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 |
---|---|
13119 | [ 1] 1837- 1839(?). |
39943 | Who would ever have thought that one could paint noise and tumult? |
41834 | For the founder of that order, Angelico had the greatest love and admiration; who indeed could refuse to pay such tribute even to- day? |
41648 | This landscape,"Chill October,"was at the Academy with his"Yes or No?" |
41541 | What would we not give to- day for an authentic account of the conversations that these men must have held together? |
30316 | What would he have thought of the later masterpieces by the same hand? |
30316 | Who shall say that the scant consideration he received from parasites and courtiers was an unmixed evil? |
36930 | Whom do you carry to the grave? |
36930 | How much more so then, three hundred years ago, when Murillo was born to enjoy its beauty? |
42163 | Were his patrons great men who rewarded him as he deserved-- how did he fare when the evening came wherein no man may work? |
30180 | If now they displease you and are not praised, what can I do to help it?'' |
30314 | But free from convention? |
30314 | Where was that Paris to be found? |
41674 | And will the comparison with Millet fully bear examination? |
41674 | What would some of our painters say to a conscience so tyrannous? |
37088 | It was followed in 1861 by"What d''ye lack, madam?" |
41497 | Who shall do justice to the crowds that thronged the studio? |
43988 | MASTERPIECES IN COLOUR EDITED BY-- T. LEMAN HARE TITIAN 1477(? |
43068 | Is it possible that fellow- creatures so utterly debased by toil and neglect exist? |
39286 | But in what does this consist? |
39286 | But what does he see? |
39286 | The difference of opinion will principally refer to"what part can be taught?" |
41939 | And what is to be said of the landscape which is bathed in a clear, bright light, flecked here and there with trails of fleecy cloud? |
41939 | Is there any finer presentment of the tranquil beauty of a lion in repose than_ The Lion Meditating_? |
41939 | Then it needed only application and courage? |
41947 | Has he not wealth and estates? |
41947 | What indeed does he not do? |
33166 | Being asked if he was about to sit to Landseer for a portrait, he asked,"Is thy servant a dog that he should do this thing?" |
33166 | While the terrier saucily asks"Who are you?" |
41836 | What do you think of this,she said to Dolci;"is it not a wonderful piece of work? |
41836 | You do beautiful work, my Carlo,he said;"but how can you make it pay when you give hours and hours to that close finish? |
41836 | Can you believe that it was really painted in such a short time?" |
34645 | If, therefore,_ habitator Bergomi_ does not prove him a native of Bergamo, will the words_ Tarvisii commorantis_ make him a native of Trevigi? |
34645 | Who, however, can assure us that it is in fact the handwriting of Lotto, which he there found written?] |
43410 | How many notable men has he rescued from the comparative oblivion of the printed record? |
43410 | In how many cases has he helped us to correct or justify the impressions of the historian? |
30315 | Are the Portrait- Painters as well employed as ever? |
30315 | He used to declare that the advice of James Byres( 1734- 1818?) |
30315 | [ 1] J. Michael Wright( 1625?-1700? |
20607 | II What do I think of the master now, after so many years? |
20607 | Was it national prejudice, or was it conviction? |
20607 | What is that quaint little girl doing among all those men? |
41887 | What was the end of Lippi''s romance? |
43347 | But what is a noble subject? |
43347 | It is the Queen of Flowers, the Mystic Rose,& c.,& c. But is the rose greater than the cabbage from a purely pictorial point of view? |
43347 | Where should they turn for precept and guidance on the line of their new- found principles? |
7785 | Can the hand do before the soul has wrought; Is not our art the servant of our thought? |
38967 | Now why might not this artist''s name become_ Bassino_, in Modena? |
38967 | We read inscribed upon it in ancient character the two following lines:-- Quis opus hoc finxit? |
38967 | Wherefore is it then that in the published catalogues we meet with so very scanty a list of his pictures, nearly all esteemed excellent? |
41886 | With what then? |
41886 | Do you think the choice you have made will do for the purpose? |
41886 | these were your pictures?" |
20915 | Now, not knowing what pigments are chosen or how they are used, never standing by and watching the progress of the work, how can Science lend her aid? |
20915 | Will that orange where Indian yellow figures ever see old age, or that green with indigo, or purple with cochineal lake? |
13477 | Watchman, what of the Night? |
13477 | A leaflet entitled"What should a picture say?" |
13477 | What law can lovers move? |
40896 | But, logically, why is it not the most natural as well as the correct basis for this work? |
40896 | From the nursery to the university we are constantly asking two questions,"What is it?" |
40896 | Why then, should we not have in our paints imitations of the solar green, orange and violet as well as the red, yellow and blue? |
40896 | and"Why is it?" |
44340 | His master, having looked him over, inquired:"So, then, you have no shirt?" |
41798 | )-1426 John, 1385(? |
41798 | MASTERPIECES IN COLOUR Edited by T. Leman Hare VAN EYCK Hubert, 1365(? |
41798 | Or was it that the message baffled the apprehension of the artist, and left him helpless to respond to the call? |
32681 | Is there not practical wisdom in commencing every day with the steady effort to make as much of it as if it were to be our whole existence? |
32681 | What does it give you? |
20019 | Is it then to be outlined? |
20019 | Is this a white thing, a green thing, or a blue thing? |
20019 | Or, do you think it a dishonor to man to say to him that Death is but only Rest? |
20019 | What then can he mean by not so much as indicating one pebble or joint in the walls of Dumblane? |
20019 | Why, at least, could not Turner have kept it out of sight?" |
46915 | Might not this be the tract which Gori announces to be in the library of the Academy of Cortona[i104]?" |
46915 | Now, if we know that men are able to judge of the works of Nature, should we not think them more able to detect our errors? |
39265 | Do you pity me? |
39265 | What do I mix my colours with? 39265 COUNTESS OF PEMBROKE_ Hilliard(? 39265 JOOST VAN CLEEF( 15001536? 39265 _ By_ NICHOLAS HILLIARD(?). 50843 When did you ever see an angel?" |
50843 | And how better could he depict the winged messengers of the sky than by painting them with the forms of those he loved here below? |
50843 | It is only a step across the world from heaven to earth, and is not love the band that unites them? |
50843 | Was not the Madonna, nine times out of ten, the painter''s own wife? |
50843 | What does it mean?" |
50843 | Why not? |
39416 | ''But what use is your book to me if I do n''t understand it? |
39416 | ''For what? |
39416 | ''Whad poog, Maishter Cainsporough?'' |
39416 | ''What might it be, sir, if I may make so bold?'' |
39416 | Do you think if Van Dyck was to paint you he''d let you be shaved?'' |
39416 | What is your lute worth if I have not your book?'' |
39416 | Will you come; aye or no?" |
30098 | Could Veronese uphold his picture as decent? |
30098 | Did it, indeed, come down to them from the merchants of Tyre and Carthage? |
30098 | From that wonderful trading race which stretched out its arms all over Europe and penetrated even to our own island? |
30098 | The members of the tribunal demanded"who the boy was with the bleeding nose?" |
30098 | What can be more sympathetic as a personality than the Ariosto of the National Gallery? |
30098 | and"why were halberdiers admitted?" |
41974 | And, at a repast where the Saviour figures, what was that ridiculous buffoon doing with a parroquet on his wrist? |
41974 | But what matters history to Veronese? |
41974 | But what was that for a man who was the most famous and the most fertile artist of his time? |
41974 | What was the significance of that man who was bleeding at the nose? |
41974 | Why were those two soldiers, on the steps of the stairway, one of them drinking and the other eating, clad in German uniform? |
42118 | But what did Fragonard know of political allegories? |
42118 | Had not the owners of the land the right to do what they would with their own? |
42118 | She had need of a teacher; and who better qualified for the business than her townsman, the famous Fragonard? |
42118 | What more natural than that Fragonard should become her master? |
42118 | what enthusiasm had he for the famous days of the Revolution? |
42118 | what were caricature or satire to him, any more than the heroic splendour of Greece and Rome? |
22690 | Are the Madonnas of Murillo anything but a transcript of the women of Andalusia? |
22690 | But are not others chargeable with some incongruities? |
22690 | The portraits of Holbein are of this high- finished manner; and for colouring and similitude what was ever beyond them? |
22690 | The subject represents the moment when the son asks his father,"Where is the sacrifice?" |
22690 | What impression feels he who for the first time casts a glance over the immense scenery of that work? |
22690 | Would so great a master of tone as Reynolds have forgot this master- key if he had found it in the picture? |
22690 | wist ye not that I must be about my Father''s business?" |
42952 | ''Am I to have nothing more than this?'' |
42952 | Do you wonder at yon fair tower which holds the sacred bells? |
42952 | E. H. AND E. W. BLASHFIELD''ITALIAN CITIES''When we ask, where did Giotto get the wonderful power of expression that he shows in his work? |
42952 | For I am Giotto-- what need is there to tell of my work? |
42952 | Giotto di Bondone BORN 1266(? |
42952 | a funeral procession came forth from the gates; and of those who followed weeping he inquired,''Who is dead?'' |
42952 | we reply, a little from masters and a great deal from himself; but if we are asked, how did he learn to make a wall effective by color and patterns? |
41835 | Are your two pictures,_ Peace_ and_ War_, still in your possession? |
41835 | But are these paintings to be classed with religious art? |
41835 | Do you happen to have what I need ready made, as you did the other time?" |
41835 | Is not this a beautiful homage to French art, of which Puvis de Chavannes was one of the most glorious exponents? |
41835 | Is there anything more adorably exquisite than the gesture of the infant stretching out its plump arms towards its father? |
41835 | Is there in existence a more admirable argument against war and its horrors? |
41835 | Wait until the municipality, through slow economies, was in a position to order the picture? |
41835 | What was to be done? |
41835 | Will they serve your purpose?" |
27759 | ).--Battlefield(?) |
27759 | CVPIDVSQ( Cupidusque?) |
27759 | Death of Lucretia(?). |
27759 | In one He reproves S. Peter(? |
27759 | On one side are hurrying Apollo and Daphne(? |
27759 | Stirling, Glentyan, Scotland(? |
27759 | _ From the Collection of Napoleon III._ SEVEN HALF- FIGURES IN VARIOUS COSTUMES(?). |
27759 | and VTRIVSQ( Utriusque?) |
14056 | --"Why, then, my dear sir, has he never been received at the Salons, and not even been decorated at the age of sixty- five?" |
14056 | But are you the first to endure them? |
14056 | Have you more genius than Chateaubriand and Wagner? |
14056 | He was doubtful about exhibiting it, but Baudelaire decided him and wrote to him on this occasion these typical remarks:"You complain about attacks? |
14056 | If Leonardo was a great painter, are Turner and Monet not painters at all? |
14056 | What, then, is the painter to do, who is anxious to approach, as near as our poor human means will allow, that divine fairyland of nature? |
14056 | Who would have believed it? |
14056 | Why did n''t you speak to me about him?" |
14056 | Why should a group of men deliberately choose to paint mad, illogical, bad pictures, and reap a harvest of public derision, poverty and sterility? |
14056 | exclaimed he,"you know him? |
40251 | But Jesus perceived their wickedness, and said, Why tempt ye me, ye hypocrites? 40251 ***** Live pure, speak true, right wrong, follow the king-- Else wherefore born? 40251 And he saith unto them, Whose is this image and superscription? 40251 Here he set his precious burden gently down, and looking with wonder at the child, asked,Who art thou, child? |
40251 | Is it lawful to give tribute unto Cæsar, or not? |
40251 | Tell us therefore, What thinkest thou? |
40251 | The fame of his preaching reached Jerusalem, and the Jews sent priests and Levites to ask him,"Who art thou?" |
40251 | Whence comes this fear I can not quell? |
40251 | Why should I shake And tremble for the fate of one whom scarce These eyes have looked on twice? |
40251 | Why should my sire''s conditions seem too hard? |
36931 | But suppose,replied Constable,"Gaspar could rise from his grave, do you think he would know his own picture in its present state? |
36931 | What are you doing with your umbrella up? |
36931 | A happy life? |
36931 | Can you not see him drawing from each place fresh and dewy inspiration? |
36931 | Did Constable, I wonder, realise that his work was nearly done? |
36931 | Did he not always carry with him upon his journeys Claude''s picture of"Hagar"? |
36931 | Loved art? |
36931 | Why? |
12657 | Are we to place here, as Crowe and Cavalcaselle do, the_ Venus and Cupid_ of the Tribuna and the_ Venus with the Organ Player_ of the Prado? |
12657 | Is it not to insult one of the greatest masters of all time thus to assume that he would have designed what we now see? |
12657 | Is this the canvas now in the Wallace Collection, but not as yet publicly exhibited there? |
12657 | Margarita_ means one and the same canvas--_The Figure of St. Margaret in a Landscape_? |
12657 | Or is it perhaps that the eighteenth and nineteenth centuries have spoilt us in this respect? |
12657 | PEN DRAWING BY TITIAN(?) |
45129 | How many might in time have wise been made, Before their time, had they not thought them so? 45129 Is''t a time to talk When we should be munching?" |
45129 | What artist e''er was master of his trade Yer he began his prenticeship to know? |
45129 | _ Ibid._"To spur beyond Its wiser will the jaded appetite, Is this for pleasure? |
36932 | O, Grevell, what shall I dow? 36932 Did she love him? 36932 Did the architect of this new house wish subtly to suggest that he, like Lord Thurlow, belonged to the Sir Joshua faction? 36932 Does the large white hat, tied with blue ribbons beneath her chin, thatMiss Cumberland"wears, suit the lady? |
36932 | Forgotten? |
36932 | Is it intentional, I wonder? |
36932 | Remembered not? |
36932 | Twenty years later, in 1831, Croker''s contemptuous query,"What is a Ramsey or a Romney worth now?" |
36932 | Who That Reynolds or that Romney drew Was ever half so fair as you Or is so well forgot? |
36932 | is Romney at work for it? |
36932 | what shall I dow?" |
41492 | Do you think now that you could make_ me_ see the beauty of that picture? |
41492 | To me,he adds,"it is interesting as a picture of my mother; but what can or ought the public to care about the identity of the portrait?"] |
41492 | And if they were horses and carts, how in the name of fortune were they to get off?" |
41492 | But what could be a more strange spectacle than the revolutionary Whistler in the presidential chair of the staidest of art societies? |
41492 | There was a time when Whistler''s pictures were hissed when they were put on the easel at Christie''s? |
41492 | Was it a telescope or a fire- escape? |
41492 | Was it like Battersea Bridge? |
41492 | What was that structure in the middle? |
41492 | What were the figures at the top of the bridge? |
39996 | Besides, would not his style almost invariably resemble that of Francia, at least in the works he produced at Bologna? |
39996 | R. Footnote 3:"Oh dissi lui non se''tu Oderisi, L''onor d''Agubbio, e l''onor di quell''arte Che alluminar è chiamata a Parisi? |
42828 | A common question at the Royal Academy is"Where are the Sargents?" |
42828 | And the imagination for past associations, who have this more than the Americans? |
42828 | In what provinces close to nature are they wandering, since, striving to paint the face before them, they paint another face? |
42828 | Is not Art always difficult? |
42828 | We have said they paint as they think; who but the amateur always thinks at his best? |
42828 | Who is more modern than Sargent-- and I am trying to think has he ever painted a modern room-- that is, a room with modern things in it? |
42828 | [ Illustration] I Was there ever a more romantic time than our own, or a people who took everything more matter- of- factly? |
45332 | Arcanum habeat quo pennam formet ut habilis sit et ydonea ad scribendum...... Habeat dentem canis(?) |
45332 | Et spectaculum habeat ne ob errorem moram disspendiosam(?). |
45332 | Habeat etiam pumicem mordacem et planulam ad pactandum(?) |
45332 | He should have the tooth of a dog(?) |
45332 | The scribe should have an_ epicaustorium_[304] covered with leather; he should have an_ arcanum_( pen- knife?) |
45332 | The scribe should sit in an arm chair, with arms raised on each side to support a desk or? |
21561 | But has tradition any foundation in fact? |
21561 | If the whole scene were indeed by Benozzo, would not the difference of hand between master and scholar be more strikingly evident? |
21561 | What other figure, however beautiful, can show such just proportions, solid form, and majestic design, such a strong character and expression as this? |
21561 | Why not? |
41734 | Assuming that a passage such as this_ can_ be illustrated, and that without the use of colour, is his a good illustration? |
41734 | Begin-- where? |
41734 | Could there be a better frontispiece? |
41734 | Does Dürer owe his greatness to the strain of foreign blood? |
41734 | Does it reproduce the spirit and meaning of St. John, or only the words? |
41734 | The Beginnings? |
41734 | Then what is the inference? |
41734 | Was it ever thus? |
41734 | What was it that Dürer had inscribed on the Apostle Panels? |
41734 | Where do things begin; when and why? |
41734 | With the Beginnings? |
30262 | Landseer and Maclise we know; and Millais and Holman Hunt; but who is Leighton? |
30262 | We would venture to ask,says this ingenious critic,"why the divine psalmist has so small a brain? |
30262 | Powers when asked,"Shall I make him an artist?" |
30262 | R.A."VIEW OF ASSIOUT(?) |
30262 | The rest repeat in pleasing variety the usual motives of oriental design, viz., vines, cypresses, pinks and vases, doorways(? |
30262 | What would they be worth now? |
30262 | [ 1871?]. |
42114 | Who the devil are you? |
42114 | --"Who''ll buy?" |
42114 | He is holding up a herring, and on the canvas some one has scratched,"WIE BEGEERT?" |
42114 | She knew Franz was painting other couples and getting wealth and fame-- why not their own? |
42114 | Was he dissolute? |
42114 | Was he idle? |
42114 | Was he ill? |
42114 | Was it the natural change of life, or was it the effect of self- indulgence? |
42114 | Were there not painters on the spot, and what about Rembrandt, he was not very busy in 1637? |
42114 | Where, may we ask, are his studio canvases, his early panel portraits, and all the thousand- and- one sketches and freaks of a young artist? |
42114 | Who shall say? |
7222 | 452?] |
7222 | How much more impossible then to depict the incomprehensible soul in which all others have their being? |
7222 | Is it not likely that if Bugiardini had any hand in the work, it was to finish these figures? |
7222 | Now, if the first assertions were true why should he retract them? |
7222 | What would Greek sculpture have been without the deified personifications of the mysterious powers of nature which inspired it? |
7222 | Who can draw one soul? |
38848 | Is pride a fault, or must one develop one''s pride? 38848 Where are you going?" |
38848 | Who is he then? 38848 As he put it himself,Is it necessary to be modest, or, in other words, an imbecile?" |
38848 | But where was Gauguin to find his religion? |
38848 | Can one help admiring his tenacity? |
38848 | He finished a large picture, a sort of strange allegory of despair, entitled_ D''où venons nous? |
38848 | How then had they reached Tahiti? |
38848 | If I have painted daubs, why set out to gild them, to deceive people as to their quality?" |
38848 | Let me die in peace, forgotten, or if I ought to live, let me live in peace, forgotten.... What matter if I am the pupil of Bernard or Sérusier? |
38848 | Où allons nous?_ and then took arsenic. |
38848 | Que sommes nous? |
38848 | To envisage happiness, is that not a foretaste of Nirvana? |
38848 | What matter? |
38848 | When the Emperor asked him:"But where are your pictures?" |
38848 | _ Le Christ au Jardin d''Oliviers_ echoes the awful cry,"My God, my God, why hast thou forsaken me?" |
17215 | Are these for sale? |
17215 | But where can I see the originals? 17215 What does that mean?" |
17215 | How did the discovery of that horde of capable experts strike the imagination of our golfer? |
17215 | Is it fantastical to assume that his interest in Rembrandt dated from that little golf etching? |
17215 | Now he is fairly started on his journey through the Rembrandt country, and as he pursues his way, what is the emotion that dominates him? |
17215 | Now what is the meaning of this little story? |
17215 | The obliging youth scanned the document and said--"Which do you wish to see? |
17215 | What is there to say about such a life? |
17215 | What was it that moved him? |
17215 | What was the secret of this gaiety? |
17215 | Who dares to say that Rembrandt was disloyal to nature? |
17215 | would his imagination be stirred? |
41621 | And yet who would have them different? |
41621 | Do you remember his"Fête Champêtre"at Dresden, with the little exquisite figure of a woman seated on the ground turning away from the spectator? |
41621 | His art? |
41621 | His life? |
41621 | How would Titian have painted yonder dark woman of the warm colour and deep red hair walking down the glade? |
41621 | If there was so much of interest in Valenciennes for a painter, what might not the capital offer of spectacular delights? |
41621 | Is it rose and white? |
41621 | What can be said of this picture, or of the more finished replica at Potsdam, that has not already been said a score of times? |
41621 | What colour are his beautiful garments? |
41621 | What colour is it? |
41621 | What is impressionism, and what is pointillism? |
41621 | Who can describe Watteau''s colour or his fashion of trickling on the paint? |
41694 | How does he do it? |
41694 | Which was Turner''s house? |
41694 | Book? |
41694 | But what does it matter? |
41694 | I wonder what they think the sea''s like? |
41694 | Is not his influence the most enduring? |
41694 | Kind? |
41694 | On the"Graduate of Oxford"attempting to soothe him, he burst out--"What would they have? |
41694 | She said:"What have you been discussing this summer morning?" |
41694 | So the Master seemed old- fashioned, did he? |
41694 | The flame of Turner? |
41694 | Was he a medical man?" |
41694 | What Turner? |
41694 | Which is the greatest? |
41694 | Which was it? |
41694 | Who would have one inch changed? |
32787 | O God, is Luther dead? 32787 ); Charlemagne(?). 32787 ); Ecce Homo(?). 32787 ); Nativity(? 32787 ); Pietà(?). 32787 COLOGNE.--_Museum,_--Drummer and Piper; Madonna(?). 32787 DRESDEN MUSEUM.--Christ Bearing the Cross; the Crucifixion; a Hare; Lucas van Leyden; Madonna and Saints(?). 32787 J. F. Russell,--Crucifixion; Christ''s Farewell to Mary(?). 32787 Joachim and Joseph, 1523; St. Simeon and Bishop Lazarus, 1523; Death of the Virgin; a Young Man, 1500; Pietà(? 32787 O Erasmus of Rotterdam, where dost thou remain? 32787 Peter and John, 1526; a Knight in Armor(? 32787 Who will henceforth explain to us so clearly the holy Gospel? 32787 _ Doria Palace,_--St. Eustace(? 32787 _ FitzWilliam Museum, Cambridge,_--Annunciation(?). 32787 _ Hampton- Court Palace,_--Young Man, 1506; St. Jerome(?). 32787 _ Lyons,_--Madonna and Child Giving Roses to Maximilian(?). 32787 _ Rath- Haus_,--Emperor Sigismund(? 32787 how did the matronly Agnes endure such tradings? 34585 But how imitated him? 34585 If in this faculty be included all that is difficult, philosophical, and sublime, who shall compete with him in the sovereignty of art? 34585 If we deprive him of this work, which is the only one which can be called his own, what can he have executed in all this time? 34585 Who ever sought with such eagerness the works of Solario? 34585 Why did he himself and his scholars work in distemper? 34585 Why did the Sicilians, as we have seen, pass over to Venice, where Antonello resided, to instruct themselves, and not confine themselves to Naples? 34585 [ 102] On the other hand, who, beyond Naples and its territory, had at that time heard of Colantonio? 34585 da Bruggia? 19863 ''Just by Mrs Roper sits Sir Thomas''s lady in an elbow- chair(? 19863 ), died in 1650(? 19863 )-1650(?) 19863 )-1682--HOBBEMA, 1638- 1709--BERCHEM, 1620- 1683--BOTH 1600(?)-1650(?) 19863 )-1682--HOBBEMA, 1638- 1709--BERCHEM, 1620- 1683--BOTH 1600(?)-1650(?) 19863 )-1682--HOBBEMA, 1638- 1709--BERCHEM, 1620- 1683--BOTH, 1610(? 19863 --DU JARDIN, 1625- 1678--ADRIAN VAN DE VELDE, 1639- 1672--VAN DER HEYDEN, 1637- 1712--DE WITTE, 1607- 1692--VAN DER NEER, 1619(? 19863 A nobleman said to Lely,''How is it that you have so great a reputation, when you know, as well as I do, that you are no painter?'' 19863 Aart Van der Neer was born in 1619(? 19863 But is he right in his indignation? 19863 Could anything be truer than the breadth of the chiaroscuro? 19863 DU JARDIN, 1625- 1678--ADRIAN VAN DE VELDE, 1639- 1672--VAN DER HEYDEN, 1637- 1712--DE WITTE, 1607- 1692--VAN DER NEER, 1619(? 19863 Do n''t you see how the picture would be spoilt, and the story of complete contrast left untold? 19863 Jan Both, born in 1610(? 19863 Perhaps you will ask, what merit had the old paintings of the middle ages to compensate for so many great disadvantages and incongruities? 19863 STILL ALIVE IN 1667--TERBURG, 1608- 1681--NETCHER, 1639- 1684--BOL, 1611- 1680--VAN DER HELST, 1613- 1670--RUYSDAEL, 1625(? 19863 [ 22] Guido said of Rubens:''Does this painter mix blood with his colours?'' 19863 [ 54] Jacob Ruysdael was born in 1625(?) 44082 That''s the way you see your model?" |
44082 | What else can I bring? |
44082 | 6):"And one shall say unto Him, What are these wounds in Thine hands? |
44082 | But even in the first picture how much of all the admiration excited was due to the painter and how much to the model? |
44082 | But one may question how far his figures, and the environment of them, are true in colour? |
44082 | By what possible means could it be supplied? |
44082 | Can an Englishman, a matter- of- fact being who finds his happiness in comfort and a practical sphere of action, be at the same time a Romanticist? |
44082 | Emilie Isabel Barrington: Why is Mr. Millais our Popular Painter? |
44082 | How was it possible that England should have taken the lead upon this occasion also? |
44082 | Is it merely pity that is in her eyes? |
44082 | Is it that our eyes are by nature less delicate? |
44082 | Is not London the most modern town in Europe? |
44082 | Where in nature are the rounded forms which Raphael, the first Classicist, borrowed from the antique? |
44082 | Who shall kiss in the father''s own city, With such lips as he sang with again? |
44082 | YES OR NO?] |
44082 | or is everything in the Japanese only the result of a more rational training? |
18371 | And when nine months were fulfilled to Anna, she brought forth, and said to the midwife,''What have I brought forth?'' 18371 19), not knowing what was meant, they asked one by one, with pauses between,Is it I?" |
18371 | And here arises the important question: Did Giotto know that this was all that was looked for by his religious patrons? |
18371 | But had they understood it in the sense we now understand it, they would never have each asked,"Lord, is it I?" |
18371 | But what, it may be said by the reader, is the use of the works of Giotto to_ us_? |
18371 | Giotto looking after him, exclaimed,''Who is he? |
18371 | Giotto, who was most courteous, took a leaf( of vellum? |
18371 | He, thinking himself mocked, said,''Shall I have no other drawing than this?'' |
18371 | In particular it has blinded us to the meaning of Christ''s words,"Have not I chosen you twelve, and one of you is a traitor and accuser?" |
18371 | In the Baptistery at Ravenna, the rope is supported, not by an angel, but by the river- deity_ Jordann_( Iordanes? |
18371 | What arms does he bear? |
18371 | What is he? |
18371 | Why should we fret ourselves to dig down to the root of the tree, when we may at once enjoy its fruit and foliage? |
18371 | _ And one who bore a fat and azure swine Pictured on his white scrip, addressed me thus:_ What dost thou in this deep? |
18371 | and another,"Is it I?" |
29150 | ? |
29150 | ? |
29150 | ? |
