superiority. Identity of form and content in the beauty of Nature;
living and everchanging character of Nature. Hence the healing, resting
and exalting power of Nature in ministering to the spirit of man. On
the other hand, the soul in Nature dumb and brooding; carried to clear
and conscious expression through human art. Art as Nature and life put
through the spectrum of man’s mind and heart. Compare a Corot painting
with a bit of Nature; a portrait by Titian or Rembrandt with a human
face. Thus the ministration of art to the human spirit: in calming and
exalting; in giving widened relation to Nature and life, developing
power to see; in inspiring action.
=Opportunities for the appreciation of beauty.=--The wealth of natural
beauty poured out abundantly on every hand. Tendency to ignore or
fail to see the beauty of Nature just because it is so universal and
accessible. Need to put oneself in the way of beauty; to leave room for
the heaven of the unexpected.
If the beauty of art is less accessible, nevertheless far more than is
utilized and enjoyed. Compare in poetry, painting, music. The current
attitude toward museums of art and opportunities in music.
=The conscious study of beauty.=--Not enough to give oneself
opportunities for enjoying beauty. Compare the people who live close
to Nature without seeing her beauty; who wander aimlessly through art
galleries and sit unappreciatively through an evening of great music
because it is the fashion. Need of conscious study of beauty as a means
toward appreciation.
The method of the conscious study of beauty in Nature and the arts.
Need to isolate and analyze. The ways by which one may escape
convention and react freshly on the appeal of beauty. The active
questioning which the student should employ. The deepened conscious
appreciation which results from such study. The greater value of
a little of such direct and active study over much reading of art
criticism and theory.
Some expression necessary to complete such study. Various forms that
may be employed. The value of keeping a book of reflections in which to
formulate and record one’s study and appreciation.
=The value of art for the artist.=--The ministry of beauty fulfilled
in the supreme way for the creative artist. Clarifying and exalting
influence of art upon the artist. Development in him of power to see
and to achieve. Illustrations in great masters such as Michael Angelo
and Dante. Thus for the artist supremely as for the student in lesser
degree, _art for life’s sake_.
=Art and daily life.=--Need that each human being should be an artist:
this possible in the supreme art of living. Thus need to identify
beauty and use: to make one’s vocation, one’s environment, one’s
relationships art in the highest sense. How then every part and
aspect of life would be the adequate and harmonious expression and
interpretation of some phase of man’s life and experience in true
relation to the whole.
ILLUSTRATIONS
“Supreme Art is the region of Equals. There is no primacy among
masterpieces.”
--Victor Hugo, _William Shakespeare_, p. 40.
“The technical work of our time, which is done to an unprecedented
perfection, has, by increasing and multiplying objects of luxury,
given the favourites of fortune a choice between more leisure and
culture upon the one side, and additional luxury and good living, but
with increased activity, upon the other; and, true to their character,
they choose the latter, and prefer champagne to freedom.”
--Schopenhauer, _The Art of Literature_, p. 141.
“The capacity of the sublime is one of the noblest aptitudes of man.
Beauty is useful, but does not go beyond man. The sublime applies
to the pure spirit. The sublime must be joined to the beautiful to
complete the _æsthetic education_, and to enlarge man’s heart beyond
the sensuous world.”
--Schiller, _Essays Æsthetical and Philosophical_, p. 141.
“Let us remember the prompter, very delicately and genially drawn by
Goethe in a few touches, who is so much moved at certain places that
he weeps hot tears; yet ‘it is, strictly speaking, _not the so-called
moving places_ that affect him so, but the _beautiful_ places _from
which the pure genius of the poet, so to speak, looks out from bright,
open eyes_.’ In the case of persons of a predominantly tender, ardent
disposition we not seldom meet this phenomenon. A beautiful poem, a
sublime scene in nature--nay, the narration of a good deed, moves
them to tears. And history tells us of the noble Saladin, who was a
warlike hero, that the narration of great deeds and simple touching
occurrences often moved him also to tears. It can hardly be assumed
that a warlike hero is the possessor of weak nerves. What have these
grayish-white threads to do at all with the eternal ideas of the
Good and the Beautiful? The emotion of which we have just spoken is
something better than mere nervous irritation; it is a higher kind
of homesickness, which attacks us when the ideas of the Good and the
Beautiful suddenly appear before us and remind us of our eternal home.”
--Ambros, _The Boundaries of Music and Poetry_, pp. 42, 43.
