,,the ,,introduction ,,to ,,hegel',s ,,philosophy ,,of ,,fine ,,art ,,the ,,introduction ,,to ,,hegel',s ,,philosophy ,,of ,,fine ,,art ,,translated ,,from ,,the ,,german ,,with ,,notes ,,and ,,prefatory ,,essay ,,by ,,bernard ,,bosanquet1 ,m4,a4 ,,late ,,fellow ,,and ,,tutor ,,of ,,university ,,college1 ,,oxford ,,london ,,kegan ,,paul1 ,,trench ,,co41 #a ,,paternoster ,,square #ahhf 7,the rights of translation and of reproduction are reserved47 ,,translator',s ,,preface4 ,hegel's sthetik1 or ,philosophy of ,fine ,art1 is a work which should no longer be inaccessible to the ,english reading public1 but the reproduction of which1 in its complete form of #afjj pages1 is a task not to be lightly undertaken4 ,i know of three partial reproductions of the sthetik in ,english1 viz4 ,mr4 ,bryant's translation of ,part ,,ii41#a ,mr4 ,kedney's short analysis of the entire work1#b and ,mr4 ,hastie's translation of ,michelet's short ,philosophy of ,art1#c prefaced by ,hegel's ,introduction1 partly translated and partly analysed4 ,i wholly disapprove of analyses 7among which may be reckoned ,michelet's summary above mentioned7 as representations of ,hegel's writing1 which is attractive chiefly by the force and freshness of its detail4 ,i am convinced that ,hegel should be allowed to speak for himself1 and that failing the translation of the whole sthetik1 or of very copious selections1 the best course is that which ,i have adopted in the present volume1 viz4 to translate the entire ,introduction1 including the chapter entitled1 ,division of the ,subject4 ,this ,introduction is in ,hegel's best manner--so far as he can be said to have literary manner at all1 especially in a work which has been produced by editors from lecture-notes1--and is tolerably complete in itself4 ,it is not contained as a whole in any of the above-mentioned works4 ,i ought to say1 however1 that ,mr4 ,hastie's translation is excellent in style2 but after the first thirty-four pages it also becomes an analysis4 ,nor is it wholly free from serious mistakes4 ,i have hoped that the present volume may be of interest to many who1 without being students of philosophy1 are intelligent lovers of art4 ,i have therefore done my best to interpret philosophical expressions1 instead of merely furnishing their technical equivalents4 ,i have also added a few short notes1 either to explain literary allusions1 or to complete the interpretation of technical terms4 ,the prefatory essay was written with a similar intention1 not as original speculation1 but as an assistance to general readers in apprehending the point of view from which ,fine ,art is regarded by ,hegel and kindred writers4 ,i have broken up the ,einleitung1 or ,introduction proper1 which is continuous in the original1 into four chapters1#d hoping that the arrangement of the discussion may be thus rendered easier to follow4 ,the ,eintheilung1 which forms my ,chapter ,v41 is a separate chapter in the original4 ,the table of contents is translated from the original1 excepting those portions of it which are enclosed in square brackets1 4 ,my literary notes are entirely borrowed from the late ,mrs4 ,f4 ,c4 ,conybeare's translation of ,scherer's ,history of ,german ,literature2 a work invaluable to the ,english student1 whose gratitude must for long be saddened by the untimely death of the translator4 ,,contents4 ,,page ,,translator',s ,,preface vii ,,prefatory ,,essay ,,by ,,the ,,translator xiii ,,chapter ,i4 ,,the ,,range ,,of ,,sthetic ,,defined1 ,,and ,,some ,,objections ,,against ,,the ,,philosophy ,,of ,,art ,,refuted 7#a-be74 ,greek3 a4 sthetic confined to ,beauty of ,art #b ,greek3 b4 ,does ,art merit ,scientific ,treatment8 #e ,greek3 g4 ,is ,scientific ,treatment appropriate to ,art8 #h ,greek3 d4 ,answer to ,greek3 b4 #ac ,greek3 e4 ,answer to ,greek3 g4 #bj ,,chapter ,,ii4 ,,methods ,,of ,,science ,,applicable ,,to ,,beauty ,,and ,,art 7#bf-db74 #a4 ,empirical ,method--,art-scholarship #bg 7a7 ,its ,range #bg 7b7 ,it generates ,rules and ,theories #bh 7c7 ,the ,rights of ,genius #ch #b4 ,abstract ,reflection #dj #c4 ,the ,philosophical ,conception of ,artistic ,beauty1 general notion of #da ,,chapter ,,iii4 ,,the ,,philosophical ,,conception ,,of ,,artistic ,,beauty1 ,,beginning ,,with ,,current ,,ideas ,,of ,,art 7#dc-aje74 ,,part ,i4--,the ,work of ,art as ,made and as ,sensuous #dc-gh #a4 ,work of ,art as ,product of ,human ,activity #dh 7a7 ,conscious ,production by ,rule #dh 7b7 ,artistic ,inspiration #ej 7c7 ,dignity of ,production by ,man #ed 7d7 ,man's ,need to produce ,works of ,art #eg #b4 ,work of ,art as addressed to ,man's ,sense #fj-gh 7a7 ,object of ,art--,pleasant ,feeling8 #fj 7b7 ,feeling of ,beauty--,taste #fc 7c7 ,art-scholarship #fe 7d7 ,profounder ,consequences of ,sensuous ,nature of ,art #ff 7,greek3 a7 ,relations of the ,sensuous to the ,mind #fg 7,greek3 aa7 ,desire #fh 7,greek3 bb7 ,theory #gj 7,greek3 gg7 ,sensuous as ,symbol of ,spiritual #gb 7,greek3 b7 ,the ,sensuous ,element1 how ,present in the ,artist #gd 7,greek3 g7 ,the ,content of ,art ,sensuous #gh ,,part ,,ii4--,the ,end of ,art4 #c4 ,the ,interest or ,end of ,art 7#gi-ajf7 7a7 ,imitation of ,nature8 #gi 7,greek3 a7 ,mere ,repetition of ,nature is-- #gi 7,greek3 aa7 ,superfluous #hj 7,greek3 bb7 ,imperfect #hj 7,greek3 gg7 ,amusing merely as ,sleight of ,hand #hb 7,greek3 b7 ,what is ,good to ,imitate8 #hc 7,greek3 g7 ,some ,arts cannot be called ,imitative #he 7b7 ,humani nihii--8 #hg 7c7 ,mitigation of the ,passions8 #ij 7,greek3 a7 ,how ,art mitigates the ,passions #ia 7,greek3 b7 ,how ,art purifies the ,passions #id 7,greek3 aa7 ,it must have a ,worthy ,content #ie 7,greek3 bb7 ,but ought not to be ,didactic #ie 7,greek3 gg7 ,nor explicitly addressed to a ,moral ,purpose #ih 7d7 ,art has its own ,purpose as ,revelation of ,truth #aje ,,chapter ,,iv4 ,,historical ,,deduction ,,of ,,the ,,true ,,idea ,,of ,,art ,,in ,,modern ,,philosophy 7#ajg-acb74 #a4 ,kant #ajg 7a7 ,pleasure in ,beauty not ,appetitive #aaj 7b7 ,pleasure in ,beauty ,universal #aaa 7c7 ,the ,beautiful in its ,teleological ,aspect #aab 7d7 ,delight in the ,beautiful necessary though felt #aac #b4 ,schiller1 ,winckelmann1 ,schelling #aaf #c4 ,the ,irony #abj ,,chapter ,v4 ,,division ,,of ,,the ,,subject 7#acc-age74 #a4 ,the ,condition of ,artistic ,presentation is the ,correspondence of ,matter and ,plastic ,form #acc #b4 ,part ,i4--,the ,ideal #ada #c4 ,part ,,ii4--,the ,types of ,art #add 7,greek3 a7 ,symbolic ,art #ade 7,greek3 b7 ,classical ,art #adh 7,greek3 g7 ,romantic ,art #aea #d4 ,part ,,iii4--,the ,several ,arts #aeg 7,greek3 a7 ,architecture #afj 7,greek3 b7 ,sculpture #afb 7,greek3 g7 ,romantic ,art1 comprising #afd 7i47 ,painting #afg 7ii47 ,music #afi 7iii47 ,poetry #aga #e4 ,conclusion #agc ,,prefatory ,,essay ,,by ,,the ,,translator4 ,,on ,,the ,,true ,,conception ,,of ,,another ,,world4 ,with such barren forms of thought1 that are always in a world beyond1 ,philosophy has nothing to do4 ,its object always something concrete1 and in the highest sense present4--,,hegel',s ,logic1 ,wallace's translation1 p4 #aej4 ,it will surprise many readers to be told that the words which ,i have quoted above embody the very essence of ,hegelian thought4 ,the ,infinite1 the supra-sensuous1 the divine1 are so connected in our minds with futile rackings of the imagination about remote matters which only distract us from our duties1 that a philosophy which designates its problems by such terms as these seems self-condemned as cloudy and inane4 ,but1 all appearances to the contrary notwithstanding1 ,hegel is faithful to the present and the concrete4 ,in the study of his philosophy we are always dealing with human experience4 ,my stress lay1 says ,mr4 ,browning1#e on the incidents in the development of a soul2 little else is worth study4 ,for a soul read the mind1 and you have the subject-matter to which ,hegel's eighteen close-printed volumes are devoted4 ,the present introductory remarks are meant to insist on this neglected point of view4 ,i wish to point out1 in two or three salient instances1 the transformation undergone by speculative notions when sedulously applied to life1 and restrained from generating an empty beyond4 ,by so doing ,i hope to pave the way for a due appreciation of ,hegel's philosophy of fine art4 ,that the world of mind1 or the world above sense1 exists as an actual and organized whole1 is a truth most easily realized in the study of the beautiful4 ,and to grasp this principle as ,hegel applies it is nothing less than to acquire a new contact with spiritual life4 ,the spiritual world1 which is present1 actual1 and concrete1 contains much besides beauty4 ,but to apprehend one element of such a whole constitutes and presupposes a long step towards apprehending the rest4 ,it is for this reason that ,i propose1 in the first place1 to explain1 by prominent examples1 the conception of a spiritual world which is present and actual1 and then to let ,hegel speak for himself on the particular sphere of art4 ,so closely connected indeed are all the embodiments of mind1 that the ,introduction to the ,philosophy of ,fine ,art is almost a microcosm of his entire system4 ,we know1 to our cost1 the popular conception of the supra-sensuous world4 ,whatever that world is1 it is1 as commonly thought of1 not here and not now4 ,that is to say1 if here and now1 it is so by a sort of miracle1 at which we are called upon to wonder1 as when angels are said to be near us1 or the dead to know what we do4 ,again1 it is a counterpart of our present world1 and rather imperceptible to our senses1 than in its nature beyond contact with sense as such4 ,it is peopled by persons1 who live eternally1 which means through endless ages1 and to whose actual communion with us1 as also to our own with ,god1 we look forward in the future4 ,it even perhaps contains a supra-sensuous original corresponding to every thing and movement in this world of ours4 ,and it does not necessarily deepen our conception of life1 but only reduplicates it4 ,such a world1 whatever we may think about its actual existence1 is not the other world of philosophy4 ,the things not seen of ,plato or of ,hegel are not a double or a projection of the existing world4 ,plato1 indeed1 wavered between the two conceptions in a way that should have warned his interpreters of the divergence in his track of thought4 ,but in ,hegel1 at least1 there is no ambiguity4 ,the world of spirits with him is no world of ghosts4 ,when we study the embodiments of mind or spirit in his pages1 and read of law1 property1 and national unity2 of fine art1 the religious community1 and the intellect that has attained scientific self-consciousness1 we may miss our other world with its obscure beyond1 but we at any rate feel ourselves to be dealing with something real1 and with the deepest concerns of life4 ,we may deny to such matters the titles which philosophy bestows upon them2 we may say that this is no other world1 no realm of spirits1 nothing infinite or divine3 but this matters little so long as we know what we are talking about1 and are talking about the best we know4 ,and what we discuss when ,hegel is our guide1 will always be some great achievement or essential attribute of the human mind4 ,he never asks1 ,is it8 but always ,what is it8 and therefore has instruction1 drawn from experience1 even for those to whom the titles of his inquiries seem fraudulent or bombastic4 ,these few remarks are not directed to maintaining any thesis about the reality of nature and of sense4 ,their object is to enforce a distinction which falls within the world which we know1 and not between the world we know and another which we do not know4 ,this distinction is real1 and governs life4 ,i am not denying any other distinction1 but ,i am