29150 | Below the latter is a tablet on which, in Latin, are the words of Job:"My short life, does it not come to an end soon?" |
29150 | EARLIEST INDIVIDUAL WORKS( BEFORE GOING TO BASEL)? |
29150 | Grand- Ducal Collection, Darmstadt( superbly restored); and? Dresden Gallery. |
29150 | Is it to be supposed that he thought the dwellings of our Lord were palaces? |
29150 | Is there time still to escape? |
29150 | Or that he could not paint a stable? |
29150 | These hymns are"Come Holy Ghost"(_ Kom Heiliger Geyst Herregott_) and"Mortal, wouldst thou live blessedly?" |
29150 | What He bore for us, shall we shrink from so much as realising? |
29150 | What if he break the promise given when he was over- persuaded in the market- place the other day? |
29150 | What would one not give to see the lost work these wings covered? |
29150 | When the portrait was labelled Sforza, however, who could its obviously great painter be but Leonardo? |
29150 | still too dear Illusion? |
43085 | ''How will you do that?'' |
43085 | ''Then you are going to paint my portrait?'' |
43085 | But what of his paintings? |
43085 | But where in the world did M. Meissonier come across all those delightful little rarities in books? |
43085 | But why give to an artistic reproduction more relative importance than the originals have in reality? |
43085 | Does Meissonier surpass it, and are his pictures_ too small_? |
43085 | Granted: but what is the limit? |
43085 | Have we cause to regret this? |
43085 | He is evidently saying to himself:''Where the deuce could I borrow a louis or even a crown?'' |
43085 | How did the artist get his start? |
43085 | How do they interest me in real life? |
43085 | Is it necessary to say after this that no painter ever informed himself with such religious zeal in regard to costumes and accessories? |
43085 | Is there any need of saying that the public failed to distinguish a work which did not sufficiently distinguish itself? |
43085 | Meissonier?'' |
43085 | Was the painter beginning to change his manner? |
43085 | pose for Solférino? |
12626 | But should not such an assumption as this, well founded as it may appear in the main, be made with all the allowances which the situation demands? |
12626 | On which of these visits he took with him and completed at Ferrara(?) |
12626 | Peter Martyr_, to say that he has, take him all in all, been surpassed in this the highest branch of his art? |
12626 | Yet who would venture to compare him on equal terms to the painter of the_ Assunta_, the_ Entombment_ and the_ Christ at Emmaus_? |
17395 | ''No, but do n''t you wish you could?'' |
17395 | CHAPTER V THE RENAISSANCE Who is this old gentleman in our next picture reading so quietly and steadily? |
17395 | CHAPTER XIV TURNER I wonder which of you, if seeing this picture for the first time, will realize that you are looking at the old familiar Thames? |
17395 | Can you see him? |
17395 | Do n''t you know how good a bad drawing sometimes seems? |
17395 | Does he not look absorbed in his book? |
17395 | Henry VIII., therefore, had to look to foreign lands for his court painter, and where was he to come from? |
17395 | How do you see things? |
17395 | How, then, can the fire of sunshine be depicted at all? |
17395 | I wonder if you know how prints are made? |
17395 | I wonder whether it reminds you of anything you know? |
17395 | It''s not a bit like any room we can find anywhere in the world to- day, but would n''t it be joyful if we could? |
17395 | Of course you all know the story of Ulysses and the one- eyed giant, Polyphemus, in the_ Odyssey_ of Homer? |
17395 | One day he was noticed by a Spanish noble, who said to him,''Does my Lord occupy his spare time in painting?'' |
17395 | The merit of their work is unchallenged; and how could they paint physical beauty by them scarce ever seen? |
17395 | What else is there? |
17395 | Who can guess if it will concur with that of future decades-- of future centuries? |
17395 | Who can surely pronounce the consensus of opinion to- day? |
17395 | With the sweetness and grace of modern childhood filling our eyes, may we not well close this children''s book? |
17395 | You may believe this if you like, but how do you then account for the leopard and the peacock living in such harmony together? |
17395 | You may remember that the Netherlands had belonged in the fifteenth century to the Dukes of Burgundy? |
17395 | diptych does it not seem to you as though a long era divided the two? |
29532 | Do you know what I mean when I say tone, value, light, shade, quality, movement, construction, etc.? |
29532 | What is Venice in this picture? |
29532 | What is the merit of a painter? |
29532 | And yet? |
29532 | But what if one may? |
29532 | Could anything be more natural and unassuming? |
29532 | For guidance from the hand that holds neither brush nor chisel? |
29532 | How indeed would this have been possible with such a vast multitude of figures? |
29532 | Is it to be wondered at, then, that the foundation of the English School of painting should have been postponed for a century more? |
29532 | Look at the_ Laughing Cavalier_, and ask if it is not the man himself, as Hals saw and knew him, not a faked up hero? |
29532 | Ne peus tu pas, en admirant Les Maitres de la Grece, ceux d l''Italie Rendre justice également A ceux qu''a nourris ta Patrie? |
29532 | S. John is seen with folded arms, fast asleep, while others of the Apostles with the most burlesque gestures are asking,''Lord, is it I?'' |
29532 | SANDRO BOTTICELLI(?) |
29532 | The guild of merchants, being convinced[ Illustration: PLATE II.--SANDRO BOTTICELLI(?) |
29532 | What was the style of Catalonia? |
29532 | Who would have thought it? |
29532 | Who would have thought that they wanted to have their portraits painted? |
29532 | ne sont- ce point des fils qui ramènent le cadavre de leur père à la poussière? |
26703 | And Jesus said,"Whose is this image and superscription?" |
26703 | As the men talked, a traveler joined them and asked:"What is it ye talk about and are sad?" |
26703 | But we do not deserve it, do we? |
26703 | Did I not command you to depart? |
26703 | Did you ever see a cuter little girl than this one in the picture? |
26703 | Do you know I could live with that picture and feel that I always had something to make me happy? |
26703 | Do you see the tower at the left in the picture? |
26703 | Do you suppose that when he was famous as a painter he ever saw those boys? |
26703 | Do you think that she can tell us? |
26703 | Have you ever seen a flax wheel? |
26703 | How could a good- for- nothing horse that could not plow do such a wonderful thing as fly? |
26703 | I wonder if these willows make a harp or a lyre with their tall stalks reaching to the sky? |
26703 | If she can not, who can? |
26703 | Now what do you think of the"Sleeping Girl"? |
26703 | She had the money-- her father''s money-- but why should she be troubled with her old father? |
26703 | The angry farmer tried to make him work, but how could he when he had no courage? |
26703 | The stranger said,"What things?" |
26703 | These men are all asking,"Is it I?" |
26703 | WORDSWORTH Can you not almost hear this girl singing? |
26703 | Was anything ever more simple? |
26703 | Was ever anything so silly? |
26703 | Was ever anything so soft and velvety? |
26703 | What do you think he did? |
26703 | What do you think the authorities did? |
26703 | When the boy proudly displayed his flag, every one asked:"Where did you get such a wonderful flag?" |
26703 | When the picture was finished, and the people went to see it, many of them asked,"Where is the picture?" |
26703 | Where did they go? |
26703 | Why have you not obeyed?" |
26703 | still here? |
22500 | And why,replied the doctor,"should they be denied such sweeteners of their existence? |
22500 | Mr. Alderman A----,continued the Chamberlain,"which would you choose, sir?" |
22500 | _ Madness!_ thou chaos of the brain,} What art, that pleasure giv''st and pain?} 22500 FOOTNOTE:[ 3]What signifies,"says some one to Dr. Johnson,"giving halfpence to common beggars? |
22500 | Guest divine, to outward viewing; Ablest minister of ruin? |
22500 | Hast thou a son? |
22500 | If this is not rural felicity, what is? |
22500 | Needs must thy kind paternal care, Lock''d in thy chests, be buried there? |
22500 | The headstrong course of youth thus run, What comfort from this darling son? |
22500 | What heart, so void of sensibility, as not to heave a pitying sigh at their deplorable situation? |
22500 | What schemes will nature not embrace T''avoid less shame of drear distress? |
22500 | Who can behold the magistrate, here, without praising the man? |
22500 | Why these bolts and massy chains, Squint suspicions, jealous pains? |
22500 | Why, thy toilsome journey o''er, Lay''st thou up an useless store? |
22500 | my stars, what''s this about? |
22500 | where''s the tea- kettle?" |
39000 | WILL YOU BUY? |
39000 | :"Do you want a Model?" |
39000 | AFTER AN ETCHING BY N. MUXEL Sophonisba Anguisciola, Painter 1533-(? |
39000 | Are not some of its qualities instinct with manhood, while others delight us with the most winning graces of a perfect womanhood? |
39000 | Are you not inclined to marvel, almost, how a woman had the courage to depict, without flinching, the sad truths of such bitter poverty? |
39000 | CONSUÉLO:"Will You Buy?" |
39000 | Does Elisabetta Sirani take precedence of Lady Waterford? |
39000 | Does not genius make its appeal as a single creative agent with a two- fold sex? |
39000 | FROM A PHOTOGRAPH BY ALINARI Lavinia Fontana Zappi, Painter 1552- 1614(?)] |
39000 | FROM A PHOTOGRAPH BY W. A. MANSELL& CO., AFTER THE ORIGINAL PICTURE IN A PRIVATE COLLECTION Judith Leyster, Painter 1600(? |
39000 | HUNTER, MRS. MARY Y.:"Joy and the Labourer,"Frontispiece;"Olivia,"126;"Where Shall Wisdom be Found?" |
39000 | Had Steele an inkling of this magnificent compliment when he said that to love the Lady Elizabeth Hastings was a liberal education? |
39000 | Is it not both masculine and feminine? |
39000 | Is it not the very music of a woman''s rationalism? |
39000 | Is not that pathetic? |
39000 | Judith Leyster, Painter 1600(? |
39000 | Lady Elizabeth Butler, Painter] PREFACE What is genius? |
39000 | REPRODUCED FROM A PHOTOGRAPH BY NEWIDEIN Madame Lucas- Robiquet, Painter"DO YOU WANT A MODEL?" |
39000 | Sophonisba Anguisciola or Angussola, Painter 1533(? |
39000 | WILL YOU BUY? |
39000 | What can be said about Mrs. Margaret Carpenter? |
39000 | What has"quelled evil?" |
39000 | Where is there a woman artist equal to any man among the greatest masters?" |
39000 | Why compare the differing genius of women and men? |
31623 | But is such refinement possible? 31623 Well, but,"it is still answered,"is it not, indeed, ungenerous to speak ill of the dead, since they can not defend themselves?" |
31623 | [ 123] He was not, then, a brother while he was alive? 31623 ''Hath he not sped?'' |
31623 | 12:"Shall horses run upon the rock; will one plow here with oxen?" |
31623 | And again:"My lord constable, the armor that I saw in your tent to- night, are those stars, or suns, upon it?" |
31623 | But can he unravel the mystery of the punishment of NO sin? |
31623 | Can he entirely account for all that happens to a cab- horse? |
31623 | Did I say basalt for my slab, sons? |
31623 | Do not the conditions of the mountain peasant''s life, in the plurality of instances, necessarily forbid it?" |
31623 | Had mankind offered no worship in their mountain churches? |
31623 | How could He then have been tempted as we are? |
31623 | How else Shall ye contrast my frieze to come beneath? |
31623 | How many travellers hearing the term"cipollino"recognize the intended sense of a stone splitting into concentric coats, like an onion? |
31623 | Is a man to be praised, honored, pleaded for? |
31623 | Is he to be maligned, dishonored, and discomforted? |
31623 | Swift as a weaver''s shuttle fleet our years: Man goeth to the grave, and where is he? |
31623 | Then, if you are to do this,--if you are to put off your kindness until death,--why not, in God''s name, put off also your enmity? |
31623 | Was all that granite sculpture and floral painting done by the angels in vain? |
31623 | Was it then indeed thus with us, and so lately? |
31623 | What do they whisper thee, Child of my bowels, Anselm? |
31623 | Why should they? |
31623 | Worldly cardinals or nuncios he can fathom to the uttermost; but where, in all his thoughts, do we find St. Francis, or Abbot Samson? |
31623 | or is our brother''s blood in general not to be acknowledged by us till it rushes up against us from the ground? |
29906 | Hath white and red in it such wondrous power That it can pierce through the eyes into the heart? |
29906 | Who is she that looketh forth as the morning; fair as the moon, clear as the sun, and terrible as an army with banners? |
29906 | And in what sense may the terms Right and Wrong be attached to its conclusions? |
29906 | And in what sense may the terms Right and Wrong be attached to its conclusions? |
29906 | By what test is the health of the perceptive faculty to be determined? |
29906 | By what test is the health of the perceptive faculty to be determined? |
29906 | Compare Solomon''s Song where the imagination stays not at the outside, but dwells on the fearful emotion itself? |
29906 | Do they show finer characters of form than can be developed by the broader daylight? |
29906 | Have they more perfection or fulness of color? |
29906 | How did Shakspeare_ know_ that Virgilia could not speak? |
29906 | How, therefore, are the signs of sin to be known and separated? |
29906 | In order that anything may be directed, an end must be previously determined: What is the faculty that determines this end? |
29906 | Is it a face, or but an eyeless skull? |
29906 | The_ cenacolo_( of Raffaelle?) |
29906 | To what authority, when men are at variance with each other on this subject, shall it be deputed to judge which is right? |
29906 | What canon or test is there by which we may determine of these impressions that they are or are not_ rightly_ esteemed beautiful? |
29906 | What from beneath his helm- like bonnet scowls? |
29906 | What taste or judgment was it that directed this combination? |
29906 | Where be your gibes now, your gambols, your songs, your flashes of merriment that were wo nt to set the table on a roar?" |
29906 | Why need they be always flayed? |
29906 | Why not paint these as Mr. Mulready paints other things, as they are? |
29906 | and of what frame and make, how boned and fleshed, how conceived or seen, is the end itself? |
29906 | or is there any such authority or canon at all? |
29906 | or is there nothing more than taste or judgment here? |
42352 | Giotto, having observed the man and considered his manner, replied nothing more than--''When wilt thou have it finished?'' 42352 ''And are they not here,''rejoined the painter;''is there one wanting?'' 42352 ''And what didst thou require me to paint?'' 42352 ''Lord, help thee, for thou must needs be a special simpleton; why, if a man were to ask thee,Who art thou?" |
42352 | ''Will it seem to thee a trumpery matter to pay for it?'' |
42352 | Art thou not ashamed of thyself? |
42352 | Hath some one sent this man to make a jest of me? |
42352 | If we ca n''t have all, what should we choose first and cling to most securely? |
42352 | Is it perfection of form, or of colour, intensity of feeling, or depth of meaning? |
42352 | Is not this a greater monument to Cimabue''s name, than any amount of Madonnas carried in triumph through the"street of gladness?" |
42352 | Our great personage, of whom nobody knew anything, having returned for his shield, marches forward and inquires,''Master, is the shield painted?'' |
42352 | PAGE_ Annunciation._ By Giotto, 59 Arena Chapel, Padua, 69"Frescoes in, 76"Note by Mr. Ruskin on, 84 Arnolfo di Cambio, 21 Arnolfo di Lapi( Cambio? |
42352 | Such is the life of our old master as far as we can gather it from the scanty materials before us: to what does it amount? |
42352 | The question remains whether the lower row of frescoes were executed by Giotto at any subsequent period? |
42352 | Then Giotto, being left alone, began to think within himself,''What may this mean? |
42352 | Who art thou? |
42352 | Who ever derived real pleasure from a photograph of a landscape? |
42352 | Who were thy forefathers? |
42352 | [ 58] Is not this such a surrounding as we might best desire for our painter''s work? |
42352 | what arms dost thou bear? |
31934 | Countess,I asked her,"are you not afraid of being robbed?" |
31934 | Frogères, why have you not been to see me? |
31934 | How can I help it? |
31934 | How do you think I sing? |
31934 | Well, who am I, then? |
31934 | What is all this for? |
31934 | What is the matter with you? |
31934 | What is the use of living; what is the use of taking care of oneself? |
31934 | Why so? |
31934 | You are not aware, then,she replied,"that you are going to the worst inn of the world? |
31934 | Being at her house again a fortnight later, I made the inquiry,"You are very happy, I trust, now that you are married to him?" |
31934 | But the Queen looked up at me and said most amiably,"I was waiting for you all the morning yesterday; what happened to you?" |
31934 | But what were we to do? |
31934 | CHAPTER XIII GOOD- BY TO RUSSIA DEPARTURE FROM MOSCOW-- NEWS OF THE DEATH OF PAUL-- PARTICULARS OF HIS ASSASSINATION-- ET TU BRUTE? |
31934 | Departure from Moscow-- News of the Death of Paul-- Particulars of His Assassination-- Et tu Brute? |
31934 | Do you not know that it is nearly twenty degrees?" |
31934 | He came up to me and said, in the midst of the profound silence that reigns at all these parties,"Do n''t you think these gatherings are enjoyable?" |
31934 | Her obliging civility did not prevent her from asking me,"Have you not brought another gown?" |
31934 | How could you go out this evening? |
31934 | She answered in a jesting tone,"If I were not Queen they would say I looked insolent, would they not?" |
31934 | She replied,"I confess that fur coat is disenchanting; how could you expect me to be smitten with such a figure as that?" |
31934 | She took her two youngest sons, Nicholas and Michael, such small children that Nicholas one day asked her,"Why is papa always asleep?" |
31934 | She took note of this and was so considerate as to say,"Why did you not ask me to pose at your house?" |
31934 | What could I say that would not fall short of the truth? |
31934 | When my friends said,"You love your daughter so madly that it is you who obey her,"I would reply,"Do you not see that she is loved by every one?" |
31934 | Why did she not survive me? |
31934 | Why?" |
31934 | where to go? |
37407 | What_ is_ Death? |
37407 | Aders?) |
37407 | Among the many pictures of Paolo and Francesca that exist, was there ever seen anything like this of Blake''s imagining? |
37407 | And in"Jerusalem"is it not much the same? |
37407 | But how was this to be accomplished? |
37407 | If love is bound, he argued, what merit is there in faithfulness? |
37407 | In the same"Memorable Fancy"from which I have already quoted, Blake continues,"Does a firm persuasion that a thing is so, make it so? |
37407 | Is it not wheat harvest to- day? |
37407 | Is it possible that this page was coloured by Mrs. Blake''s hand in these weird parti- hues? |
37407 | Is it, one wonders, a prophetic announcement of the erection of the Great Western Terminus? |
37407 | Is the artist so completely free in choosing and binding his mysterious flowers? |
37407 | Is this fire an emblem of the fierce elemental fires of Desire and Hatred-- both of which are blind? |
37407 | Or does he only choose and bind together what he must? |
37407 | Reproduced by kind permission of Sir Charles Dilke]"But is such concord always possible? |
37407 | That is all very well, she seems to say,_ you_ help to revive and nourish many creatures, but what do I do? |
37407 | To his astonishment, Blake turned to his wife suddenly and said,''It is just so with us, is it not, for weeks together when the visions forsake us? |
37407 | Underneath is inscribed, significantly enough, the words,"What is man?" |
37407 | We find this doggerel in his Note- book: O dear Mother Outline, of wisdom most sage, What''s the first part of painting? |
37407 | What do we do then, Kate?'' |
37407 | What resemblance do you suppose there is between your spirit and his?'' |
37407 | What shall I call thee? |
37407 | Where is the existence out of mind, or thought? |
37407 | Who can tell? |
37407 | Who could have written this but Blake? |
37407 | Yet he is bound to exclaim in"Jerusalem,""What may man be? |
37407 | it will be questioned, when the sun rises, do you not see a round disc of fire, somewhat like a guinea?" |
37407 | it will be questioned,''when the sun rises, do you not see a round disc of fire, somewhat like a guinea?'' |
37407 | there_ is_ no answer? |
37407 | where is it but in the mind of a fool? |
22125 | (?) |
22125 | (?) |
22125 | (?) |
22125 | (?) |
22125 | 1522(?)--1582. |
22125 | = Cracow.= PRINCE CZARTORYSKI, Portrait of(?) |
22125 | = Hampton Court.= Madonna and Saints(?). |
22125 | = Monopoli.= DUOMO, St. Jerome and Donor(?). |
22125 | Annunciation(?). |
22125 | Christ Blessing(?). |
22125 | Crucifixion(?). |
22125 | DONNA LAURA MINGHETTI, Judgment of Paris(?). |
22125 | Dead Christ(?). |
22125 | Death of Peter Martyr(?). |
22125 | Deposition(?). |
22125 | E. Bust of Man in white cap and coat(?). |
22125 | Finding of Moses(?). |
22125 | Head of Young Woman(?). |
22125 | L. MR. R. BENSON, Madonna in Profile(?). |
22125 | LORD ASHBURNHAM, Small Landscape(?). |
22125 | MR. J. P. CARRINGTON, Bust of Man(?). |
22125 | MR. W. B. BEAUMONT: Catena(?). |
22125 | Madonna and Saints(?). |
22125 | Madonna and four Saints(?). |
22125 | Portrait of Man with Staff(?). |
22125 | Portrait of Man(?). |
22125 | Portrait of(?) |
22125 | St. Sebastian being Bound(?). |
22125 | Stoning of Stephen(?) |
22125 | The Saviour(?). |
22125 | This brought an entirely new answer to the question,"Why should I do this or that?" |
22125 | Why should they always have to go to the Doge''s Palace or to some School to enjoy this pleasure? |
6932 | But-- is this_ all_? |
6932 | How did you paint that part of the picture? |
6932 | How is it, dear Cesare that we live in such good friendship, but that in the art of painting we show no deference to each other? |
6932 | Think not? |
6932 | Well, madam, do n''t you see that yourself, in nature? 6932 What in the world did you do that for?" |
6932 | Where are yours, Tintoretto? |
6932 | Who run? |
6932 | Why are you doing that? |
6932 | Why do you always tarry before''The Descent from the Cross?'' |
6932 | ...''and the others?'' |
6932 | After that the artist turned his thoughts toward Italy, but where was the money to come from? |
6932 | Again in a letter written to him by a friend:"How does the''Hay Wain''look now it has got into your own room again?" |
6932 | At another time his host asked the artist,"Do you not find it very difficult to determine where to place your brown tree?" |
6932 | By what light? |
6932 | Correggio( Antonio Allegri), School of Parma, 1494(?) |
6932 | He would start off alone, or with John( Thomas?) |
6932 | Is it possible that Murillo, that servile imitator of my uncle, can be the author of all this grace and beauty of colouring?" |
6932 | Is it the light of the sun? |
6932 | Jesus has just declared that one of them shall betray him, and each in his own way seems to be asking"Lord, is it I?" |
6932 | Kings themselves had to remove their crowns and hats to Julius, and why not Michael Angelo? |
6932 | What must he do in order to get to London and see the world? |
6932 | What other artist would have chosen such a corner of nature for a subject to paint? |
6932 | What should they do? |
6932 | What was to be done? |
6932 | What were they to do? |
6932 | When he became a student of the Academy the keeper, Fuseli, used to look about among the students and cry:"Where is my little dog boy?" |
6932 | Who can look for Breton''s ideal stage peasants from Millet who knew the truth as he saw it every day? |
6932 | Who was to concern himself with saving works of art, when human life was going out wholesale all over the land? |
6932 | Who would see ugly, toil- worn peasants upon his_ salon_ walls? |
6932 | Why not say''doubtful''?" |
6932 | Why, then should I thank them? |
6932 | Will you come? |
6932 | With the doors of the Vatican closed to him, Angelo withdrew, post haste to Florence-- and who can blame him? |
6932 | XI CORREGGIO( ANTONIO ALLEGRI)( Pronounced Cor- rage''jyo Ahl- lay''gree)_ School of Parma_ 1494(? |
6932 | and what could be better practice?" |
6932 | or of the moon? |
6932 | or of the torches? |
36347 | Ah,I returned,"I can trust only in the mercy of the Beneficent; but why, pray, ask me that question?" |
36347 | Are you here alone? |
36347 | Ca n''t you see its beauty, sir? |
36347 | Have you seen other artists painting landscape about here? |
36347 | Hoity- toity, what''s all this? 36347 How old are you?" |
36347 | Is not that Hunt? 36347 Sleepest or wakest thou, jolly shepherd? |
36347 | The Shadow of Death("Is not this the Carpenter"?) |
36347 | Then how did you get to the warehouse at all? |
36347 | Where''s your flock? |
36347 | Who''s there? |
36347 | Are you not yourself convinced?" |
36347 | By what name should he call him? |
36347 | Can you do it again?" |
36347 | Could n''t be better, could he? |
36347 | Do you paint portraits?" |
36347 | He can not expect to prosper, can he, now? |
36347 | He exclaimed,''Oh, I see, it''s my brush, is it?'' |
36347 | He took it with,''What''s this?'' |
36347 | I appeal to you; is that the way to treat parents? |
36347 | I say, do you ever sell what you do? |
36347 | I say, tell me whether you have begun to paint? |
36347 | In London? |
36347 | Need it be said that there had to be seven Brothers, and that the Brotherhood was to be kept a secret? |
36347 | She returned,"Because the souls of these beings that you have made will be required of you, and what will you say then?" |
36347 | TRANSCRIBER''S NOTES: The following corrections have been made, on page: 16"changed to''( my brush, is it?'' |
36347 | This is very well,"she said,"but on the Day of Judgment what will you do?" |
36347 | What could be done? |
36347 | What could these things mean? |
36347 | What did it matter whether the sun went round the earth or the earth went round the sun? |
36347 | What was London?--a mountain? |
36347 | What was he to do? |
36347 | What? |
36347 | Where had he been born? |
36347 | Who and what are they, those careless people in the bright sunshine, letting the sheep eat the corn that kills them and the unripe apples? |
36347 | Will you be here to- morrow?" |
36347 | _ Holman?_ That was not much better. |
36347 | _ Hunt?_ That was no name at all. |
36347 | or a plain? |
36347 | room? |
43894 | Are you fond of music, colonel? |
43894 | CE QUI ME MANQUE À MOI? 43894 Cependant, s''il t''offrait de t''epouser?" |
43894 | Dear M. Robert,said the fashionable guests who visited his studio by the dozen,"could you paint a little brigand, if it is not asking too much?" |
43894 | Have these good people not been born anywhere in particular? |
43894 | Have you seen my last stem? |
43894 | Well, Friend, where a''you going, hay?--what''s your name, hay?--where d''ye live, hay?--hay?] |
43894 | What do you say of our Raphael? 43894 What does it matter?" |
43894 | And which of the old masters has so eloquently rendered the sacred silence of night as Millet has done in his"Shepherd at the Pen"? |
43894 | And who thinks of anything else when Meissonier paints a charge? |
43894 | Are we not satisfied with the Government?" |
43894 | But after all what does it matter whether pictures of the East are true to nature or not? |
43894 | But has he left good pictures behind him or not? |
43894 | CHAPTER XXVI JEAN FRANÇOIS MILLET Whence has_ Millet_ come? |
43894 | Could anything be imagined more romantic? |
43894 | Did the Dutch ever run from one place to another? |
43894 | Do you not think him best of all, now that you have seen everything that is fair and beautiful in Italy?" |
43894 | Do you still recall the little tree in Rothschild''s garden, which we caught sight of between two roofs? |
43894 | Does he outweigh them as a painter?" |
43894 | Et où puiserait- on, sinon à la source? |
43894 | For what can the old masters offer us? |
43894 | For-- and here we come to the limitations of his talent-- has Millet as a painter really achieved what he aimed at? |
43894 | He said that his painting recalled no one, and was neither polished nor pretty, and asked:"How can I hope to be popular? |
43894 | How is it that a man of his age can be so influenced by works which are radically opposed to his own? |
43894 | How much longer must we go about, unpicturesque beings, like ugly black bats, in swallow- tail coats and wide trousers? |
43894 | If in the moment when the profound philosopher is pondering over sublime ideas people were to say to him,"Will you teach us the A, B, C? |
43894 | In 1848, during the fighting on the barricades, he asked with childish astonishment:"What is the matter? |