“We leave a grand musical performance with our feelings excited, the
reading of a noble poem with a quickened imagination, a beautiful
statue or building with an awakened understanding; but a man would
not choose an opportune moment who attempted to invite us to abstract
thinking after a high musical enjoyment, or to attend to a prosaic
affair of common life after a high poetical enjoyment, or to kindle
our imagination and astonish our feelings directly after inspecting
a fine statue or edifice. The reason of this is, that music, _by its
matter_, even when most spiritual, presents a greater affinity with
the senses than is permitted by aesthetic liberty; it is because even
the most happy poetry, having _for its medium_ the arbitrary and
contingent play of the imagination, always shares in it more than
the intimate necessity of the really beautiful allows; it is because
the best sculpture touches on severe science _by what is determinate
in its conception_. However, these particular affinities are lost
in proportion as the works of these three kinds of art rise to a
greater elevation, and it is a natural and necessary consequence of
their perfection, that, without confounding their objective limits,
the different arts come to resemble each other more and more, in the
action _which they exercise on the mind_. At its highest degree of
ennobling, music ought to become a form, and act on us with the calm
power of an antique statue; in its most elevated perfection, the
plastic art ought to become music and move us by the immediate action
exercised on the mind by the senses; in its most complete development,
poetry ought both to stir us powerfully like music and like plastic
art to surround us with a peaceful light. In each art, the perfect
style consists exactly in knowing how to remove specific limits, while
sacrificing at the same time the particular advantages of the art,
and to give it by a wise use of what belongs to it specially a more
general character.”
--Schiller, _Essays Æsthetical and Philosophical_, pp. 90, 91.
“When a beautiful soul harmonizes with a beautiful form, and the two
are cast in one mold, that will be the fairest of sights to him who
has an eye to see it.”
--Plato, _Republic_, book III, section 402.
“The amphora which refuses to go to the fountain deserves the hisses
of the water-pots.”
--Victor Hugo, _William Shakespeare_, p. 319.
“The true artist has no pride; unhappily he realizes that art has no
limitations, he feels darkly how far he is from the goal, and while
perhaps he is admired by others, he grieves that he has not yet
reached the point where the better genius shall shine before him like
a distant sun.”
--Beethoven, in Kerst, _Beethoven: The Man and the Artist_, p. 49.
TOPICS FOR STUDY AND DISCUSSION
1. Define the respective functions of art and philosophy in relation to
the human spirit.
2. Compare in significance and relative value, beauty in Nature and in
human art.
3. Can beauty exist without definite and limited form?
4. What does creative expression in art do for the artist?
5. Is it possible to define beauty satisfactorily?
6. Sum up all the elements and relations involved in the appreciation
of beauty.
7. What end and aim is evident in the creation of all great art?
8. In what ways does the beauty of Nature and of art minister to the
spirit of man?
9. What should be the relation of art to daily life?
10. How can life be made a fine art?
REFERENCES
Carpenter, _Angels’ Wings_. Dwight, _Intellectual Influence of Music_;
_Music as a Means of Culture_. Eastman, _Musical Education and Musical
Art_. Emerson, _Art_ (in _Essays, first series_, pp. 325-343); _Art_
(in _Society and Solitude_, pp. 39-59). Gurney, _The Power of Sound_.
Hamerton, _The Intellectual Life_. Hand, _Æsthetics of Musical Art_.
Hanslick, _The Beautiful in Music_. Hegel, _Introduction to the
Philosophy of Fine Art_. Holden, _Audiences_. Lanier, _Music and
Poetry_. Mabie, _Nature and Culture_. Morris, _Hopes and Fears for
Art_. Parry, _The Ministry of Fine Art to the Happiness of Life_.
Partridge, _Art for America_. Plato, _Republic_, books II. and
III. Puffer, _The Psychology of Beauty_. Raymond, _Essentials of
Æsthetics_. Schiller, _Essays_. Surette and Mason, _The Appreciation
of Music_. Tolstoy, _What is Art?_ Wagner, _Art Life and Theories of_.
SUGGESTIONS TO STUDENTS
“You do ill if you praise, but worse if you censure, what you do not
rightly understand.”
--Leonardo da Vinci, _Leonardo da Vinci’s Note-Books_, arranged by
Edward McCurdy, p. 58.
Dealing, as this course does, with the material of four great arts,
there is no limit to the work the student may do in connection with it.