insisting on this4 ,no really great philosopher1 nor religious teacher1--neither ,plato1 nor ,kant1 nor ,st4 ,paul--can be understood unless we grasp this antithesis in the right way4 ,all of these teachers have pointed men to another world4 ,all of them1 perhaps1 were led at times by the very force and reality of their own thought into the fatal separation that cancels its meaning4 ,so strong was their sense of the gulf between the trifles and the realities of life1 that they gave occasion to the indolent imagination--in themselves and in others--to transmute this gulf from a measure of moral effort into an inaccessibility that defies apprehension4 ,but their purpose was to overcome this inaccessibility1 not to heighten it4 ,the hardest of all lessons in interpretation is to believe that great men mean what they say4 ,we are below their level1 and what they actually say seems impossible to us1 till we have adulterated it to suit our own imbecility4 ,especially when they speak of the highest realities1 we attach our notion of reality to what they pronounce to be real4 ,and thus we baffle every attempt to deepen our ideas of the world in which we live4 ,the work of intelligence is hard2 that of the sensuous fancy is easy2 and so we substitute the latter for the former4 ,we are told1 for instance1 by ,plato1 that goodness1 beauty1 and truth are realities1 but not visible or tangible4 ,instead of responding to the call so made on our intelligence by scrutinizing the nature and conditions of these intellectual facts--though we know well how tardily they are produced by the culture of ages--we apply forthwith our idea of reality as something separate in space and time1 and so refute ,plato with ease1 and remain as wise as we were before4 ,and it is true that ,plato1 handling ideas of vast import with the mind and language of his day1 sometimes by a similar error refutes himself4#f ,he makes1 for instance1 the disembodied soul see the invisible ideas4 ,thus he travesties his things of the mind as though they were things of sense1 only not of our sense--thereby destroying the deeper difference of kind that alone enables them to find a place in our world4 ,that his doctrine of ideas was really rooted1 not in mysticism1 but in scientific enthusiasm1 is a truth that is veiled from us partly by his inconsistencies1 but far more by our own erroneous preconceptions4#g ,there is1 however1 a genuine distinction between this world and the other world1 which is merely parodied by the vulgar antitheses between natural and supernatural1 finite and infinite1 phenomenal and noumenal4 ,we sometimes hear it said1 ,the world is quite changed to me since ,i knew such a person1 or studied such a subject1 or had suggested to me such an idea4 ,the expression may be literally true2 and we do not commonly exaggerate1 but vastly underrate its import4 ,we read1 for instance1 in a good authority1 ,these twenty kinds of birds 7which ,virgil mentions7 do not correspond so much to our species as to our genera2 for the ,greeks and ,romans1 ,i need hardly say1 had only very rough-and-ready methods of classification1 just as is the case with uneducated people at the present day4#h ,any one may verify the same fact as regards the observation of flowers4 ,every yellow ranunculus is called a butter-cup1 every large white umbellifer a hemlock4 ,these1 with hundreds of other differences of perception1 affect the surroundings in which men consciously live1 at least as much as a considerable degree of deafness or blindness4 ,it is no metaphor1 but literal fact1 to say that man's whole environment is transformed by the training even of his mere apprehension of natural objects4 ,but there is more in the matter than this4 ,without going into metaphysics1 which ,i wish to avoid1 ,i cannot1 indeed1 maintain that mind makes natural objects1 although by enabling us to perceive them it unquestionably makes our immediate conscious world4 ,my individual consciousness does not make or create the differences between the species of ranunculus1 although it does create my knowledge of them4 ,but when we come to speak of the world of morals or art or politics1 we may venture much further in our assertions4 ,the actual facts of this world do directly arise out of and are causally sustained by conscious intelligence2 and these facts form the world above sense4 ,the unity of a ,christian church or congregation is a governing fact of life2 so is that of a family or a nation2 so1 we may hope1 will that of humanity come to be4 ,what is this unity8 ,is it visible and tangible1 like the unity of a human body8 ,no1 the unity is ideal2 that is1 it exists in the medium of thought only2 it is made up of certain sentiments1 purposes1 and ideas4 ,what even of an army8 ,here1 too1 an ideal unity is the mainspring of action4 ,without mutual intelligence and reciprocal reliance you may have a mob1 but you cannot have an army4 ,but all these conditions exist and can exist in the mind only4 ,an army1 qua army1 is not a mere fact of sense2 for not only does it need mind to perceive it--a heap of sand does that--but it also needs mind to make it4 ,the world of these governing facts of life is the world of the things not seen1 the object of reason1 the world of the truly infinite and divine4 ,it is1 of course1 a false antithesis to contrast seeing with the bodily eye and seeing with the mind's eye4 ,the seeing eye is always the mind's eye4 ,the distinction between sense and spirit or intellect is a distinction within the mind just as is ,st4 ,paul's opposition between the spirit and the flesh4 ,nevertheless1 the mind that only sees colour--sense or sense-perception--is different from the mind that sees beauty1 the self-conscious spirit4 ,the latter includes the former1 but the former does not include the latter4 ,to the one the colour is the ultimate fact2 to the other it is an element in a thing of beauty4 ,this relation prevails throughout between the world of sense and the world above sense4 ,the things not seen1 philosophically speaking1 are no world of existences or of intelligences co-ordinate with and severed from this present world4 ,they are a value1 an import1 a significance1 superadded to the phenomenal world1 which may thus be said1 though with some risk of misunderstanding1 to be degraded into a symbol4 ,the house1 the cathedral1 the judge's robe1 the general's uniform1 are ultimate facts for the child or the savage2 but for the civilized man they are symbols of domestic life1 of the ,church1 and of the ,state4 ,even where the supra-sensuous world has its purest expression1 in the knowledge and will of intelligent beings1 it presupposes a sensuous world as the material of ideas and of actions4 ,this world and the other world are continuous and inseparable1 and all men must live in some degree for both4 ,but the completion of the ,noumenal world1 and the apprehension of its reality and completeness1 is the task by fulfilling which humanity advances4 ,i pass to the interpretation1 neither technical nor controversial1 of one or two of ,hegel's most alarming phrases4 ,the infinite seems to practical minds the very opposite of anything real1 present1 or valuable4 ,as the description of life1 it is the mere negation of the life we know2 as the description of a purpose1 it is the very antithesis of any purpose that we can conceive to be attainable2 as the description of a being1 it appears to be formed by denying every predicate which we attach to personality4 ,and ,i could wish that ,hegel had not selected this much-abused term as the distinctive predicate of what is most real and most precious in life4 ,he adhered to it1 no doubt1 because his infinity1 though different in nature to that of common logic1 yet rightly fills the place and meets the problem of that conception4 ,i will attempt to explain how this can be1 and what we are discussing when we read about infinity in the ,hegelian philosophy4 ,it is an obvious remark1 that infinity was a symbol of evil in ,hellenic speculation1 whereas to ,christian and modern thought it is identified with good4 ,much idle talk has arisen on this account1 as to the limitation of the ,hellenic mind4 ,for in fact1 the ,finite ascribed to ,pythagoras1 and the idea of limit and proportion in ,plato or in ,aristotle1 are far more nearly akin to true infinity than is the ,infinite of modern popular philosophy4 ,infinite means the negation of limit4 ,now1 common infinity1 which may be identified in general with enumeration ad infinitum1--the false infinity of ,hegel--is the attempt to negate or transcend a limit which inevitably recurs4 ,it arises from attempting a task or problem in the wrong way1 so that we may go on for ever without making any advance towards its achievement4 ,all quantitative infinity--which of course has its definite uses1 subject to proper reservations--is of this nature4 ,a process does not change its character by mere continuance1 and the aggregate of a million units is no more free from limitation than the aggregate of ten4 ,a defect in kind cannot be compensated by mere quantity4 ,we see the fallacious attempt in savage1 barbaric1 or vulgar art4 ,meaningless iteration1 objectless labour1 enormous size1 extravagant costliness1 indicate the effort to satisfy man's need of expression by the mere accumulation of work without adequate idea or purpose4 ,but such efforts1 however stupendous1 never attain their goal4 ,they constitute a recurrent failure to transcend a recurrent limit1 precisely analogous to enumeration ad infinitum4 ,a hundred thousand pounds' worth of bricks and mortar comes no nearer to the embodiment of mind than a thousand pounds' worth4 ,to attempt adequate expression by mere aggregation of cost or size is therefore to fall into the infinite process or the false infinity4 ,another well-known instance is the pursuit of happiness in the form of pleasure for pleasure's sake4 ,the recurrence of unchanging units leaves us where we were4 ,a process which does not change remains the same1 and if it did not bring satisfaction at first1 will not do so at last4#i ,we might as well go on producing parallels to infinity1 in the hope that somehow or somewhere they may meet4 ,an infinite straight line may serve as a type of the kind of infinity we are considering4 ,infinity in the ,hegelian sense does not partake in any way of this endlessness1 or of the unreality which attaches to it4 ,its root-idea is self-completeness or satisfaction4 ,that which is infinite is without boundary1 because it does not refer beyond itself for explanation1 or for justification2 and therefore1 in all human existence or production infinity can only be an aspect or element4 ,a picture1 for instance1 regarded as a work of fine art1 justifies itself1 gives satisfaction directly and without raising questions of cause or of comparison1 and is in this sense--i4e4 in respect of its beauty--regarded as infinite4 ,when1 on the other hand1 we consider this same work of art as an historical phenomenon1 as a link in a chain of causation--e4g4 as elucidating the development of a school1 or proving the existence of a certain technical process at a certain date--then we go beyond itself for its interest and explanation1 and depress it at once into a finite object4 ,the finite is that which presents itself as incomplete2 the infinite that which presents itself as complete1 and which1 therefore1 does not force upon us the fact of its limitation4 ,this character belongs in the highest degree to self-conscious mind1 as realized in the world above sense2 and in some degree to all elements of that world--for instance1 to the ,state--in as far as they represent man's realized self-consciousness4 ,it is the nature of self-consciousness to be infinite1 because it is its nature to