is this?
8710	And when the messengers turned back unto him, he said unto them, Why are ye now turned back?
8710	And when they saw him, they were amazed: and his mother said unto him, Son, why hast thou thus dealt with us?
8710	Art not thou that Egyptian, which before these days madest an uproar, and leddest out into the wilderness four thousand men that were murderers?
8710	Art thou greater than our father Jacob, which gave us the well, and drank thereof himself, and his children, and his cattle?
8710	Behold now this city is near to flee unto, and it is a little one: Oh, let me escape thither( is it not a little one?)
8710	But he, knowing their hypocrisy, said unto them, Why tempt ye me?
8710	But he, willing to justify himself, said unto Jesus, And who is my neighbor?
8710	For if a man find his enemy, will he let him go well away?
8710	Hath no man condemned thee?
8710	Her wise ladies answered her, yea, she returned answer to herself, Have they not sped?
8710	If I should say, I have hope, if I should have a husband also to night, and should also bear sons; would ye tarry for them till they were grown?
8710	If thou doest well, shalt thou not be accepted?
8710	Is not this the carpenter''s son?
8710	Is not this written in the book of Jasher?
8710	Jesus saith unto her, Said I not unto thee, that, if thou wouldest believe, thou shouldest see the glory of God?
8710	Nebuchadnezzar spake and said unto them, Is it true, O Shadrach, Meshach, and Abed- nego?
8710	Now Moses in the law commanded us, that such should be stoned: but what sayest thou?
8710	Seest thou not how much he eateth and drinketh every day?
8710	Shall we give, or shall we not give?
8710	The mother of Sisera looked out at a window, and cried through the lattice, Why is his chariot so long in coming?
8710	The woman saith unto him, Sir, thou hast nothing to draw with, and the well is deep from whence then hast thou that living water?
8710	Then Judas, which betrayed him, answered and said, Master, is it I?
8710	Then said Boaz unto Ruth, Hearest thou not, my daughter?
8710	Then said Boaz unto his servant that was set over the reapers, Whose damsel is this?
8710	Then said his sister to Pharaoh''s daughter, Shall I go and call to thee a nurse of the Hebrew women, that she may nurse the child for thee?
8710	Then said the high priest, Are these things so?
8710	Then said the king, Will he force the queen also before me in the house?
8710	Then said they, What shall be the trespass offering which we shall return to him?
8710	Then saith the woman of Samaria unto him, How is it that thou, being a Jew, askest drink of me, which am a woman of Samaria?
8710	Then the king Ahasuerus answered and said unto Esther the queen, Who is he, and where is he, that durst presume in his heart to do so?
8710	When Jesus had lifted up himself, and saw none but the woman, he said unto her, Woman where are those thine accusers?
8710	When they therefore were come together, they asked of him, saying, Lord, wilt thou at this time restore again the kingdom of Israel?
8710	Whence then hath this man all these things?
8710	Wherefore then do ye harden your hearts, as the Egyptians and Pharaoh hardened their hearts?
8710	Which now of these three, thinkest thou, was neighbor unto him that fell among the thieves?
8710	Who can tell if God will turn and repent, and turn away from his fierce anger, that we perish not?
8710	Who said, Canst thou speak Greek?
8710	Why tarry the wheels of his chariots?
8710	after whom dost thou pursue?
8710	and his brethren James, and Joses, and Simon, and Judas?
8710	and it shall be granted thee: and what is thy request?
8710	and why is thy countenance fallen?
8710	are there yet any more sons in my womb, that they may be your husbands?
8710	did not I serve with thee for Rachel?
8710	do not ye serve my gods, nor worship the golden image which I have set up?
8710	is not his mother called Mary?
8710	or shalt thou indeed have dominion over us?
8710	or, Why talkest thou with her?
8710	tell me, I pray thee; is there room in thy father''s house for us to lodge in?
8710	tell me, what shall thy wages be?
8710	that is to say, My God, my God, why hast thou forsaken me?
8710	when he had wrought wonderfully among them, did they not let the people go, and they departed?
8710	wherefore then hast thou beguiled me?
8710	who?
8710	wist ye not that I must be about my father''s business?
8710	would ye stay for them from having husbands?
16917	; they need ask only,Do I feel this?"
16917	Are you forgetting about colour?
16917	--than to ask and answer the question,"Do I feel this to be good or true or beautiful?"
16917	And do not the Impressionists, with their power of creating works of art that stand on their own feet, bear in their arms a new age?
16917	And during those long years how has Degas lived?
16917	And if the form that provokes aesthetic emotion be form that expresses something, can it be that material beauty is to him expressive?
16917	And ought we not to add that sometimes the sense of reality comes we know not whence?
16917	And when it is for an emotional quality, to what extent is that emotion aesthetic?
16917	And, if so, does he not perceive that he has given away his case?
16917	Are they, or are they not, a signature?
16917	Are we in the period of a new incubation?
16917	Are we to suppose, then, that the artist feels, or sometimes feels, for material beauty what we feel for a work of art?