43894 | In a cavalry charge, with the whirling dust and the snorting horses, who thinks of costume? |
43894 | Is not the expression apportioned to every figure, like parts to a theatrical company, and does not the result seem to be strained beyond all measure? |
43894 | Is that merry, enlivening work, as some people would like to persuade us? |
43894 | It is said that our costume is not picturesque, and therefore why should we choose it? |
43894 | Moreover, can a true style be brought into harmony with hoop- petticoats and swallow- tail coats and such vagaries? |
43894 | Portrait of Gavarni 43 Thomas Vireloque 44 Fourberies de Femmes 45 Phèdre at the Théâtre Français 48"Ce qui me manque à moi? |
43894 | Shortly before his death he said to a friend:"What am I to live upon, and how am I to pay for the column? |
43894 | What do they teach us? |
43894 | What is meant by Beauty? |
43894 | When Constable showed him a study he asked:"Where do you mean to place your brown tree?" |
43894 | Yet is not this characterisation in the highest degree exaggerated? |
49068 | Is it true, as Thackeray declared, that ordinary mortals do, indeed, delight to pry into the weakness of the strong, the smallness of the great? 49068 What do you mean?" |
49068 | A little more or less, what is the difference? |
49068 | And does he then in his astounding wisdom believe that a symphony in F contains no other note, but a continued repetition of F, F, F, F, F?... |
49068 | And is the painter absolutely void of poetic conception? |
49068 | And what is an artist? |
49068 | Beauty is confounded with virtue and, before a work of art, it is asked:''What good shall it do?''" |
49068 | But how about Chavannes, Whistler, Israels? |
49068 | But why did he select peacocks? |
49068 | Can all the poetry be contained in the objects themselves and the way they are painted? |
49068 | Did this creature expect white hair and chalked faces? |
49068 | Do they not convey an idea? |
49068 | Do you see what I am driving at? |
49068 | Does he not refute his own contempt by his Barnum- Boulanger- like use of the press? |
49068 | Has it a flavour, a peculiarity of its own, that could be derived from any source except that of American birth and parentage? |
49068 | Have you not noticed that a bunch of cut flowers which looks beautiful in one vase may become ugly in another? |
49068 | He replied in his vigorous fashion:"Can anything be more amazing than the stultified prattle of this poor person? |
49068 | He was every evening at the Students''ball, and as he never got up until ten or eleven in the morning, where was the time for work? |
49068 | He, too, has his heartaches and bitter disappointments, but who ever hears of them? |
49068 | Henri, Reid, Luks, Tarbell, Hawthorne, Clews, R. E. Miller, Lucas, who else? |
49068 | How about Carl Schurz, General Siegel and Roebling, the bridge builder? |
49068 | How did the impressionistic painters arrive at this new style of composition? |
49068 | How many of the younger American painters( alas, our younger men have all passed the threshold of thirty if not of forty) really know their_ métier_? |
49068 | Is his art in any sense American? |
49068 | Is it the subject matter? |
49068 | It was as follows:"May I beg to correct an erroneous impression likely to be confirmed by a paragraph in your last number? |
49068 | Now what do they mean by this? |
49068 | Or does Whistler wish to convince us that he mentally invented a colour scheme and then set out to find the incident? |
49068 | The Bohemian''s life is apart from yours, but why chide him for it? |
49068 | What is a painter? |
49068 | What is there in these pictures produced every year, here and in Paris and everywhere? |
49068 | What is there so fascinating about the Bohemian''s life? |
49068 | What principle rules the construction of a window? |
49068 | What would be the use of having a favourite flower if one could give any reason for liking it? |
49068 | When did photography come into practice? |
49068 | When was impressionism introduced into painting? |
49068 | Who can say? |
49068 | Why should we of the United States, where there are vast territories in very much the same primitive condition as in other emigrant countries? |
49068 | Why? |
49068 | Why? |
49068 | You smile? |
34479 | ----"rides? |
34479 | And then, on what does this_ perhaps_ rest? |
34479 | And where, when, or to whom did F. Mino teach painting? |
34479 | But how comes he to found on a_ perhaps_, what he, a little before, had vaunted as a_ clear demonstration_? |
34479 | But is this the effect of his malignity, or of his education? |
34479 | Can we then hesitate as to the originality of any picture, if we give credit to the oil paintings of Michelangiolo? |
34479 | Did not their example open the new path to Cimabue? |
34479 | Did they not afford a ray of light to reviving art? |
34479 | Do we not find in Italy that the followers of Botticelli are inferior to him, and appear to be of earlier date? |
34479 | For what artist ever devoted himself to a new branch, and did not contrive to cultivate and improve it? |
34479 | Has not Petrarca generalized the observation, when he asks,----"Or che è questo Che ognun del suo saper par che si appaghi?" |
34479 | He continues:"Is not the tribune of the church of S. Andrea della Valle, ornamented by Domenichino, among the finest specimens of painting in fresco? |
34479 | If I can not then agree with Baldinucci, can I value his imitator? |
34479 | If there were statutes published in the vulgar tongue in 1291, why was the sanction of the law deferred for 66 years? |
34479 | If we credit so many other stories of the pusillanimity of Andrea, why should we reject this? |
34479 | Into what, then, does the long- boasted invention of Giovanni resolve itself? |
34479 | Is it not more probable that Arnolfo, and Cimabue himself, imitated them? |
34479 | Sen.) But granting that Giotto was not his master, how are we to believe him his fellow student? |
34479 | These are indeed well known facts, but how many are there yet unnoted that are not unworthy of being related, if we wish to avoid falling into error? |
34479 | What could he have said further? |
34479 | What do we learn by being informed of the jealousies of the Florentine artists, the quarrels of the Roman, or the boasts of the Bolognian schools? |
34479 | What further shall we say? |
34479 | Who can tell whether Lucca had not also in those early times an original school, now unknown to us? |
34479 | Would a painter, who had done neither good nor harm to the Florentine school, and to the art, have been invited to Padua? |
34479 | Would the remains of his works have been held in such esteem? |
34479 | might it have been asserted that he was, if not the disciple of Giotto, at least his fellow student in the school of F. Mino? |
34479 | or why are the new not distinguished from the old, as is usual in similar codes? |
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? |
4998 | And from this it follows that when the rock of a mountain is reddish the illuminated portions are violet(?) |
4998 | And if you say it is mechanical because it is done for money, who falls into this error-- if error it can be called-- more than you? |
4998 | And it should be worked with fine emery and the mould(?) |
4998 | And why[ painted] objects seen at a small distance appear larger than the real ones? |
4998 | Certainly this is no great achievement; after studying one single thing for a life- time who would not have attained some perfection in it? |
4998 | Do you do any work without pay? |
4998 | Grind verdigris many times coloured with lemon juice and keep it away from yellow(?). |
4998 | HOW WE MAY CONCLUDE THAT A SUPERFICIES TERMINATES IN A POINT? |
4998 | He reads"_ polacca_"="_ avec le couteau de bois[?] |
4998 | If you ask me:"By what practical experience can you show me these points?" |
4998 | If you lecture in the schools do you not go to whoever pays you most? |
4998 | If you want to make blue put iris flowers into it and for red solanum berries(?) |
4998 | MOULD(?). |
4998 | Mercury with Jupiter and Venus,--a paste made of these must be corrected by the mould(?) |
4998 | Nitre, vitriol, cinnabar, alum, salt ammoniac, sublimated mercury, rock salt, alcali salt, common salt, rock alum, alum schist(? |
4998 | Now which is the worse defect? |
4998 | THE BODY WHICH IS NEAREST TO THE LIGHT CASTS THE LARGEST SHADOW, AND WHY? |
4998 | The mould(?) |
4998 | WHAT BODIES HAVE LIGHT UPON THEM WITHOUT LUSTRE? |
4998 | WHAT BODIES WILL DISPLAY LUSTRE BUT NOT LOOK ILLUMINATED? |
4998 | WHAT IS THE DIFFERENCE BETWEEN A SHADOW THAT IS INSEPARABLE FROM A BODY AND A CAST SHADOW? |
4998 | What is the cause which makes the outlines of the shadow vague and confused? |
4998 | What is the difference between light and the lustre which is seen on the polished surface of opaque bodies? |
4998 | What outlines are seen in trees at a distance against the sky which serves as their background? |
4998 | Which are the muscles which subdivide in old age or in youth, when becoming lean? |
4998 | Which are the parts of the limbs of the human frame where no amount of fat makes the flesh thicker, nor any degree of leanness ever diminishes it? |
4998 | Which colour strikes most? |
4998 | Which is best, to draw from nature or from the antique? |
4998 | Who then can it be-- for the name is a very common one? |
4998 | Why an impetus is not spent at once[ but diminishes] gradually in some one direction? |
4998 | Why are paintings seen more correctly in a mirror than out of it? |
4998 | Why is the shadow_ e a b_ in the first grade of strength,_ b c_ in the second;_ c d_ in the third? |
4998 | Why the eye sees bodies at a distance, larger than they measure on the vertical plane?. |
4998 | Why, to two[ eyes] or in front of two eyes do 3 objects appear as two? |
4998 | XIV):"Va discorrendo ed argomentando Leonardo Vinci in un suo libro letto da me(?) |
4998 | [ Footnote: M. RAVAISSON''S reading varies from mine in the following passages: 1._opero allor[?] |
4998 | and which is more difficult to do outlines or light and shade? |
4998 | are there not pictures to be seen, so like the actual things, that they deceive men and animals? |
4998 | bo[ alloro? |
4998 | polonais[?]_."] |
4998 | should be of Venus and Jupiter impasted over(?) |
4998 | to be blind or dumb? |
39330 | How do you know I''m not? |
39330 | See here, young gentleman, who gave you permission to rummage through that trunkful of old letters? |
39330 | That? 39330 Walkin''round the Cape to Rockport, be ye? |
39330 | What do you want,he inquired,"a painting?" |
39330 | What does he look like? |
39330 | What is it? |
39330 | What size would you like? |
39330 | What,I asked,"is that little star in the lower corner of the canvas?" |
39330 | Where is he? |
39330 | Who is he? |
39330 | Who was she? |
39330 | Why? |
39330 | Would you say I looked like a murderer? |
39330 | Yes, but...? |
39330 | You remember,says he,"I told you only two days ago that I sort of had a hunch that Fritz might be dropping in on us most any time now? |
39330 | ''Do n''t you think it''s a little rash, my boy, to risk so much, when if you''d settle down to a good business you''d be sure of a decent living? |
39330 | ''What if you fail? |
39330 | And if you do n''t, is it worth going without a wife and children in order to paint pictures, and so come at last to a lonely old age?''" |
39330 | And in the rain? |
39330 | And what about marriage? |
39330 | Because I thought I saw in him the seeds of greatness? |
39330 | Because he was my friend? |
39330 | But how do you know you''ve got it in you to be a great painter? |
39330 | By what divination had this youngster of twenty- four guessed a secret like that? |
39330 | Chauffeur? |
39330 | Do n''t you think you are getting a trifle familiar?" |
39330 | Got a pretty good opinion of yourself, have n''t you?'' |
39330 | How can my thin piano score reproduce that richly glowing orchestration? |
39330 | If you marry you''ll have to paint pot boilers, and then what becomes of your art? |
39330 | Is all this too eulogistic? |
39330 | Is it any wonder that the creative minds of to- day are finding themselves driven to social revolution as their art- form? |
39330 | Is this the best we can find for our artists to do? |
39330 | Pretty soft, eh? |
39330 | She addressed herself to Fritz:"You ai n''t an escaped murderer, be ye?" |
39330 | Suppose you wake up some morning and find yourself a middle- aged man and a fizzle? |
39330 | That was all very well for Fritz, but how about his sitter? |
39330 | The dark eyes with a somber light burning in them? |
39330 | The hands; very large and finely muscled? |
39330 | The rugged features and swarthy complexion with a ruddy glow of health in each jowl? |
39330 | Think you have? |
39330 | Was he talkative? |
39330 | Was this our shy, silent Fritz? |
39330 | Was this stranger conversible? |
39330 | Well then, what? |
39330 | What shall I say of those glimpses? |
39330 | What was he but an obscure young painter, thirty years old, with his way to make? |
39330 | What was he to do? |
39330 | What was the use? |
39330 | What was there about him that attracted attention? |
39330 | Which is likely to advance the Kingdom of Heaven on earth more speedily-- the courage of the body, to destroy; or the courage of the mind, to create? |
39330 | Who? |
39330 | Why have I detained you for a tale so plain? |
39330 | Why should I point him out to you among the millions? |
39330 | Would he be for turning back? |
39330 | [ 1][ 1] After all, why not? |
39330 | said he,"is it as late as that?" |
43792 | Do n''t you believe it was so? 43792 Has Terborg or Mieris or Meissonier done the greater work?" |
43792 | Is not Tasso''s life most interesting? |
43792 | What does it matter,writes Hallman,"if we lack all joyous, independent national feeling? |
43792 | Who represents the Holy Ghost with more dignity? 43792 Your portrait?" |
43792 | And even if they had remained fresh, would they yet appeal to the present generation, so much more discriminating in their appreciation of colour? |
43792 | Are they beautiful? |
43792 | But how can he guard himself from that? |
43792 | But how much of it belongs to the nineteenth century? |
43792 | But how was it possible that the German painters stood before them as if struck by lightning? |
43792 | But what must art be in order to produce truth? |
43792 | But where are the virtues to be found? |
43792 | But would anyone dare to mention Mengs and Carstens in the same breath with these giants? |
43792 | Cruelty and death have a poetry of their own: why should Art prudishly abstain from depicting them? |
43792 | Have men grown different, then, or does the painter see further? |
43792 | Is a painter not to be a painter? |
43792 | Is he to turn statues with his brush, and fiddle with his colours, just as it may please their antique taste? |
43792 | Is the sense of the beautiful that impression which is made upon us by a picture by Velasquez, an etching by Rembrandt, or a scene out of Shakespeare? |
43792 | Might it not be possible, with the help of education, for that to be overcome? |
43792 | Of what value is that in comparison with a single real presentation of character? |
43792 | Once on the road to execute statues in paint, the question ensued, Ought we to paint our statues? |
43792 | Que fit la bonne mère? |
43792 | Suddenly a voice was heard to cry:"_ Où es tu, David? |
43792 | To them will he be pioneer or imitator, forerunner or continuator? |
43792 | To what extent has the painter stood independent and on his own peculiar ground? |
43792 | Was ist denn so grosses Neues in der Neuen Kunst geschehen? |
43792 | Was it at all possible to make works of art out of such material? |
43792 | What are the new forms which it has found, the new sentiments to which it has given expression? |
43792 | What does it matter? |
43792 | What imagination was ever peopled with figures more dreadful than those conceived by Shakespeare? |
43792 | What though we do not even try to resuscitate this feeling with wars and battles? |
43792 | Where was that rich colouring in the Italian classics which he had been led to expect from English mezzotints? |
43792 | Who has ever seen such a painter? |
43792 | Who was to give him the easy knightly bearing to play his part suitably to the occasion? |
43792 | Who, pray, wanted to learn fresco painting by hard labour, and swallow the chalk- dust? |
43792 | Who, she will cry, was better fitted to paint Themistocles? |
43792 | Will a different judgment be pronounced in the lapse of time upon the artistic creations of King Ludwig I? |
43792 | Will he take his place by Boecklin and Watts, or by Couture and Ingres? |
43792 | Will they be seen? |
43792 | Would he be a painter? |
43792 | [ Illustration: WHEN WILL GENIUS AWAKE? |
43792 | and had thought it his duty to address to one of the younger painters the question:"Are we then an academy of the Fine or of the Ugly Arts?" |
43792 | asked Prudhon,"with features so troubled and sad?" |
12307 | [ 50] Was ever such a gorgeous idyll? 12307 ***** We have now taken the three universally accepted Giorgiones; how are we to proceed in our investigations? 12307 APPENDIX II DID TITIAN LIVE TO BE NINETY- NINE YEARS OLD? 12307 And this brings us to the question: What was Giorgione''s relation to that great awakening of the human spirit which we call the Renaissance? 12307 Borghini says in his_ Riposo_, 1584:Mori ultimamente di vecchiezza(! not, then, of the plague? |
12307 | But is the evidence of Dolce and Vasari any more trustworthy? |
12307 | But is there any proof that Titian ever copied or repeated any other work of Giorgione? |
12307 | But the question remains, What is Giorgione''s position among the world''s great men? |
12307 | Can he aspire to the position which Titian occupies? |
12307 | Can the same be said of Schubert or Keats? |
12307 | Can this be the picture mentioned by C. and C. as in the possession of the King of Holland? |
12307 | Clearly some tradition existed which told of the youthfulness of the painter, but may we assume that Giorgione was only eighteen at the time? |
12307 | Could a better description be given to fit the character of Caterina Cornaro, as she is known to us in history? |
12307 | DANAE? |
12307 | How is this to be proved? |
12307 | How, then, explain(_ b_), which explicitly gives 1480? |
12307 | In the whole range of painted poetry can the like be found? |
12307 | Is he intellectually to be ranked with the Great Thinkers of all time? |
12307 | Is it not somewhat strange that the first thirty- five years of his life( as is commonly believed) should be a total blank so far as records go? |
12307 | Is it possible he can have painted this splendid head so early in his career? |
12307 | Is the evidence of a Dolce and of a Vasari so free from all objection that it outweighs Titian''s personal statement? |
12307 | Must we really close these very long inquiries by confessing they are beyond our ken? |
12307 | Nevertheless, I venture to agree with Morelli that"we have all the characteristics of an early(?) |
12307 | Now what reliance can be placed on this statement? |
12307 | Pitti Gallery, Florence_ THE CONCERT] Which view is the right one? |
12307 | The cases, therefore, are so far parallel, and the question naturally arises, Did Titian really have any hand in the painting of this portrait? |
12307 | The composition is that of the Adrastus and Hypsipyle picture; the colouring recalls the National Gallery"Golden Age(?)." |
12307 | The picture is a fine thing, in spite of its imperfect condition, and what matter whether Titian or Giorgione be the author? |
12307 | This is an appeal to the old argument that it is not_ good_ enough, whereas the true test lies in the question, Is it_ characteristic_? |
12307 | WHEN WAS TITIAN BORN? |
12307 | What are we to conclude? |
12307 | What artist but Giorgione would have so revelled in the glories of the evening sunset, the orange horizon, the distant blue hills? |
12307 | What more dainty figures, what more delicate hues, what more exquisite feeling could one look for than is here to be found? |
12307 | What then are we to think when yet another-- a fourth-- contemporary statement turns up, differing from any of the three just quoted? |
12307 | Whence, then, comes the story of the ninety- nine years? |
12307 | Where can the like be found in Palma, or even Titian? |
12307 | Who dare say if Titian was really only seventy- six in 1566 when the Aretine visited him? |
12307 | [ 142] But had either of the latter proclaimed a new order of things as early as 1495? |
12307 | [ 148] But, sentiment aside, is there any historical evidence that Titian ever worked at his art in his hundredth year? |
12307 | [ 172] Does not the second letter correct the inexactness of the first? |
12307 | [ 61] Now, the question naturally arises, What relation does the Hampton Court"Shepherd"bear to this"David,"Giorgione''s lost original? |
12307 | _ Bergamo Gallery_ The Golden Age(?). |
12307 | and so Titian''s statement goes for nothing? |
12307 | nal Gallery, London_? |
12307 | that he even attained such a venerable age? |
30877 | = Arrangement.=--But arrangement of what? |
30877 | = Practical Composition.=--Suppose you were going to work with still life, how would you begin? |
30877 | = The Æsthetic Elements.=--What, then, are these æsthetic qualities I have spoken of? |
30877 | = Theory.=--Does this sound unpractical? |
30877 | A long line of hill with a broad field beneath it, for instance, is simple enough, but what is there for you to take hold of? |
30877 | A number of considerations arise at the outset, about which you must make up your mind:-- Is judgment of a picture based on individual liking? |
30877 | And are they easy? |
30877 | And if you do not know what you are aiming at, are you likely to hit anything? |
30877 | And what does a complementary do to a color? |
30877 | Are these not qualities enough for one canvas? |
30877 | As Hunt said,"What do I care about the grammar if you''ve got something to say?" |
30877 | Bluish or warm? |
30877 | But how can you hope to do good work if you do not know what good work is when you see it? |
30877 | But what is a picture? |
30877 | Can you hope to do good work at all? |
30877 | Can you hope to paint well by following your own liking only? |
30877 | Can you not also place the complementary color so that it is not seen, but its influence on the important color is felt? |
30877 | Can you think of any painting being good without it? |
30877 | Could anything be more fatal? |
30877 | Do n''t ask yourself, nor let any one else ask you, Is this So- and- So''s method? |
30877 | Do you see that here are three terms which suggest possibilities of combination of infinite scope? |
30877 | Does it seem mere theory? |
30877 | Hardly necessary to take the trouble to write it down? |
30877 | How are you going to get them? |
30877 | How are you to set about it? |
30877 | How did he do it? |
30877 | How else can life get into art than through the love of what you paint? |
30877 | How far are you to carry detail in your painting? |
30877 | How make it evident? |
30877 | How much leave out? |
30877 | How much paint would you have to take before you got your color? |
30877 | How much room is it to take up? |
30877 | How much shall you take in? |
30877 | How much space do you want that brushful to cover? |
30877 | How, then, should they paint alike? |
30877 | If this is not recognized, what room has originality to work in? |
30877 | If you have no point of view, how can you tell what you are working for, what you are aiming at? |
30877 | Is it a high value on a forehead in full light? |
30877 | Is it a sense of largeness and space, or a beautiful combination of line in the track of a road, or row of trees, or a river? |
30877 | Is it the general color effect of the whole, or a contrast? |
30877 | Is it worth your while to try to do good work? |
30877 | Is the tint light or dark? |
30877 | It is one thing to see it; how are you practically to grasp it so as to get it on canvas? |
30877 | Make a dash at the white, put it in the middle of the palette, and then tone it down to the green? |
30877 | Must not every good picture have them, or some of them, to some extent? |
30877 | Now will you consider also the other elements,"mass"and"color"? |
30877 | Now, if the color is too dark, what will you lighten it with? |
30877 | Red? |
30877 | Suppose you have a heavy dark green to mix, what will you take first? |
30877 | The color is crude? |
30877 | Well, what is the complementary? |
30877 | Well, why not? |
30877 | What are the qualities of it which would be helped if there were more in it? |
30877 | What do they lack as they are? |
30877 | What if you have no others to take their places? |
30877 | What is the green? |
30877 | What is the petal of a flower? |
30877 | What is the prevailing color in it? |
30877 | What proportion of the canvas shall the main object or figure take up? |
30877 | What way are you to turn? |
30877 | What will you do? |
30877 | When you sketch you must have a proper box, and why not have one which is equally serviceable in the house? |
30877 | Where did all this technique come from? |
30877 | Where do they come from? |
30877 | Where is there a strong light against dark and a strong dark against light? |
30877 | Which are you to choose? |
30877 | Which is right? |
30877 | White? |
30877 | Why? |
30877 | Why? |
30877 | Will reddish or yellowish blue do it best? |
30877 | Will white take away the richness of it? |
30877 | Will you consider the quality of"line"? |
30877 | You may get an effect that looks all right, but how long will it stand, and how much better may it not have been if your colors had been good? |
30877 | [ Illustration:= Entrance to Zuyder Zee.=_ Clarkson Stanfield._]= Wave Drawing.=--How shall you"draw"so changeable a thing as a wave? |
30877 | _ Where_ is it to come on the canvas? |
30877 | how? |
30877 | or, Does this belong to this or that school? |
30877 | six dozen? |
30877 | strong or delicate? |
18900 | ), Antonio Veneziano( 1312?-1388? |
18900 | ), Bissolo( 14641528), Rondinelli( 1440?-1500? |
18900 | ), Calvaert( 1540?-1619), Spranger( 1546- 1627? |
18900 | ), Diana(?-1500? |
18900 | ), Diana(?-1500? |
18900 | ), Geldorp( 1553- 1616? |
18900 | ), Previtali( 1470?-1525? |
18900 | 1520- 1540) and Cesare da Sesto( 1477- 1523?) |
18900 | 1635- 1643), Victoors( 1620?-1672? |
18900 | 47.--GIORGIONE(?). |
18900 | 75.--MEMLING(?). |
18900 | A recently discovered man, Bernard Strigel( 1461?-1528?) |
18900 | After Giovanni Bellini comes Carpaccio(?-1522? |
18900 | After Giovanni Bellini comes Carpaccio(?-1522? |
18900 | Agnolo Gaddi( 1333?-1396? |
18900 | Another excellent portrait- painter, a pupil of Scorel, was Antonio Moro( 1512?-1578?). |
18900 | Bernardino Luini( 1475?-1532?) |
18900 | Both( 1610- 1650? |
18900 | But what should take its place in art? |
18900 | Catena(?-1531) had a wide reputation in his day, but it came more from a smooth finish and pretty accessories than from creative power. |
18900 | Cima da Conegliano( 1460?-1517?) |
18900 | Contemporary with René was Jean Fouquet( 1415?-1480?) |
18900 | Even Duccio( 1260?----? |
18900 | FLORENTINE SCHOOL: Cimabue( 1240?-1302?) |
18900 | Flemish art for us begins with Hubert van Eyck(?-1426) and his younger brother Jan van Eyck(?-1440). |
18900 | Flemish art for us begins with Hubert van Eyck(?-1426) and his younger brother Jan van Eyck(?-1440). |
18900 | Florence, frescos Upper Church of Assisi(? |
18900 | Gaudenzio Ferrara( 1481?-1547? |
18900 | Gentile da Fabriano, Niccolo da Foligno, Bonfiglio( 1425?-1496? |
18900 | Giottino( 1324?-1357?) |
18900 | His best followers were Van der Meire( 1427?-1474?) |
18900 | His son, Pomponio Allegri( 1521- 1593? |
18900 | How could the new Christian ideas be expressed without form? |
18900 | In painting Schäufelin( 1490?-1540?) |
18900 | Jacopo Bellini( 1400?-1464?) |
18900 | Jan van Heem( 1600?1684?) |
18900 | Jean Péreal(?-1528?) |
18900 | Jean Péreal(?-1528?) |
18900 | Later on came a comparatively new man, Louis Gallait( 1810-? |
18900 | Liberale da Verona( 1451- 1536?) |
18900 | Lippo Memmi(?-1356), Bartolo di Fredi( 1330- 1410), and Taddeo di Bartolo( 1362- 1422), were other painters of the school. |
18900 | Lon., Infanta Marguerita Louvre, Borro portrait(?) |
18900 | Marcello Venusti( 1515- 1585?) |
18900 | Masaccio( 1401?-1428?) |
18900 | Mazzolino( 1478?-1528?) |
18900 | Memling( 1425?-1495? |
18900 | Michelangelo Anselmi( 1491- 1554? |
18900 | Neuchatel( 1527?-1590? |
18900 | Of these latter Carlo Crivelli( 1430?1493?) |
18900 | Orcagna( 1329?-1376?) |
18900 | Pacchiarotta( 1474- 1540? |
18900 | Palma''s friend and fellow- worker, Lorenzo Lotto( 1480?-1556?) |
18900 | Paolo Uccello( 1397?-1475), Andrea Castagno( 1390- 1457), Benozzo Gozzoli( 1420?-1497? |
18900 | Perugino''s best pupil, after Raphael, was Lo Spagna(?-1530? |
18900 | Perugino''s best pupil, after Raphael, was Lo Spagna(?-1530? |
18900 | Quentin Massys( 1460?-1530) and Mostert( 1474- 1556? |