take into itself what was opposed to it1 and thus to make itself into an organized sphere that has value and reality within1 and not beyond itself4 ,if false infinity was represented by an infinite straight line1 true infinity may be compared to a circle or a sphere4 ,the distinction between true and false infinity is of the profoundest moral import4 ,the sickly yearning that longs only to escape from the real1 rooted in the antithesis between the infinite and the actual or concrete1 or in the idea of the monotonous infini which is one with the abme or the gouffre1 is appraised by this test at its true value4 ,it is seen to rest on a mere pathetic fallacy of thought and sentiment4 ,so far from the infinite being remote1 abstract1 unreal1 nothing but the infinite can be truly present1 concrete1 and real4 ,the finite always refers us away and away through an endless series of causes1 of effects1 or of relations4 ,the infinite is individual1 and bears the character of knowledge1 achievement1 attainment4 ,in short1 the actual realities which we have in mind when1 in philosophy1 we speak of the infinite1 are such as a nation that is conscious of its unity and general will1 or the realm of fine art as the recognition of man's higher nature1 or the religious community with its conviction of an indwelling ,deity4 ,now1 whether we like the term ,infinite or not1 whether or no we think that man's life can be explained and justified within the limits of these aims and these phenomena1 there is no doubt that these matters are real1 and are the most momentous of realities4 ,in acquainting ourselves with their structure1 evolution1 and relation to individual life1 we are at least not wasting time1 nor treating of matters beyond human intelligence4 ,there is a very similar contrast in the conception of human ,freedom4 ,free will is so old a vexed question1 that though the conflict still rages fitfully round it1 the world hardly conceives that much can turn upon its decision4 ,but when in place of the abstract1 ,is man free8 we are confronted with the concrete inquiry1 ,when1 in what1 and as what1 does man carry out his will with least hindrance and with fullest satisfaction8 then we have before us the actual phenomena of civilization1 instead of an idle and abstract ,yes or ,no4 ,man's ,freedom1 in the sense thus contemplated1 lies in the spiritual or supra-sensuous world by which his humanity is realized1 and in which his will finds fulfilment4 ,the family1 for example1 property1 and law are the first steps of man's freedom4 ,in them the individual's will obtains and bestows recognition as an agent in a society whose bond of union is ideal--i4e4 existing only in consciousness2 and this recognition develops into duties and rights4 ,it is in these that man finds something to live for1 something in which and for the sake of which to assert himself4 ,as society develops he lives on the whole more in the civilized or spiritual world1 and less in the savage or purely natural world4 ,his will1 which is himself1 expands with the institutions and ideas that form its purpose1 and the history of this expansion is the history of human freedom4 ,nothing is more shallow1 more barbarously irrational1 than to regard the progress of civilization as the accumulation of restrictions4 ,laws and rules are a necessary aspect of extended capacities4 ,every power that we gain has a positive nature1 and therefore involves positive conditions1 and every positive condition has negative relations4 ,to accomplish a particular purpose you must go to work in a particular way1 and in no other way4 ,to complain of this is like complaining of a house because it has a definite shape4 ,if freedom means absence of attributes1 empty space is freer than any edifice4 ,of course a house may be so ugly that we may say we would rather have none at all4 ,civilization may bring such horrors that we may say rather savagery than this2 but in neither case are we serious4 ,great as are the vices of civilization1 it is only in civilization that man becomes human1 spiritual1 and free4 ,the effort to grasp and apply such an idea as this can hardly be barren4 ,it brings us face to face with concrete facts of history1 and of man's actual motives and purposes4 ,true philosophy here1 as everywhere1 plunges into the concrete and the real2 it is the indolent abstract fancy that thrusts problems away into the remote beyond or into futile abstraction4 ,plato1 the philosopher1 knows well that the mind is free when it achieves what as a whole it truly wills4 ,but ,plato1 the allegorist and imaginative preacher1 refers the soul's freedom to a fleeting moment of ante-natal choice1 which he vainly strives to exempt from causal influence4 ,pictorial imagination1 with its ready reference to occurrences in past and future1 is the great foe to philosophic intelligence4 ,finally1 it is impossible to omit all reference to the notion of an immanent ,deity1 which forms the very centre of ,hegel's thought4 ,when an unspeculative ,english reader first meets with ,hegel's passionate insistence that ,god is not unknowable1 that ,he necessarily reveals himself as a ,trinity of persons1 and that to deny this is to represent men as the heathen who know not ,god1 he feels as if he had taken sand into his mouth4 ,he is inclined to ask what these ,neo-,platonic or medival doctrines are doing in the nineteenth century1 and why we should resuscitate dead logomachies that can have no possible value for life or conduct4 ,now1 ,i must not attempt here to discuss the difficult question of ,hegel's ultimate conception of the being of ,god1 and ,i am bound to warn any one who may read these pages that ,i only profess to reproduce one--though by far the most prominent--side of that conception4 ,but1 subject to this reservation1 ,i have no hesitation in saying1 that our own prejudices form the only hindrance to our seeing that ,hegel's subject-matter is here1 as elsewhere1 human life4 ,he gives us what he takes to be the literal truth1 and we will have it to be metaphor4 ,verbally contradicting ,kant1 he accepts1 completes1 and enforces ,kant's thought4 ,revelation can never be the true ground of religion1 said ,kant2 for revelation is an historical accident1 and religion is a rational necessity of man's intelligent nature4 ,revelation is the only true knowledge of ,god and ground of religion1 says ,hegel1 because revelation consists in the realization of ,god in man's intelligent nature4 ,we are1 however1 not unaccustomed to such phrases1 and our imagination is equal to its habitual task of evading their meaning4 ,we take them to be a strong metaphor1 meaning that ,god1 who is a sort of ghostly being a long way off1 is1 notwithstanding1 more or less within the knowledge of our minds1 and so is in them1 as a book which is actually in ,london may be in my memory when ,i am in ,scotland4 ,now1 right or wrong1 this is not what ,hegel means4 ,he means what he says2 that ,god is spirit or mind1#aj and exists in the medium of mind1 which is actual as intelligence1 for us at any rate1 only in the human self-consciousness4 ,the thought is hard from its very simplicity1 and we struggle1 as always1 to avoid grasping it4 ,we imagine spirits as made of a sort of thin matter1 and so as existing just like bodies1 although we call them disembodied4 ,and then we think of this disembodied form as an alternative to human form1 and suppose spirit to have somehow a purer existence apart from human body4 ,this error really springs from imagining the two as existences of the same kind1 and so conflicting1 and from not realizing the notion of spirit as mind or self-consciousness1 which is the only way of conceiving its actual presence in our world4 ,mind uses sensuous existence as its symbol2 perhaps even needs it4 ,the poet who has hit ,hegel's thought so nearly1#aa fails here3-- ,this weight of body and limb1 ,are they not sign and symbol of thy division from ,him8 ,here we leave the track of the higher ,pantheism for that of vulgar mysticism4 ,spiritual being is conceived as somehow incompatible with bodily shape1 either because incapable of any concrete embodiment1 or because it has a quasi-material shape of its own4 ,now1 this is just the reverse of the ,hegelian idea4 ,according to ,hegel1 it is only in the human form that intelligence can for us find its full expression4 ,the notion of a spiritual body other than and incompatible with the natural body does not arise4 ,spirit exists in the medium of consciousness1 not in a peculiar kind of matter4 ,the spiritualization of the natural body is not to be looked for in an astral or angel body1 but in the gait and gesture1 the significance and dignity1 that make the body of the civilized man the outward image of his soul1 and distinguish him from the savage as from the animal4 ,the human soul becomes actual itself1 and visible to others1 only by moulding the body into its symbol and instrument4 ,it ought to have been an axiom of physiology1 ,hegel says1 that the series of animated forms must necessarily lead up to that of man4 ,for this is the only sensuous form in which mind could attain adequate manifestation4 ,thus anthropomorphism in fine art is no accident1 nor an unworthy portrayal of divinity4 ,if the ,deity is to be symbolized to sense1 it must be in the image of man4 ,the symbol is not indeed the reality1 as the sensuous image is not conscious thought2 but this is a defect inherent in artistic presentation1 and not attributable to anthropomorphism in particular4 ,it is obvious that in the light of such a conception1 a speculative import can be attached to the doctrine of the ,incarnation1 and ,hegel's reading of ,christian ideas is1 in fact1 to be interpreted entirely in this sense4 ,this is not the place to go deeper into such views1 which1 however profound1 may perhaps continue to seem non-natural expositions of ,christian dogma4 ,i am only concerned to show how here1 also1 the speculative idea1 operating upon the concrete and actual1 generates a fresh and inspiring insight into life and conduct4 ,few chapters of anthropology are more thorough1 profound1 and suggestive than ,hegel's account of the actual soul2 i4e4 of the habits and attributes which make the body distinctively human by stamping it with the impress of mind4 ,nor has philosophic insight ever done better service to the history of religion than in grasping the essence of ,christianity as the unity1 7not merely the union7 of the divine and human nature4 ,among the things which are spiritually discerned1 an important place belongs to beauty4 ,as a boundary and transition between sense and thought1 it is peculiarly fitted to illustrate the reality which we claim1 in contradistinction to mere sensuous appearance1 for what is best in life4 ,many who distrust ,hegelian formul are convinced that beauty at least is real4 ,they will admit that fine art and the recognition of beauty are not trifles1 not amusements1 but rank high among the interests that give life its value4 ,all such will find themselves in sympathy with the purpose of a great philosopher who has bent all the power of his genius and his industry to vindicating a place for art as an embodiment of the divine nature4 ,the ,introduction to ,hegel's sthetic1 which is all that it was possible to reproduce in the present volume1 lacks1 of course1 the solidity and detailed elaboration of the treatise4 ,yet to all who care for thorough and noble thought on a great subject1 and for a defence of their faith in the true spiritual realities1 ,i have hope that the ensuing pages1 however marred by imperfect translation1 will be welcome4 ,,hegel',s ,,sthetic4 ,,introduction4 ,,chapter ,i4 ,,the ,,range ,,of ,,sthetic ,,defined1 ,,and ,,some ,,objections ,,refuted4 ,the present course