16917	Are we to swallow it whole, accept a part of it, or reject it altogether?
16917	Art, we hope, serious, alive, and independent is knocking at the door, and we are impelled to ask"What will come of it?"
16917	As for the eggs,--why that''s God business: and who wants omelettes when he can have cooking?
16917	Before we feel an aesthetic emotion for a combination of forms, do we not perceive intellectually the rightness and necessity of the combination?
16917	Between Cézanne and another Tate Gallery, what lies in store for the human spirit?
16917	But do n''t they come at it sometimes through imagined form?
16917	But for objects seen as ends in themselves, do we not feel a profounder and a more thrilling emotion than ever we felt for them as means?
16917	But how are our ediles to know whether a picture of a commoner, or of some inanimate and undistinguished object, by Degas or Cézanne is good or bad?
16917	But how comes it that the art of one age differs from that of another?
16917	But in expert conclaves who has ever heard more than a perfunctory and silly comment on the aesthetic qualities of a masterpiece?
16917	But is pure form the only channel through which anyone can come at this mysterious emotion?
16917	But is that so?
16917	But what power was to destroy a machine that had enslaved men so completely that they dared not conceive an alternative?
16917	But who can set a mark against the exact point of change?
16917	But why is it impossible to make an absolutely exact copy?
16917	But, after all, does it matter to me?
16917	By what sign shall the public recognise the man of sensibility, always supposing that it is a man of sensibility the public wants?
16917	By whom was it made?
16917	Can it be that sometimes for the artist material beauty is somehow significant-- that is, capable of provoking aesthetic emotion?
16917	Can we by any means thwart the parents, the teachers, and the systems of education that turn children into modern men and women?
16917	Can we induce the multitude to seek in art, not edification, but exaltation?
16917	Can we make them unashamed of the emotion they feel for the fine lines of a warehouse or a railway bridge?
16917	Can we not all imagine the sort of man that would be chosen?
16917	Can we save the artist that is in almost every child?
16917	Can we say honestly that we feel one to be better than the other?
16917	Could anything be more commonplace?
16917	Do you think my men will get a single vote?
16917	Does anyone feel the same kind of emotion for a butterfly or a flower that he feels for a cathedral or a picture?
16917	Does he feel something behind it as we imagine that we feel something behind the forms of a work of art?
16917	Does it seem to lose its value?
16917	FOOTNOTES:[ Footnote 23: Need I say that this list is not intended to be exhaustive?
16917	For how many years after the maturity of Cézanne will painters continue to produce chromophotographs?
16917	For what, then, does the artist feel the emotion that he is supposed to express?
16917	For whom was it made?
16917	For, after all, what is a rose?
16917	Have we no experience of what the people love?
16917	Having drained the cup of Wagnerism and turned it upside down, is he now going to school with Mozart?]
16917	How could he justify any frontier?
16917	How many men of talent, and even of genius, have missed being effective artists because they tried to be something else?
16917	How much did he pay?
16917	How much will it fetch at Christie''s?
16917	II ART AND SOCIETY What might Art do for Society?
16917	If Mr. Moore is to infer the goodness of one state of mind from his feelings, why should not someone else infer the goodness of another from his?
16917	In that moment has he not won from material beauty a thrill indistinguishable from that which art gives?
16917	In the guise of what grisly and incomprehensible charlatan is art being presented to the people?
16917	In the last part of this chapter, when I try to answer the question--"Why are we so profoundly moved by some combinations of lines and colours?"
16917	Is Cézanne the beginning of a slope, a portent, or merely the crest of a movement?
16917	Is bread good as an end or as a means?
16917	Is it a new slope that we are on, or are we merely part of a surprisingly vigorous premonitory flutter?
16917	Is it all the work of one hand?
16917	Is it not simpler to use different words?
16917	Is it possible that the answer to my question,"Why are we so profoundly moved by certain combinations of lines and colours?"
16917	Is it too much to ask that others should be as honest about their feelings for pictures as I have been about mine for music?
16917	Is life itself good as an end?
16917	Let us ask ourselves, bluntly, can that which has no mind and affects no mind have value?
16917	My lord is lascivious?
16917	My lord is majestic?
16917	Need I add that in the snuggest age of materialism great artists may arise and flourish?
16917	On the bounty of the people who love all things beautiful, or on the intelligence and discrimination of a few rich or richish patrons?
16917	Or is the new age born?
16917	PICASSO 251 I WHAT IS ART?
16917	Possibly; but dare one of you suggest that in competition with any rubbishy sensation- monger either of them will stand a chance?
