The distinctive characteristic of French cathedrals, and those in Germany and Belgium that were strongly influenced by them, is their height and their impression of verticality. Each French cathedral tends to be stylistically unified in appearance when compared with an English cathedral where there is great diversity in almost every building. They are compact, with slight or no projection of the transepts and subsidiary chapels. The west fronts are highly consistent, having three portals surmounted by a rose window, and two large towers. Sometimes there are additional towers on the transept ends. The east end is polygonal with ambulatory and sometimes a chevette of radiating chapels. In the south of France, many of the major churches are without transepts and some are without aisles.
If it is possible to answer this question, answer it for me (else, reply "unanswerable"): What is the only visual design feature of French cathedrals?
Ah, so.. unanswerable

By 16:50, with the Prussian southern attacks in danger of breaking up, the Prussian 3rd Guards Infantry Brigade of the Second Army opened an attack against the French positions at St. Privat which were commanded by General Canrobert. At 17:15, the Prussian 4th Guards Infantry Brigade joined the advance followed at 17:45 by the Prussian 1st Guards Infantry Brigade. All of the Prussian Guard attacks were pinned down by lethal French gunfire from the rifle pits and trenches. At 18:15 the Prussian 2nd Guards Infantry Brigade, the last of the 1st Guards Infantry Division, was committed to the attack on St. Privat while Steinmetz committed the last of the reserves of the First Army across the Mance Ravine. By 18:30, a considerable portion of the VII and VIII Corps disengaged from the fighting and withdrew towards the Prussian positions at Rezonville.
If it is possible to answer this question, answer it for me (else, reply "unanswerable"): By late afternoon, what were the Prussian southern attacks at risk of?
Ah, so.. breaking up

Translations of sung textswhether of the above type meant to be sung or of a more or less literal type meant to be readare also used as aids to audiences, singers and conductors, when a work is being sung in a language not known to them. The most familiar types are translations presented as subtitles or surtitles projected during opera performances, those inserted into concert programs, and those that accompany commercial audio CDs of vocal music. In addition, professional and amateur singers often sing works in languages they do not know (or do not know well), and translations are then used to enable them to understand the meaning of the words they are singing.
If it is possible to answer this question, answer it for me (else, reply "unanswerable"): Who can translations of a sung text harm?
Ah, so..
unanswerable