of lectures deals with sthetic4 ,their subject is the wide realm of the beautiful1 and1 more particularly1 their province is ,art--we may restrict it1 indeed1 to ,fine ,art4 ,the name sthetic in its natural sense is not quite appropriate to this subject4 sthetic means more precisely the science of sensation or feeling4 ,thus understood1 it arose as a new science1 or rather as something that was to become a branch of philosophy for the first time1#ab in the school of ,wolff1 at the epoch when works of art were being considered in ,germany in the light of the feelings which they were supposed to evoke--feelings of pleasure1 admiration1 fear1 pity1 etc4 ,the name was so inappropriate1 or1 strictly speaking1 so superficial1 that for this reason it was attempted to form other names1 e4g4 ,kallistic4 ,but this name1 again1 is unsatisfactory1 for the science to be designated does not treat of beauty in general1 but merely of artistic beauty4 ,we shall1 therefore1 permit the name sthetic to stand1 because it is nothing but a name1 and so is indifferent to us1 and1 moreover1 has up to a certain point passed into common language4 ,as a name1 therefore1 it may be retained4 ,the proper expression1 however1 for our science is the ,philosophy of ,art1 or1 more definitely1 the ,philosophy of ,fine ,art4 ,greek3 a4 ,by the above expression we at once exclude the beauty of ,nature4 ,such a limitation of our subject may appear to be an arbitrary demarcation1 resting on the principle that every science has the prerogative of marking out its boundaries at pleasure4 ,but this is not the sense in which we are to understand the limitation of sthetic to the beauty of art4 ,it is true that in common life we are in the habit of speaking of beautiful colour1 a beautiful sky1 a beautiful river1 and1 moreover1 of beautiful flowers1 beautiful animals1 and1 above all1 of beautiful human beings4 ,we will not just now enter into the controversy how far such objects can justly have the attribute of beauty ascribed to them1 or how far1 speaking generally1 natural beauty ought to be recognized as existing besides artistic beauty4 ,we may1 however1 begin at once by asserting that artistic beauty stands higher than nature4 ,for the beauty of art is the beauty that is born--born again1 that is--of the mind2#ac and by as much as the mind and its products are higher than nature and its appearances1 by so much the beauty of art is higher than the beauty of nature4 ,indeed1 if we look at it formally--i4e4 only considering in what way it exists1 not what there is in it1--even a silly fancy such as may pass through a man's head is higher than any product of nature2 for such a fancy must at least be characterized by intellectual being and by freedom4#ad ,in respect of its content1 on the other hand1 the sun1 for instance1 appears to us to be an absolutely necessary factor in the universe1 while a blundering notion passes away as accidental and transient2 but yet1 in its own being1 a natural existence such as the sun is indifferent1#ae is not free or self-conscious1 while if we consider it in its necessary connection with other things we are not regarding it by itself or for its own sake1 and1 therefore1 not as beautiful4 ,to say1 as we have said1 in general terms1 that mind and its artistic beauty stand higher than natural beauty1 is no doubt to determine almost nothing4 ,for higher is an utterly indefinite expression1 which designates the beauty of nature and that of art as if merely standing side by side in the space of the imagination1 and states the difference between them as purely quantitative1 and1 therefore1 purely external4 ,but the mind and its artistic beauty1 in being higher as compared with nature1 have a distinction which is not simply relative4 ,mind1 and mind only1 is capable of truth1 and comprehends in itself all that is1 so that whatever is beautiful can only be really and truly beautiful as partaking in this higher element and as created thereby4 ,in this sense the beauty of nature reveals itself as but a reflection of the beauty which belongs to the mind1 as an imperfect1 incomplete mode of being1 as a mode whose really substantial element is contained in the mind itself4 ,moreover1 we shall find the restriction to fine art very natural1 for however much has been and is said--though less by the ancients than by ourselves--of the beauties of nature1 yet no one has taken it into his head to emphasize the point of view of the beauty of natural objects1 and to attempt to make a science1 a systematic account of these beauties4 ,the aspect of ,utility1 indeed1 has been accentuated1 and a science1 e4g4 of natural things useful against diseases a materia medica1 has been compiled1 consisting in a description of minerals1 chemical products1 plants1 and animals that are of use for curative purposes4 ,but the realm of nature has not been arrayed and estimated under the aspect of beauty4 ,in dealing with natural beauty we find ourselves too open to vagueness1 and too destitute of a criterion2 for which reason such a review would have little interest4 ,the above prefatory remarks upon beauty in nature and in art1 upon the relation between the two1 and the exclusion of the former from the region of the subject proper1 are meant to remove any idea that the limitation of our science is owing merely to choice and to caprice4 ,but this is not the place to demonstrate the above relation1 for the consideration of it falls within our science itself1 and therefore it cannot be discussed and demonstrated till later4 ,supposing that for the present we have limited ourselves to the beauty of art1 this first step brings us at once into contact with fresh difficulties4 ,greek3 b4 ,the first thing that may suggest itself to us is the difficulty whether fine art shows itself to deserve a scientific treatment4 ,beauty and art1 no doubt1 pervade all the business of life like a kindly genius1 and form the bright adornment of all our surroundings1 both mental and material1 soothing the sadness of our condition and the embarrassments of real life1 killing time in entertaining fashion1 and where there is nothing good to be achieved1 occupying the place of what is vicious1 better1 at any rate1 than vice4 ,yet although art presses in with its pleasing shapes on every possible occasion1 from the rude adornments of the savage to the splendour of the temple with its untold wealth of decoration1 still these shapes themselves appear to fall outside the real purposes of life4 ,and even if the creations of art do not prove detrimental to our graver purposes1 if they appear at times actually to further them by keeping evil at a distance1 still it is so far true that art belongs rather to the relaxation and leisure of the mind1 while the substantive interests of life demand its exertion4 ,hence it may seem unsuitable and pedantic to treat with scientific seriousness what is not in itself of a serious nature4 ,in any case1 upon such a view art appears as a superfluity1 even if the softening of the mental temper which preoccupation with beauty has power to produce1 does not turn out a detrimental1 because effeminating influence4 ,in this aspect of the matter1 the fine arts being granted to be a luxury1 it has been thought necessary in various ways to take up their defence with reference to their relation towards practical necessities1 and more especially towards morality and piety2 and1 as it is impossible to demonstrate their harmlessness1 at least to make it credible that the mental luxury in question afforded a larger sum of advantages than of disadvantages4 ,with this view very serious aims have been ascribed to art1 and it has been recommended in various ways as a mediator between reason and sensuousness1 between inclination and duty1 as the reconciler of these elements in the obstinate conflict and repulsion which their collision generates4 ,but the opinion may be maintained that1 assuming such aims of art1 more serious though they are1 nothing is gained for reason and duty by the attempt at mediation1 because these principles1 as essentially incapable of intermixture1 can be parties to no such compromise1 but demand in their manifestation the same purity which they have in themselves4 ,and it might be said that art itself is not made any more worthy of scientific discussion by such treatment1 seeing that it is still doubly a servant--to higher aims1 no doubt1 on the one hand1 but none the less to vacuity and frivolity on the other2 and in such service can at best only display itself as a means1 instead of being an end pursued for its own sake4 ,finally1 art1 considered as a means1 seems to labour under this defect of form1 that1 supposing it to be subordinated to serious ends1 and to produce results of importance1 still the means employed by art for such purposes is deception4 ,for beauty has its being in appearance4#af ,now1 it will readily be admitted that an aim which is real and true in itself ought not to be attained by deception1 and if it does here and there achieve some success in this way1 that can only be the case to a limited extent1 and even then deception cannot approve itself as the right means4 ,for the means should correspond to the dignity of the end1 and only what is real and true1 not semblance or deception1 has power to create what is real and true2 just as science1 for instance1 has to consider the true interests of the mind in accordance with the truth of reality and the true way of conceiving it4 ,in all these respects it may appear as if fine art were unworthy of scientific consideration2 because1 as is alleged1 it is at best a pleasing amusement1 and even if it pursues more serious aims is in contradiction with their nature1 but is at best the mere servant alike of amusement and of serious aims1 and yet has at command1 whether as the element of its being or as the vehicle of its action1 nothing beyond deception and semblance4 ,greek3 g4 ,but1 in the second place1 it is a still more probable aspect of the question that1 even if fine art were to form a subject of philosophical reflections in a general way1 it would be no appropriate matter for strictly scientific treatment4 ,the beauty of art presents itself to sense1 to feeling1 to perception1 to imagination2 its sphere is not that of thought1 and the apprehension of its activity and its productions demand another organ than that of the scientific intelligence4 ,moreover1 what we enjoy in the beauty of art is precisely the freedom of its productive and plastic energy4 ,in the origination1 as in the contemplation1 of its creations we appear to escape wholly from the fetters of rule and regularity4 ,in the forms of art we seek for repose and animation in place of the austerity of the reign of law and the sombre self-concentration of thought2 we would exchange the shadowland of the idea for cheerful vigorous reality4 ,and lastly1 the source of artistic creations is the free activity of fancy1 which in her imagination is more free than nature's self4 ,not only has art at command the whole wealth of natural forms in the brilliant variety of their appearance1 but also the creative imagination has power to expatiate inexhaustibly beyond their limit in products of its own4 ,it may be supposed that1 in presence of this immeasurable abundance of inspiration and its free creations1 thought will necessarily lose the courage to bring them completely before it1 to criticize them1 and to array them under its universal formul4 ,science1 on the contrary1 every one admits1 is compelled by its form to busy itself with thought which abstracts from the mass of particulars4 ,for this reason1 on the one hand1 imagination with its contingency and caprice--that is1 the organ of artistic activity and enjoyment--is of necessity excluded