16917	Seriously, is the common- sense view ever the right one?
16917	Shall he not give a hint as to the nature of his organisation, and ease the way for our aesthetic emotions?
16917	Suppose the answer favourable, there remains another--"Is it genuine?"
16917	Surely whoever appreciates a fine work of art may be allowed the exquisite pleasure of supposing that he has made a discovery?
16917	THE METAPHYSICAL HYPOTHESIS[ Illustration: PERSIAN DISH, ELEVENTH CENTURY(?)
16917	The question to be asked is--"Is this rare?"
16917	They need not ask,"Did this happen?
16917	This is the general question, which, you will find, divides itself into two sufficiently precise queries--"What will Society do with Art?"
16917	Through what collections has it passed?
16917	To him the question"Does this move me?"
16917	To justify ethically any human activity, we must inquire--"Is this a means to good states of mind?"
16917	To that how shall we assign a starting- point?
16917	To the question--"Why are we so profoundly moved by certain combinations of forms?"
16917	To understand completely the history of an age must we know and understand the history of its art?
16917	Vitale, Ravenna_] I THE RISE OF CHRISTIAN ART What do I mean by a slope?
16917	WHAT IS ART?
16917	Was ever ideal so vulnerable?
16917	We do not stay to inquire"What useful purpose does this serve, whom does it benefit, and how?"
16917	What are the names of the figures portrayed?
16917	What are their histories?
16917	What becomes of it?
16917	What becomes of the great scientific principle of water- tight compartments?
16917	What becomes of the specialist?
16917	What but that which philosophers used to call"the thing in itself"and now call"ultimate reality"?
16917	What can it be but emotion?
16917	What could be more nonsensical?
16917	What could it be?
16917	What details are not irrelevant?
16917	What else is there for them to follow?
16917	What have all these tags of mythology and history, these pedagogic raptures and peripatetic ecstasies, to do with genuine emotion?
16917	What is a tree, a dog, a wall, a boat?
16917	What is being done to their native sensibilities by the earnest bear- leader with his( or her) catalogue of dates and names and appropriate comments?
16917	What is it that distinguishes the creator from the copyist?
16917	What is it that lurks behind forms and seems to be conveyed by them to us?
16917	What is left to provoke our emotion?
16917	What is that which is left when we have stripped a thing of all its associations, of all its significance as a means?
16917	What is the justification of this classification?
16917	What is the particular significance of anything?
16917	What is the quality common and peculiar to all members of this class?
16917	What is the significance of anything as an end in itself?
16917	What is this mysterious thing that dominates the artist in the creation of forms?
16917	What is this quality?
16917	What is this that imitated forms lack and created forms possess?
16917	What kind of form is that from which the musician draws the emotion that he expresses in abstract harmonies?
16917	What of the builder''s?
16917	What of those formidable compendiums in which the multitudinous activities of man are kept so jealously apart?
16917	What quality is shared by all objects that provoke our aesthetic emotions?
16917	What the style and cut of their coats, breeches, and beards?
16917	What was the object of the potter''s emotion?
16917	What would it profit him to gain the whole world and lose his own soul?
16917	What, then, is the conclusion of the whole matter?
16917	When was it made?
16917	Whence come the emotions of the architect and the potter?
16917	Whence sprang that Hellenic impulse?
16917	Where was it made?
16917	Who has not, once at least in his life, had a sudden vision of landscape as pure form?
16917	Who paid for it?
16917	Why should artists bother about the fate of humanity?
16917	Why should they bother to examine their feelings when for them to feel is enough?
16917	Why should they stop to think when they are not very good at thinking?
16917	Will they understand that, as a rule, the last to feel aesthetic emotion is the historian of art?
16917	Yet how many of us can resist the malsane pleasure of puzzling over the past and speculating about the future?
16917	_ Ariadne in Naxos._ Is Strauss, our one musician of genius, himself the pivot on which the wheel is beginning to swing?
16917	and"What will Art do with Society?"
16917	should be,"Because artists can express in combinations of lines and colours an emotion felt for reality which reveals itself through line and colour"?
16917	why can not people who set themselves to be sound and honest remember that there are other things in life?
11391	Are you waiting to be shaved, Sir?
11391	Is it you, Harman?
11391	And does it not at least_ hint_ of duties and affections towards the most deformed in body, the most depraved in mind,--of interminable consequences?
11391	And here we would ask, Does not this striking exception in the present argument cast back, as it were, a confirmatory reflection?
11391	And what is the inference?
11391	And what is the inference?
11391	And what was Rome then but the great University of Art, where all this accumulated learning was treasured?
11391	And whence the conception of this mysterious character, but from its mysterious prototype, the Idea of the Infinite?
11391	And whence this pertinacious faith that_ will_ not die, but from a spring of life, that neither custom nor the dry understanding can destroy?
11391	And where is hatred deepest and deadliest?
11391	And who that has a modicum of the imaginative would assert of one of Haydn''s Sonatas, that its effect on him was no other than sensuous?