The most significant point is to recognize that a little first-hand
study of works of art is worth more than a vast amount of reading of
criticism and theory of art. The best preparation for the course is
to select a few works of art in each of the four fields and study
them carefully; analyzing rigorously the effect each produces on the
student’s senses, emotions and intellect; seeking to discover the means
by which that effect is produced; and endeavoring to define what part
or aspect of man’s life and reaction on Nature finds expression and
interpretation in each artistic creation studied. The student must
formulate his own questioning and work with a mind consistently active,
not passive.
This is merely demanding in the field of the arts the same direct
inductive study of the material given, that is universally recognized
to-day as the only sound method in every field of science. It is
surprising how a little of such study will clarify the field of art.
Works drop quickly into place, each is understood in relation to others
and to the common background of human experience in both significance
and beauty. This intellectual result is, however, not all; indeed, it
is the less important consequence of the work. The great gain is in
deepened appreciation. The student turns to fresh works of art with a
multiplied power to respond to the appeal of each masterpiece. Thus
is his life widened and deepened in relation to man and Nature, and
blessed with the joy that beauty gives.
The reading of such books as are given in the following list should be
subordinated to the work above outlined, and should be used to clarify
and stimulate the student’s own thinking, following the direct study of
the works of art themselves.
The material in Palgrave’s _Golden Treasury of Songs and Lyrics_,
giving as it does brief but complete works of art selected from
widely different men and epochs should be used throughout the course
to represent the art of poetry. Where a gallery of painting and
sculpture is not accessible to the student, photographic reproductions
(obtainable to-day at insignificant price) of the works mentioned in
the outlines and lists of topics should be obtained and carefully
studied. In music the student should utilize with loving care such
opportunities as he can find or make available.
BOOK LIST
=Ambros, Wilhelm August=, _The Boundaries of Music and Poetry_,
translated by J. H. Cornell. Pp. xiii + 187. G. Schirmer, New York,
1893.
=Anderson, Rasmus B.=, _Norse Mythology_. Pp. 473. S. C. Griggs & Co.,
Chicago, 1875.
=Anderson, Rasmus B.= (translator), _The Younger Edda_. Pp. 302. S. C.
Griggs & Co., Chicago, 1880.
=Aristotle=, _The Poetic_, translated by Theodore Buckley, pp. 405-500
in volume with Aristotle’s _Rhetoric_. Bohn Library, George Bell &
Sons, London, 1890.
=Arnold, Matthew=, _The Study of Poetry_, pp. 1-55 in _Essays in
Criticism, second series_. The Macmillan Co., New York, 1906.
=Baldwin, James=, _The Book-Lover_. Pp. 201. Jansen, McClurg & Co.,
Chicago, 1885.
=Bascom, John=, _Philosophy of English Literature_. Pp. xii + 318. G.
P. Putnam’s Sons, New York, 1886.
=Bates, Arlo=, _Talks on the Study of Literature_. Pp. 260. Houghton,
Mifflin & Co., Boston, 1898.
=Beeching, H. C.=, _The Study of Poetry_. Pp. 57. University Press,
Cambridge, 1901.
=Bradley, A. C.=, _Poetry for Poetry’s Sake_. Pp. 32. Clarendon Press,
Oxford, 1901.
=Brown, G. Baldwin=, _The Fine Arts_. Pp. xii + 321. Charles
Scribner’s Sons, New York, 1906.
=Browning, Robert=, _Abt Vogler_; _With Charles Avison_ (in
_Parleyings with Certain People_); _Master Hugues of Saxe-Gotha_;
_Saul_, in _Works_. Camberwell edition, T. Y. Crowell & Co., New York,
1898.
=Bulfinch, Thomas=, _The Age of Chivalry_. Pp. viii + 414. Crosby,
Nichols & Co., Boston, 1859.
=Bulfinch, Thomas=, _The Age of Fable_, edited by E. E. Hale. New
edition. Pp. xxi + 568. S. W. Tilton & Co., Boston, 1894.
=Caffin, Charles H.=, _How to Study Pictures_. Pp. xv + 513. The
Century Co., New York, 1906.
=Carlyle, Thomas=, _The Hero as Divinity_, pp. 1-41 in _Heroes and
Hero-Worship_. Centenary edition. Charles Scribner’s Sons, New York,
1897.
=Carpenter, Edward=, _Angels’ Wings: A Series of Essays on Art and Its
Relation to Life_. Pp. 248. Swan Sonnenschein & Co., London, 1898.
=Collins, John Churton=, _The True Functions of Poetry_, pp. 263-291
in _Studies in Poetry and Criticism_. George Bell & Sons, London, 1905.