from science4 ,and on the other hand1 seeing that art is what cheers and animates the dull and withered dryness of the idea1 reconciles with reality its abstraction and its dissociation therefrom1 and supplies out of the real world what is lacking to the notion1 it follows1 we may think1 that a purely intellectual treatment of art destroys this very means of supplementation1 annihilates it1 and reduces the idea once more to its simplicity devoid of reality1 and to its shadowy abstractness4 ,and further1 it is objected that science1 as a matter of content1 occupies itself with what is necessary4 ,now1 if sthetic puts aside the beauty of nature1 we not only gain nothing in respect of necessity1 but to all appearance have got further away from it4 ,for the expression ,nature at once gives us the idea of ,necessity and ,uniformity1#ag that is to say1 of a behaviour which may be hoped to be akin to science1 and capable of submitting thereto4 ,but in the mind1 generally1 and more particularly in the imagination1 compared with nature1 caprice and lawlessness are supposed to be peculiarly at home2 and these withdraw themselves as a matter of course from all scientific explanation4 ,thus in all these aspects--in origin1 in effect1 and in range--fine art1 instead of showing itself fitted for scientific study1 seems rather in its own right to resist the regulating activity of thought1 and to be unsuitable for strict scientific discussion4 ,these and similar objections against a genuinely scientific treatment of fine art are drawn from common ideas1 points of view1 and considerations1 which may be read ad nauseam in full elaboration in the older writers upon beauty and the fine arts1 especially in the works of ,french authors4 ,and in part they contain facts which have a certain truth2 in part1 too1 the argumentation#ah based upon these facts appears plausible at first sight4 ,thus1 e4g41 there is the fact that the forms of beauty are as manifold as the phenomenon of beauty is omnipresent2 and from this1 if we choose1 we may proceed to conclude to a universal impulse of ,beauty in human nature1 and then go on to the further inference3 that because ideas of beauty are so endlessly various1 and therefore1 as seems obvious1 are something particular1#ai it follows that there can be no universal laws of beauty and of taste4 ,before it is possible for us to turn from such considerations to our subject proper1 it is our business to devote a brief introductory discussion to the objections and doubts which have been raised4 ,in the first place1 as regards the worthiness of art to be scientifically considered1 it is no doubt the case that art can be employed as a fleeting pastime1 to serve the ends of pleasure and entertainment1 to decorate our surroundings1 to impart pleasantness to the external conditions of our life1 and to emphasize other objects by means of ornament4 ,in this mode of employment art is indeed not independent1 not free1 but servile4 ,but what we mean to consider1 is the art which is free in its end as in its means4 ,that art is in the abstract capable of serving other aims1 and of being a mere pastime1 is moreover a relation which it shares with thought4 ,for1 on the one hand1 science1 in the shape of the subservient understanding1 submits to be used for finite purposes1 and as an accidental means1 and in that case is not self-determined1 but determined by alien objects and relations2 but1 on the other hand1 science liberates itself from this service to rise in free independence to the attainment of truth1 in which medium1 free from all interference1 it fulfils itself in conformity with its proper aims4 ,fine art is not real art till it is in this sense free1 and only achieves its highest task when it has taken its place in the same sphere with religion and philosophy1 and has become simply a mode of revealing to consciousness and bringing to utterance the ,divine ,nature1#bj the deepest interests of humanity1 and the most comprehensive truths of the mind4 ,it is in works of art that nations have deposited the profoundest intuitions and ideas of their hearts2 and fine art is frequently the key--with many nations there is no other--to the understanding of their wisdom and of their religion4 ,this is an attribute which art shares with religion and philosophy1 only in this peculiar mode1 that it represents even the highest ideas in sensuous forms1 thereby bringing them nearer to the character of natural phenomena1 to the senses1 and to feeling4 ,the world1 into whose depths thought penetrates1 is a supra-sensuous world1 which is thus1 to begin with1 erected as a beyond over against immediate consciousness and present sensation2 the power which thus rescues itself from the here1 that consists in the actuality and finiteness of sense1 is the freedom of thought in cognition4 ,but the mind is able to heal this schism which its advance creates2 it generates out of itself the works of fine art as the first middle term of reconciliation between pure thought and what is external1 sensuous1 and transitory1 between nature with its finite actuality and the infinite freedom of the reason that comprehends4 ,greek3 d4 ,the element of art was said to be in its general nature an unworthy element1 as consisting in appearance and deception4 ,the censure would be not devoid of justice1 if it were possible to class appearance as something that ought not to exist4 ,an appearance or show1 however1 is essential to existence4 ,truth could not be1 did it not appear and reveal itself1#ba were it not truth for some one or something1 for itself as also for ,mind4 ,therefore there can be no objection against appearance in general1 but1 if at all1 against the particular mode of appearance in which art gives actuality to what is in itself real and true4 ,if1 in this aspect1 the appearance with which art gives its conceptions life as determinate existences is to be termed a deception1 this is a criticism which primarily receives its meaning by comparison with the external world of phenomena and its immediate contact with us as matter1 and in like manner by the standard of our own world of feeling1 that is1 the inner world of sense4 ,these are the two worlds to which1 in the life of daily experience1 in our own phenomenal#bb life1 we are accustomed to attribute the value and the title of actuality1 reality1 and truth1 in contrast to art1 which we set down as lacking such reality and truth4 ,now1 this whole sphere of the empirical inner and outer world is just what is not the world of genuine reality1 but is to be entitled a mere appearance more strictly than is true of art1 and a crueller deception4 ,genuine reality is only to be found beyond the immediacy of feeling and of external objects4 ,nothing is genuinely real but that which is actual in its own right1#bc that which is the substance of nature and of mind1 fixing itself indeed in present and definite existence1 but in this existence still retaining its essential and self-centred being1 and thus and no otherwise attaining genuine reality4 ,the dominion of these universal powers is exactly what art accentuates and reveals4 ,the common outer and inner world also no doubt present to us this essence of reality1 but in the shape of a chaos of accidental matters1 encumbered by the immediateness of sensuous presentation1 and by arbitrary states1 events1 characters1 etc4 ,art liberates the real import of appearances from the semblance and deception of this bad and fleeting world1 and imparts to phenomenal semblances a higher reality1 born of mind4 ,the appearances of art1 therefore1 far from being mere semblances1 have the higher reality and the more genuine existence in comparison with the realities of common life4 ,just as little can the representations of art be called a deceptive semblance in comparison with the representations of historical narrative1 as if that had the more genuine truth4 ,for history has not even immediate existence1 but only the intellectual presentation of it1 for the element of its portrayals1 and its content remains burdened with the whole mass of contingent matter formed by common reality with its occurrences1 complications1 and individualities4 ,but the work of art brings before us the eternal powers that hold dominion in history1 without any such superfluity in the way of immediate sensuous presentation and its unstable semblances4 ,again1 the mode of appearance of the shapes produced by art may be called a deception in comparison with philosophic thought1 with religious or moral principles4 ,beyond a doubt the mode of revelation which a content attains in the realm of thought is the truest reality2 but in comparison with the show or semblance of immediate sensuous existence or of historical narrative1 the artistic semblance has the advantage that in itself it points beyond itself1 and refers us away from itself to something spiritual which it is meant to bring before the mind's eye4 ,whereas immediate appearance does not give itself out to be deceptive1 but rather to be real and true1 though all the time its truth is contaminated and infected by the immediate sensuous element4 ,the hard rind of nature and the common world give the mind more trouble in breaking through to the idea than do the products of art4 ,but if1 on the one side1 we assign this high position to art1 we must no less bear in mind1 on the other hand1 that art is not1 either in content or in form1 the supreme and absolute mode of bringing the mind's genuine interests into consciousness4 ,the form of art is enough to limit it to a restricted content4 ,only a certain circle and grade of truth is capable of being represented in the medium of art4 ,such truth must have in its own nature the capacity to go forth into sensuous form and be adequate to itself therein1 if it is to be a genuinely artistic content1 as is the case with the gods of ,greece4 ,there is1 however1 a deeper form of truth1 in which it is no longer so closely akin and so friendly to sense as to be adequately embraced and expressed by that medium4 ,of such a kind is the ,christian conception of truth2 and more especially the spirit of our modern world1 or1 to come closer1 of our religion and our intellectual culture1 reveals itself as beyond the stage at which art is the highest mode assumed by man's consciousness of the absolute4 ,the peculiar mode to which artistic production and works of art belong no longer satisfies our supreme need4 ,we are above the level at which works of art can be venerated as divine1 and actually worshipped2 the impression which they make is of a more considerate kind1 and the feelings which they stir within us require a higher test and a further confirmation4 ,thought and reflection have taken their flight above fine art4 ,those who delight in grumbling and censure may set down this phenomenon for a corruption1 and ascribe it to the predominance of passion and selfish interests1 which scare away at once the seriousness and the cheerfulness of art4 ,or we may accuse the troubles of the present time and the complicated condition of civil and political life as hindering the feelings1 entangled in minute preoccupations1 from freeing themselves1 and rising to the higher aims of art1 the intelligence itself being subordinate to petty needs and interests1 in sciences which only subserve such purposes and are seduced into making this barren region their home4 ,however all this may be1 it certainly is the case1 that art no longer affords that satisfaction of spiritual wants which earlier epochs and peoples have sought therein1 and have found therein only2 a satisfaction which1 at all events on the religious side1 was most intimately and profoundly connected with art4 ,the beautiful days of ,greek art1 and the golden time of