11391	And why else should all nations instinctively bow before the superior forms of Greece?
11391	And why is this, but for the reason assigned in the preceding instance of a still- life picture?
11391	And why?
11391	And why?
11391	And why?
11391	And yet without the physical organ who can hold it?
11391	Are they not rather more often vague, and only indicated in some_ undefined_ feeling?
11391	Ay, how could we ever stand these but for that ideal panoply through which we feel only their modified vibrations?
11391	But can it be so expressed?
11391	But could he not obtain them without such aid?
11391	But here it may be asked, How are we to distinguish an Idea from a mere_ notion_?
11391	But here it may be asked, In what manner, if we resort not to actual portrait, is the Individual Man to be expressed?
11391	But how can this be?
11391	But how do we know that Beauty is limited to such exclusive relation?
11391	But how do we obtain this mutual dependence?
11391	But how have all these changes affected this_ visible image of Truth_?
11391	But how is it then?
11391	But is a precise object always necessary to the mind?
11391	But is it not the business of the artist to touch the heart?
11391	But is such exultation pleasure?
11391	But may not men differ as to their impressions of truth?
11391	But may not these tragic pleasures have their source in sympathy alone?
11391	But should we, could we look into his heart?
11391	But what is the truth of the Spirit but the Spirit itself,--the conscious_ I_?
11391	But what will be the reply in regard to the Intellect?
11391	But why should I seek one?
11391	But why should the effect be different, except in degree, from the beauty of a human being?
11391	But why talk of feeling, says the pseudo- connoisseur, where we should only, or at least first, bring knowledge?
11391	But why, it may be asked, where the false predominates, do we still derive pleasure?
11391	But will the same natural object, conveyed through these organs, leave the same impression?
11391	Can we have a stronger case in point than that of the celebrated Wilkes, one of the ugliest, yet one of the most admired men of his time?
11391	Could a more terrible distance be measured, than by these fearful words, between God and man?
11391	Could any finite object account for this?
11391	Could we stand in the presence of one of these holy beings,( if to stand were possible,) what of the Sublime in this lower world would so shake us?
11391	Did they never feel its sublimity while they knew their danger?
11391	Do we mean the understanding?
11391	Does he ever descend from a higher assimilant to a lower?
11391	Does he feel its truth?
11391	Does he feel nothing more than the genial warmth?
11391	Does not this undeniable fact, then, bring us to the fair conclusion, that the moral being has no genera?
11391	Every one rhymes now- a- days, and so can I. Shall I write an Epic, or a Tragedy, or a Metrical Romance?
11391	Finally, do we find it identified with the truth of the Spirit?
11391	First, In what consists Moral Perfection?
11391	For what answer can we give to the question, What is a Whole?
11391	For what is Genius but the prophetic revealer of the unseen True, that can neither be purchased nor bribed into light?
11391	For what is a perfect Intellect?
11391	For who ever felt it in watching the progress of actual villany or the betrayal of innocence, or in being an eyewitness of murder?
11391	From the view here presented, what is the inference in relation to Art?
11391	Has human beauty, then, no power?
11391	Here we are compelled to ask, What is understood by the mind?
11391	How and why is this?
11391	How are they affected, for instance, by a piece of Mozart''s?
11391	How else can we account for those instantaneous sympathies and antipathies towards an utter stranger?
11391	How else, for instance, can we account for a scene in nature, a bird, an animal, a human form, affecting us each in a similar way?
11391	How is it, then, in the world of spirit?
11391	How many things act upon us of which we have no knowledge?
11391	How otherwise could such a being as Caliban ever be true to us?
11391	How, then, can a man who has_ once_ sinned, and who has not of_ himself_ cleansed his soul, be fit for heaven where no sin can enter?
11391	If it be further demanded, What is the minimum of truth in order to a pleasurable effect?
11391	If man were a mere animal, though the highest animal, could these inscrutable influences affect us as they do?
11391	In fortune I have a competence,--why not be as independent in mind?
11391	In what form, then, shall we recognize it?
11391	In what part, then, of man may this self- evidenced, yet elusive, Truth or power be said to reside?
11391	Is it altogether out of experience?
11391	Is it at all akin to what is recognized as pleasure even by this hardened wretch?
11391	Is it reasonable, then, to suppose that any thing not immutable in its nature could possibly have withstood such continual fluctuation?
11391	Is it the Dialectic, the Speculative, or the Imaginative?
11391	Is it, then, in the mind?
11391	Is this impossible?
11391	Leaving this to have the weight it may be found to deserve, we turn to the original question; namely, What do we mean by Human or Poetic Truth?
11391	Let us endeavour for one moment to conceive of this; does not the soul seem to dilate within us, and the body to shrink as to a grain of dust?
11391	Let us suppose this form of hope to be taken away from an immortal being who has no self- satisfying power within him, what would be his condition?