18900 | S. GENEROSA, SEVENTH CENTURY(?).] |
18900 | Simone di Martino( 1283?-1344?) |
18900 | Solario( 1458?-1515?) |
18900 | Spinello Aretino( 1332?-1410?) |
18900 | TRANSITION PAINTERS: Several painters, Starnina( 1354- 1413), Gentile da Fabriano( 1360?-1440? |
18900 | Taddeo Gaddi( 1300?-1366?) |
18900 | That was largely the make- up of the other men of the school, Basaiti( 1490- 1521? |
18900 | The first painter of importance in the school seems to have been Antonio Rincon( 1446?-1500?). |
18900 | There were four of them, of whom Jean( 1485?-1541?) |
18900 | There were two of the Vivarinis in the early times, so far as can be made out, Antonio Vivarini(?-1470) and Bartolommeo Vivarini( fl. |
18900 | This is true in measure of Hans Baldung( 1476?-1552?). |
18900 | Torbido( 1486?-1546?) |
18900 | Van Goyen, Simon de Vlieger( 1601?-1660? |
18900 | Wynants( 1615?-1679?) |
18900 | and François( 1500?-1572?) |
18900 | and Jean Bourdichon( 1457?-1521?) |
29904 | And do not the muscles which cause the legs to move perform their duty without man being conscious of it? |
29904 | And how does a weight find the centre of the earth with such directness? |
29904 | And if it has no fixed position like the earth in the centre of its elements, why does it not fall to the centre of our elements? |
29904 | And if it is true, why has it not remained among men who so greatly desired it, and led them to disregard any deity? |
29904 | And if the moon is lighter than the other elements, why is it opaque and not transparent? |
29904 | And if thou art not content with vegetables, canst thou not by a mixture of them make infinite compounds as Platina wrote, and other writers on food? |
29904 | And if you say that it is mechanical because it is done for money, who is more guilty of this error-- if error it can be called-- than you? |
29904 | And seest thou not that if the painter wishes to depict animals and devils in Hell with what richness of invention he proceeds? |
29904 | And whither will it tend? |
29904 | And why not along other lines? |
29904 | Are there not pictures to be seen so like reality that they deceive men and animals? |
29904 | Are these things to be done by men? |
29904 | Art thou so wise as thou believest to be? |
29904 | But if such pilgrimages continually exist, what is then their unnecessary cause? |
29904 | But the hand? |
29904 | But thou, writer of science, dost thou not copy with thy hand, and write what is in thy mind, as the painter does? |
29904 | But what need is there for me to indulge in long and elevated discourse? |
29904 | But why should I proceed further? |
29904 | But why should I tire myself with vain words? |
29904 | Do you perform any work without some pay? |
29904 | Hast thou not seen women of the mountains dressed in rough and poor clothes richer in beauty than those who are adorned? |
29904 | If it is driven, who is the driver? |
29904 | If it is summoned,--and I mean sought after,--who is the seeker? |
29904 | If you lecture in the schools, do you not go to whomsoever rewards you most? |
29904 | Now consider which is nearer to man, the name of man or the image of man? |
29904 | Now consider which is the greater loss, to be blind or dumb? |
29904 | Now could he not have closed his eyes when this frenzy came upon him, and have kept them closed until the frenzy consumed itself? |
29904 | Now does not nature produce enough vegetables for thee to satisfy thyself? |
29904 | Now seest thou not how many and diverse acts are performed by men? |
29904 | Now seest thou not that if thou wishest to go to nature, thou reachest her by the means of science, deduced by others from the effects of nature? |
29904 | Now seest thou not that the eye comprehends the beauty of the whole world? |
29904 | Now you can say, Does not one who talks loudly move his lips like one who talks softly? |
29904 | O sleeper, what is sleep? |
29904 | Seest thou not among human beauties that it is the beautiful faces which stop the passers- by, and not the richness of their ornaments? |
29904 | The moon having density and gravity, how does it stand? |
29904 | Therefore we ask, Is the virtue of herbs, stones and plants non- existent because men have been ignorant of it? |
29904 | What can I say? |
29904 | What is an element? |
29904 | What is force? |
29904 | What is force? |
29904 | What is that thing which is not defined and would{ 16} not exist if it were defined? |
29904 | What is thy opinion, O man, of thy own species? |
29904 | What peoples, what tongues, are they who can perfectly describe thy true working? |
29904 | What poet will place before thee in words, O{ 69} lover, the true semblance of thy idea with such truth as will the painter? |
29904 | What praise is there which can express thy nobility? |
29904 | What thing is there which acts not by reason of the eye? |
29904 | What thing is there which could not be effected by such an art? |
29904 | Who in naval warfare can be compared with him who commands the winds and generates storms which ruin and sink any fleet whatsoever? |
29904 | Who is he who remakes it if the producer is continually dying? |
29904 | Who is he who would not lose hearing, smell and touch rather than sight? |
29904 | Why did nature not ordain that one animal should not live by the death of the other? |
29904 | Why does not the weight remain in its place? |
29904 | Why does the eye perceive things more clearly in dreams than with the imagination when one is awake? |
29904 | [ Sidenote: Can Man imitate a Bird''s Flight?] |
29904 | [ Sidenote: Can the Spirit speak?] |
29904 | [ Sidenote: Has the Spirit a Body?] |
29904 | and do we not see that the pictures which represent the divine deity are kept covered up with inestimable veils? |
29904 | what would they do were they constrained to abide in this darkness during the whole of their life? |
29904 | would not this have been more profitable and less fatiguing to thee, since this can be done in the cool without motion and danger of illness? |
29904 | { 43} Can not beauty and utility be combined-- as appears in citadels and men? |
9837 | Is it not written in your law, I said,''Ye are gods?'' |
9837 | When? |
9837 | Where? |
9837 | Who could have believed a single line could have expressed so much? |
9837 | 121)( 15? |
9837 | 2), the Man''s_ Bath_( 14-? |
9837 | 68;[82] who shall prefer among these things? |
9837 | Alt Pinakothek, Munich][ Illustration: HANS IMHOF(?) |
9837 | And how often is this joy received through the eye entrusted back to it for expression? |
9837 | Are we to be cattle or gods? |
9837 | Besides, who ever heard of making such a work for an altar- piece? |
9837 | But are we less convinced that only tasks done joyfully, as labours of love, deserve the reward of fuller and finer powers, and obtain it? |
9837 | But how is it that reason can accept an imagination that makes what in a cold light she considers her enemy, appear her friend? |
9837 | Did he feel like his friend Pirkheimer in the end, that"the new evangelical knaves made the old popish knaves seem pious by contrast?" |
9837 | Doubtless; but does the desire to win the co- operation and approval of other men consist with the higher developments of human faculties? |
9837 | DÜRER''S WIFE(?) |
9837 | God help us that we should not so dishonour His precious mother but( honour her?) |
9837 | Has he been enabled to travel in his suite as far as Venice? |
9837 | Has he won the friendship of some rich burgher prince at Augsburg, or Strasburg, or Basle? |
9837 | He quoted Goethe''s test for every idea about life,"But is it true, is it true for me, now?" |
9837 | How comes he so finely dressed, the son of the modest Nuremberg goldsmith? |
9837 | How could the study of anatomy ever do for an artist what Dürer was trying to do? |
9837 | IV As we are placed, what hope can we have but to learn? |
9837 | Is it not more worthy of admiration to achieve without the winning charm of colour what Apelles only realised with its assistance? |
9837 | Is it not true that the superiority of another man humiliates, crushes and degrades us in our own eyes, if we envy it or hate it instead of loving it? |
9837 | Is it, perhaps, essential to them? |
9837 | Is the artistic man pious and by nature good? |
9837 | Mr. Campbell Dodgson describes the drawing as in a measure spoilt by retouching, but what convinces him that these retouches are not by Dürer? |
9837 | Oh Erasmus of Rotterdam, where wilt thou stop? |
9837 | Oh Erasmus of Rotterdam, where wilt thou stop? |
9837 | Oh God, if Luther be dead, who will henceforth expound to us the holy Gospel with such clearness? |
9837 | On what agonies of creative and original minds is the safety of their homes based? |
9837 | Or perhaps he has joined Willibald Pirkheimer at Basle or elsewhere, and they two, crossing the Alps together, have become friends for life? |
9837 | PART II DÜRER''S LIFE IN RELATION TO THE TIMES IN WHICH HE LIVED[ Illustration] CHAPTER I DÜRER''S ORIGIN, YOUTH AND EDUCATION I Who was Dürer? |
9837 | Perchance it was these that he saw in his dreams? |
9837 | Portraits: Of himself, Leipzig, Madrid, Munich, Holzschuher( Hieronymus), Imhof, Hans(? |
9837 | Shall we not have a sorry disappointment if its conclusion is merely novel, and not the fulfilment and vindication of those great things gone before? |
9837 | Surely what they prized so highly must have had real and lasting worth? |
9837 | The easily scandalous inquiries,"Who?" |
9837 | The two earliest portraits of himself are the drawings which show him at the ages of thirteen and nineteen(?) |
9837 | Then:"May we not consider it a sign of sanity when we regard the human spirit as... a poet, and art as a half written poem? |
9837 | This demand of reason is perfectly arbitrary? |
9837 | To say that light is a mode of motion does not define it; we ask at once, What mode? |
9837 | We talk about Christ''s humility, but whose self- assertion has ever been more unmitigated? |
9837 | What can a man explain? |
9837 | What do you mean by setting me to such dirty work? |
9837 | What kind of character do we mean to praise when we say a man is an evangelist? |
9837 | What may not have happened to a picture after or before it left the artist''s studio? |
9837 | What shall I say of the steadiness and exactitude of his hand? |
9837 | Who will give us certainty in this matter? |
9837 | Who will presume to point out the necessity by which these things were thus and not otherwise? |
9837 | Why could he not bring himself to accept the overtures made to him, and become a citizen of Venice? |
9837 | Why should we expect him to have been less successful than his parents in these respects? |
9837 | Why was he not sent to Rome to see the ceiling of the Sistina and Raphael''s Stanze? |
9837 | Would you write and tell me what instruments and the like he has left, and also where our Stabius''prints and wood- blocks are to be found? |
9837 | and what is there from which we might not learn? |
35466 | ''Listen, Doctor,''he said,''do n''t you hear a ticking?'' 35466 ''What is that?'' |
35466 | And you-- still in the Commons? |
35466 | Are you hurt? |
35466 | But why? |
35466 | But will you have the next with me? |
35466 | Can you describe him further? |
35466 | Do any of you belong to the Orleans Club? |
35466 | Do you hear? |
35466 | Give me an opportunity of meeting him-- what''s he like? |
35466 | Have you a cell vacant at the station? 35466 How could my meeting you and your wife start you on a confession of that nature?" |
35466 | How is it, Lord Torrington,she asked after the usual polite formalities,"that you have not been to see me?" |
35466 | How would you describe this gentleman-- was he carrying anything, for instance? |
35466 | How''s that? |
35466 | I go up to''i m and I say,''You thirsty?'' 35466 Oh, well,"I said,"sometimes you sit down, do n''t you? |
35466 | Really,I began,"why all this excitement? |
35466 | Still-- er-- on the stage? |
35466 | This is Mr. Leslie Ward; do n''t you remember the letter I wrote at your request asking him to lunch to- day? |
35466 | What are you? |
35466 | What do yer want? |
35466 | What do you mean? |
35466 | What do you think they gave me to- day? |
35466 | What else did you see? |
35466 | What happened there? |
35466 | What is all this? |
35466 | What is the secret of your longevity? |
35466 | What name? |
35466 | What shall I do then? |
35466 | What''s the matter, I wonder? |
35466 | What''s the matter? |
35466 | Where had we better dine? |
35466 | Where the devil is the dummy? |
35466 | Where, sir? |
35466 | Who are you?... 35466 Who is your sitter?" |
35466 | Who was it,he writes,"that took the children to Astley''s but Uncle Newcome?" |
35466 | Why doant ye go''ome with yer wife? |
35466 | ''Where?'' |
35466 | A friend of mine came to me once and said,"You simply must make a drawing of''Piggy''Palk, he''s such a splendid subject-- have you ever seen him? |
35466 | After some preliminary conversation she began:"Oh, Lord Haldon, I see you have an eyeglass, do you ever wear it? |
35466 | Also may I enquire where a_ good_ portrait of yourself may be procured? |
35466 | Are you coming to my afternoon on Saturday?'' |
35466 | But if simultaneously another member burst in with hilarious mood and cried,"Now then, Shave, what have you for dinner?" |
35466 | D''you know old Tommy What''s- his- name? |
35466 | Do n''t you know me? |
35466 | Dost thou think I care for a satire or an epigram?... |
35466 | Fearing I was dead, he exclaimed,"Good God, how shall I break the news?" |
35466 | Getting in, my father said"Home"to the cabby, whereupon the man replied,"Where, sir?" |
35466 | Had I any to spare? |
35466 | How should I do for a change?" |
35466 | I was asked the old formula: or something to this effect--"Who''s your tutor, who''s your dame? |
35466 | Jones:_''Are you coming to my party next Wednesday, Mrs. Smith, to hear Corney Grain?'' |
35466 | My host, who was then in smooth water on the other side of the river exclaimed, to the rest of the party,"Where''s Ward?" |
35466 | Not seeing him, I said to the hall porter,"Where''s Shave?" |
35466 | Presently the wife appeared at the window and called out,"What on earth do you want waking me up this time of the night?" |
35466 | She loses her case and is imprisoned?_) 1865.] |
35466 | Smith and Mrs. Jones, together:_''Indeed we are, who have you got?'' |
35466 | Spy,''that it''s very bad manners to whisper?" |
35466 | Suddenly turning round in the middle of the lecture, he inquired in a loud stage whisper,"How are you getting on?" |
35466 | Suppose I draw you that way?" |
35466 | What about billiard chalk? |
35466 | What do I remind you of?" |
35466 | What is the matter?" |
35466 | What was to be done? |
35466 | What you recommend to make the''''air grow?''"] |
35466 | Where do you board, and what''s your name?" |
35466 | Where may a brief and authentic sketch of your life and career be found? |
35466 | [ 8] What''s up?" |
35466 | do you really think so? |
35466 | do you think,"he said,"that the man who built that coat could have lived to build the trousers too?" |
35466 | he''s capital now, ai n''t he?" |
35466 | or"Who do you consider paints women best?" |
17408 | Why grope about for the significant, when the obvious is at hand? 17408 _ Volto Santo di Luca_"(?). |
17408 | (?) |
17408 | (?). |
17408 | (?). |
17408 | (?). |
17408 | (?). |
17408 | 1466- 1524(?). |
17408 | Andrew and Catherine(?). |
17408 | Baroncelli Polyptych: Coronation of Virgin, Saints and Angels(?). |
17408 | Bust of Christ Blessing(?). |
17408 | Bust of Man(?). |
17408 | Bust of Young Woman(?). |
17408 | But how does Giotto accomplish this miracle? |
17408 | But where else in the whole world of art shall we receive such blasts of energy as from this giant''s dream, or, if you will, nightmare? |
17408 | Could a mere painter, or even a mere artist, have seen and felt as Leonardo? |
17408 | Crucifixion( in part?). |
17408 | Crucifixion(?). |
17408 | E. Portrait of Clarissa Orsini(?). |
17408 | Francis and Nicholas(?). |
17408 | Fresco: Paradise(?). |
17408 | Giotto we know already, but what were the new conditions, the new demands? |
17408 | Have London or New York or Berlin worse to show us than the jumble of buildings in his ideal of a great city, his picture of Babylon? |
17408 | L. Christ saving Man from drowning(?). |
17408 | Large Nativity with three Saints and three Donors(?). |
17408 | Lucretia(?). |
17408 | Lunette: God and Cherubim(?) |
17408 | Madonna adoring Child(?). |
17408 | Madonna adoring Child(?). |
17408 | Madonna and Saints(?). |
17408 | Madonna and infant John(?) |
17408 | Madonna and infant John(?). |
17408 | Madonna and infant John(?). |
17408 | Madonna and infant John(?). |
17408 | Madonna in Niche(?). |
17408 | Madonna seated in a Loggia looking down towards infant John(?). |
17408 | Madonna with St. Andrew and Baptist(?). |
17408 | Madonna with infant John and three Angels(?). |
17408 | Madonna with infant John(?). |
17408 | Madonna( Piero)(?). |
17408 | Madonna( from Ghirlandajo''s studio)(?). |
17408 | Madonna(?) |
17408 | Madonna(?) |
17408 | Madonna(?). |
17408 | Madonna(?). |
17408 | Madonna(?). |
17408 | Now in what way, we ask, can form in painting give me a sensation of pleasure which differs from the ordinary sensations I receive from form? |
17408 | Now what is back of this power of raising us to a higher plane of reality but a genius for grasping and communicating real significance? |
17408 | Portrait of Man in Armour with Dog(?). |
17408 | Portrait of Man(?). |
17408 | Portrait of"Caterina Sforza"(?). |
17408 | Procris and Cephalus(?). |
17408 | Profile of Lady(?). |
17408 | Profile of Lady(?). |
17408 | Profile of Young Woman(?). |
17408 | Resurrected Christ(?). |
17408 | Scene in Temple(?). |
17408 | Sebastian and Julian(?). |
17408 | St. Bartholomew and Angel(?). |
17408 | The four Evangelists( framed above Triptych ascribed to Spinello Aretino)(?). |
17408 | Triumph of Venus(?). |
17408 | VATICAN, MUSEO CRISTIANO, CASE P, V._ Predella_: Dormition(?). |
17408 | We thus have lost in quantity, but have we lost in quality? |
17408 | What chance is there, I ask, for this, artistically the only possible treatment, in the representation of a man crucified with his head downwards? |
17408 | What is it that makes us return to this sheet with ever renewed, ever increased pleasure? |
17408 | What is it to render the tactile values of an object but to communicate its material significance? |
17408 | What is the point at which ordinary pleasures pass over into the specific pleasures derived from each one of the arts? |
17408 | What more obvious symbol for_ the_ Church than_ a_ church? |
17408 | Wherein does his achievement differ in quality from a coloured map of a country? |
17408 | Who knows? |
17408 | Young Man with Letter(?). |
17408 | [ Page heading: NATURALISM IN ART] What is a Naturalist? |
17408 | _ Pietà_ in Landscape(?). |
17408 | _ Tondo_: Madonna and infant John(?). |
17408 | _ Tondo_: Madonna and infant John(?). |
529 | ''Am I to be the pupil of the great Perugino?'' |
529 | ''Am I to have nothing more than this?'' |
529 | ''And it is thy desire to leave the world, and enter our convent?'' |
529 | ''And so, Filippo, thou wouldst become a monk?'' |
529 | ''And when art thou anything else? |
529 | ''And where is it that the greatest painters dwell?'' |
529 | ''Are these the pictures I ordered thee to paint?'' |
529 | ''Art thou willing to give up all, that thou mayest become a servant of God?'' |
529 | ''Art tired already, Pietro?'' |
529 | ''But when wilt thou make an end?'' |
529 | ''But, and if I tell them this story, how will they believe that I speak the truth?'' |
529 | ''Didst thou not learn to mix colours in the studio of Master Ghirlandaio?'' |
529 | ''Do you not see that it would crush me and my workshop if it fell?'' |
529 | ''Does he think he can catch a lark and train it to sing in a cage at his bidding? |
529 | ''Dost think if any one met thee now, they would believe that thou art the best painter in the world?'' |
529 | ''Dost thou not know me? |
529 | ''Dost thou think thou canst make aught of the boy?'' |
529 | ''Dost thou want to be thrown head first from the scaffold?'' |
529 | ''Good fisherman,''it said,''wilt thou row me over to San Giorgio Maggiore? |
529 | ''Hast thou brought the child to be a model?'' |
529 | ''Hast thou heard the news of young Andrea del Sarto?'' |
529 | ''How can I do that?'' |
529 | ''How is it possible to row across to San Giorgio?'' |
529 | ''How much wilt thou take for thy birds?'' |
529 | ''How wilt thou know us apart if thou callest him Filippo?'' |
529 | ''How would you like to come with me to Florence and learn to be a painter?'' |
529 | ''If the angels had looked as thou sayest, dost thou think the citizen would have bought the picture?'' |
529 | ''Is aught amiss?'' |
529 | ''Is it indeed finished so soon?'' |
529 | ''Is she not as fair as the roses which thou dost so love to paint?'' |
529 | ''Is that better?'' |
529 | ''Is this the kind of painting to do honour to God and to our Church? |
529 | ''Let me see-- how old art thou?'' |
529 | ''Look at the maid who kneels in front,''said Fra Diamante in a hushed voice,''is she not as fair as any saint?'' |
529 | ''Master, master,''cried the astonished pupil,''tell me if I am dreaming, or if I have lost my wits? |
529 | ''What canst thou do?'' |
529 | ''What dost thou mean by coming back so soon? |
529 | ''What dost thou think of this new style of painting?'' |
529 | ''What has the child done now?'' |
529 | ''What hath bewitched thee?'' |
529 | ''What is all this?'' |
529 | ''What makes thee do these things?'' |
529 | ''What name shall we give the little maid?'' |
529 | ''What, in disgrace again?'' |
529 | ''When wilt thou have finished?'' |
529 | ''Where are the most beautiful pictures to be found?'' |
529 | ''Where art thou going?'' |
529 | ''Who did that?'' |
529 | ''Who taught you to do this?'' |
529 | ''Whoever saw a grander rope?'' |
529 | ''Why canst thou not paint quicker and sell at higher prices? |
529 | ''Why should I take it down? |
529 | ''Will you ever teach me the secret of your wings, I wonder?'' |
529 | 1470?" |
529 | 1477?" |
529 | But had he, indeed, the artist soul? |
529 | But what cares he so long as he has his paints and brushes? |
529 | But what work? |
529 | But what would the good nuns think of it? |
529 | But where was Filippo, and why did his friend ride so slowly? |
529 | But who can say if that freedom was indeed a gain? |
529 | But who could tell? |
529 | Can I not do as I like with my own house?'' |
529 | Could they be going there now? |
529 | Could you not alter that?'' |
529 | Did the kind man mean that he was to give up his bread when he had scarcely eaten half of it? |
529 | Do you ever wonder how all these pictures came to be made? |
529 | Dost thou indeed wish to cast in thy lot with mine?'' |
529 | If the spirits of the old masters could have returned to gaze upon this new work, what would their feelings have been? |
529 | Is there aught that thou canst not do if thou hast but the will?'' |
529 | Must he return to idleness and the place which was no longer home? |
529 | Surely that figure riding so slowly along was Fra Diamante? |
529 | The woman was a dealer in black magic, and who knew but that the child might be a changeling? |
529 | What am I to do with such a boy, I wonder?'' |
529 | What had happened? |
529 | What had he done? |
529 | What if the master refused to take him as a pupil? |
529 | What mattered to him what his subject was? |
529 | What may this mean?'' |
529 | What was the secret power in their wings? |
529 | Where could he hide his prize? |
529 | Where were his angels? |
529 | Who could tell how bright it would shine ere long? |
529 | Who was to have the money, and how were the Santi estates to be divided? |
529 | Will these mere human figures help men to remember the saints, teach them to look up to heaven, or help them with their prayers? |
529 | Will you, then, do other work for me, and become my Archbishop at Florence?'' |
529 | Work was left behind, for who could work indoors on days like these? |
529 | Would they ever let her go? |
29907 | Can not we,say the public,"see what nature is with our own eyes, and find out for ourselves what is like her?" |
29907 | De plus_ beau_? |
29907 | Do n''t it hurt your eyes? |
29907 | Am not I, at this moment, describing a piece of Turner''s drawing, with the same words by which I describe nature? |
29907 | And now, how are the sunbeams drawn? |
29907 | And this, accordingly was the means by which the old masters obtained their( truth?) |
29907 | And what would one of the old masters have done with such a building as this in his distance? |
29907 | And why then do you blame Turner because he dazzles you? |
29907 | And with whom will you do this, except with Turner? |
29907 | But how is this made into rock? |
29907 | But which would be the most truthful portrait of the_ man_? |
29907 | Could any words that he could use make us feel the hairbreadth of depth and distance on which all depends? |
29907 | Do my opponents mean to assert that nothing good can ever be bettered, and that what is best of past time is necessarily best of all time? |
29907 | Do we think of à � schylus while we wait on the silence of Cassandra,[G] or of Shakspeare, while we listen to the wailing of Lear? |
29907 | Does he receive his critiques from Eaton or Harrow-- based on the experience of a week''s birds''-nesting and its consequences? |
29907 | Does it look high? |
29907 | Does it thence follow that it possesses in the_ highest_ degree_ every_ species of sterling excellence? |
29907 | Does not the falsehood rest with those who do_ not_? |
29907 | Does that white thing on the horizon look seventy miles off? |
29907 | Has Claude given this? |
29907 | How is it then that anything so plain as this should be contradicted by one of the most universally received aphorisms respecting art? |
29907 | How much has he represented of all this? |
29907 | How much less of the complicated forms of boughs, leaves, or limbs? |
29907 | 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? |
29907 | Is it faint, or fading, or to be looked for by the eye before it can be found out? |
29907 | Is it less tautology to describe a thing over and over again with lines, than it is with words? |
29907 | Is it pale and gray with heat, full of sunshine, and unfathomable in depth? |
29907 | Is there a curve in it which I can modulate-- a line which I can graduate-- a vacancy I can fill? |
29907 | Is there a single space in the picture where I can crowd in another thought? |
29907 | Is there a single spot which the eye, by any peering or prying, can fathom or exhaust? |
29907 | Is there then no such thing as elevated ideal character of landscape? |
29907 | It is here high noon, as is shown by the shadow of the figures; and what sort of color is the sky at the top of the picture? |
29907 | It is the exhaustless living energy with which the universe is filled; and what will you set beside it of the works of other men? |
29907 | It is the very subject to unite all these effects,--a sloping bank shaded with intertwined forest;--and what has Gaspar given us? |
29907 | It_ does_ sound like wild, like absurd enthusiasm, to expect any definite moral agency in the painters of landscape; but ought it so to sound? |
29907 | Look, for instance, at the wreaths of_ cloud_? |
29907 | Now, let me once more ask, though I am sufficiently tired of asking, what record have we of anything like this in the works of the old masters? |
29907 | Secondly,"Can my details be added to? |
29907 | Tell me who is likest this, Poussin or Turner? |
29907 | Two questions the artist has, therefore, always to ask himself,--first,"Is my whole right?" |
29907 | What does Canaletto do? |
29907 | What excuse is there to be offered for his omitting, on that scale, as I shall hereafter show, all statement of such ornament whatever? |
29907 | What is Christopher North about? |
29907 | What is there in this, which the most determined prejudice in favor of the old masters can for a moment suppose to resemble trees? |
29907 | What picture in the room would not have been blackness after it? |
29907 | What recollection have we of the sunsets which delighted us last year? |
29907 | What should we think of a poet who should keep all his life repeating the same thought in different words? |
29907 | What sort of leaf texture is supposed to be represented by these? |
29907 | Who is there who can do this as Turner will? |
29907 | 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? |
29907 | 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? |
29907 | Whose work will you compare with this? |
29907 | Why should they see her at second- hand on a piece of canvas?" |
29907 | [ 43] Has Claude given this? |
29907 | [ 46] Has Claude given this? |
29907 | [ 49] Has Claude given this? |
29907 | [ K] Is not this-- it may be asked-- demanding more from him than life can accomplish? |
29907 | does it look impressive? |
29907 | does it look large? |
29907 | or how shall we follow its eternal changefulness of feeling? |