the later middle ages are gone by4 ,the reflective culture of our life of to-day1 makes it a necessity for us1 in respect of our will no less than of our judgment1 to adhere to general points of view1 and to regulate particular matters according to them1 so that general forms1 laws1 duties1 rights1 maxims are what have validity as grounds of determination and are the chief regulative force4 ,but what is required for artistic interest as for artistic production is1 speaking generally1 a living creation1 in which the universal is not present as law and maxim1 but acts as if one with the mood and the feelings1 just as1 in the imagination1 the universal and rational is contained only as brought into unity with a concrete sensuous phenomenon4 ,therefore1 our present in its universal condition is not favourable to art4 ,as regards the artist himself1 it is not merely that the reflection which finds utterance all round him1 and the universal habit of having an opinion and passing judgment about art infect him1 and mislead him into putting more abstract thought into his works themselves2 but also the whole spiritual culture of the age is of such a kind that he himself stands within this reflective world and its conditions1 and it is impossible for him to abstract from it by will and resolve1 or to contrive for himself and bring to pass1 by means of peculiar education or removal from the relations of life1 a peculiar solitude that would replace all that is lost4 ,in all these respects art is1 and remains for us1 on the side of its highest destiny1 a thing of the past4 ,herein it has further lost for us its genuine truth and life1 and rather is transferred into our ideas than asserts its former necessity1 or assumes its former place1 in reality4 ,what is now aroused in us by works of art is over and above our immediate enjoyment1 and together with it1 our judgment2 inasmuch as we subject the content and the means of representation of the work of art and the suitability or unsuitability of the two to our intellectual consideration4 ,therefore1 the science of art is a much more pressing need in our day1 than in times in which art1 simply as art1 was enough to furnish a full satisfaction4 ,art invites us to consideration of it by means of thought1 not to the end of stimulating art production1 but in order to ascertain scientifically what art is4 ,greek3 e4 ,as soon as we propose to accept this invitation we are met by the difficulty which has already been touched upon in the suggestion that1 though art is a suitable subject for philosophical reflection in the general sense1 yet it is not so for systematic and scientific discussion4 ,in this objection there lies the false idea that a philosophical consideration may1 nevertheless1 be unscientific4 ,on this point it can only be remarked here with brevity1 that1 whatever ideas others may have of philosophy and philosophizing1 ,i regard the pursuit of philosophy as utterly incapable of existing apart from a scientific procedure4 ,philosophy has to consider its object in its necessity1 not1 indeed1 in its subjective necessity or external arrangement1 classification1 etc41 but it has to unfold and demonstrate the object out of the necessity of its own inner nature4 ,until this evolution#bd is brought to pass the scientific element is lacking to the treatment4 ,in as far1 however1 as the objective necessity of an object lies essentially in its logical and metaphysical nature1 the isolated treatment of art must be conducted with a certain relaxation of scientific stringency4 ,for art involves the most complex pre-suppositions1 partly in reference to its content1 partly in respect of its medium#be and element1#bf in which art is constantly on the borders of the arbitrary or accidental4 ,thus it is only as regards the essential innermost progress of its content and of its media of expression that we must call to mind the outline prescribed by its necessity4 ,the objection that works of fine art elude the treatment of scientific thought because they originate out of the unregulated fancy and out of the feelings1 are of a number and variety that defy the attempt to gain a conspectus1 and therefore take effect only on feeling and imagination1 raises a problem which appears still to have importance4 ,for the beauty of art does in fact appear in a form which is expressly contrasted with abstract thought1 and which the latter is forced to destroy in exerting the activity which is its nature4 ,this idea coheres with the opinion that reality as such1 the life of nature and of mind1 is disfigured and slain by comprehension2 that1 so far from being brought close to us by the thought which comprehends1 it is by it that such life is absolutely dissociated from us1 so that1 by the use of thought as the means of grasping what has life1 man rather cuts himself off from this his purpose4 ,we cannot speak fully on this subject in the present passage1 but only indicate the point of view from which the removal of this difficulty1 or impossibility depending on maladaptation1 might be effected4 ,it will be admitted1 to begin with1 that the mind is capable of contemplating itself1 and of possessing a consciousness1 and that a thinking consciousness1 of itself and all that is generated by itself4 ,thought--to think--is precisely that in which the mind has its innermost and essential nature4 ,in gaining this thinking consciousness concerning itself and its products1 the mind is behaving according to its essential nature1 however much freedom and caprice those products may display1 supposing only that in real truth they have mind in them4 ,now art and its works as generated and created by the mind 7spirit71 are themselves of a spiritual nature1 even if their mode of representation admits into itself the semblance of sensuous being1 and pervades what is sensuous with mind4 ,in this respect art is1 to begin with1 nearer to mind and its thinking activity than is mere external unintelligent nature2 in works of art1 mind has to do but with its own4 ,and even if artistic works are not abstract thought and notion1 but are an evolution of the notion out of itself1 an alienation from itself towards the sensuous1 still the power of the thinking spirit 7mind7 lies herein1 not merely to grasp itself only in its peculiar form of the self-conscious spirit 7mind71 but just as much to recognize itself in its alienation in the shape of feeling and the sensuous1 in its other form1 by transmuting the metamorphosed thought back into definite thoughts1 and so restoring it to itself4 ,and in this preoccupation with the other of itself the thinking spirit is not to be held untrue to itself as if forgetting or surrendering itself therein1 nor is it so weak as to lack strength to comprehend what is different from itself1 but it comprehends both itself and its opposite4 ,for the notion is the universal1 which preserves itself in its particularizations1 dominates alike itself and its other1 and so becomes the power and activity that consists in undoing the alienation which it had evolved4 ,and thus the work of art in which thought alienates itself belongs1 like thought itself1 to the realm of comprehending thought1 and the mind1 in subjecting it to scientific consideration1 is thereby but satisfying the want of its own inmost nature4 ,for because thought is its essence and notion1 it can in the last resort only be satisfied when it has succeeded in imbuing all the products of its activity with thought1 and has thus for the first time made them genuinely its own4 ,but1 as we shall see more definitely below1 art is far from being the highest form of mind1 and receives its true ratification only from science4#bg ,just as little does art elude philosophical consideration by unbridled caprice4 ,as has already been indicated1 it is its true task to bring to consciousness the highest interests of the mind4 ,hence it follows at once with respect to the content that fine art cannot rove in the wildness of unfettered fancy1 for these spiritual interests determine definite bases#bh for its content1 how manifold and inexhaustible soever its forms and shapes may be4 ,the same holds true for the forms themselves4 ,they1 again1 are not at the mercy of mere chance4 ,not every plastic shape#bi is capable of being the expression and representation of those spiritual interests1 of absorbing and of reproducing them2 every definite content determines a form suitable to it4 ,in this aspect too1 then1 we are in a position to find our bearings according to the needs of thought in the apparently unmanageable mass of works and types of art4 ,thus1 ,i hope1 we have begun by defining the content of our science1 to which we propose to confine ourselves1 and have seen that neither is fine art unworthy of a philosophical consideration1 nor is a philosophical consideration incompetent to arrive at a knowledge of the essence of fine art4 ,,chapter ,,ii4 ,,methods ,,of ,,science ,,applicable ,,to ,,beauty ,,and ,,art4 ,if we now investigate the required mode of scientific consideration1 we here again meet with two opposite ways of treating the subject1 each of which appears to exclude the other1 and so to hinder us from arriving at any true result4 ,on one side we see the science of art merely1 so to speak1 busying itself about the actual productions of art from the outside1 arranging them in series as a history of art1 initiating discussions about extant works1 or sketching out theories intended to provide the general points of view that are to govern both criticism and artistic production4 ,on the other side we see science abandoning itself independently to reflection upon the beautiful1 and producing mere generalities which do not touch the work of art in its peculiarity1 creating1 in short1 an abstract philosophy of the beautiful4 #a4 ,as regards the former mode of treatment1 which starts from the empirical side1 it is the indispensable road for any one who means to become a student of art4 ,and just as in the present day every one1 even though he is not busied with natural science1 yet pretends to be equipped with the essentials of physical knowledge1 so it has become more or less obligatory for a cultivated man to possess some acquaintance with art1#cj and the pretension to display one's-self as a dilettante and connoisseur is pretty universal4 7a7 ,if such information is really to be recognized as art-scholarship1#ca it must be of various kinds and of wide range4 ,the first necessity is an exact acquaintance with the immeasurable region of individual works of art of ancient and modern times1 works which in part have actually perished1 in part belong to distant countries or portions of the world1 or which adverse fortune has withdrawn from one's own observation4 ,moreover1 every work belongs to its age1 to its nation1 and to its environment1 and depends upon particular historical and other ideas and aims4 ,for this reason art-scholarship further requires a vast wealth of historical information of a very special kind1 seeing that the individualized nature of the work of art is related to individual detail and demands special matter to aid in its comprehension and elucidation4 ,and lastly1 this kind of scholarship not only needs1 like every other1 a memory for information1 but a vivid imagination in order to retain distinctly the images of artistic forms in all their different features1 and especially in order to have them present to the mind for purposes of comparison with other works4 7b7 ,within this kind of consideration1 which is primarily historical1 there soon emerge various points of view which cannot be lost sight of in contemplating a work of art1 inasmuch as our judgments must be derived from them4 ,now these points of view1 as in other sciences which have an