11391	May we not then infer a similar Principle without us, an Infinite Harmony, to which our own is attracted?
11391	Might it not have been rather this sublime fascination?
11391	Now have we at all times a distinct consciousness of the things referred to?
11391	Now the question is, Where, and in what bias, is this mysterious attraction?
11391	Now, could this difference be possible, were the sole cause, strictly speaking, in mere matter?
11391	On which Prospero remarks,--"Hast thou, which art but air, a touch, a feeling Of their afflictions?"
11391	Or in the moral principle?
11391	Or who would ask for the_ story_ in one of our gorgeous autumnal sunsets?
11391	Or, rather, would it not include them all?
11391	Rainbow, are_ you_ the man?"
11391	Shall we appeal to the artist?
11391	Should we assume, then, the Correspondence as a primeval law, who shall gainsay it?
11391	Still the question remains unanswered; and again we are asked, Why is it that our own works do not always respond with equal veracity?
11391	Suppose him to have been born in Italy; would he go to Holland to realize his Idea?
11391	The same might be said, also, in respect to the Beautiful: for who was ever alive to it under a paroxysm of terror, or pain of any kind?
11391	Then, what directs the artist from one object to another, and determines him which to choose, if he has not the guide within him?
11391	Then, what may follow?
11391	Was it mere scientific curiosity that cost the elder Pliny his life?
11391	Was it the_ truth_ of these objects that we there acknowledged?
11391	We are now brought to the important question,_ Where_ and_ what_ is this reconciling ground?
11391	Well, then, may he tremble to essay it even in thought; for where must it carry him,--that winged messenger, fleeter than light?
11391	What are these wishes but unconscious retrospects to our primitive nature?
11391	What but an intellectual brute could have uttered the imprecations of Caliban?
11391	What could we feel but an agony even like that of the sufferer, the only difference being that one is physical, the other mental?
11391	What even would Beauty be to the sated appetite?
11391	What is the cause of my difficulty?
11391	What possible resemblance can the understanding perceive between these sounds and colors?
11391	What then becomes of the visionary virtues?
11391	What, then, causes the difference, if it be not( as before observed) a peculiar something in the individual mind, that modifies the image?
11391	What, then, constitutes its Perfection?
11391	When we have basked in the beauty of a summer sunset, was there nothing in the sky that spoke to the soul of Truth and Goodness?
11391	Whence the difference?
11391	Where but to the confines of the Infinite; even to the presence of the unutterable_ Life_, on which nothing finite can look and live?
11391	Where, then, shall we search for this mysterious ground but in the mind, since only there, as before observed, is this common effect known as a fact?
11391	Who can answer?
11391	Who can imagine the old age of the sun?
11391	Who can look into the human eye, and doubt of an influence not of the body?
11391	Who has ever seen the ocean in repose, in its awful sleep, that smooths it like glass, yet can not level its unfathomed swell?
11391	Who, that has ever made a similar comparison, will expect to find them identical?
11391	Why do we this?
11391	Will any man say, that he is wholly without some natural or acquired bias?
11391	Will any one assert that the surrounding inorganic elements of air, earth, heat, and water produce its peculiar form?
11391	Will any one be truly affected by it?
11391	Would it be possible for him to imagine what kind of animals they were?
11391	Would not the animal appetites be our true and sole end?
11391	Yet what do they understand of musical quantities, or of the theory of colors?
11391	Yet who ever stopped to ask if he were a real being?
11391	Yet who will assert that all men see, or, if they see, are impressed by these her attributes alike?
11391	Yet, by what does he presume to judge of strangers?
11391	and may we not further,--if we may so speak without irreverence,--suppose our own to have emanated thence when"man became a living soul"?
11391	continued he,"my old classmate Rainbow turned slanderer?
11391	or ascend that spire without feeling his faculties vanish, as it were with its vanishing point, into the abyss of space?
11391	or rather, What are the characteristics that distinguish it from Nature, which it professes to imitate?
11391	or would any one of them ascribe his pleasure to any thing but its form and plumage?
11391	while to his living spirit that single word is all that is left him to fill the blank of space?
31411	= Questions about the artist.= In what country did Murillo live?
31411	= Questions about the artist.= In what ways was Corot favored?
31411	= Questions about the artist.= What is the artist''s full name?
31411	= Questions about the artist.= What other picture have we studied by this artist?
31411	= Questions about the artist.= Who painted this picture?
31411	= Questions to help the pupil understand the picture.= How had the artist, Corot, studied the clouds, sky, and trees?
31411	= Questions to help the pupil understand the picture.= What kind of a dog is this?
31411	= Questions to help the pupil understand the picture.= Where is the man?
31411	= Questions to help the pupil understand the picture.= Whom does this picture represent?
31411	= Questions to help the pupil understand the picture.= Whose home was this?
