Chaiana Sets 184-187.zip
A total of 14,965,571 patients were included based on the KID datasets from 1997, 2000, 2003 and 2006. Of these, 12,365 patients (0.083%) were diagnosed with convulsive SE, including 5,541 (44.8%) girls. Five patients (
chaiana sets 184-187.zip
We should not have looked for a palace in such a situation. We may addthat the site of the pavilion is not large enough to accommodate thehousehold of a king. It is closely circumscribed by the temple ofThothmes and its propylæa on the right, and by that of Rameses at theback, so that its dimensions would have seemed even more insignificantthan they are in comparison with those gigantic fabrics. The greatestwidth of the pavilion is not more than about 80 feet and its greatestdepth than 72, and the small court which almost cuts the building intotwo parts (see Fig. 6) occupies a good third of the surface inclosedby these measurements. Taken altogether, the three stories could nothave contained more than about ten chambers, some of which were ratherclosets than anything more ambitious. In spite of the comparativesimplicity of modern domestic arrangements a middle-class family ofour day would be cramped in such a dwelling. How then could a Pharaoh,with the swarm of idlers who surrounded him, attempt to take up hisresidence in it?
The expression, industrial art, has sometimes been severelycriticised, but yet it answers to a real distinction founded upon thenature of things, and we do not see that it could be dispensed with.When the artist sets about making a statue or a picture his only aimis to produce a fine work. He does not take utility, in theunphilosophic sense of the word, into account. The task which he setsbefore himself is to discover some form which shall truly interprethis own individual thoughts and feelings. This done, his end isaccomplished. The resulting work of art is self-contained andself-sufficient. Its raison d'être is to satisfy one of the deepestand most persistent desires of the human mind, the æstheticsentiment, or instinct for the beautiful.
In the industrial arts it is different. When a cabinet-maker or apotter sets to work to produce an easy chair, or a vase, his firstidea is to make a chair in which one may sit comfortably, or a vesselto which liquids may be safely entrusted and from which they may beeasily poured. At first, the artisan does not look beyond fulfillingthese wants, but a time comes, and comes very soon, when he feelsimpelled to ornament the furniture or pottery upon which he is atwork. He is no longer content to turn out that which is merely useful;he wishes everything that comes from his hands to be rich andbeautiful also. He begins by adding ornament made up of dots andgeometrical lines; this he soon follows up with forms borrowed fromorganic life, with leaves and flowers, with figures of men andanimals; and from an artisan he springs at once to be an artist. Buthis productions are strictly works of industrial art, and althoughthey may deserve a high365 place in right of their beauty, that beautyis only in some sort an excrescence, it does not affect the primaryobject of the matters to which it is applied, although it may greatlyincrease their value and interest.
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