18118 | And is it a stone- mason you want to make of my heir and firstborn? |
18118 | And what are you working at? |
18118 | And who painted that? |
18118 | Are they fierce? |
18118 | Did you ever see a live horse? |
18118 | Did you walk? |
18118 | Have you seen Keppel''s portrait? |
18118 | He will do nothing but draw pictures? 18118 Is it true-- is it true that there are pictures by Rubens in the Louvre?" |
18118 | Is thy servant a dog that he should do this thing? |
18118 | Me? 18118 Me? |
18118 | Me? 18118 Me? |
18118 | Pray you,said Rubens,"to which Van Dyck do you refer? |
18118 | Should we two old men, about ready to die, stand in the way of the success of that boy? |
18118 | So you do not care for the picture? |
18118 | Then you painted the picture alone? |
18118 | To Barcelona-- ten miles, and back? |
18118 | Well, boys, what shall we draw today? |
18118 | Well, why can not all your scholars draw like that, then? |
18118 | What can you do? |
18118 | What did I tell you? |
18118 | What did I tell you? |
18118 | What is the painter''s name? |
18118 | What is this book you are working on? |
18118 | What shall it be? |
18118 | Where am I? |
18118 | Where do you wish to go? |
18118 | Where have you been? |
18118 | Where have you been? |
18118 | Who did this? |
18118 | Who is with you? |
18118 | Who wants me? |
18118 | Why are you always late? |
18118 | Why do you no longer come to my atelier? |
18118 | You are quite sure my presence will not make you nervous, then? |
18118 | You do not mind my watching you work? |
18118 | You see the palace there in the picture, do you not? |
18118 | And did she guess that this child would be the sustaining prop for her son when she, herself, was gone? |
18118 | And this is well-- God made it all, and did He not look upon His work and pronounce it good? |
18118 | And why should they not be? |
18118 | But he contributed to the quiet joy of a million homes; and it is not for us to say,"It is beautiful; but is it art?" |
18118 | But love is greater than man- made titles, and when was there ever a difference in station able to separate hearts that throbbed only for each other? |
18118 | Can you mistake Kemble''s"coons,"Denslow''s dandies, Remington''s horses, Giannini''s Indians, or Gibson''s"Summer Girl"? |
18118 | Can you read"Captain, My Captain,"or listen to the"Pilgrims''Chorus,"or look upon"The Man With the Hoe"without tears? |
18118 | Could not the distinguished painter remain over one day and give his hosts a taste of his quality? |
18118 | Delaroche and others declared his work was great, but how could they make people buy it? |
18118 | Did Aubrey Beardsley infuse his own spirit into his work? |
18118 | Did not the artist Salvio commit suicide? |
18118 | Did the chief citizens of Leyden in the year Sixteen Hundred Thirty regard Rembrandt''s beggars as immortal? |
18118 | Do you hear me, Mother, calling and crying for you? |
18118 | Do you hear, Mynheer Van Swanenburch? |
18118 | Do you understand me? |
18118 | H.?" |
18118 | He could hire men to paint, but where could one be found who could govern? |
18118 | He could paint houses or wagons, and, then, did n''t the shipyard folks employ painters? |
18118 | He had no quarrel with his environment, for did he not stay here a hundred years( lacking half a year), and then die through accident? |
18118 | He roused enough to answer the question:"Dore-- Gustave Dore-- an artist? |
18118 | If Elizabeth never discovered Shakespeare, how could she be expected to know Raphael? |
18118 | If Rubens could not paint the picture of a lady without falling in love with her, what should be expected of his best pupil, Van Dyck? |
18118 | In a week Lacroix said to Dore, who had called,"Well, have you begun to read my story?" |
18118 | Into all his work Giorgione infused his own soul-- and do you know what the power to do that is? |
18118 | It occurred to certain capitalists that if people would go to see one Dore, why would not a Dore gallery pay? |
18118 | Jean Francois did not belong in Paris: how can robins build nests in omnibuses? |
18118 | Let''s see-- what was it, then, that we were talking about? |
18118 | No one there remembered seeing the boy-- how can busy officials be expected to remember everything? |
18118 | Now, who shall say that Louis the Fourteenth has not enriched the world? |
18118 | The diplomat well masked his true errand with the artist''s garb: and who of all men was ever so well fitted by Nature to play the part as Rubens? |
18118 | The mother simply waived the taunt and asked,"Do you tell me the schoolmaster says he will not do anything but draw pictures?" |
18118 | The question is, What will you collect? |
18118 | The question was, for what profession should he be educated? |
18118 | We will not think less of you, for see, do we not invite you to our board?" |
18118 | What more can be done for you? |
18118 | Who will be presumptuous enough to say what would have occurred had not this happened and that first taken place? |
18118 | Why? |
18118 | With such an entree into life, how was it possible that he should ever become a master? |
18118 | and was n''t your husband really guilty, and did n''t you know it all the time?" |
18118 | how should I know? |
18118 | or does your avatar live somewhere here in this world? |
18118 | turned to dust these three hundred years, what star do you now inhabit? |
18118 | who can make a statue such as Michelangelo made? |
4999 | When does it happen? |
4999 | )],''Lapidary'',''On warfare''[ Footnote 4:_ Il Vegezio? |
4999 | --"You know I have", answered the other,"How do you suppose that a Merchant like me should go about otherwise?" |
4999 | --Lapidario Teofrasto? |
4999 | ... Il Cornazzano?... |
4999 | ... Il Frontino? |
4999 | 1 and 2 and the ground flour("flour"sic but should be"floor"?) |
4999 | 23:_ Leonard de Vinci a- t- il ete au Righi le 5 aout 1473_? |
4999 | 30(?). |
4999 | 8 locum et tempus success(ores) cujus similiter officium ministratus qui praedecessoris sui donum(?) |
4999 | 8 were divisa dal lago( Lake Van? |
4999 | 9confirmavit et de novo dedit aliorumque plurima[ laudatis] qui opera tua laudant 10nos inducunt ut tibi(?) |
4999 | Among those which grow lean which is that which grows leanest? |
4999 | And among the parts which grow fat which is that which grows fattest? |
4999 | And do you not believe that the Nile must have sent more water into the sea than at present exists of all the element of water? |
4999 | And the rocks with their various strata? |
4999 | And turning it over in his thoughts he began to say to himself:"And shall I return again to that shop from which I have just come? |
4999 | And why by no other line? |
4999 | And why does the weight know how to find it by so short a line? |
4999 | And, if it has no proper place of its own, like the earth, in the midst of its elements, why does it not fall to the centre of our elements? |
4999 | And, if the moon is lighter than the other elements why is it opaque and not transparent? |
4999 | Are these things to be done by men? |
4999 | Are we to doubt this statement too, merely because no biographer has hitherto given us any information on the matter? |
4999 | Are you so wise as you believe yourselves to be? |
4999 | As to whether it is better that the water should all be raised in a single turn or in two? |
4999 | Below:_ 176000 x 8= 1408000;_ and below:_ Semjlio e se ce 80(?) |
4999 | Bridge of Goertz- Wilbach(?). |
4999 | But of what use is it to fatigue myself with vain words? |
4999 | But why should I enlarge further upon this? |
4999 | But why should these rough drafts of letters be regarded as anything else than what they actually and obviously are? |
4999 | Francesco Vinci, Leonardo''s uncle, died-- as Amoretti tells us-- in the winter of l5l0- 11( or according to Uzielli in 1506? |
4999 | Giodatti(?) |
4999 | Granting that the earth might be removed from the centre of the globe, what would happen to the water? |
4999 | He renders this_"Le Tigre et l''Euphrate se sont deverses par les sommets des montagnes[ avec leurs eaux destructives?] |
4999 | How large is the garland? |
4999 | How many braccia high is the level of the walls?-- 123 braccia How large is the hall? |
4999 | I here ask what weight will be needed to counterpoise and resist the tendency of each of these arches to give way? |
4999 | I, has in the original two lines of writing underneath; one in red chalk of two or three words is partly effaced:_ lionardo it... lm_( or_ lai_? |
4999 | If it has, why does it not shine without the aid of the sun? |
4999 | If the beams and the weight_ o_ are 100 pounds, how much weight will be wanted at_ ae_ to resist such a weight, that it may not fall down? |
4999 | In very strong men which are the muscles which are thickest and most prominent? |
4999 | Is this body destined for such work? |
4999 | Jovius had probably seen the model exhibited at Milan; but, need we, in fact, infer from this description that the horse was galloping? |
4999 | Mandebille:"Le grand lapidaire,"versione italiana ms.?... |
4999 | Must we, in fact, suppose that"_ il duca di Milano_"here mentioned was, as has been generally assumed, Ludovico il Moro? |
4999 | O blessed and happy spirit whence comest thou? |
4999 | Or what part which as a man grows lean never falls away with a too perceptible diminution? |
4999 | Perhaps it refers to some author on architecture or an architect( Bramante?) |
4999 | Sappiamo essere stato questo valente dipintore uno de''bravi scolari del Vinci_(?). |
4999 | THE BOA(?) |
4999 | The ancient architects...... beginning with the Egyptians(?) |
4999 | The miserable painstakers... with what hope may they expect a reward of their merit? |
4999 | The praise and confession of the faith[ Footnote 20:_ Persuasione di fede_, of the Christian or the Mohammedan faith? |
4999 | WHAT IS AN ARCH? |
4999 | What do you think here, Man, of your own species? |
4999 | What is life? |
4999 | What is there that could not be done by such a craftsman? |
4999 | What naval warfare could be compared with this? |
4999 | Where is that lustrous surface? |
4999 | Where is the pride you had when you were covered with ripe fruits? |
4999 | Where will it move to? |
4999 | Wherefore art thou so partial; being to some of thy children a tender and benign mother, and to others a most cruel and pitiless stepmother? |
4999 | Which is the part in man, which, as he grows fatter, never gains flesh? |
4999 | Which nerve causes the motion of the eye so that the motion of one eye moves the other? |
4999 | Which nerves or sinews of the hand are those which close and part the fingers and toes latteraly? |
4999 | Which weighs most, water when frozen or when not frozen? |
4999 | Why did nature not ordain that one animal should not live by the death of another? |
4999 | Why does not the weight_ o_ remain in its place? |
4999 | Why does the eye see a thing more clearly in dreams than with the imagination being awake? |
4999 | Why does the inundation of the Nile occur in the summer, coming from torrid countries? |
4999 | Why dost thou not wake and behold thy creatures thus ill used? |
4999 | Wildcats(?) |
4999 | [ Defter written in arab?] |
4999 | [ Footnote 1334: G. Govi_ says in the_''Saggio''p. 22:_ Si dilett Leonarda, di giuochi di prestigi e molti(?) |
4999 | [ Footnote 3:_ Leonza_--wild cat? |
4999 | ], and other authors on feeding? |
4999 | ],-- Pandolfino''s book, mortar[? |
4999 | and if it departed how could it move unless it went upwards? |
4999 | at Aintas?). |
4999 | conventus Wiennensis capellano 4 nostro commensali salutem in dno sempiternam Religione zelus rite ac in[ ferite?] |
4999 | il peso del tiburio_( six millions six hundred(?) |
4999 | what do I see? |
4999 | whither are you going? |
13973 | ''A little late for that, is it not?'' 13973 ''When?'' |
13973 | A picture like this? |
13973 | Accounts for what? |
13973 | And did he talk to you? |
13973 | And what did you put on the opposite wall? |
13973 | And what next? |
13973 | Are the figures on the top intended for people? |
13973 | But Ruskin lives in the North, you know, and a southern exposure troubled him, rather, eh? |
13973 | Can you indeed? |
13973 | Do n''t you think you had better stop? |
13973 | Do you say this is a correct representation? |
13973 | Do you think now,said the Attorney- General, insinuatingly,"you could make me see the beauty of that picture?" |
13973 | Do? |
13973 | Ever read his essays? |
13973 | For two days''labor you ask two hundred guineas? |
13973 | Have you been there all night? |
13973 | How dare you sketch in my Chelsea? |
13973 | How do I know? 13973 How do you know? |
13973 | How old are you? |
13973 | I beg your pardon,said the latter,"but do you represent a religious journal?" |
13973 | I beg your pardon? |
13973 | I beg your pardon? |
13973 | Is it a telescope or a fire- escape? 13973 Is n''t it BEAUTIFUL?" |
13973 | Is n''t it appalling? |
13973 | Is n''t it, though? |
13973 | Is that a barge beneath? |
13973 | Is that the best you have of me? |
13973 | Madam,said the vexed artist,"will you have the cat in the foreground or in the back yard?" |
13973 | Me? |
13973 | My dear cousin Kate,he said to Mrs. Livermore,"if any one likes to think I was born in Baltimore, why should I deny it? |
13973 | No,said he;"but is n''t it_ beautiful_?" |
13973 | Not that it is not very beautiful and artistic and so on-- but I say, come now, you do n''t think it quite does me justice, do you? |
13973 | Painted, too, did n''t he? |
13973 | See anything worth while? |
13973 | Stop when everything is going so beautifully? 13973 Stop?" |
13973 | That''s a verdict for me, is it not? |
13973 | Think of it? |
13973 | Well, Horne,he asked,"what do you think of it?" |
13973 | Well, what else? |
13973 | Well,queried Wilde,"do you perceive any worth?" |
13973 | What did he say then? |
13973 | What did he say? |
13973 | What did he say? |
13973 | What do you mean? |
13973 | What do you think of her? |
13973 | What is that gold- colored mark on the side, like a cascade? |
13973 | What is that structure in the middle? |
13973 | What is your opinion of a tolerable egg? |
13973 | What on earth do you mean? |
13973 | What? 13973 What?" |
13973 | What? |
13973 | When are you coming to America? |
13973 | Where are my things? 13973 Where is she?" |
13973 | Which part of the picture is the bridge? |
13973 | Whistler, sir? 13973 Who else has such cause to mourn? |
13973 | Who is your architect? |
13973 | Why, what on earth are you doing there, Rossetti? |
13973 | Why,answered Whistler, in dulcet tones,"why drag in Velasquez?" |
13973 | Why? |
13973 | You do n''t suppose I couple myself with Velasquez, do you? 13973 You''re not going to leave it that way?" |
13973 | You''ve done nothing to it since I saw it, have you? |
13973 | ''And how many did you paint in four hours, Jimmy?'' |
13973 | ***** A young woman student protested under criticism,"Mr. Whistler, is there any reason why I should n''t paint things as I see them?" |
13973 | ***** His model once asked him:"Where were you born?" |
13973 | ***** In the Fine Art Society''s gallery one day he spoke to a knighted R.A."Who was that?" |
13973 | ***** Mr. Chase came up for discussion once at a little party, and Whistler''s sister observed,"Mr. Chase amuses James, does n''t he, James?" |
13973 | ***** Sir John E. Millais said to Whistler one day:"Jimmy, why do n''t you paint more pictures? |
13973 | ***** Walking in the Champs- Elysà © es in Paris one morning, Whistler heard one Englishman say to another:"See that chap over there?" |
13973 | *****"Chase,"said Whistler one day,"how- is it now in America? |
13973 | *****"Do you think genius is hereditary?" |
13973 | *****"Well, Mr. Whistler, how are you getting on?" |
13973 | *****"Why have you withered people and stung them all your life?" |
13973 | A consultation was held, and the artists shook their heads, inquiring of one another,"Who is he?" |
13973 | And do you see the poison that comes out when he strikes? |
13973 | Anything worth while?" |
13973 | Are they valuable?" |
13973 | Did you come all the way to London to consort with such-- well, what shall we call them? |
13973 | Did you ever hear such dissonance? |
13973 | Dinna ye hear the bagpipes?" |
13973 | Do n''t you see the paint is not yet dry?" |
13973 | Finally the junior asked, timidly:"Do n''t you think this painting of mine is a-- er-- a tolerable picture, sir?" |
13973 | Go and stuff myself with food when I can paint like this? |
13973 | Godwin,''I said,''will you marry Jimmy?'' |
13973 | Godwin?'' |
13973 | He approached a student slightly deaf, who stammered in reply,"I beg pardon?" |
13973 | He glanced casually at the paintings on the walls, and then queried:"How much for the lot?" |
13973 | He made such a fuss that the station- master asked Mr. Chase who was his companion:"Who is that quarrelsome little man? |
13973 | Here is a characteristic one:_ Question:_"Do you know what I mean when I say tone, value, light, shade, quality, movement, construction, etc.?" |
13973 | How beautiful it is? |
13973 | How tenderly handled? |
13973 | How well kept? |
13973 | I surely may always hereafter rely on the_ Morning Post_ to see that no vulgar Woking joke reach me? |
13973 | If they are horses and carts, how in the name of fortune are they to get off?" |
13973 | In the evening he said to his servant,"Where''s the man?" |
13973 | Is it like Battersea Bridge? |
13973 | Is it not in black and white that the works of the great masters must not enter America, that they are not wanted? |
13973 | Is n''t he fine? |
13973 | Is n''t he superb?" |
13973 | Laying his hand on Keppel''s shoulder, he said:"Now, is n''t it beautiful?" |
13973 | Making the cabby maneuver the vehicle to various viewpoints, he finally observed:"Is n''t it beautiful? |
13973 | Moore, in the inside, remarked in his sweetly modulated voice:"Why drag in Whistler?" |
13973 | On his arrival Sir Morell said, gravely:"How do you do, Mr. Whistler? |
13973 | One man annoyed the artist by saying at each dismissal:"How- about that ear, Mr. Whistler? |
13973 | Rather flattered, he said,"So you recognized me from behind, did you, master?" |
13973 | So what''s the use of it?" |
13973 | That chap with the long hair and spindle legs?" |
13973 | The next morning he blandly asked Mr. Chase:"What did Abbey have to say last night? |
13973 | Then Whistler said to the host:"''My man, would you like to sell a great deal more beer than you do?'' |
13973 | Then, turning to his friend, who had overheard the conversation, Whistler said:"I do n''t think he could get that dirty in seven years; do you?" |
13973 | This play on his best_ mot_,"Why drag in Velasquez?" |
13973 | Waving his wand gently toward the famous gallery, Whistler queried:"Been in there?" |
13973 | What are the figures at the top? |
13973 | What is its history?" |
13973 | When Mr. Graves produced the painting he observed, icily:"Well, and has painting come to this?" |
13973 | Whistler? |
13973 | Who is Bouguereau?" |
13973 | Why should you hold an exhibition of pictures in America? |
13973 | Why, have n''t you a law to keep out pictures and statues? |
13973 | he cried,"what in the world are you splashing at?" |
13973 | said the lady,"what is the matter, dear master?" |
38923 | ''Jeremiah, what seest thou?'' 38923 And if Constable and De Wint give me the impression of such a window, there must be something right in Constable and De Wint?" |
38923 | And something more right than in Turner? |
38923 | Below? |
38923 | But is there, then, no good in any work which does not pretend to perfectness? 38923 But, how, if this were so, could his capacities be of the meanest order?" |
38923 | How do you know that? |
38923 | If this be so, it is not well to encourage the observance of landscape, any more than other ways of dreamily and ineffectually spending time? |
38923 | Then if Turner does not give me the impression of such a window, that is of Nature, there must be something wrong in Turner? |
38923 | Well, but do not the trunks of trees fork, and fork mostly into two arms at a time? |
38923 | Well, but then, what becomes of all these long dogmatic chapters of yours about giving nothing but the truth, and as much truth as possible? |
38923 | Well, but you said you would change your Turners for windows, why not, therefore, for Constables? |
38923 | Well, but,the reader says,"what do you mean by calling_ either_ of them true? |
38923 | Well, then,the reader goes on to question me,"the more closely the picture resembles such a window the better it must be?" |
38923 | What am I? |
38923 | What is the use, to me, of the painted effigy of hero or beauty? 38923 What is the use, to me, of the painted landscape?" |
38923 | Will you explain yourself? |
38923 | ''But why is yours the best which is contrary to the rules?'' |
38923 | ( Ah, fi, profane, est- ce là mon collier? |
38923 | 64''What master of the pencil, or the style, Had traced the shades and lines that might have made The subtlest workman wonder? |
38923 | Above all, who shall gainsay them when they and Nature say precisely the same thing? |
38923 | And how are they Glorified? |
38923 | And making demivolte in air, Cried,''Where''s the coward would not dare To fight for such a laud?''" |
38923 | And yet how is it that these conceits are so painful now, when they have been pleasant to us in the other instances? |
38923 | Are things really so? |
38923 | But if you want to sit in your room and look at a beautiful picture, why should you blame the artist for giving you one? |
38923 | But let them, in the teeth of their pleasure or displeasure, simply put the calm question,--Is it so? |
38923 | But what science-- of motion, meat, and medicine? |
38923 | But what should Juno have done? |
38923 | For me, thus nurtured, dost thou ask The classic poet''s well- conned task? |
38923 | Frowned Diana into submission? |
38923 | Has it been, or is it, a true highness, a true princeliness, or only a show of it, consisting in courtly manners and robes of state? |
38923 | Has religious art never been of any service to mankind? |
38923 | Has there, then( the reader asks emphatically), been_ no_ true religious ideal? |
38923 | Hast thou come faster on foot than I in my black ship?" |
38923 | How camest thou under the Shadowy darkness? |
38923 | How can any one like both? |
38923 | How could thy soul, by realms and seas disjoined, Outfly the nimble sail, and leave the lagging wind?" |
38923 | How far is this true imagination to be truly represented? |
38923 | How far should the perfect conception of Pallas be so given as to look like Pallas herself, rather than like the picture of Pallas? |
38923 | How is it that we enjoy so much the having it put into our heads that it is anything else than a plain crocus? |
38923 | How, then, is this noble power best to be employed in the art of painting? |
38923 | I might answer to this; Well, what else_ should_ he do? |
38923 | I thus: From Campaldino''s field what force or chance Drew thee, that ne''er thy sepulchre was known?'' |
38923 | If they ever hope to do better, why do they trouble us now? |
38923 | If you know nothing_ but_ railroads, and can communicate nothing but aqueous vapor and gunpowder,--what then? |
38923 | If you want to feel as if you were in a shower, can not you go and get wet without help from Constable? |
38923 | If you want to feel as if you were walking in the fields, can not you go and walk in them without help from De Wint? |
38923 | Is Scott, or are the persons of his story, gay at this moment? |
38923 | Is it a safe or a seductive one? |
38923 | Is it absolutely required of the painter, who has conceived perfection, that he should so paint it as to look only like a picture? |
38923 | Is it religion? |
38923 | Is it rocky height or cloudy height, adamant or vapor, on which the sun of praise so long has risen and set? |
38923 | Is it science? |
38923 | Is not this_ altering_?" |
38923 | Is that the way a stone is shaped, the way a cloud is wreathed, the way a leaf is veined? |
38923 | Is there no saving clause from this terrible requirement of completion? |
38923 | Is, therefore, the pawnbroker''s imitation as good as the original? |
38923 | It seems to me, and may seem to the reader, strange that we should need to ask the question,"What is poetry?" |
38923 | Killed Diana with a look? |
38923 | May we wisely boast of it, and unhesitatingly indulge it? |
38923 | Must, therefore, this perfected nature be imperfectly represented? |
38923 | Not beaten Diana? |
38923 | Now in the bud, where all these proceedings on the leaf''s part are first imagined, the young leaf is generally( always?) |
38923 | Of what then? |
38923 | Shall I see glories beaming from his brow, Or trace his footsteps by the rising flowers?" |
38923 | The dark raging of the sea-- what form has that? |
38923 | The question is, then, what is the symbolic character of the Countess Matilda, as the guiding spirit of the terrestrial paradise? |
38923 | There is still the question open, What are the principal directions in which this ideal faculty is to exercise itself most usefully for mankind? |
38923 | There never were such beasts in the world as either of these?" |
38923 | This is still the only question for the artist, or for us:--"Is it a fact? |
38923 | Vulgar? |
38923 | Was not the nourishment of herbs and flowers a kind of ministering to his wants? |
38923 | Was not this, then, a healthy change? |
38923 | Well, what more does he tell us? |
38923 | Well, what more? |
38923 | Well; when you have moved your savage, and dressed your savage, fed him with white bread, and shown him how to set a limb,--what next? |
38923 | What is it which makes one truth greater than another, one thought greater than another? |
38923 | What is this in the picture which is precious to us, and yet is not natural? |
38923 | What more? |
38923 | What pleasantness may be in_ wrong_ ideas we do not here inquire; the only question for us has always been, and must always be, What are the facts? |
38923 | What single example does the reader remember of painting which suggested so much as the faintest shadow of these people, or of their deeds? |
38923 | What sort of a thing is a"celestial"lance? |
38923 | What, then, was actually the Greek god? |
38923 | Which Pope renders thus:--"O, say, what angry power Elpenor led To glide in shades, and wander with the dead? |
38923 | Who shall gainsay them? |
38923 | Who shall gainsay these men? |
38923 | Why fathom line? |
38923 | Why meet and flow? |
38923 | Why not have said at once, if that is all you mean, that two mists met, and one drove the other back? |
38923 | Why snow- white? |
38923 | Wounded her with a celestial lance? |
38923 | and that in the 23rd paragraph-- How does the imagination show itself in dealing with truth? |
38923 | can''st work i''the ground so fast?" |
38923 | were not the gods in some sort his husbandmen, and spirit- servants? |
38923 | why battlement? |
38923 | why massy? |
38923 | § 4, as imperative on all great art, that it shall be inventive, and a product of the imagination? |
17478 | The rose and poppy are her flowers; for where Is he not found, O Lilith, whom shed scent And soft- shed kisses and soft- shed sleep shall snare? 17478 Where is this contract? |
17478 | Why do n''t you finish that Christ? |
17478 | ... Was it a dream? |
17478 | Again, was it in four years and by renewed labour never really completed, or in four months and as by stroke of magic, that the image was projected? |
17478 | And did he study such merely from broken stones and pieces of coal, from twigs and weeds in his painting- room? |
17478 | Are these figures always his own? |
17478 | Art is adjectival, is it not, O Donatello? |
17478 | But a piece of pork in a naked hand? |
17478 | But if it has been a dream, how could I have learned to hum that tune out of_ Dinorah?_ Ah, is it that tune, or myself that I am humming? |
17478 | But if it has been a dream, how could I have learned to hum that tune out of_ Dinorah?_ Ah, is it that tune, or myself that I am humming? |
17478 | But what real artist would care to undertake such a responsibility? |
17478 | But, after all, it may be asked, is a painter like Botticelli, a second- rate painter, a proper subject for general criticism? |
17478 | By this we mean, upon whom has subject so acted that it has seemed to direct_ him_--not to be arranged by him? |
17478 | By various gestures he can express:"What do I care?" |
17478 | By what process was this picture produced? |
17478 | By what strange affinities had she and the dream grown thus apart, yet so closely together? |
17478 | Can he, with a few masterly touches and taking no more trouble than things are worth, indicate lace- work, or suggest jewellery, or rich embroidery? |
17478 | Could any closeness of individual imitation give the truth, beauty of colour, and luminous sunlight of this picture? |
17478 | Could anything more appropriate, or noble, be devised for a refectory than a parting meal which the whole world will reverence for ever? |
17478 | Did Alfred de Musset know these veiled forms that seem to float over the meadow and did he think of them in the sleeplessness of his nights of May? |