31411	= Questions to help the pupil understand the picture.= Why do you think these men and oxen must have started to work very early?
31411	And why did they need to watch the sheep so carefully?
31411	Do you like this picture?
31411	Do you like this picture?
31411	Do you like this scene?
31411	Do you think the oxen are plowing the field or covering the grain?
31411	Do you think the oxen are pulling hard?
31411	Does this man seem to be looking at the ground or far ahead?
31411	Does this picture make you feel happy or sad?
31411	For what does the lamb stand?
31411	For what is this picture famous?
31411	For what kind of paintings is Murillo famous?
31411	For whom is the dog grieving?
31411	From what is he drinking?
31411	How are Newfoundland dogs sometimes trained in France?
31411	How are oxen driven?
31411	How are the oxen geared together?
31411	How are the sky and ground held together?
31411	How are these oxen geared together?
31411	How can we tell what time of year it is?
31411	How can you tell that the ground is soft?
31411	How can you tell that the soil these men are plowing is moist and fertile?
31411	How can you tell what time of the day it is?
31411	How could his work be made easier now?
31411	How could this dog save her?
31411	How did Landseer happen to name his studio"Maida Vale"?
31411	How did Millet''s father feel about it?
31411	How did Rosa behave at the private school?
31411	How did he dress?
31411	How did he earn the money?
31411	How did he go?
31411	How did he happen to meet John at the spring?
31411	How did he like to paint?
31411	How did he prepare for this?
31411	How did she dress?
31411	How did she honor Rosa Bonheur?
31411	How did the artist, Millet, know so much about this kind of work?
31411	How did the brothers decide where to go to sketch?
31411	How did the children like this change?
31411	How did they all spend their evenings?
31411	How did they live in this forest?
31411	How did they travel?
31411	How did this help him?
31411	How did this influence Corot?
31411	How did this man plow his ground?
31411	How do Newfoundland dogs sometimes punish small dogs that annoy them?
31411	How do most of our farmers sow and plant their seed?
31411	How do some of the Spanish people regard Murillo?
31411	How do they sometimes resent abuse?
31411	How do you know?
31411	How do you suppose she happened to fall into the water?
31411	How do you think the grain will be covered?
31411	How does he sow the grain?
31411	How does he wear his hat?
31411	How does it make you feel?
31411	How does the horizon line divide the picture?
31411	How early do the French peasants usually start to work?
31411	How has the artist done this?
31411	How is he dressed?
31411	How is he helping him now?
31411	How is he standing?
31411	How is she dressed?
31411	How is the driver urging the oxen on?
31411	How is the man dressed?
31411	How long did Millet study with him?
31411	How many agree with them?
31411	How many oxen usually draw one plow?
31411	How old was Edwin when he drew a very good picture of a dog?
31411	How old was he by that time?
31411	How old was he when he came to America?
31411	How was John dressed?
31411	How was Murillo hurt?
31411	How was she punished?
31411	How was the baby rescued?
31411	How will it land its passengers and freight?
31411	In what boat did they sail?
31411	In what country did he live?
31411	In what country did he live?
31411	In what did he excel at school?
31411	In what did he excel at school?
31411	In what direction is the sun?
31411	In what else was he successful besides painting?
31411	In what humor does the nearest ox seem to be?
31411	In what kind of a house did they live?
31411	In what part of the forest is this picture?
31411	In what ways are animals like people according to Landseer''s judgment?
31411	Is it any wonder she was sent home in disgrace?
31411	Is the man standing still, or walking?
31411	Is there anything in the picture that would suggest the country in which he lived?
31411	Nearly every day at breakfast the father would ask his boys,"What shall we draw to- day?"
31411	Now what could they do after supper?
31411	Of what country did he paint the most pictures?
31411	Of what kind of lines is this picture made up?
31411	To what country did they come?
31411	To whom did he go then?
31411	To whom does Jesus point or beckon with his left hand?
31411	Upon his return home, what did he do?
31411	Upon what is the older woman sitting?
31411	Upon what island are they used to carry burdens?
31411	Upon what were they dependent?
31411	Upon which of the oxen has the artist centered our attention?
31411	What animal did Edwin draw first?
31411	What are the nymphs doing?
31411	What are the people doing?
31411	What are the three people in our picture waiting for?
31411	What are used now?
31411	What became of the children after their mother died?
31411	What became of the sketches he made when he was a boy?
31411	What became of this first painting?
31411	What can you say of the composition of this picture?
31411	What can you say of the light and shade in this picture?
31411	What can you see in the background?
31411	What can you see in the distance?
31411	What can you see in the distant background?
31411	What can you see in this picture to indicate that the man has been working a long time?
31411	What can you see of their homes?
31411	What can you see through the open space?