empirical starting-point1 when extracted and put together form universal criteria and rules1 and1 in a still further stage of formal generalization1 ,theories of the arts4 ,this is not the place to go into detail about literature of this kind1 and it may1 therefore1 suffice to mention a few writings in the most general way4 ,for instance1 there is ,aristotle's ,poetics1 the theory of tragedy contained in which is still of interest2 and to speak more particularly1 among the ancients1 ,horace's ,ars ,poetica and ,longinus's ,treatise on the ,sublime suffice to give a general idea of the way in which this kind of theorizing has been carried on4 ,the general formul which were abstracted by such writers were meant to stand especially as precepts and rules1 according to which1 particularly in times of degeneration of poetry and art1 works of art were meant to be produced4 ,the prescriptions1 however1 compiled by these physicians of art had even less assured success than those of physicians whose aim was the restoration of health4 ,respecting theories of this kind1 ,i propose merely to mention that1 though in detail they contain much that is instructive1 yet their remarks were abstracted from a very limited circle of artistic productions1 which passed for the genuinely beautiful ones1 but yet always belonged to a but narrow range of art4 ,and again1 such formul are in part very trivial reflections which in their generality proceed to no establishment of particulars1 although this is the matter of chief concern4 ,the above-mentioned ,horatian epistle is full of these reflections1 and1 therefore1 is a book for all men1 but one which for this very reason contains much that amounts to nothing1 e4g4-- ,omne tulit punctum qui miscuit utile dulci ,lectorem delectando pariterque monendo-- ,he carries all votes1 who has mingled the pleasant and the useful1 by at once charming and instructing his reader4 ,this is just like so many copybook headings1#cb e4g4 ,stay at home and earn an honest livelihood1 which are right enough as generalities1 but lack the concrete determinations on which action depends4 ,another kind of interest was found1 not in the express aim of directly causing the production of genuine works of art1 but in the purpose which emerged of influencing men's judgment upon works of art by such theories1 in short of forming taste4 ,in this aspect1 ,home's ,elements of ,criticism1 the writings of ,batteux1 and ,ramler's ,introduction to the ,fine ,arts1 were works much read in their day4 ,taste in this sense has to do with arrangement and treatment1 the harmony and finish of what belongs to the external aspect of a work of art4 ,besides1 they brought in among the principles of taste views that belonged to the psychology that was then in vogue1 and that had been drawn from empirical observation of capacities and activities of the soul1 of the passions and their probable heightening1 succession1 etc4 ,but it remains invariably the case that every man judges works of art1 or characters1 actions1 and incidents according to the measure of his insight and his feelings2 and as that formation of taste only touched what was meagre and external1 and moreover drew its precepts only from a narrow range of works of art and from a born culture of intellect and feelings1 its whole sphere was inadequate1 and incapable of seizing the inmost and the true1 and of sharpening the eye for the apprehension thereof4 ,such theories proceed in general outline1 as do the remaining non-philosophic sciences4 ,the content which they subject to consideration is borrowed from our idea of it1 as something found there2 then further questions are asked about the nature of this idea1 inasmuch as a need reveals itself for closer determinations1 which are also found in our idea of the matter1 and drawn from it to be fixed in definitions4 ,but in so doing1 we find ourselves at once on uncertain and debatable ground4 ,it might indeed appear at first as if the beautiful were a perfectly simple idea4 ,but it soon becomes evident that manifold sides may be found in it1 one of which is emphasized by one writer and another by another1 or1 even if the same points of view are adopted1 a dispute arises on the question which side after all is to be regarded as the essential one4 ,with a view to such questions it is held a point of scientific completeness to adduce and to criticize the various definitions of the beautiful4 ,we will do this neither with historical exhaustiveness1 so as to learn all the subtleties which have emerged in the defining process1 nor for the sake of the historical interest2 but we will simply produce by way of illustration1 some of the more interesting modern views which come pretty close in their purport to what in fact the idea of the beautiful does involve4 ,for such purpose we have chiefly to mention ,goethe's account of the beautiful1 which ,meyer embodied in his ,history of the ,formative ,arts#cc in ,greece1 on which occasion he also brings forward ,hirt's view1 though without mentioning him4 ,hirt1 one of the greatest of genuine connoisseurs in the present day1 in his brochure about artistic beauty 7,horen1#cd #agig1 seventh number71 after speaking of the beautiful in the several arts1 sums up his ideas in the result that the basis of a just criticism of beauty in art and of the formation of taste is the conception of the ,characteristic4 ,that is to say1 he defines the beautiful as the perfect1 which is or can be an object of eye1 ear1 or imagination4 ,then he goes on to define the perfect as that which is adequate to its aim1 that which nature or art aimed at producing within the given genus and species#ce in the formation of the object4 ,for which reason1 in order to form our judgment on a question of beauty1 we ought to direct our observation as far as possible to the individual marks which constitute a definite essence4 ,for it is just these marks that form its characteristics4 ,and so by character as the law of art he means that determinate individual modification#cf whereby forms1 movement and gesture1 bearing and expression1 local colour1 light and shade1 chiaroscuro#cg and attitude distinguish themselves1 in conformity1 of course1 with the requirements of an object previously selected4 ,this formula gives us at once something more significant than the other definitions4 ,if we go on to ask what the characteristic is1 we see that it involves in the first place a content1 as1 for instance1 a particular feeling1 situation1 incident1 action1 individual2 and secondly1 the mode and fashion in which this content is embodied in a representation4 ,it is to this1 the mode of representation1 that the artistic law of the characteristic refers1 inasmuch as it requires that every particular element in the mode of expression shall subserve the definite indication of its content and be a member in the expression of that content4 ,the abstract formula of the characteristic thus has reference to the degree of appropriateness with which the particular detail of the artistic form sets in relief the content which it is intended to represent4 ,if we desire to illustrate this conception in a quite popular way1 we may explain the limitation which it involves as follows4 ,in a dramatic work1 for instance1 an action forms the content2 the drama#ch is to represent how this action takes place4 ,now1 men and women do all sorts of things2 they speak to each other from time to time1 at intervals they eat1 sleep1 put on their clothes1 say one thing and another1 and so forth4 ,but in all this1 whatever does not stand in immediate connection with that particular action considered as the content proper1 is to be excluded1 so that in reference to it nothing may be without import4 ,so1 too1 a picture1 that only represented a single phase of that action1 might yet include in it--so wide are the ramifications of the external world--a multitude of circumstances1 persons1 positions1 and other matters which at that moment have no reference to the action in question1 and are not subservient to its distinctive character4 ,but1 according to the rule of the characteristic1 only so much ought to enter into the work of art as belongs to the display#ci and1 essentially1 to the expression of that content and no other2 for nothing must announce itself as otiose and superfluous4 ,this is a very important rule1 which may be justified in a certain aspect4 ,meyer1 however1 in his above-mentioned work1 gives it as his opinion that this view has vanished and left no trace1 and1 in his judgment1 to the benefit of art4 ,for he thinks that the conception in question would probably have led to caricature4 ,this judgment at once contains the perversity of implying that such a determination of the beautiful had to do with leading4 ,the ,philosophy of art does not trouble itself about precepts for artists1 but it has to ascertain what beauty in general is1 and how it has displayed itself in actual productions1 in works of art1 without meaning to give rules for guidance4 ,apart from this1 if we examine the criticism1 we find it to be true1 no doubt1 that ,hirt's definition includes caricature1 for even a caricature may be characteristic2 but1 on the other hand1 it must be answered at once that in caricature the definite character is intensified to exaggeration1 and is1 so to speak1 a superfluity of the characteristic4 ,but a superfluity ceases to be what is properly required in order to be characteristic1 and becomes an offensive iteration1 whereby the characteristic itself may be made unnatural4 ,moreover1 what is of the nature of caricature shows itself in the light of the characteristic representation of what is ugly1 which ugliness is1 of course1 a distortion4 ,ugliness1 for its part1 is closely connected with the content1 so that it may be said that the principle of the characteristic involves as a fundamental property both ugliness and the representation of what is ugly4 ,hirt's definition1 of course1 gives no more precise information as to what is to be characterized and what is not1 in the artistically beautiful1 or about the content of the beautiful1 but it furnishes in this respect a mere formal rule1 which nevertheless contains some truth1 although stated in abstract shape4 ,then follows the further question--what ,meyer opposes to ,hirt's artistic principle1 i4e4 what he himself prefers4 ,he is treating1 in the first place1 exclusively of the principle shown in the artistic works of the ancients1 which principle1 however1 must include the essential attribute#dj of beauty4 ,in dealing with this subject he is led to speak of ,mengs and ,winckelmann's principle#dj of the ,ideal1 and pronounces himself to the effect that he desires neither to reject nor wholly to accept this law of beauty1 but1 on the other hand1 has no hesitation in attaching himself to the opinion of an enlightened judge of art 7,goethe71 as it is definite1#da and seems to solve the enigma more precisely4 ,goethe says3 ,the highest principle of the ancients was the significant1 but the highest result of successful treatment1 the beautiful4 ,if we look closer at what this opinion implies1 we find in it again two elements2 the content or matter in hand1 and the mode and fashion of representation4 ,in looking at a work of art we begin with what presents itself immediately to us1 and after that go on to consider what is its significance or content4 ,the former1 the external element1 has no value for us simply as it stands2 we assume something further behind it1 something inward1 a significance1 by which the external semblance has a soul breathed into it4#db ,it is this1 its soul1 that the external appearance indicates4 ,for an appearance which means something1 does not present to the mind's eye itself and that which it is qua