17478 | Did I not always suspect it?" |
17478 | Did he consult Brunellesco in the construction of his Greek Temple, or Donatello or Ghiberti for the statue inside? |
17478 | Did he know the legend of Helen of Troy, or had he to seek the advice of some scholar like Nicolli or Poggio for the right tradition? |
17478 | Do you maintain in good faith that Rembrandt in the_ Night Watch_ excels in treating them thus? |
17478 | Do you not notice rather a resemblance to the fortifications of Milan, with the Porta Romana and the Porta San- Lorenzo? |
17478 | Does he treat a stuff well? |
17478 | Does it deserve the importance attached to it? |
17478 | Does it follow that he really does paint as well as is commonly supposed? |
17478 | Does it not seem as if in thus fixing it from the first day, Rubens intended that neither he nor anyone else should forget it? |
17478 | Does it not seem that your eye is upon a vision of a fête by Boucher, shown by his pupil in Tasso''s garden? |
17478 | Finally, is it necessary to speak of the date of the_ Primavera_? |
17478 | First of all, though, what has the story of Judith to do with mythology? |
17478 | From his imagination, or from some old missal or choir- book illumination? |
17478 | Had he any fellow- pupils? |
17478 | Had he any masters? |
17478 | Had he no instincts to tell him that his art could have little to say to a legend? |
17478 | Have we any need to add that, like Rembrandt, the painter of painters, he died poor? |
17478 | Have we been to Holland? |
17478 | Have we heard the chimes at midnight at Antwerp? |
17478 | Have we not the man complete in his work? |
17478 | Have you noticed in_ L''Embarquement de Cythère_ all those naked little forms of saucy and knavish Loves half lost in the heights of the sky? |
17478 | How shall we represent the soft plenitude of a living form and the curves of limbs which flow into the leaning body? |
17478 | However, hitherto we have only examined the body, what shall we say about the head to give a true idea of it? |
17478 | If we wished to symbolize the genius of every painter in an allegorical picture, would it be any other than the angel of Urbino? |
17478 | In the background, between the feet of the consol- table, is seen a vase of Japanese porcelain: why not of Sèvres? |
17478 | Is it indeed the King who has arrived and is about to enter? |
17478 | Is it purely emblematic, or does it contain an allusion to some private matter? |
17478 | Is it white tinged with yellow? |
17478 | Is it yellow faded to white? |
17478 | Is the guard loading his musket rendered any better? |
17478 | Is there anything here, either in the foreground or the background that suggests Jerusalem? |
17478 | Is there anything more touching? |
17478 | Is there more in the individual figures? |
17478 | Is this ignorance, think you, in Giotto, and pure artlessness? |
17478 | May we not wisely judge ourselves in some things now, instead of amusing ourselves with the painting of judgments to come? |
17478 | Might he not, had he chosen, in either fresco, have made the celestial visions brighter? |
17478 | Moreover, what do you think of his right- hand neighbour, and of the drummer? |
17478 | Suppose the_ Saturday Review_ critic were to come suddenly on this picture? |
17478 | The picture, if it is a good one, should have a deeper interest, surely on_ this_ postulate? |
17478 | Then is Paul Potter a very great painter? |
17478 | Then is it a beautiful picture? |
17478 | Then where did Raphael find this serenity if not in himself? |
17478 | To what school did he belong? |
17478 | Transcriber''s Notes:{ a} Possible typo for sinister? |
17478 | 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? |
17478 | Were we really away for a week, or have I been sitting up in the room dozing, before this stale old desk? |
17478 | What became of Paul Potter? |
17478 | What could Michael Angelo reply to such an emphatic wish expressed so distinctly? |
17478 | What could be simpler, shorter, and more fully accomplished? |
17478 | What could one whose pencil had scarcely travelled beyond the limits of St. Giles''s, know of the inner secrets of St. James''s? |
17478 | What does he think of the"Van der Helst"which hangs opposite his_ Night- Watch_, and which is one of the great pictures of the world? |
17478 | What does their dreamy solemnity mean if not,"the Lord hath smitten him by the hand of a woman"? |
17478 | What is his execution in the picture before us? |
17478 | What is the meaning of this little imaginary or real being, who, however, is only a supernumerary while yet holding, so to speak, the chief rôle? |
17478 | What is to be done? |
17478 | What is to happen?" |
17478 | What is, in that story, the natural, essential( as opposed to the historical, fleeting) fact? |
17478 | What more could we wish? |
17478 | What says Botticelli the painter? |
17478 | What shall we say of the physiognomy, of the grace, and also the penetrating charm of those three child figures? |
17478 | What should Van Oort think of it? |
17478 | What was his life? |
17478 | What was the relationship of a living Florentine to this creature of his thought? |
17478 | When he places a feather at the brim of a hat, does he give it the lightness and floating grace that we see in Van Dyck, or Hals, or Velasquez? |
17478 | Whence came that wonderful landscape with its mountains and cypress trees and strange- shaped ships? |
17478 | Where are they going? |
17478 | Where did he live? |
17478 | Where was he born? |
17478 | Where, then, was he to get his natural facts in the story of Judith? |
17478 | Who then is this Meindert Hobbema? |
17478 | Who will describe the healthy and roseate flesh under the amber transparency of gauze? |
17478 | Why Botticelli and not Giotto, or Fra Angelico, or, to cite none but his contemporaries, why not Signorelli, or Ghirlandajo? |
17478 | Why is it, when looking at this picture, we have moments of divine oblivion in which we fancy ourselves in Heaven? |
17478 | Why is such simple means so highly successful in exalting our feelings? |
17478 | Why is that knuckle of pork not painted out? |
17478 | Why select Botticelli rather than any other artist of the Fourteenth or Fifteenth Century? |
17478 | Why this thought? |
17478 | Why? |
17478 | With what words can we paint the beauty of an attitude, a tone, or an outline? |
17478 | You may play with it, since it is false; and what a play would it not be, well written? |
17478 | _ Hobbema._] What is most admired in this picture of the Dutch Master? |
17478 | at any rate, why is not a little fringe of lace painted round it? |
17478 | or a cut pink paper? |
17478 | or suppose you covered the man''s hand( which is very coarse and strong), and gave him the decency of a kid glove? |
35934 | ''But whose fault is all this?'' 35934 And do I not feel, even now, a_ hypocrite_,_ to know_ my path, and yet so often to deviate from it? |
35934 | And yet-- how is it that my pleasure is not unalloyed? 35934 But why so many words? |
35934 | How many objections to a couple of words? |
35934 | Romola][ Illustration:"WILL HIS EYES OPEN?" |
35934 | Shall I make him a painter? |
35934 | To my amazement I have just received a letter from you, dear Mamma--_did_ I give you my direction? 35934 WILL HIS EYES OPEN?" |
35934 | Well, no( says I);"anything in it?" |
35934 | What can he hope for, if I let him prepare for this career? |
35934 | Will you be so kind as to tell Mr. Welsch that my trouble to find the Palazzo Scheiderff was in vain, and I have also unluckily not seen his brother? 35934 Your next question is: Am I comfortably_ settled_ in Rome? |
35934 | ''And who have you,''said Leighton one day to a certain Bettino( who is still living),''who resembles your ancient masters?'' |
35934 | ''Do I fully feel....''No,''Shall I_ continue_ fully to feel the immense importance to me of the three or four years now before me? |
35934 | ''What-- how-- shall I build, model, paint?'' |
35934 | ''Why do I model?'' |
35934 | ''Why should I build beautifully?'' |
35934 | ''Why,''he might have answered,''does the lark soar and sing?''" |
35934 | ***** Do you know of any one who would do a life- size_ copy_ of a portrait of the Queen in robes for the sum of_ £ 100_? |
35934 | ***** If you have leisure to think of anything but Miss Nan just at present, will you do me a favour? |
35934 | About my health? |
35934 | And how are my hopes fulfilled? |
35934 | And now, my Friend, how are you occupied? |
35934 | And whence does all that arise? |
35934 | And yet, what slight cloud was that, I felt pass over my pleasure, casting( I could not help it) an undefined shadow on my heart? |
35934 | And you, dearest Mamma, how are you? |
35934 | And you, my dear friend? |
35934 | Are the Sartorises to be there next winter, and where are they now? |
35934 | Are you equally industrious? |
35934 | But how comes it that Hommel and Hendschel, formerly your enthusiastic pupils, have now cooled down? |
35934 | But the Church of England has not gone as far as that; indeed, great attention is paid to our Church''s architecture; is there no inconsistency here? |
35934 | But what is the good of it all? |
35934 | But what then? |
35934 | But where is Werner? |
35934 | Can you do this for me, and either send it or bring it if you are about to return shortly? |
35934 | Circumstances induce me to deliver a sentiment of a parallel tendency; it''s all very well to say''mind you write''; but where''s the post? |
35934 | Did not I feel startled at being so palpably reminded that the_ child_ Gussy no longer exists? |
35934 | Did you ever hear---- piano- doodle himself? |
35934 | Did your organ of_ veneration_ do its duty? |
35934 | Do you chance to know any one in any of the villages about Bath who could pick up a couple? |
35934 | Do you fully appreciate the immense importance of the epoch? |
35934 | Do you happen to know what is the price of the floors in the house on the Pincio which was built by Byström the sculptor? |
35934 | Do you know this critic? |
35934 | Do you see Cornelius from time to time, and gain anything from him? |
35934 | Do you still sparkle with beautiful inventions? |
35934 | Do you sufficiently feel that you are on the brink of being_ OUT_? |
35934 | Does that not bespeak a curious mental development? |
35934 | Good gracious, where am I running to? |
35934 | Gussy dreams of me as"very handsome"and"are my whiskers growing?" |
35934 | H. How have the photographs turned out? |
35934 | Had I not hoped to note down, at once and in all their freshness, my emotions and impressions just as I should receive them? |
35934 | Has Schwind, with his splendid and varied gifts, ever been able to model a head with a brush? |
35934 | Has anything been settled? |
35934 | Have I described your picture? |
35934 | Have you already started on the other cartoon? |
35934 | Have you fallen in with either of the new married couples, Wilson or Leslie? |
35934 | Have you forgiven me, dear Friend? |
35934 | Have you heard lately? |
35934 | Have you painted the"Death of Christ"which pleased me so much? |
35934 | He was originally the apothecary of Hahneman( do I spell the name rightly?) |
35934 | Here are records of Nature complicated by no intellectual choice, no academic learning, no results of high education; and what is the result? |
35934 | How are the frescoes of Raphael painted and modelled? |
35934 | How could I pass by such dear old friends without loitering a little among them? |
35934 | How could you be surprised, dear Mamma, at my having begun the pictures? |
35934 | How does Papa take it? |
35934 | How has the experiment with the new ground turned out? |
35934 | How is Miss Nan? |
35934 | How is it that even sensible, clever men are so ill equipped? |
35934 | How is this? |
35934 | How long a holiday shall you take, and did you mean that you are staying with the Sartoris family as a visitor? |
35934 | How, in effect, do the two materials stand to one another? |
35934 | I come to another point which it is difficult to touch with conciseness: have I made any progress? |
35934 | I do n''t mean to hang up my Vintage, but keep it near me on an_ easle_( how do you spell it?). |
35934 | I do wonder at the critics: will they never let"the cat die"? |
35934 | I go there, I believe, next week, but_ where_ I shall be the winter----? |
35934 | I hurry back to the point with my tail between my legs; I was saying, was not I? |
35934 | I must also inform you that he has recently_ taken unto himself a wife_--a fact of which our good Jacob( that is his name, is it not?) |
35934 | I shall stay some weeks in Algiers-- can I do anything for you? |
35934 | I want a Euclid, mine is in England, how shall I get at it? |
35934 | If all goes well, I will arrive in Frankfurt on the 23rd of this month; does that fit in with your plans? |
35934 | If it were not so, why does the candidate send in some of his works for inspection? |
35934 | In the first act he rushes out frantically calling for his sword, to which Lady Capulet replies--"''A crutch, a crutch!--why call you for a sword?'' |
35934 | Is it not remarkable that the first artists of the modern day, in the higher walk of art, I mean, are_ Catholics_? |
35934 | Is it this doubt that makes him throw obstacles in my way? |
35934 | Is it to go to Great Castle Street? |
35934 | Is not this an encouragement to industry? |
35934 | Is there any other----? |
35934 | It seems not impossible to me that I may pass through Frankfurt next spring, then we will have a good long gossip together, wo n''t we? |
35934 | Little baby is the same sunbeam that he always was; did I tell you I painted his likeness in oils as a surprise for his father? |
35934 | May not such reminiscences well endear a place to one''s memory? |
35934 | Models are probably cheaper than in Germany-- are you conscious of improvement? |
35934 | Non c''è nessuno ancora? |
35934 | One episode is worth transcribing:"Seen to- day''s paper, sir?" |
35934 | One gets quite sick of_ education_ in Berlin; would you believe that now_ every girl_ has to pass an_ examination as governess_? |
35934 | Or is she so tender of admitting symbols into her bosom, she, whose corner- stone is a symbol: the Last Supper? |
35934 | Shall I fulfil what I have promised?''... |
35934 | Shall I have the energy to carry out all my resolutions? |
35934 | Shall, then, your stay in Italy be ended by the journey which you led me to hope would bring you to see me again? |
35934 | Stuart''s despatch is most gratifying and satisfactory, but I want to see it in print; where is it published? |
35934 | The necessity of taking infinite pains is but the natural and inevitable consequence of the burning desire born, who knows how? |
35934 | This was rather much for him, eh? |
35934 | Those were halcyon days; the questions,''Why do I paint?'' |
35934 | Was I then so intolerant in my expressions? |
35934 | Were you so kind as to pay the rent for me as I asked you? |
35934 | What becomes of the Frankfurt house? |
35934 | What did Pasta say of_ her_? |
35934 | What did poor Haydon( for I_ have_ read the book) get by his mordant gift of satire and his devouring thirst for ink? |
35934 | What has happened about the church you were to paint? |
35934 | What have you done with Steinle-- what heard of Gamba? |
35934 | What impressions has it left on me? |
35934 | What is about the compass of your voice? |
35934 | What man or woman ever acknowledged being jealous? |
35934 | What manner of children should we be, if we would not kiss the rod when we are chastised? |
35934 | What now? |
35934 | What shall I tell you about myself, my dear friend? |
35934 | What suits a salmon- coloured ribbon? |
35934 | What was it that gave Leighton this position? |
35934 | What words can give an idea of such a sight? |
35934 | What, on the other hand, are the advantages of oil? |
35934 | When I spoke to you so freely of the others, was that not a plain proof of how completely I except you? |
35934 | When did you make these charming drawings? |
35934 | When is it you expect to be here? |
35934 | When is the wedding to be? |
35934 | When shall I see one of your works again? |
35934 | Where is there a place where the artist could soar higher than in Rome? |
35934 | Where is there a town in which every stone has greater, more splendid things to tell us of every period? |
35934 | Who is----? |
35934 | Who knows but that it was at one of these notable picnics that Browning was inspired to write his wonderful little poem on the Campagna? |
35934 | Who was the friend that called up these lively images in your mind? |
35934 | Why imitate the uncomfortable line of that conventional rag? |
35934 | Why is a tub of water with a goose in it lighter than one without? |
35934 | Why should I not put him there? |
35934 | Why_ did_ you make yourself so pinched and sad- looking, Fay? |
35934 | Will you do me a_ great_ favour-- for my friend Hébert, to whom I am under great obligations? |
35934 | Will you do this for me? |
35934 | Will you forgive me, for old friendship''s sake, if I put in a word here, to which you need not give the smallest attention? |
35934 | Will you forgive my silence, and write to me? |
35934 | Will you please let me have her present direction, as I do n''t know it? |
35934 | Will you wait so long, or shall I seek an opportunity to send you your seven things? |
35934 | With what intentions did I begin to write this( journal)? |
35934 | Would they feel happy if they saw a Masaccio, a Ghirlandajo, a Carpaccio? |
35934 | You wo n''t sell it, will you? |
35934 | [ 13] On the 16th July all the schoolboys go on a three weeks''journey, whose wing but yours can take care of me for so long a time? |
35934 | [ MY VERY DEAR MAMMA],--How could you for one instant suppose that I could suspect you of coldness towards me? |
35934 | [ Sidenote: I am reminded,]"''Do you mean,''I hear you urge,''to come to the point, and tell us how you like Venice?'' |
35934 | _ Can the river offer its fountain a drink?_*****[ Sidenote: Pebble I.] |
35934 | _ Who reports_ me to have sneered at----? |
35934 | and Papa and the girls? |
35934 | and to speak also sometimes of the thousand little incidents that fall in one''s path, and which form the arabesque round the chapter of life? |
35934 | ca n''t you somehow get it and let me have it? |
35934 | did I not tell you the size of them? |
35934 | do you no longer regard me as your pupil? |
35934 | do you not feel what a store of artistic cowardice lies behind your words? |
35934 | do you not know the quantity of figures in the composition? |
35934 | eh? |
35934 | feel that they will be the corner- stone of my career, for good or for evil? |
35934 | glowing, flooded with light, clear as amber, and do you twig the_ grey_ canvas? |
35934 | or is it already over? |
35934 | or( which is more important) in what_ tessitura_ do you sing with least discomfort? |
35934 | that I involuntarily shrink from grasping the height of my wishes? |
35934 | the amiable inmate of this charming snuggery; where his pupils? |
35934 | what are you working at now? |
35934 | what do you think of this for an English girl? |
35934 | what is nature there for? |
35934 | what will he say to the epistle I have just sent off? |
35934 | why not tell me all? |
35935 | Hast thou killed, and also taken possession? |
35935 | What is this, O Sheykh, that thou hast done to us? 35935 Who,"I hear some one say,"is this dreamer of dreams, who hopes to cure by talking such deep- seated evils? |
35935 | Will you accept,Lady Strangford wrote,"as a token of my admiration of your house, a piece of ancient Persian needlework? |
35935 | ''And who have you,''said Leighton one day to a certain Bettino( who is still living),''who resembles your ancient masters?'' |
35935 | ( Do you see any elements of danger? |
35935 | ***** My tempera is come from Italy, and I am told that it is made of the tails( feelers?) |
35935 | *****_ October 16, 1894._ Will you kindly advise me on the tempera, of which I send a tube? |
35935 | After the first hour he reasoned with himself, and said:"Brabs( perhaps?) |
35935 | Am I wrong in thinking the action of the charcoal on it has been to render it more_ drying_? |
35935 | And if few, I ask why is this so? |
35935 | And if we are tolerant of treason against fitness in architecture, what shall we say of our tolerance in regard to its sculptural adornments? |
35935 | And is n''t that the reason why the copy of a picture can never be really like an original? |
35935 | And you, dear Master, what are you working at? |
35935 | Are not statues multiplying in our streets? |
35935 | Are there different kinds of Aureolin? |
35935 | Are these not facts patent to all, and do they not seem to cut from under your feet the ground on which you seek to stand?" |
35935 | Are you writing to Gussy? |
35935 | Are your cartoons all finished? |
35935 | At all events, if a man must illustrate, why does he not illustrate Shakespeare, a bigger man head and shoulders than any of the Greek tragedists? |
35935 | Because Leighton is not Whistler, or Watts is not Sargent, why must the one be admired at the expense of the other? |
35935 | But is this even rare? |
35935 | But now the question arises, ought the canvas to be_ prepared_? |
35935 | But why a selection at all? |
35935 | By- the- bye, do you hear or know anything of those two drawings I did of you and Mrs. Browning? |
35935 | Can you tell me when the practice was changed? |
35935 | Did he"to laugh me,"as the fish did by Hosseyn? |
35935 | Did you by chance write the note? |
35935 | Did you receive a letter of mine from Castle Howard? |
35935 | Do you aim at the wider extension of artistic education in this country? |
35935 | Do you demur? |
35935 | Do you know the music? |
35935 | Do you think that would be necessary? |
35935 | Had they wine in this district? |
35935 | Have I already told you the subject of my religious picture? |
35935 | Have you read"Sylvia''s Lovers"? |
35935 | He was, undoubtedly still is, a very gifted man, but had to guard somewhat, had he not? |
35935 | Her face and hair, though deliciously beautiful, are not just the thing-- how could they be? |
35935 | How am I? |
35935 | How are you, darling? |
35935 | How can such an attitude of intimate sympathy belong to the many? |
35935 | How is she? |
35935 | How should they be? |
35935 | How soon will the sealing sands give rest at last to those steadfast, expectant eyes? |
35935 | How would it strike you to wait a month or two, having now laid the foundation? |
35935 | How_ could_ she go on the stage?" |
35935 | However, I shall wear a brave face, and who knows but that some good may arise to me out of this? |
35935 | I also use cadmium_ red_; is that wrong? |
35935 | I asked him"what he thought of it"? |
35935 | I ca n''t say more, can I? |
35935 | I enjoyed myself at Panshanger very much-- did I write to tell you who our party was? |
35935 | I know this mixture_ wo n''t come off_, but why should it? |
35935 | I may say this without presumption, because the great question which we are discussing:"How can Art be made most useful to England?" |
35935 | I pensier miei già de''miei danni lieti Che fian se s''a due morti m''avvicino L''una m''è certa, l''altra mi minaccia? |
35935 | I suppose one ought not to use it, ought one? |
35935 | I suppose"Mutrie yellow"is quite safe alone and mixed with other pigments? |
35935 | I would_ try_ to recover it-- I hate losing letters, do n''t you? |
35935 | If so, will you give the one of you to Hookes that he may send with some other things he has? |
35935 | If the first painting is a year old, is it not tough enough to resist the atmosphere, and is it not_ anyhow_ pretty safe when the canvas is_ backed_? |
35935 | If the madders are in themselves sound colours, as I have always understood them to be, how do they lose their permanence by burning? |
35935 | In all one''s dealings with Leighton what did one find? |
35935 | In sum, I ask myself what the outcome is-- what_ is_ the selection? |
35935 | In the name of Cellini-- nay, in the name of common sense, why? |
35935 | Is it Napier of_ Magdala_? |
35935 | Is it not a pleasant change to have that opening made through the walls of the city, so as to see the sky and the mountains? |
35935 | Is it not of constant occurrence? |
35935 | Is it not_ always_ better to have_ some_ resin in a picture_ throughout_ since it has to be varnished at the end? |
35935 | Is not architecture, as an art, finding at this time increasing, if tardy, acceptance at the hands of private individuals? |
35935 | It would never have occurred to me to ask myself the question, Are there not_ pipes_ or something? |
35935 | MY DEAR LEIGHTON,--Shall I confess it? |
35935 | MY DEAR SIR FREDERIC,--Have any of the multitude of men who love you ever called you Chrysostom? |
35935 | Maria Novella? |
35935 | May I come on Tuesday afternoon for both? |
35935 | Mrs. Orr wrote:"When the official will had been drawn up and signed, he said,''Does this give my sisters absolute control over all I have?'' |
35935 | Ne me suis je pas fait plaisir en vous reconnaissant du talent et en vous rendant la justice qui vous est due? |
35935 | Now I presume he means"Gum Dammar"( I believe there is such a thing, is there not? |
35935 | On being asked the next day, as he came into our house,"How is it?" |
35935 | On the lawyer answering in the affirmative, Leighton asked,''Then no one can interfere with them?'' |
35935 | Or did he merely mean to say that, if the Valley of the Nile had not turned north- west between Keneh and Manfaloot, it might have turned north- east? |
35935 | Or do you tax the great municipal bodies of England with remissness on this score? |
35935 | Shall we reach Assouan to- day? |
35935 | Shall you soon begin your frescoes? |
35935 | Syria is a poor Chili; the Libanus is a mole- hill compared with the Andes-- do you remember? |
35935 | The Arabs say_ kokh_( guttural ending); is this a mere coincidence, and does the word date beyond the Crusades? |
35935 | Then why is the best talent not enlisted in this work? |
35935 | This room was whitewashed, but so roughly bedaubed that the plain deal cupboards, the doors of which formed the only embellishment(?) |
35935 | Two walls are already finished, are they not? |
35935 | View of Assiout(?). |
35935 | WHY? |
35935 | Was there ever criticism worth adjustment? |
35935 | We have enough to say and look at, surely, for two mornings-- one by ourselves? |
35935 | Well, what then is our charge in respect to the present relation of the country to art? |
35935 | What are the shortcomings for which we are here to seek a remedy? |
35935 | What are you working at just now? |
35935 | What easel pictures have you undertaken? |
35935 | What has become of Mrs. Sartoris? |
35935 | What hitherto unfulfilled ends do you seek to achieve? |
35935 | What is it that impresses us most in the contemplation of the artistic activity of this race? |
35935 | What other beautiful things have you composed? |
35935 | What rank or privilege needs art supreme-- Immortal child of buried states and powers-- Who can for us the golden age renew? |
35935 | What will poor Browning do if she dies? |
35935 | When is the fresco to be begun? |
35935 | When such an one as Leighton is working on great lines, the last thing he thinks of is, Who is really achieving the work? |
35935 | Where is the solution? |
35935 | Where was thy favouring grace, O Sheykh? |
35935 | Where, indeed, for vigour of invention, can we find a drawing to surpass these few pencil lines? |
35935 | Whether his special gifts guide his passion, or his passion his gifts, who can say? |
35935 | Who is the woman? |
35935 | Will it be published by itself and obtainable in some handier form than the broadsheet of the_ Times_? |
35935 | Will you forgive me for all this, dear master? |
35935 | Will you look at it by the original? |
35935 | Would you have an instance of this high consciousness? |
35935 | Would you like to look at it again from curiosity? |
35935 | Wull, have I not buy it? |
35935 | _ Is_ the sakkea my friend or my enemy? |
35935 | _ January 27,(?) |
35935 | _ Monday, February 1,(?) |
35935 | _ brun foncé_? |
35935 | am I a sailor? |
35935 | and Lina and Gus? |
35935 | and Papa? |
35935 | and do you know when or how he died, if he be indeed dead? |
35935 | and how is Mamma? |
35935 | and the tobacco, was it not good? |
35935 | and"How can the best work of artists be made to influence the rest of the community?" |
35935 | but surely you did n''t offer it me before? |
35935 | cracking? |
35935 | darkening?) |
35935 | did I not give thee a shirt when we last came by? |
35935 | e se me la rompi pas? |
35935 | half Irish? |
35935 | half Norse? |
35935 | he know we have roast meat-- how he know that?" |
35935 | how do you expect me to get her off-- or on? |
35935 | if so will you tell her that I mean to give her some lessons with Hallé when she comes to London? |
35935 | if so, I knew the old lord of that ilk; indeed, to be accurate, I knew him even if it was not so; or Lord Napier of_ Ettrick_? |