31411	What colors were used?
31411	What could the old man do in the evening?
31411	What did Corot ask his father?
31411	What did Corot decide?
31411	What did Corot wish to tell us about the trees?
31411	What did Edwin''s brother, Thomas, accomplish?
31411	What did Edwin''s father do to defend his art?
31411	What did Millet do in the evening?
31411	What did Millet wish to make us feel in this picture?
31411	What did Murillo paint for the market?
31411	What did Rosa Bonheur''s father think of this picture?
31411	What did Sir Walter Scott say about Landseer''s dogs?
31411	What did a young art student once ask Corot?
31411	What did he do at once?
31411	What did he do in order to be sure the child would be killed?
31411	What did he do when he came back?
31411	What did he do while painting?
31411	What did he do?
31411	What did he do?
31411	What did his boy friend tell him that made him want to go to London?
31411	What did his employer finally do?
31411	What did his father and mother do?
31411	What did his neighbors do for him?
31411	What did the Newfoundland do at the dog pound?
31411	What did the artist Velásquez do for him?
31411	What did the artist consider first?
31411	What did the artist think?
31411	What did the boy do?
31411	What did the critics say about this picture?
31411	What did the father do for a living?
31411	What did the parents of the baby Jesus do?
31411	What did the priest teach him?
31411	What did they hope to make of Corot?
31411	What did they take with them?
31411	What do the expressions in their faces tell us?
31411	What do these stories tell us about Newfoundland dogs?
31411	What do you consider most interesting about the oxen?
31411	What do you like best about this picture?
31411	What do you see first?
31411	What do you see in the foreground to the left?
31411	What do you suppose these three people will be doing then?
31411	What do you think are the colors in the sky?
31411	What do you think of the justice of this criticism?
31411	What does he carry over his shoulder?
31411	What does he do with it?
31411	What does the boy who is drinking hold in his left hand?
31411	What else can you tell about the artist''s life?
31411	What else did Murillo do to earn money?
31411	What followed him?
31411	What forest did they decide would be a good place to spend a vacation?
31411	What happened before he had saved enough money to go?
31411	What happened that raised Corot in their estimation?
31411	What happened then?
31411	What has he done?
31411	What holds the ground and the sky spaces together?
31411	What is a harrow for?
31411	What is it sometimes called?
31411	What is next in importance?
31411	What is the boy at the right doing?
31411	What is the cause of the glow in the sky behind him?
31411	What is the driver doing?
31411	What is the lamb doing?
31411	What is the team of oxen at the farther end of the field doing?
31411	What is there in the picture to suggest the time of the year?
31411	What is this picture called?
31411	What is your opinion of the beauty of this picture?
31411	What kind of a beach is it?
31411	What kind of a harrow did this man have?
31411	What kind of boots is he wearing?
31411	What kind of dog is this?
31411	What kind of people were Murillo''s friends?
31411	What kind of pictures did he like to paint best?
31411	What kind of pictures were the popular artists of that day painting?
31411	What makes you think he and the little girl have been in the water?
31411	What makes you think he is tired?
31411	What makes you think the ground is soft?
31411	What makes you think the shepherd may have been an old man?
31411	What must this man do before daybreak?
31411	What nationality do his pictures represent?
31411	What nickname did they give Corot?
31411	What offer did his father make?
31411	What other kind of dogs save many lives?
31411	What other picture of this dog has Sir Edwin Landseer painted?
31411	What part of our history interested him especially?
31411	What pictures did he copy?
31411	What preparation did she make before painting the picture?
31411	What presents did she receive?
31411	What relation do you think these people are to each other?
31411	What rules did he have in his studio?
31411	What shelter did they have?
31411	What subjects did most of the artists of Corot''s time choose to paint?
31411	What time of day did he usually start out to paint?
31411	What time of day do you think it is?
31411	What time of the day is it?
31411	What time of the year do you think it is?
31411	What time of the year is it?
31411	What time of year do you think it is?
31411	What time of year does it seem to be?
31411	What trade did her father wish her to learn?
31411	What was he obliged to paint for a living?
31411	What was she willing to do in order to paint pictures?
31411	What was the answer?
31411	What was the dog doing?
31411	What weapons did Sir Edwin use when he hunted?
31411	What were these three young artists doing?
31411	What will be the result of his work?
31411	What will they do when they see the boat?
31411	What work did he do after school and on Saturdays?
31411	What would this man probably do after his day''s work?
31411	When did he go back to England?
31411	When he became feeble, who did nearly all the work of caring for the sheep?
31411	When the master did not wake up what did the dog probably do?
31411	When was it safe for the boy Jesus to return?