=Corson, Hiram=, _The Aims of Literary Study_. Pp. 153. The Macmillan
Co., New York, 1895.
=Cox, George W.=, _An Introduction to the Science of Comparative
Mythology and Folk-Lore_. Pp. xvi + 380. Henry Holt & Co., New York,
1881.
=Cox, George W.=, _The Mythology of the Aryan Nations_. 2 vols., pp.
xx + 460 and xv + 397. Longmans, Green, & Co., London, 1870.
=Crawshaw, W. H.=, _The Interpretation of Literature_. Pp. x + 235.
The Macmillan Co., New York, 1902.
=Crawshaw, W. H.=, _Literary Interpretation of Life_. Pp. viii + 266.
The Macmillan Co., New York, 1900.
=Dabney, J. P.=, _The Musical Basis of Verse_. Pp. x + 269. Longmans,
Green, & Co., London, 1901.
=Davies, Henry M.=, _The Musical Consciousness_. (In _Music_, vol.
XII, pp. 25-38, 171-180, 329-341, 462-472.)
=Donaldson, John William=, _The Theatre of the Greeks_. Pp. xii + 435.
George Bell & Sons, London, 1891.
=Dwight, John S.=, _Intellectual Influence of Music_. (In _The
Atlantic Monthly_, vol. XXVI, pp. 614-625.) Boston, Nov., 1870.
=Dwight, John S.=, _Music as a Means of Culture_. (In _The Atlantic
Monthly_, vol. XXVI, pp. 321-331.) Boston, Sept., 1870.
=Eastman, Edith V.=, _Musical Education and Musical Art_. Pp. 171.
Damrell & Upham, Boston, 1893.
=Emerson, Ralph Waldo=, _Art_, pp. 325-343 in _Essays, first series_.
Houghton, Mifflin & Co., Boston, 1883.
=Emerson, Ralph Waldo=, _Art_, pp. 39-59 in _Society and Solitude_.
Houghton, Mifflin & Co., Boston, 1898.
=Engel, Carl=, _Introduction to the Study of National Music_. Pp. x +
435. Longmans, Green, & Co., London, 1886.
=Fairbanks, Arthur=, _The Mythology of Greece and Rome, with Special
Reference to its Influence on Literature_. Pp. xvii + 408. D. Appleton
& Co., New York, 1907.
=Gayley, C. M.= (editor), _Classic Myths in English Literature_. Pp.
xlv + 540. Ginn & Co., Boston, 1894.
=Goddard, Joseph=, _Reflections upon Musical Art Considered in its
Wider Relations_. Pp. viii + 87. Goddard & Co., London, 1893.
=Goethe=, _Conversations with Eckermann and Soret_, translated by John
Oxenford. Pp. xxvii + 583. Bohn Library, George Bell & Sons, London,
1901.
=Goethe=, _The Maxims and Reflections of_, translated by T. Bailey
Saunders. Pp. 223. The Macmillan Co., New York, 1893.
=Goethe=, _Travels in Italy_, translated by A. J. W. Morrison and
Charles Nesbit. Pp. 589. Bohn Library, George Bell & Sons, London,
1892.
=Goldziher, Ignaz=, _Mythology among the Hebrews and its Historical
Development_, translated by Russell Martineau. Pp. xxxv + 457.
Longmans, Green, & Co., London, 1877.
=Grosse, Ernest=, _The Beginnings of Art_. Pp. xiv + 327. D. Appleton
& Co., New York, 1897.
=Guerber, H. A.=, _Myths of Greece and Rome_. Pp. 428. American Book
Co., New York, 1893.
=Guerber, H. A.=, _Myths of Northern Lands_. Pp. 319. American Book
Co., New York, 1895.
=Gummere, Francis B.=, _The Beginnings of Poetry_. Pp. x + 483. The
Macmillan Co., New York, 1901.
=Gummere, Francis B.=, _A Handbook of Poetics_. Pp. vi + 250. Ginn &
Co., Boston, 1885.
=Gurney, Edmund=, _The Power of Sound_. Pp. xi + 559. Smith, Elder, &
Co., London, 1880.
=Hamerton, Philip Gilbert=, _The Intellectual Life_. Pp. xix + 455.
Roberts Bros., Boston, 1891.
=Hamerton, Philip Gilbert=, _Thoughts About Art_. Pp. xxiv + 383.
Roberts Bros., Boston, 1878.
=Hanchett, Henry G.=, _The Art of the Musician: A Guide to the
Intellectual Appreciation of Music_. Pp. viii + 327. The Macmillan
Co., New York, 1905.