35935 | in what have we been wanting towards thee? |
35935 | involves the two other questions:"What are the best conditions under which artists can work?" |
35935 | say at the Athenæum, or here a little later? |
35935 | si vous m''avez donné l''occasion de vous faire part de ma vieille espérance n''est ce pas une preuve de l''estime que vous faites de mes conseils? |
35935 | the slave is my sheep-- is it not my slave? |
35935 | was the roast meat not sufficient? |
35935 | we all exclaimed,''what shall we do? |
35935 | what a state of things, and who shall ever let the light into the tenebrous and foul depths? |
35935 | what would you have felt at the sight? |
35935 | which shall I begin with, to tell you that I delight in Baby''s toes or that exquisite poetry in the scene where Romola is standing? |
35935 | why are we thus punished?" |
35935 | why do you come to me about your boat? |
35935 | why shall I mind? |
44329 | But is not that just what they do? |
44329 | But may they not be just so nicely mixed out of something and nothing, as to float where they are wanted? |
44329 | But may they not be quill- feathers, and have air inside them? 44329 But may they not have nothing inside their quills?" |
44329 | Down the stalk? |
44329 | How? |
44329 | Knowest thou the balancings of the clouds? |
44329 | Nay, but though unlike boats, may they not be like feathers? 44329 The wondrous works of Him which is perfect in knowledge?" |
44329 | What is the use of them,he said,"but together? |
44329 | What need had it to be elsewhere? 44329 Who can understand his errors?" |
44329 | 8220;At a certain distance?" |
44329 | ''And now how do you live?'' |
44329 | ''And what are you now?'' |
44329 | ''Brooklime?'' |
44329 | ''Have you been a sailor?'' |
44329 | ''Is your mother a painter?'' |
44329 | ''What do you call it lime for?'' |
44329 | ''You are a Scotchman, are not you?'' |
44329 | 70. Who shall say how many humors the little thing has in its mind already; or how many adventures it has passed through? |
44329 | A blue horizontal bar of the air that Titian breathed in youth, seen now far away, which mortal might never breathe again? |
44329 | A church spire having been left out in a sketch of a town--"Why did you not put that in?" |
44329 | A city of marble, did I say? |
44329 | A vulgar man would assuredly have been cautious, and asked"who it was?" |
44329 | Admitted? |
44329 | And was it not well to trust to such keepers the guarding of the golden fruit which the earth gave to Juno at her marriage? |
44329 | And who are these workers? |
44329 | And, beyond that mortality, what hope have we? |
44329 | And, secondly, what bends each of them into these flame- like curves, tender and various, as motions of a bird, hither and thither? |
44329 | Are neither blue, but only white, producing blue when seen over dark spaces? |
44329 | Are you as well satisfied with it? |
44329 | Beside her, childish labor( lesson- learning?) |
44329 | But how do you discern the equality? |
44329 | But how for next? |
44329 | But how shall it come? |
44329 | But if this is so, how does the original stem, which never lengthens, ever become the tall trunk of a tree? |
44329 | But is this indeed so delightful? |
44329 | But to us, as artists, or lovers of art, this is the first and most vital question concerning a plant:"Has it a fixed form or a changing one? |
44329 | But to what purpose? |
44329 | But what is it at_ e_? |
44329 | But what is to be done next? |
44329 | But what is_ that_? |
44329 | But what pleasure can be in a boat? |
44329 | But why, the reader will ask, is no place given in this scheme to the"Christian"or spiritual art which preceded the naturalists? |
44329 | By sight? |
44329 | By the Fleming, she had been despised; what mattered the heavenly colors to him? |
44329 | By what hands is the incense of the sea built up into domes of marble? |
44329 | Can the dust of earth claim more of immortality than this? |
44329 | Comprehended? |
44329 | Could he breathe or see, but that Christ breathed beside him and looked into his eyes? |
44329 | Does that mean according to rule? |
44329 | Eddies of wind? |
44329 | En quel nombre? |
44329 | Fierce murmurers, answering each other from morning until evening-- what rebuke is this which has awed them into peace? |
44329 | Fifteen hundred years of spiritual teaching were called into fearful question, whether indeed it had been teaching by angels or devils? |
44329 | For all practical purpose, might it not as well be out of the text? |
44329 | For what can we conceive of that first Eden which we might not yet win back, if we chose? |
44329 | Granted whatever you choose to ask, concerning its material, or its aspect, its loftiness and luminousness,--how of its limitation? |
44329 | Has it hidden a cloudy treasure among the moss at their roots, which it watches thus? |
44329 | Has the reader any distinct idea of what clouds are? |
44329 | Has the reader ever considered the relations of commonest forms of volatile substance? |
44329 | Has the reader ever considered, carefully, what is the meaning of"doing"a thing? |
44329 | Has there been no Resurrection?" |
44329 | Have you ever thought what a world his eyes opened on-- fair, searching eyes of youth? |
44329 | Here is at last one who confesses them, but is it well? |
44329 | Here is perhaps the first question which an intelligent child would think of asking about a tree:"Mamma, how does it make its trunk?" |
44329 | How can they be drawn asunder, yet not allowed to part? |
44329 | How is a cloud outlined? |
44329 | How is it that at a certain height this vertical trunk ceases to be built; and irregular branches spread in all directions? |
44329 | How of the herb yielding_ no_ seed,[4] the fruitless, flowerless lichen of the rock? |
44329 | How of the radiating ones? |
44329 | How, then, did its art so swiftly pass away? |
44329 | How, then, do the two minor circles change into one large one? |
44329 | If any one asks, respecting the broken roofs,"What did it?" |
44329 | If by words,--how do you know their meanings? |
44329 | If either blue, or white, why, when crimson is their commanded dress, are the most distant clouds crimsonest? |
44329 | 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? |
44329 | If so, how less important than form? |
44329 | If the depth or thickness of these streams be such as at_ b_ and_ c_, what will their thickness be when they unite at_ e_? |
44329 | Is English wet weather, indeed, one of the things which we should desire to see Art give perpetuity to? |
44329 | Is it not peace? |
44329 | Is it the watery vapor, or the air itself, which is blue? |
44329 | Is it well to watch them as Turner does, and strive to paint them through all deficiency and darkness of inadequate material? |
44329 | Is its flame quenchless? |
44329 | Is the answer ever to be one of pride? |
44329 | Is the vulgarity, then, only in trying to play a part you can not play, so as to be continually detected? |
44329 | Is_ our_ knowledge ever to be so? |
44329 | Is_ this_, then, all the book I have got to read about God in?" |
44329 | It dries, that is, becomes volatile, invisibly, at( any?) |
44329 | It might do so in the Anacreontic temper--[Greek: Ti Pleiadessi, kamoi];"What have I to do with the Pleiads?" |
44329 | Lapped in pale Elysian mist, chilling the forgetful heart and feeble frame, shall we waste on forever? |
44329 | Lastly: What kind of people have we on this winding road? |
44329 | May not all their particles be minute little balloons?" |
44329 | May not chance and the whirl of passion govern us there; when there shall be no thought, nor work, nor wisdom, nor breathing of the soul? |
44329 | May we, indeed, lie down again in the dust, or have our sins not hidden from us even the things that belong to that peace? |
44329 | No matter how ugly it is,--has it anything about it like Maiden Lane, or like Thames''shore? |
44329 | On what anvils and wheels is the vapor pointed, twisted, hammered, whirled, as the potter''s clay? |
44329 | Or has some strong enchanter charmed it into fond returning, or bound it fast within those bars of bough? |
44329 | Or shall we have even so much as rest? |
44329 | Or suppose the fish had been cut and stitched finely out of skin and whalebone; yet, cast upon the waters, had not been able to swim? |
44329 | Or those war- clouds that gather on the horizon, dragon- crested, tongued with fire;--how is their barbed strength bridled? |
44329 | Or, is it wiser and nobler-- like Claude, Salvator, Ruysdael, Wouvermans-- never to look for them-- never to portray? |
44329 | Ought we to admire their colors, or despise them? |
44329 | Our English artists naturally painted it often and rightly; but are their pictures the better for it? |
44329 | Phorcys( Orcus? |
44329 | Prudent little sapling!--but how does he manage this? |
44329 | Put the fine dresses and jewelled girdles into the best group you can; paint them with all Veronese''s skill: will they satisfy you? |
44329 | Revelation to what? |
44329 | Shall I find it always as I do to- day-- this Parnassia palustris-- with one leaf and one flower? |
44329 | Shall we begin with one or two easiest questions? |
44329 | So far only as you give him these can he serve you; that is the meaning of the question which his Master asks always,"Believest thou that I am able?" |
44329 | Take out the faces; leave the draperies, and how then? |
44329 | The poor Jew, Zimri, who slew his master, there is no peace for him: but, for us? |
44329 | The question before us now is, therefore, What value ought this attribute of clouds to possess in the human mind? |
44329 | The visible cloud of frankincense-- why visible? |
44329 | They should have asked simply, was it a true message? |
44329 | Thus, then, for the last time, rises the question, what is the true dignity of color? |
44329 | To a nature incapable of receiving truth? |
44329 | To the same person producing a sketch, which had no special character:"What are you in_ search_ of?" |
44329 | Was he not always with him? |
44329 | Was it a blue cloud? |
44329 | Was it a mirage-- a meteor? |
44329 | Was it ochre?--said the world-- or red lead? |
44329 | Was not the Val d''Arno, with its olive woods in white blossom, paradise enough for a poor monk? |
44329 | We have seen how mountains are beautiful; how trees are beautiful; how sun- lighted clouds are beautiful; but can rain be beautiful? |
44329 | Well: what hinders us from covering as much of the world as we like with pleasant shade and pure blossom, and goodly fruit? |
44329 | Were these Thaumantian things so, in the real universe? |
44329 | What are the heavens? |
44329 | What are we to do? |
44329 | What did he see in Maiden Lane? |
44329 | What has it to do with that clump of pines, that it broods by them and weaves itself among their branches, to and fro? |
44329 | What has the black vine trellis got to do? |
44329 | What hews it into a heap, or spins it into a web? |
44329 | What is it that throws them into these lines? |
44329 | What is that? |
44329 | What is the world which they are to"fight with,"and how does it differ from the world which they are to"get on in"? |
44329 | What is their motive? |
44329 | What says he of himself? |
44329 | What separates these thousands of clouds each from the other, and each about equally from the other? |
44329 | What should make it bind itself in those solid mounds, and stay so:--positive, fantastic, defiant, determined? |
44329 | What then is a"creation"? |
44329 | What was the distinctive effect of light which he introduced, such as no man had painted before? |
44329 | What, let us ask next, is the ruling character of the person who produces-- the creator or maker, anciently called the poet? |
44329 | What, then, is the use of asking the questions? |
44329 | When people read,"the law came by Moses, but grace and truth by Christ,"do they suppose that the law was ungracious and untrue? |
44329 | When the time comes for us to wake out of the world''s sleep, why should it be otherwise than out of the dreams of the night? |
44329 | Where are set the measures of their march? |
44329 | Where ride the captains of their armies? |
44329 | Wherein lies the difference? |
44329 | Who can stand before his cold?") |
44329 | Who else could shepherd such? |
44329 | Who forbids its valleys to be covered over with corn, till they laugh and sing? |
44329 | Who shall come after us? |
44329 | Why is this? |
44329 | Would it stay to be approached? |
44329 | Yes: but why not before? |
44329 | and are those gates that keep the way indeed passable no more? |
44329 | hast thou ever heard of these fair and true daughters of Sunset, beyond the mighty sea? |
44329 | here in thine own land, too, wilt thou not cease from cheating? |
44329 | or could Christ be indeed in heaven more than here? |
44329 | or is it not rather that we no more desire to enter? |
44329 | or may it some day have incalculable pomp of leaves and unmeasured treasure of flowers? |
44329 | or why then? |
44329 | or word? |
44329 | tiara on head, may we not look out of the windows of heaven?" |
44329 | what bits are these they are champing with their vaporous lips; flinging off flakes of black foam? |
44329 | what hand has reined them back by the way by which they came? |
44329 | § 17. Who_ giveth_ peace? |
8162 | A special permission granted to him by the State? |
8162 | Are you going to get a new canvas? |
8162 | But you ca n''t paint yellow ochre on yellow ochre without getting it dirty? |
8162 | Do you know,cried one painter to the other,"that nothing is more interesting to paint than a shepherd on the banks of_ a river_?" |
8162 | Do you see that man copying the right- hand corner of the picture? 8162 If not at Kensington nor at the Beaux Arts, where am I to obtain the education I stand in need of?" |
8162 | May I ask, sir, if you know what that picture represents? |
8162 | Really; may I ask who says so? |
8162 | Sir, wo n''t you put down your name for a ten- guinea proof signed by the artist? |
8162 | Then, perhaps, you will take one at five-- the same without the signature? |
8162 | Yes, is n''t it superb? |
8162 | 221 is in feeling and quality of workmanship a Dutch picture of the best time? |
8162 | A decoration for where? |
8162 | And are the coming Associates Mr. Hacker, Mr. Shannon, Mr. Solomon, Mr. Alfred East, Mr. Bramley? |
8162 | And are there not excellent reasons for holding to this opinion? |
8162 | And did not Reynolds, Gainsborough, and Romney begin to paint almost immediately after the victories of Marlborough? |
8162 | And did not our Elizabethan drama follow close upon the defeat of the Armada, the discovery of America, and the Reformation? |
8162 | And do not the attitudes of the two women leaning over the side represent their suffering? |
8162 | And how? |
8162 | And if he apprehended danger and would save us from it, why did he choose to ask his friend M. Bouguereau to exhibit at the Academy? |
8162 | And is not every picture that fails to move, to transport, to enchant, a mistake? |
8162 | And the blossoms on the trees, are they not touched in with the lightness of hand and delicacy of tone that you desire? |
8162 | And what else is Mr. Hacker''s execution? |
8162 | And when we ask ourselves if the picture has style, is not the answer: It is merely the apotheosis of fashionable painting? |
8162 | And who sits in this delicate boudoir perfumed with a faint scent, a sachet- scented pocket- handkerchief? |
8162 | And, after all, what is art but rhythm? |
8162 | Are not the grey and the dark green sufficiently contrasted? |
8162 | Are the individual temperaments of Terburg, Metzu, and Peter de Hoogh very strikingly exhibited in their pictures? |
8162 | Are the proportions of the figure correctly measured, and are the anatomies well understood? |
8162 | Are there not other modern and special signs which distinguish the nineteenth century French schools from all the schools that preceded it? |
8162 | Are they not the very legs that the gutter breeds? |
8162 | Are we not looking into the heart of nature, and do we not hear the silence that is the soul of evening? |
8162 | Are women without souls, or is it that they dare not reveal their souls unadorned with the laces and ribbons of convention? |
8162 | As I stood lost in admiration of this drawing, I heard a rough voice behind me:"C''est bien beau, n''est pas?" |
8162 | Because each face is drawn in its distinctive lines, and each tells the tale of instincts and of race? |
8162 | Because nothing has been omitted that might have been included, because nothing has been included that might have been omitted? |
8162 | Because the clothing is in its accustomed folds and is full of the individuality of the wearer? |
8162 | Because the colour is harmonious, and though low in tone, rich and strong? |
8162 | Because the painting is clear, smooth, and limpid and pleasant to the eye? |
8162 | Because the scene is like a real scene passing before your eyes? |
8162 | But can we credit Mr. Dicksee with any artistic intention in the picture he calls"Leila", hanging in the next room? |
8162 | But does Monet merit this excessive patronage, and if so, what are the qualities in his work that make it superior to Sisley''s and Pissaro''s? |
8162 | But if no danger need be apprehended, why did Sir Frederick trouble to raise the question? |
8162 | But if the drawing when judged by the highest standard fails to satisfy us, what shall be said of the colour? |
8162 | But is any one of these pictures complete in itself? |
8162 | But is it a beautiful picture? |
8162 | But is the drawing distinguished, or subtle, or refined? |
8162 | But is there any real analogy between a dressmaker''s shop and a picture gallery? |
8162 | But is this Manet''s final achievement, the last word he has to say? |
8162 | But the ordinary show-- a collection of works by a tenth- rate French artist-- why should the Press advertise such wares gratis? |
8162 | But were we ever sincere in our praise of him as we are sincere in our praise of Degas, Whistler, and Manet? |
8162 | But what has physical condition got to do with painting? |
8162 | But why alter the colour when he could keep it in such exquisite value? |
8162 | But why is it beautiful? |
8162 | But why should not the Royal Family decorate its palaces with bad art? |
8162 | By the side of this picture do not all the other pictures in the gallery seem like little painted images? |
8162 | Can we point to any blue in Mr. Watts''as fresh and as beautiful as the blue carpet under the Princess''s feet? |
8162 | Can you detect anywhere a measurement? |
8162 | Compared with this drawing, would not Holbein seem a little geometrical? |
8162 | Did Ruysdale paint direct from nature or from drawings? |
8162 | Did a frock coat flap out in the wind so well before? |
8162 | Did his art suffer from want of education? |
8162 | Did it save Alfred Stevens, the great sculptor of his generation, from the task of designing fire- irons? |
8162 | Did that dear, good doctor entertain any hopes of the poor little thing''s recovery? |
8162 | Did the early masters paint first in monochrome, adding the colouring matter afterwards? |
8162 | Do they owe their art to a wise festheticism, or to a fortunate limitation of sight? |
8162 | Do we not seem to know her? |
8162 | Do you perceive a base, a fixed point from which the artist calculated and compared his drawing? |
8162 | Has any attempt been made to compose the colour, to carry it through the picture? |
8162 | Has not the Academy for the last five- and- twenty years lent the whole stress and authority of its name to crush Mr. Whistler? |
8162 | Has not the Princess Louise, the artist of the family, publicly exhibited sculpture? |
8162 | Has not the Queen published, or rather surreptitiously issued, certain little collections of drawings? |
8162 | Has the nineteenth century brought any new intention into art which did not exist before in England, Holland, or Italy? |
8162 | He does not hesitate, he consults no one-- and why should he? |
8162 | How could they refuse? |
8162 | How her head- dress of large laces decorates the paper, and the elaborate working out of the pattern, is it not a miracle of handicraft? |
8162 | How many of us can say as much? |
8162 | How much did Mr. Whistler take from the Japanese? |
8162 | How much did Rubens take from Titian? |
8162 | How often did the Academy refuse Cecil Lawson''s pictures? |
8162 | How often have they passed him over? |
8162 | How should it? |
8162 | How should poor Smith see anything in the picture except what Mr. Whistler wittily calls"rather a foolish sunset"? |
8162 | I know of no more tragic story-- do you? |
8162 | If the sky''s beauty can be expressed by a symbol, why can not the beauty of men and women be expressed in the same way? |
8162 | In each instance the question asked was-- what opportunity do they afford for the display of marvellous human form? |
8162 | Ingres''drawing is one thing, Raphael''s is another; still I would ask if any one thinks that Raphael could have carried a drawing as far as Ingres? |
8162 | Inwardly we answer,"All you say is most interesting; but why did n''t you put all that into your picture, into your novel?" |
8162 | Is Mr. Jones the only instance of a man being elected to the Academy who had never exhibited there? |
8162 | Is it because of the individual character represented in the faces? |
8162 | Is it possible to regard the"Last Judgment"as anything else but a coloured bas- relief, more complete and less perfect than the Greeks? |
8162 | Is she not equally an exhortation to be wise? |
8162 | Is the ambition of Manchester and Liverpool limited to paltry imitations of the Chantrey Fund collection? |
8162 | Is the colour deep and sonorous, like Alfred Stevens''red velvets; or is it thin and harsh, like Duran? |
8162 | Is this so? |
8162 | It is slight, and so most typical; for, surely, no age was ever so slight in its art as ours? |
8162 | Know ye the land where Botticelli and Filippo Lippi dreamed immortal dreams? |
8162 | Know ye the land, Italy in the fifteenth century? |
8162 | Know ye the land? |
8162 | Know ye the land? |
8162 | Look at the embroideries on the dresses, are they not delicate? |
8162 | Look at the gesture of the hand on the right; is not the association of ideas strangely intimate, curious, and profound? |
8162 | Monet sees clearly, and he sees truly, but does he see beautifully? |
8162 | Mr. Whistler''s portrait reveals certain general observations of life; but has he given one single touch intimately characteristic of his model? |
8162 | Must we then conclude that all education is an evil? |
8162 | Of course this is very"daring", but is it anything more? |
8162 | Often a reactionary says,"Name the good pictures that have been rejected; where can I see them? |
8162 | One rubbed one''s eyes; one said, Is this a joke, and, if so, where is the point of it? |
8162 | Or did their eyes see it, and did they disdain it? |
8162 | Or should I say reformation, for the execution by a series of dots is implicit in the theory of the division of the tones? |
8162 | Or was it that Manet had begun to yield to an influence-- that of Monet, Sisley, and Renoir-- which was just beginning to make itself felt? |
8162 | Or who shall challenge the technical beauty of Velasquez or of Hals, or the technical dexterity of Terburg, or Metzu, or Dow, or Adrian van Ostade? |
8162 | Or, to put the case more clearly, surely Morland would have seen very much as Mark Fisher sees if he had lived in the nineteenth? |
8162 | See these lines, are they not in themselves beautiful? |
8162 | Shannon?" |
8162 | She is dressed in a long white garment neither beautiful nor explicit: is it a nightdress, or a piece of conventional drapery? |
8162 | Surely Mark Fisher would have seen more beautifully if he had lived in the eighteenth century? |
8162 | Take, for example, the pencil drawing in the Louvre, the study for the odalisque: who except a Greek could have produced so perfect a drawing? |
8162 | That hat is so well placed in the canvas; the expression of the face and body, are they not perfect? |
8162 | The Princess Beatrice, has she not done something in the way of designing? |
8162 | The face charms us with its actuality; but is there a touch intimately characteristic of the model? |
8162 | The figure, the man that the wind blows out of the picture, his hat about to leave his head, is not he really on board in a gale? |
8162 | The ordinary man''s aversion to such ugliness seems to me to be entirely right, and I only join issue with him when he says,"Why paint such subjects?" |
8162 | The picture is excellent, but why is it excellent? |
8162 | Then this art is wholly irresponsible-- it grows, obeying no rules, even as the flowers? |
8162 | Then why the site, and why the Royal charter? |
8162 | Then why were they elected? |
8162 | There is no such thing as cosmopolitanism in art? |
8162 | This is not quite clear, is it? |
8162 | Those blacks-- are they not perfectly observed? |
8162 | To appreciate the sublime height, must we not know something of the miserable depth? |
8162 | We have Free Trade in literature, why should we not have Free Trade in art? |
8162 | What did the Luxembourg do for Corot, Millet, Manet, Degas, Monet, Renoir, Sisley, Pissaro? |
8162 | What has our Academy done to rescue struggling genius from poverty and obscurity? |
8162 | What is the complementary colour of blue, grey, and orange? |
8162 | What should we think of a man who said that he did not know which he preferred- a poem by Tennyson, or a story out of the_ London Journal_? |
8162 | What would the Athenians have thought of Pericles if he had proposed the ornamentation of the city with Persian sculpture? |
8162 | When Titian painted the"Entombment of Christ", what did he see? |
8162 | When they did accept him, was it not because he had become popular in spite of the Academy? |
8162 | Whence did the belief originate? |
8162 | Where is the drawing visible except in the result? |
8162 | Who does not know this man? |
8162 | Who has not suffered from his importunities? |
8162 | Who shall rival the splendours, the profusion of Veronese, the opulence of Tintoretto, the richness of Titian, the pomp of Rubens? |
8162 | Why does not Liverpool or Manchester buy one of these masterpieces? |
8162 | Why exaggerate; why outstrip the plain telling of the facts? |
8162 | Why has he not bought an Ingres, a Corot, a Courbet, a Troyon? |
8162 | Why has he showed such excessive partiality for squint- eyed Italian saints? |
8162 | Why not add that he was neither a tennis player nor a pigeon shot, a waltzer nor an accomplished French scholar? |
8162 | Why not? |
8162 | Why paint such subjects?" |
8162 | Why should it not choose the most worthless portrait- painters of all countries? |
8162 | Why should not every artist go into the market without title or masquerade that blinds the public to the value of what he has to sell? |
8162 | Why should not the humanitarianism of Mr. Tate induce him to give his money to science instead of to art? |
8162 | Why stop at all, unless the neighbours protest that we are interfering with their complementaries?" |
8162 | Why then should one be a picture and the other no more than a bald illustration? |
8162 | Why will the art patron never take advice? |
8162 | Why, notwithstanding its extraordinary genius, does it come last in merit as it comes last in time amongst the world''s artistic epochs? |
8162 | Why, then, should our newspapers waste space on the description of pictures which not one reader in fifty has seen or will see? |
8162 | Why, with better brains, and certainly more passion and desire of achievement, does the French school fall behind the English? |
8162 | Why? |
8162 | Would the child live or die? |
8162 | and in what fancied substance of fact did it catch root? |
8162 | and who is that gentleman?" |
8162 | are they not sharp, clear, and flowing, according to the necessity of the composition? |
8162 | by the State?" |
8162 | do not the star- flowers come in the right place? |
8162 | do they not bring to your eyes a sense of repose and unity? |
8162 | is his an enchanted vision? |
8162 | is not the yellow in harmony with the grey and the green? |
8162 | or is it mere parade of knowledge and practice of hand? |
8162 | or is it merely a vivacious appearance? |
8162 | were we ever as mad as that?" |
8162 | what are trees after having had one''s soul elevated?" |
8162 | whence did it spring? |
47363 | ''Oh, you do, do you? 47363 ''Why do you get mixed up with such things? |
47363 | And where have you studied? |
47363 | And who do you suppose I am? |
47363 | Are you bearing any part of the costs? |
47363 | But have you paid him the three hundred francs he has already lent you? |
47363 | But still the journey of Haarlem occupied his mind, and before I left him it came out:''Well, you are going to Haarlem early to- morrow? 47363 But vill he pay, zis Vistlaire, vill he pay?" |
47363 | But what are you doing? |
47363 | But what does it do for you? |
47363 | But what have I done? 47363 But what is it? |