31411	When were his pictures appreciated?
31411	When were they released?
31411	Where are the bright colors?
31411	Where are the dog and the child?
31411	Where are these people?
31411	Where are they looking?
31411	Where did Corot go to study?
31411	Where did Rosa Bonheur paint this picture?
31411	Where did he draw them?
31411	Where did he draw this picture?
31411	Where did he grow up?
31411	Where did he move?
31411	Where did she go to study animals?
31411	Where did she keep her canvas and paints?
31411	Where did she keep them?
31411	Where did she live the first ten years of her life?
31411	Where did they go for an outing?
31411	Where did they stay at night?
31411	Where did they walk?
31411	Where do you suppose the child''s playmates and nurse are?
31411	Where does he seem to be looking?
31411	Where is the dog lying?
31411	Where is the farm house?
31411	Where is the sun?
31411	Where was he born?
31411	Where was he sent?
31411	Where was this picture painted?
31411	Where was"Edwin''s studio"?
31411	Where will they come from?
31411	Which boy was the younger?
31411	Which of the two children seems to be the older?
31411	Which two of his pictures were exhibited when he was only thirteen years old?
31411	Who are they?
31411	Who came to take her home?
31411	Who came to watch him?
31411	Who else seems to be watching them?
31411	Who encouraged him?
31411	Who has the shell?
31411	Who helped him care for the sheep?
31411	Who painted the picture?
31411	Who saw it?
31411	Who taught Edwin how to draw?
31411	Who took care of Millet when he was a boy?
31411	Who were the Pilgrims?
31411	Who will join them?
31411	Whom did he paint?
31411	Why are the sea gulls flying around?
31411	Why are they so anxious to have the boat come?
31411	Why are we so indebted to him?
31411	Why can not the ship land at this beach?
31411	Why could the mother not take the child?
31411	Why did Corot claim to be the happiest man in the world?
31411	Why did he not go?
31411	Why did he not read the newspaper, as our farmers do?
31411	Why did he not shoot the animals?
31411	Why did he return home?
31411	Why did she dress like a man?
31411	Why did the landlord refuse to rent Edwin''s father a house?
31411	Why did they have such a hard time in this country?
31411	Why did they leave England?
31411	Why did they move to the city?
31411	Why did they move?
31411	Why did they use oxen so much in those days?
31411	Why do they not drown?
31411	Why do we respect and admire him?
31411	Why do you suppose Millet did not paint details, such as the features of the face or the buttons on the coat?
31411	Why do you suppose he did not drink first?
31411	Why do you suppose there is no one else in the room?
31411	Why do you think he is not lazy?
31411	Why do you think he looks ahead?
31411	Why do you think he must be very tired?
31411	Why do you think he was especially fond of Newfoundland dogs?
31411	Why do you think it could not have been a shipwreck?
31411	Why do you think it is still early?
31411	Why do you think it must have been a good likeness?
31411	Why do you think so?
31411	Why do you think so?
31411	Why do you think the boy at the left has given him a drink?
31411	Why do you think the child had not been wading?
31411	Why do you think the picture is called"Children of the Shell"?
31411	Why do you think these drivers would not use the same words that we should?
31411	Why do you think they may be homesick or sad?
31411	Why do you think they use so many in the field?
31411	Why does he not seem weary?
31411	Why does he not take the child to them?
31411	Why have his pictures outlived those of the popular artists of that time?
31411	Why have the branches fallen from the coffin?
31411	Why is the earth plowed?
31411	Why is the picture called"Pilgrim Exiles"?
31411	Why must they be cared for?
31411	Why must they have good leaders?
31411	Why was Rosa often late to school?
31411	Why was he worried when he heard of the birth of Jesus?
31411	Why was the boat often delayed?
31411	Why were Millet''s pictures not popular?
31411	Why were engravers not allowed to exhibit their work?
31411	Why were they so called?
31411	Why were they then called Pilgrims?
31411	With what did he draw?
31411	With what part of the body do the oxen pull the plow?
31411	With whom did Sir Edwin Landseer travel through Scotland?
31411	With whom did he become friends?
31411	With whom did he live?
31411	[ Illustration: OXEN PLOWING] OXEN PLOWING= Questions to arouse interest.= How many of you have ever watched oxen plowing?
31411	[ Illustration] CHILDREN OF THE SHELL= Questions to arouse interest.= Where do these children seem to be?
31411	[ Illustration] DANCE OF THE NYMPHS= Questions to arouse interest.= Of what is this a picture?
31411	[ Illustration] HIGHLAND SHEPHERD''S CHIEF MOURNER= Questions to arouse interest.= What do you see in this picture?
31411	[ Illustration] SAVED= Questions to arouse interest.= What has happened?
31411	a lonely man?
31411	a religious man?
31411	in his bag?
31411	in what country?
31411	in what country?
31411	last of all?
31411	that there has not been a shipwreck?
31411	the colors in the field?
31411	the occupation of the man?
31411	the time of day?
31411	the two women?
31411	to the right?
31411	what next?
31411	what subjects?
31411	what time of the day?
31411	why not?
31411	why?
31411	why?
31411	why?
31411	why?
31411	why?
31411	why?