=Hand, Ferdinand=, _Æsthetics of Musical Art; or, the Beautiful in
Music_, translated from the German by Walter E. Lawson. Pp. xviii +
187. London, 1880.
=Hanslick, Dr. Eduard=, _The Beautiful in Music_, translated by Gustav
Cohen. Novello, Ewer & Co., New York, 1891.
=Hegel, Georg Wilhelm Friedrich=, _Introduction to the Philosophy of
Fine Art_, translated by B. Bosanquet. Pp. xxxiii + 175. Kegan Paul,
Trench & Co., London, 1886.
=Helmholtz, Hermann L. F.=, _On the Sensations of Tone as a
Physiological Basis for the Theory of Music_, translated by Alexander
J. Ellis. Pp. xix + 576. Longmans, Green, & Co., London, 1885.
=Henderson, W. J.=, _What is Good Music?_ Pp. xiii + 205. Charles
Scribner’s Sons, New York, 1905.
=Holden, Florence P.=, _Audiences: A Few Suggestions to Those Who Look
and Listen_. A. C. McClurg & Co., Chicago, 1896.
=Holmes, Edmond=, _What is Poetry?_ Pp. 98. Lane, New York, 1900.
=Hugo, Victor=, _William Shakespeare_, translated by Melville B.
Anderson. Pp. 24 + 424. A. C. McClurg & Co., Chicago, 1899.
=Kerst, Friedrich= (compiler and annotator), _Beethoven: The Man and
the Artist, as Revealed in His Own Words_, translated and edited by
Henry Edward Krehbiel. Pp. 110. B. W. Huebsch, New York, 1905.
=Kerst, Friedrich= (compiler and annotator), _Mozart: The Man and the
Artist, as Revealed in His Own Words_, translated and edited by Henry
Edward Krehbiel. Pp. 143. B. W. Huebsch, New York, 1905.
=Knight, William=, _The Philosophy of the Beautiful_. 2 vols. Pp. xv +
288 and xii + 281. John Murray, London, 1891-3.
=Kobbé, Gustav=, _How to Appreciate Music_. Pp. 275. Moffat, Yard &
Co., New York, 1906.
=Krehbiel, Henry Edward=, _How to Listen to Music_. Pp. xv + 36l.
Charles Scribner’s Sons, New York, 1897.
=Kufferath, M.=, _Rhythm, Melody and Harmony_. (In _Music_, vol. XVII,
pp. 31-39, 155-163.) Chicago, 1899, 1900.
=LaFarge, J.=, _Considerations on Painting_. Pp. vi + 270. The
Macmillan Co., New York, 1901.
=Lanier, Sidney=, _Music and Poetry_. Pp. viii + 248. Charles
Scribner’s Sons, New York, 1899.
=Lanier, Sidney=, _The Science of English Verse._ Pp. 315. Charles
Scribner’s Sons, New York, 1901.
=Leighton, Lord=, _Addresses Delivered to the Students of the Royal
Academy_. Pp. 310. Kegan Paul, Trench, Trübner & Co., London, 1896.
=Lessing, G. E.=, _Laokoön_, pp. 1-169 in _Laokoön_, etc., translated
by E. C. Beasley and Helen Zimmern. Bohn Library, George Bell & Sons,
London, 1900.
=Lewes, George Henry=, _The Principles of Success in Literature_. Pp.
xv + 235. Walter Scott, London, n. d.
=Mabie, Hamilton Wright=, _Books and Culture_. Pp. 279. Dodd, Mead &
Co., New York, 1896.
=Mabie, Hamilton Wright=, _Essays on Nature and Culture_. Pp. 326.
Dodd, Mead & Co., New York, 1896.
=Mabie, Hamilton Wright=, _Short Studies in Literature_. Pp. vi + 201.
Dodd, Mead & Co., New York, 1892.
=Mach, Edmund von=, _Greek Sculpture; Its Spirit and Principles_. Pp.
xviii + 359 + xl. Ginn & Co., Boston, 1903.
=Malory, Sir Thomas=, _Le Morte Darthur_, edited with introduction by
Sir Edward Strachey. Pp. lvi + 509. The Macmillan Co., New York, 1901.
=Mathews, W. S. B.=, _How to Understand Music_. 2 vols., pp. 216 + 87
and viii + 208. Theodore Presser, Philadelphia, 1886, 1888.
=Mathews, W. S. B.=, _Music: Its Ideals and Methods_. Pp. iii + 225.