47363 | But what is to become of my wife and family if I do n''t get my wages, sir? |
47363 | But what matter? |
47363 | But what of the beautiful old Spanish leather? 47363 Do we not speak the same language? |
47363 | Do you call it a good piece of art? |
47363 | Dragoon, what horse is this? |
47363 | Except in England, would anything short of perfection in art be praised? |
47363 | H''m, paints, too, do n''t he, among his other accomplishments? |
47363 | He was every evening at the students''balls, and never got up until eleven or twelve in the morning, so where was the time for work? |
47363 | I said,''Why did you ask him to the Rue du Bac?'' 47363 Is n''t it in the heart of the unknown? |
47363 | It was indeed a pleasure to hear his gay voice, after he had received our card, calling down from the top of the stairs,''Are you there? 47363 Learn it? |
47363 | May I beg to correct an erroneous impression likely to be confirmed in your last number? 47363 Me?" |
47363 | My God, Van Dyke, where did you get your shoes? |
47363 | Suppose one of these plates was smashed? |
47363 | Then,said Mr. Bigham,"Mr. Sickert is an insignificant and irresponsible person who can do no harm?" |
47363 | There was the real Whistler-- the man, the artist, the painter-- there was no''Why drag in Velasquez?'' 47363 Well, Joseph, how long do you think it took me to paint that, now?" |
47363 | Well, you know, ca n''t I hold something? |
47363 | Well,said Whistler,"do you call yourself a good piece of Nature?" |
47363 | What are you going to do with them all? |
47363 | What is to be done? |
47363 | What matter? |
47363 | What would London journalists say if they could see me now? |
47363 | What would you? |
47363 | What''s Degas? |
47363 | What? |
47363 | Where have you studied? |
47363 | Where is the sting? |
47363 | Who is that? |
47363 | Who''s Whistler? |
47363 | Why approve the tolerable picture any more than the tolerable egg? |
47363 | Why not try to find it? |
47363 | Why should I? 47363 Why, no,"Whistler answered;"ought that to make any difference?" |
47363 | You are working together then? |
47363 | _ Assez bien, Monsieur, assez bien._"_ It votre petit Américain?_To which she replied, not looking up,"_ Lui? |
47363 | _ Assez bien, Monsieur, assez bien._"_ It votre petit Américain?_To which she replied, not looking up,"_ Lui? |
47363 | _ Que voulez- vous?_Ernest said mournfully,"_ les saisons m''ont toujours devancé_!" |
47363 | ''A little late for that, is it not?'' |
47363 | ''Do you know where we are going?'' |
47363 | ''I say, Mr. Whistler, what is this?'' |
47363 | ''Rather late to ask_ me_, do n''t you think?'' |
47363 | ''Well now, what do you think of that? |
47363 | ''What will he make of_ this_? |
47363 | ''What''s the matter?'' |
47363 | ''What''s the use of me coming?'' |
47363 | ''When?'' |
47363 | ''Why should I?'' |
47363 | ''Your doorway? |
47363 | ''_ Et vous?_''the_ sergent de ville_ asked at last. |
47363 | After we had been to the exhibition, he asked us for every detail:"How did the white, the beautiful napkins look? |
47363 | And I called to them and they came in, and Howell said:''Why, you have etched many plates, have n''t you? |
47363 | And I said,''Why, gentlemen, why-- well, you know, how could I think of anything but the pleasure of seeing you again?'' |
47363 | And Leyland? |
47363 | And Michael Angelo? |
47363 | And Mr. Watts, a great mon, he said to me,"How do you like it?" |
47363 | And does he then, in his astounding consequence, believe that a symphony in F contains no other note, but shall be a continued repetition of F F F?... |
47363 | And the further question is whether the insult offered-- if insult there has been-- is of such a gross character as to call for substantial damages? |
47363 | And then I asked,''Where is Jemmie, of whom I have heard so much?'' |
47363 | Another afternoon he and J. were walking in the Strand when a well- known English artist stopped him with,"Why, my dear old Jimmie, how are you? |
47363 | Are those figures on the top of the bridge intended for people?" |
47363 | Are we strangers, then, or, in our Father''s house are there so many mansions that you lose your way, my brother, and can not recognise your kin?... |
47363 | As one of them the_ man_ may weep-- yet will the artist rejoice, for to him is not''a thing of beauty a joy for ever''?" |
47363 | At home every Englishman does his duty-- appears in his dinner jacket at the dinner hour-- and so, what difference what the Boers are doing? |
47363 | Bowen_:"Are the pictures works of art?" |
47363 | Bowen_:"Is that picture in your judgment worth two hundred guineas?" |
47363 | Bowen_:"Is the_ Nocturne in Blue and Gold_ a serious work of art?" |
47363 | Bowen_:"Now, take the_ Nocturne in Black and Gold-- The Falling Rocket_, is that, in your opinion, a work of art?" |
47363 | But he said:"Well, you know, what would have happened to the new Thackeray if I had n''t been willing? |
47363 | But the old members say that when the Prince went downstairs with one of them his remark was:"Who is that funny little man we have been talking to?" |
47363 | Did n''t the other cases seem vulgar in comparison? |
47363 | Did n''t the slight hint of blue in the Japanese stand and the few perfect plates tell? |
47363 | Did n''t the whole United States Navy, headed by the admirals, receive him as the Commander of the Spanish Fleet should be received?" |
47363 | Dinna ye hear the bagpipes?" |
47363 | England? |
47363 | Fish, of course? |
47363 | Freer paid for it within a year of his death? |
47363 | Go in for football, no doubt? |
47363 | Godwin,''I said,''will you marry Jemmy?'' |
47363 | Godwin?'' |
47363 | Have I done you any harm?" |
47363 | Have you consulted him?" |
47363 | He said to us one day:"Now, they want these things; why did n''t they want them twenty years ago, when I wanted to do them, and could have done them? |
47363 | He said,''If you can not manage your palette, how are you going to manage your canvas?'' |
47363 | He stammered, spluttered, and finally gasped out,''How dare you? |
47363 | He turned to the judge and said:"And now, my Lord, may I tell you why we are all here?" |
47363 | He went to the trouble to write down for us the lines of the_ Woodchuck_:"_ How much wood would the woodchuck chuck If the woodchuck could chuck wood? |
47363 | He wiped the canvas here and there tenderly with a silk handkerchief and kept turning round to ask triumphantly,"Is n''t she beautiful?" |
47363 | His answer was:"If any one likes to think I was born in Baltimore, why should I deny it? |
47363 | His face fell when, asking the officer, who, like Major Whistler, was in the artillery,"Professor of Tactics, I suppose?" |
47363 | How dare you?'' |
47363 | How did they all get together? |
47363 | How much individuality, save the master''s, is shown in Rubens''canvases, mostly done by his pupils? |
47363 | I described Wedmore as Podsnap-- an inspiration, is n''t it? |
47363 | I suppose you shoot? |
47363 | If I get him to move the box of oranges? |
47363 | Is it a question of feet and inches when you look at her?" |
47363 | Is n''t it amazing? |
47363 | Is n''t it beautiful?" |
47363 | Is not clothedness a distinct type and feature of our Christian faith? |
47363 | Look at this; did you ever see anything finer?" |
47363 | Miss Chapman also remembers Swinburne sitting at Mrs. Whistler''s feet, and saying to her:"Mrs. Whistler, what has happened? |
47363 | O''K.,[11] is it possible? |
47363 | Of a superior amateur he inquired,"Have you been through college? |
47363 | One he asked:"And how long will you be''the man in possession?''" |
47363 | Phillip looked up my address in the catalogue and wrote to me at once to say he would like to buy it, and what was its price? |
47363 | Russia, then? |
47363 | Some were just begun, others ready to bite, but a number ought to be printed, and would I help him? |
47363 | Taking a hansom, late of course, they passed a grocer''s where Whistler stopped the driver:"Well, Chase, what do you think? |
47363 | The Judge, thinking to help him, suggested,"A Protestant, perhaps?" |
47363 | The cabman drew up, looked down at him, looked him over, and said,"Where did yer buy yer''at? |
47363 | The old woman, huddled on the steps, did not look up:"_ Eh bien, Madame Gérard, comment ça va?_"Lamont asked. |
47363 | The question for the jury is, did Mr. Whistler''s ideas of art justify the language used by Mr. Ruskin? |
47363 | The report was shown him, and he said to the instructor:''Have I your permission to speak?'' |
47363 | The"Why drag in Velasquez?" |
47363 | Then Major Sackett, the commander, would call out:"Mr. Whistler, are n''t you a little ahead of the squad?" |
47363 | Then Whistler was astonished:"What, Chase, you can think of dinner and time when we are doing such beautiful things? |
47363 | Then he suddenly raised his head and demanded,''Can a man get a chop there?'' |
47363 | There is a legend that he and Mark Twain met for the first time at a dinner, when they simultaneously asked their hostess who that noisy fellow was? |
47363 | They might look a trifle green, they might suddenly run when the ship rolled-- but what matter? |
47363 | They say,''Why not call it"Trotty Veck,"and sell it for a round harmony of golden guineas?''" |
47363 | They were a terrible nuisance, and we remember in particular the youth who came with the usual question,"Is Whistler painting the gambler?" |
47363 | To me it is interesting as a picture of my mother; but what can or ought the public to care about the identity of the portrait?" |
47363 | To these he said:"Where have you studied?" |
47363 | Was it not preposterous that there should be other books to be prepared, other matters to be thought of, while this great work of art was being born? |
47363 | Well, now, if I was absent without your knowledge or permission, how did you know I was absent?'' |
47363 | What do you think?" |
47363 | What has happened?" |
47363 | What if Cervera did get whipped? |
47363 | What if he was pulled up from the sea looking like a wad of cotton that had been soaked in an ink- bottle? |
47363 | What is it?'' |
47363 | What of it? |
47363 | What was he to do? |
47363 | What was it all about, anyhow? |
47363 | What was its history? |
47363 | What was to be done with copper- plates? |
47363 | What would he have thought of all this, he who so carefully selected the prints"kindly lent their owners?" |
47363 | What?" |
47363 | When he was asked,"Then you would do away with all the art schools?" |
47363 | Whistler turned slowly to J. and said,"Joseph, do you know this person?" |
47363 | Whistler?" |
47363 | Whistler?" |
47363 | Whistler?" |
47363 | Whistler?'' |
47363 | Whistler?'' |
47363 | Who is snoring?" |
47363 | Who owns_ The Façade of San Marco_? |
47363 | Why question the_ if_? |
47363 | Why should he be disturbed? |
47363 | Will you kindly remove them?" |
47363 | Yes? |
47363 | You have been told that over and over again?" |
47363 | _ Attorney- General_:"Can you tell me how long it took you to knock off that Nocturne?" |
47363 | _ Attorney- General_:"Do you not think that anybody looking at the picture might fairly come to the conclusion that it had no particular beauty?" |
47363 | _ Attorney- General_:"Do you offer that picture to the public as one of particular beauty, fairly worth two hundred guineas?" |
47363 | _ Attorney- General_:"Do you think it fair that Mr. Ruskin should come to that conclusion?" |
47363 | _ Attorney- General_:"Is it a gem?" |
47363 | _ Attorney- General_:"Is it a work of art?" |
47363 | _ Attorney- General_:"Is it an exquisite painting?" |
47363 | _ Attorney- General_:"Is it very beautiful?" |
47363 | _ Attorney- General_:"Is it worth two hundred guineas?" |
47363 | _ Attorney- General_:"Not a view of Cremorne?" |
47363 | _ Attorney- General_:"The labour of two days, then, is that for which you ask two hundred guineas?" |
47363 | _ Attorney- General_:"What is the peculiar beauty of that picture?" |
47363 | _ Attorney- General_:"Why do you call Mr. Irving an_ Arrangement in Black_?" |
47363 | _ Attorney- General_:"You do n''t approve of criticism?" |
47363 | _ Attorney- General_:"You expect to be criticised?" |
47363 | _ Attorney- General_:"You send them to the gallery to invite the admiration of the public?" |
47363 | _ Horsley soit qui mal y pense_ is meanwhile a sweet sentiment-- why more-- and why''morality''?" |
47363 | _ The Judge_:"How long did it take you to paint that picture?" |
47363 | _ The Judge_:"Is this part of the picture at the top Old Battersea Bridge? |
47363 | _ The Judge_:"That is a barge beneath?" |
47363 | _ Whistler_:"I beg your pardon?" |
47363 | and did n''t the simplicity of my silver, evidently for use and cared for, make the rest look like museum specimens?" |
47363 | but that, after all, was_ not_ an answer, was it? |
47363 | received simply the reply:''Is n''t that a good surface?''" |
47363 | said his examiner,"you do not know the date of the battle of Buena Vista? |
35995 | All the gods,says a French essayist,"delight in worship: is one lesser for the other''s godhead? |
35995 | And I heard a voice among the reapers saying,''Am I Jerusalem the lost adulteress? 35995 And when thy heart began to beat, What dread hand and what dread feet Could fetch it from the furnace deep And in thy horrid ribs dare steep? |
35995 | Are not the joys of morning sweeter Than the joys of night? |
35995 | Burnt in distant deeps or skies The cruel fire of thine eyes? 35995 But I arose, and sought for the mill, and there I found my Angel, who, surprised, asked me how I escaped? |
35995 | Can that be love which drinks another as a sponge drinks water? 35995 Can that which was of woman born In the absence of the morn, While the soul fell into sleep And(? |
35995 | Can the sower sow by night, Or the ploughman in darkness plough? |
35995 | I also asked Isaiah what made him go naked and barefoot three years? 35995 I then asked Ezekiel, why he eat dung, and lay so long on his right and left side? |
35995 | Let her be offered up to holiness: Tirzah numbers her: She numbers with her fingers every fibre ere it grow: Where is the Lamb of God? 35995 Must the generous tremble and leave his joy to the idle, to the pestilence, That mock him? |
35995 | Nature averse to crime? 35995 O what avail the loves and tears of Beulah''s lovely daughters? |
35995 | O what land is the land of dreams? 35995 Or what was it that he took on That he might bring salvation? |
35995 | Redemption by forgiveness of sins? 35995 Some will say, Is not God alone the Prolific? |
35995 | The caverns of the grave I''ve seen, And these I showed to England''s queen; But now the caves of Hell I view, Who shall I dare to show them to? 35995 Then I asked,''Does a firm persuasion that a thing is so, make it so?'' |
35995 | True, then, if you will have it; but what have we to do with your good or bad poetries and paintings? |
35995 | Undeniably; but what are we to gain by your deductions and discoveries, right or wrong? |
35995 | Was Jesus born of a virgin pure With narrow soul and looks demure? 35995 Was Jesus humble? |
35995 | Was Jesus_ chaste_? 35995 What is the joy of heaven but improvement in the things of the spirit? |
35995 | What was he doing all that time From twelve years old to manly prime? 35995 What, are you here?" |
35995 | When wilt thou return and view My loves and them to life renew? 35995 Why should I be bound to thee, O my lovely myrtle- tree? |
35995 | ''Obey your parents''? |
35995 | ''Shall the clay demand of the potter, why hast thou made me thus?'' |
35995 | ''Show us Miracles''? |
35995 | ''Then what is he Who shall accuse thee? |
35995 | ''There is no man unless the child can become a man''; is that equivalent to a denial of manhood? |
35995 | ''Woman, what have I to do with thee? |
35995 | ( might not one reply with Thersites,"Make that demand of thy Maker? |
35995 | ***** Does the whale worship at thy footsteps as the hungry dog? |
35995 | --What was thy love? |
35995 | A body subject to be tempted, From neither pain nor grief exempted, Or such a body as could not feel The passions that with sinners deal? |
35995 | Abel is dead, and Cain slew him; We shall also die a death And then-- what then? |
35995 | Adam, wilt thou, or Eve, thou, do this? |
35995 | After this Bromion, with less musical lamentation, asks whether for all things there be not one law established? |
35995 | Again,"Will any one say, Where are those who worship Satan under the name of God?--where are they? |
35995 | And another voice answered saying,''Does the voice of my Lord call me again? |
35995 | And canst thou die that I may live? |
35995 | And canst thou pity and forgive?''" |
35995 | And did the Countenance Divine Shine forth upon our clouded hills? |
35995 | And did those feet in ancient time Walk over England''s mountains green? |
35995 | And in what rivers swim the sorrows? |
35995 | And was Jerusalem builded here, Among these dark Satanic mills? |
35995 | And was the holy Lamb of God On England''s pleasant pastures seen? |
35995 | And what are the worst sins we can do-- we who live for a day and die in a night? |
35995 | And when will they renew again and the night of oblivion be past? |
35995 | Are then these virtues predicable of it even as such?") |
35995 | Are there other wars, other sorrows, and other joys than those of external life? |
35995 | Are these the sacrifices of Eternity, O Jehovah? |
35995 | Ask the wild ass why he refuses burdens, and the meek camel Why he loves man: is it because of eye, ear, mouth or skin, Or breathing nostrils? |
35995 | Before recasting the whole, Blake altered the second line into--"Canst thou any secret keep?" |
35995 | Boast of high things with humble tone, And give with charity a stone?" |
35995 | But as a great man then alive and yet living[8] has well asked--"What mortal ever heard Any good of George the Third?" |
35995 | But now we have seen my eternal lot, shall I show you yours?'' |
35995 | But what evil is here for us to do, where the whole body of things is evil? |
35995 | Can a Poet doubt the Visions of Jehovah? |
35995 | Can you have greater Miracles than these? |
35995 | Can you make a God worth worship out of that? |
35995 | Canst thou return to this dark hell And in my burning bosom dwell? |
35995 | Charge visionaries with deceiving? |
35995 | Could heart descend or wings aspire? |
35995 | Could spiritual force so far descend or material force so far aspire? |
35995 | Did he who made the lamb make thee?" |
35995 | Does not the eagle scorn the earth and despise the treasures beneath? |
35995 | Does not the great mouth laugh at a gift? |
35995 | Does the still spider view the cliffs where eagles hide their young? |
35995 | Eve, seest thou also? |
35995 | For if the soul suffer by the body''s doing, are not both degraded? |
35995 | For what are we to make of a man whose work deserves crowning one day and hooting the next? |
35995 | For what more is there now to say of the man? |
35995 | For who but a Divinity Could mingle souls to that degree And melt them into ecstasy? |
35995 | God being a spirit, and to be worshipped in spirit and in truth, are not all his gifts spiritual gifts? |
35995 | Grant such a God his chance of existence, what reason has the Theist to suppose or what right to assume his wisdom or his goodness? |
35995 | Hath no man condemnèd thee?'' |
35995 | He who shall take Cain''s life must also die, O Abel; And who is he? |
35995 | His words are worth quoting:--"When will the Resurrection come, to deliver the sleeping body From corruptibility? |
35995 | I come your King and God to seize; Is God a smiter with disease?''" |
35995 | I now asked my companion which was my eternal lot? |
35995 | If continents have a soul, shall suburbs or lanes have less? |
35995 | In what clay and in what mould Were thine eyes of fury rolled?" |
35995 | Is this Death? |
35995 | Is this the Promise of Jehovah? |
35995 | Is this the Serpent? |
35995 | Is this thy Promise that the Woman''s Seed Should bruise the Serpent''s Head? |
35995 | Jerusalem thy sister calls; Why wilt thou sleep the sleep of death And chase her from thy ancient walls? |
35995 | Let me see''t; Was it love or dark deceit?'' |
35995 | Men who devote Their life''s whole comfort to entire scorn, injury, and death?" |
35995 | Moses commands she be stoned to death: What was the sound of Jesus''breath? |
35995 | My sin thou hast forgiven me; Canst thou forgive my blasphemy? |
35995 | Nature forbid that thing or this? |
35995 | Neither set would have to do with him; was he not a believer? |
35995 | O what shall I call thee, Form Divine, Father of Mercies, That appearest to my Spiritual Vision? |
35995 | O when, Lord Jesus, wilt thou come? |
35995 | Of that terrible"emanation,"hitherto the main cornerstone of offence to all students of Blake, what can be said within any decent limit? |
35995 | Of whom else should a man ask? |
35995 | Of"the soft Oothoon"the great goddess asks now"Why wilt thou give up woman''s secrecy, my melancholy child? |
35995 | Or call men wise for not believing?" |
35995 | Or does he scent the mountain prey, because his nostrils wide Draw in the ocean? |
35995 | Or does the fly rejoice because the harvest is brought in? |
35995 | Or is it because Jealousy[A] Gives feminine applause?" |
35995 | Or were Jew virgins still more cursed, And more sucking devils nursed?" |
35995 | Or were they idiots and madmen? |
35995 | Pray''st thou for riches? |
35995 | Shall it not? |
35995 | She has no hope in all the infinity of space and time;"who shall bind the infinite with an eternal band, to compass it with swaddling bands?" |
35995 | Strip the sentiments and re- clothe them in bad verse, what residue will be left of the slightest importance to art? |
35995 | Tell me what is a thought? |
35995 | Tell me what is joy? |
35995 | Tell me where dwell the joys of old? |
35995 | Tell me where dwell the thoughts forgotten till thou call them forth? |
35995 | That clouds with jealousy his nights, with weepings all the days? |
35995 | The German- flute colour, which was used by the Flemings( they call it burnt bone), has[? |
35995 | The day''s spider kills the day''s fly, and calls it a crime? |
35995 | The eternal"Après?" |
35995 | The flower makes answer; does God not care for the least of these? |
35995 | Then Theotormon broke his silence, and he answered; Tell me what is the night or day to one overflowed with woe? |
35995 | These are hard sayings; who can hear them? |
35995 | This the North American tribes practise; and is he honest who resists his genius or conscience, only for the sake of present ease or gratification?" |
35995 | Thou Angel of the Presence Divine, That didst create this body of mine, Wherefore hast thou writ these laws And created hell''s dark jaws? |
35995 | Thy joys are tears: thy labour vain, to form man to thine image; How can one joy absorb another? |
35995 | To Lord Byron in the Wilderness.--What dost thou here, Elijah? |
35995 | To the surprising final query,"Are such things done on Albion''s shore?" |
35995 | Turn away no more; Why wilt thou turn away? |
35995 | Two questions arise at first sight; did Cromek give Blake a commission for his design of the"Pilgrims"? |
35995 | Unnatural is it? |
35995 | Was he then idle, or the less About his Father''s business? |
35995 | What God is he writes laws of peace and clothes him in a tempest? |
35995 | What are its mountains and what are its streams? |
35995 | What are the pains of hell but ignorance, bodily lust, idleness, and devastation of the things of the spirit?" |
35995 | What book can be more promising?" |
35995 | What could be made of such a man in a country fed and clothed with the teapot pieties of Cowper and the tape- yard infidelities of Paine? |
35995 | What crawling villain preaches abstinence and wraps himself In fat of lambs? |
35995 | What is it that can be? |
35995 | What is it that has to be saved? |
35995 | What is it women do in men require? |
35995 | What mighty soul in beauty''s form Shall dauntless view the infernal storm? |
35995 | What pitying Angel lusts for tears and fans himself with sighs? |
35995 | What says he? |
35995 | What vengeance dost thou require? |
35995 | When wilt thou pity as I forgive?" |
35995 | When wilt thou return and live? |
35995 | Where doth he hide his terrible head? |
35995 | Where goest thou, O thought? |
35995 | Where is my golden palace? |
35995 | Why darkness and obscurity In all thy words and laws, That none dare eat the fruit but from The wily serpent''s jaws? |
35995 | Why did Du Chaillu get so angry when he was chaffed about the Gorilla? |
35995 | Why dost thou despise Ahania, to cast me from thy bright presence into the world of loneness? |
35995 | Why dost thou hide thyself in clouds From every searching eye? |
35995 | Why hast thou taught my Theotormon this accursed thing? |
35995 | Why is a chrysalis like a hot roll? |
35995 | Why is a wide- awake hat so called? |
35995 | Why should I be troubled? |
35995 | Why should love be sweet, Usèd with deceit, Nor with sorrows meet?" |
35995 | Why should you prove ungrateful to your friends, Sneaking, and backbiting, and odds- and- ends?" |
35995 | Why? |
35995 | With what sense does the bee form cells? |
35995 | With what sense does the tame pigeon measure out the expanse? |
35995 | With what sense is it that the chicken shuns the ravenous hawk? |
35995 | [ 16] Could God bring down his heart to the making of a thing so deadly and strong? |
35995 | [ 16] What the hand dare seize the fire?" |
35995 | [ 34] Query"Putting?" |
35995 | a broken spirit And a contrite heart? |
35995 | am I pure through his mercy and pity? |
35995 | and are not all other men fools, sinners, and nothings? |
35995 | and has not Jesus Christ given his sanction to the law of ten commandments? |
35995 | and his swift and fiery daughters, Where do they shroud their fiery wings and the terrors of their hair?" |
35995 | and if sure of his God, what better should he do? |
35995 | and if the body be oppressed for the soul''s sake, are not both the losers? |
35995 | and in what gardens do joys grow? |
35995 | and in what houses dwell the wretched Drunken with woe forgotten, and shut up from cold despair? |
35995 | and is not he visible in Jesus Christ? |
35995 | and of what substance is it made? |
35995 | and the narrow eyelids mock At the labour that is above payment? |
35995 | and upon what mountains Wave shadows of discontent? |
35995 | and was he not a blasphemer? |
35995 | and where the ancient loves? |
35995 | and why? |
35995 | and wilt thou take the ape For thy counsellor, or the dog for a schoolmaster to thy children? |
35995 | are not different joys Holy, eternal, infinite? |
35995 | be as poor Abel, a Thought; or as This? |
35995 | bear false witness when he omitted making a defence before Pilate? |
35995 | covet when he prayed for his disciples, and when he bid them shake off the dust of their feet against such as refused to lodge them? |
35995 | did Stothard, when Cromek proposed that he should take up the same subject, know that the proposal was equivalent to the suggestion of a theft? |
35995 | does he look upon the sun and laugh, or stretch his little hands into the depths of the sea?" |
35995 | does his eye discern the flying cloud As the raven''s eye? |
35995 | have not the mouse and frog Eyes and ears and sense of touch? |
35995 | in whose cast clothes will you crawl into heaven by rational or religious cross- roads? |
35995 | is the son of a king warmed without wool? |
35995 | is this Brotherhood? |
35995 | make him as''Bacon and Newton''"( Blake''s usual types of the mere understanding)? |
35995 | murder those who were murdered, because of him? |
35995 | or am I Babylon come up to Jerusalem?'' |
35995 | or could any lesser dæmonic force of nature take to itself wings and fly high enough to assume power equal to such a creation? |
35995 | or did he Give any lessons of chastity? |
35995 | or did he Give any lessons of philosophy? |
35995 | or did he Give any proofs of humility? |
35995 | or does he cry with a voice of thunder? |
35995 | or does he measure the expanse like the vulture? |
35995 | or where shall any traveller find a rest for feet or eyes in that noisy and misty land? |
35995 | redeem, not the spiritual man by inspiration of his spirit, but the bodily man by application of his arguments? |
35995 | steal the labour of others to support him? |
35995 | things impossible to discover, to analyze, to attest, to undervalue, to certify, or to doubt? |
35995 | to what remote land is thy flight? |
35995 | turn away the law from the woman taken in adultery? |
35995 | what Angel? |
35995 | what God? |
35995 | what, of the assertion of his vindicated sanity with such appalling counterproof thrust under one''s eyes? |
35995 | whence his acceptance and whence his rejection of anything that is? |
35995 | where is the promise of his coming? |
35995 | where life is, shall not the spirit of life be there also? |
35995 | where my ivory bed? |
35995 | where the joy of my morning hour? |
35995 | who commanded this? |
35995 | why should my heart and flesh cry out? |
35995 | why this and not that? |