Theodore Presser, Philadelphia, 1897.
=Morison, John H.=, _The Great Poets as Religious Teachers_. Pp. 200.
Harper & Bros., New York, 1886.
=Morris, William=, _Hopes and Fears for Art_. Pp. 217. Roberts Bros.,
Boston, 1882.
=Moyse, Charles E.=, _Poetry, as a Fine Art_. Pp. 79. Elliot Stock,
London, 1883.
=Münsterberg, Hugo=, _The Principles of Art Education_. Pp. 114. The
Prang Educational Co., New York, 1905.
=Newman, John Henry=, _Poetry, with Reference to Aristotle’s Poetics_.
Pp. x + 36. Ginn & Co., Boston, 1891.
=Norton, Edwin Lee=, _The Intellectual Element in Music_, pp. 167-201
in _Studies in Philosophy and Psychology_. Houghton, Mifflin & Co.,
Boston, 1906.
=Noyes, Carleton=, _The Enjoyment of Art_. Pp. xiii + 101. Houghton,
Mifflin & Co., Boston, 1903.
=Palgrave, Francis Turner= (editor), _The Golden Treasury of the Best
Songs and Lyrical Poems in the English Language_. Series I, pp. 381;
series II, pp. xii + 275. The Macmillan Co., New York, 1896, 1897.
=Palgrave, Francis Turner=, _Poetry Compared with the Other Fine
Arts_. (In _Littell’s Living Age_, vol. CLXXI, pp. 259-267; vol.
CLXXIII, pp. 579-589.) Boston, 1886, 1887.
=Parry, C. Hubert H.=, _The Evolution of the Art of Music_. Pp. x +
342. D. Appleton & Co., New York, 1906.
=Parry, T. Gambier=, _The Ministry of Fine Art to the Happiness of
Life_. Pp. viii + 368. John Murray, London, 1886.
=Partridge, William Ordway=, _Art for America_. Pp. 192. Roberts
Bros., Boston, 1894.
=Plato=, _The Republic_, translated by B. Jowett. Books II and III.
Oxford University Press, 1892.
=Poe, Edgar Allen=, _The Rationale of Verse_ and _The Poetic
Principle_, pp. 209-292 in vol. XIV of _Works_, edited by James A.
Harrison. Thomas Y. Crowell & Co., New York, 1902.
=Posnett, Hutcheson Macauley=, _Comparative Literature_. Pp. x + 402.
D. Appleton & Co., New York, 1886.
=Pryde, David=, _Highways of Literature_. Pp. 156. Funk & Wagnalls,
New York, n. d.
=Puffer, Ethel D.=, _The Psychology of Beauty_. Pp. vii + 286.
Houghton, Mifflin & Co., Boston, 1906.
=Raymond, George Lansing=, _Art in Theory_. Pp. xviii + 266. G. P.
Putnam’s Sons, New York, 1894.
=Raymond, George Lansing=, _The Essentials of Æsthetics_. Pp. xix +
404. G. P. Putnam’s Sons, New York, 1906.
=Raymond, George Lansing=, _The Genesis of Art-Form_. Pp. xxii + 311.
G. P. Putnam’s Sons, New York, 1893.
=Raymond, George Lansing=, _Painting, Sculpture, and Architecture as
Representative Arts_. Pp. xxxv + 431. G. P. Putnam’s Sons, New York,
1895.
=Raymond, George Lansing=, _Poetry as a Representative Art_. Pp. xv +
346. G. P. Putnam’s Sons, New York, 1886.
=Raymond, George Lansing=, _Rhythm and Harmony in Poetry and Music_.
Pp. xxxvi + 344. G. P. Putnam’s Sons, New York, 1904.
=Ritter, Frederic Louis=, _Music in Its Relation to Intellectual Life;
Romanticism in Music_. Pp. 98. Edward Schuberth & Co., New York, 1891.
=Ruskin, John=, _Aratra Pentelici; Elements of Sculpture_. Pp. xi +
181. John Wiley & Sons, New York, 1886.
=Ruskin, John=, _Lectures on Art_. Pp. 202. Merrill & Baker, New York,
n. d.
=Ruskin, John=, _Modern Painters_. 5 vols., pp. lxxiii + 429, xiii +
230, xii + 341, 403, and xiv + 390. Merrill & Baker, New York, n. d.
=Ruskin, John=, _The Two Paths: Lectures on Art_. Pp. xvii + 270.
Maynard, Merrill & Co., New York, 1893.