external1 but something else2 as does the symbol for instance1 and still more obviously the fable1 whose moral and precept constitutes its meaning4 ,indeed every word points to a meaning and has no value in itself4 ,just so the human eye1 a man's face1 flesh1 skin1 his whole figure1 are a revelation of mind and soul1 and in this case the meaning is always something other than what shows itself within the immediate appearance4 ,this is the way in which a work of art should have its meaning1 and not appear as exhausted in these mere particular lines1 curves1 surfaces1 borings1 reliefs in the stone1 in these colours1 tones1 sounds1 of words1 or whatever other medium is employed2 but it should reveal life1 feeling1 soul1 import and mind1 which is just what we mean by the significance of a work of art4 ,thus this requirement of significance in a work of art amounts to hardly anything beyond or different from ,hirt's principle of the characteristic4 ,according to this notion1 then1 we find distinguished as the elements of the beautiful something inward1 a content1 and something outer which has that content as its significance2 the inner shows itself in the outer and gives itself to be known by its means1 inasmuch as the outer points away from itself to the inner4 ,we cannot go into detail on this head4 7c7 ,but the earlier fashion alike of rules and of theories has already been violently thrown aside in ,germany--especially owing to the appearance of genuine living poetry1--and the rights of genius1 its works and their effects1 have had their value asserted against the encroachment of such legalities and against the wide watery streams of theory4 ,from this foundation both of an art which is itself genuinely spiritual1 and of a general sympathy and communion with it1 have arisen the receptivity and freedom which enabled us to enjoy and to recognize the great works of art which have long been in existence1 whether those of the modern world1#dc of the middle ages1 or even of peoples of antiquity quite alien to us 7e4g4 the ,indian productions72 works which by reason of their antiquity or of their alien nationality have1 no doubt1 a foreign element in them1 yet in view of their content--common to all humanity and dominating their foreign character--could not have been branded as products of bad and barbarous taste1 except by the prejudices of theory4 ,this recognition1 to speak generally1 of works of art which depart from the sphere and form of those upon which more especially the abstractions of theory were based1 led1 in the first instance1 to the recognition of a peculiar kind of art--that is1 of romantic art1--and it therefore became necessary to apprehend the idea and the nature of the beautiful in a deeper way than was possible for those theories4 ,with this influence there co-operated another1 viz4 that the idea in its self-conscious form1 the thinking mind1 attained at this time1 on its side1 a deeper self-knowledge in philosophy1 and was thereby directly impelled to understand the essence of art1 too1 in a profounder fashion4 ,thus1 then1 even judging by the phases of this more general evolution of ideas1 the theoretical mode of reflection upon art which we were considering has become antiquated alike in its principles and in its particulars4 ,only the scholarship of the history of art has retained its permanent value1 and cannot but retain it1 all the more that the advance of intellectual receptivity1 of which we spoke1 has extended its range of vision on every side4 ,its business and vocation consists in the sthetic appreciation of individual works of art1 and in acquaintance with the historical circumstances that externally condition such works2 an appreciation which1 if made with sense and mind1 supported by the requisite historical information1 is the only power that can penetrate the entire individuality of a work of art4 ,thus ,goethe1 for instance1 wrote much about art and particular works of art4 ,theorizing proper is not the purpose of this mode of consideration1 although no doubt it frequently busies itself with abstract principles and categories1 and may give way to this tendency without being aware of it4 ,but for a reader who does not let this hinder him1 but keeps before him the concrete accounts of works of art1 which we spoke of just now1 it at all events furnishes the philosophy of art with the perceptible illustrations and instances1 into the particular historical details of which philosophy cannot enter4 ,this1 then1 may be taken to be the first mode of the study of art1 starting from particular and extant works4 #b4 ,there is an essential distinction between this and the opposite aspect1 the wholly theoretical reflection1 which made an effort to understand beauty as such out of itself alone1 and to get to the bottom of its idea4 ,it is well known that ,plato was the first to require of philosophical study1 in a really profound sense1 that its objects should be apprehended1 not in their particularity1 but in their universality1 in their genius1 in their own nature and its realization3 inasmuch as he affirmed that the truth of things#dd did not consist in individual good actions1 true opinions1 beautiful human beings or works of art1 but in goodness1 beauty1 truth themselves4 ,now1 if the beautiful is in fact to be known according to its essence and conception1 this is only possible by help of the thinking idea1 by means of which the logico-metaphysical nature of the ,idea as such1 as also that of the particular ,idea of the beautiful enters into the thinking consciousness4 ,but the study of the beautiful in its separate nature and in its own idea may itself turn into an abstract ,metaphysic1 and even though ,plato is accepted in such an inquiry as foundation and as guide1 still the ,platonic abstraction must not satisfy us1 even for the logical idea of beauty4 ,we must understand this idea more profoundly and more in the concrete1 for the emptiness of content which characterizes the ,platonic idea is no longer satisfactory to the fuller philosophical wants of the mind of to-day4 ,thus it is1 no doubt1 the case that we1 too1 in modern times1 must in our philosophy of art start from the idea of the beautiful1 but we ought not to abide by the fashion of ,platonic ideas1 which was purely abstract1 and was the mere beginning of the philosophic study of beauty4 #c4 ,the philosophic conception of the beautiful1 to indicate its true nature at least by anticipation1 must contain1 reconciled within it1 the two extremes which have been mentioned1 by combining metaphysical universality with the determinateness of real particularity4 ,only thus is it apprehended in its truth1 in its real and explicit nature4 ,it is then fertile out of its own resources1 in contrast to the barrenness of one-sided reflection4 ,for it has in accordance with its own conception to develop into a totality of attributes1 while the conception itself as well as its detailed exposition contains the necessity of its particulars1 as also of their progress and transition one into another4 ,on the other hand1 again1 these particulars1 to which the transition is made1 carry in themselves the universality and essentiality of the conception as the particulars of which they appear4 ,the modes of consideration of which we have so far been treating1 lack both these qualities1#de and for this reason it is only the complete conception of which we have just spoken that can lead to substantive1 necessary1 and self-complete determinations4 ,,chapter ,,iii4 ,,the ,,conception ,,of ,,artistic ,,beauty4 ,,part ,i4--,,the ,,work ,,of ,,art ,,as ,,made ,,and ,,as ,,sensuous4 ,after the above prefatory remarks1 we approach closer to our subject1 the philosophy of artistic beauty4 ,inasmuch as we are undertaking to treat it scientifically we must begin with its ,conception4 ,not till we have established this conception can we map out the division1 and with it the plan of the entirety of the science2 for a division1 if it is not1 as is the case with unphilosophical inquiries1 taken in hand in a purely external manner1 must find its principle in the conception of the object itself4 ,in presence of such a demand we are at once met by the question1 ,whence do we get this conception8 ,if we begin with the given conception of artistic beauty itself1 that is enough to make it a pre-supposition and mere assumption2 now1 mere assumptions are not admitted by the philosophical method1 but whatever it allows to pass must have its truth demonstrated1 i4e4 displayed as necessary4 ,we will devote a few words to coming to an understanding upon this difficulty1 which concerns the introduction to every philosophical branch of study when taken in hand by itself4 ,the object of every science presents prima facie two aspects3 in the first place1 that such an object is2 in the second place1 what it is4 ,in ordinary science little difficulty attaches to the first of these points4 ,it might even1 at first sight1 look ridiculous1 if the requirement were presented that in astronomy and physics it should be demonstrated that there was a sun1 heavenly bodies1 magnetic phenomena1 etc4 ,in these sciences1 which have to do with what is given to sense1 the objects are taken from external experience1 and instead of demonstrating them 7beweisen7 it is thought sufficient to show them 7weisen74 ,yet even within the non-philosophical sciences1 doubts may arise about the existence of their objects1 as e4g4 in psychology1 the science of mind1 it may be doubted if there is a soul1 a mind1 i4e4 something subjective1 separate1 and independent1 distinct from what is material2 or in theology1 whether a ,god is4 ,if1 moreover1 the objects are of subjective kind1 i4e4 are given only in the mind1 and not as external sensuous objects1 we are confronted by our conviction that there is nothing in the mind but what its own activity has produced4 ,this brings up the accidental question whether men have produced this inner idea or perception in their minds or not1 and even if the former is actually the case1 whether they have not made the idea in question vanish again1 or at any rate degraded it to a merely subjective idea1 whose content has no natural and independent being4 ,so1 for instance1 the beautiful has often been regarded as not naturally and independently necessary in our ideas1 but as a mere subjective pleasure or accidental sense4 ,our external intuitions1 observations1 and perceptions are often deceptive and erroneous1 but still more is this the case with the inner ideas1 even if they have in themselves the greatest vividness1 and are forcible enough to transport us irresistibly into passion4 ,this doubt whether an object of inward ideas and inward perception as such is or is not1 as also the accidental question whether the subjective consciousness has produced it in itself1 and whether the act or mode in which it brought it before itself was in its turn adequate to the object in its essential and independent nature--all this is just what aroused in men the higher scientific need1 which demands that1 even if we have an idea that an object is1 or that there is such an object1 the object must yet be displayed or demonstrated in terms of its necessity4 ,this proof1 if it is developed in a really scientific way1 must also satisfy the further question ,what an object is4 ,but to expound this relation would carry us too far in this place1 and we can only make the following remarks on the point4 ,if we are to display the necessity of our object1 the beautiful in art1 we should have to prove that art or beauty was a result of antecedents such as1 when considered in their true conception1 to lead us on with scientific necessity to the idea of fine art4 ,but in as far as we begin with art1 and propose to treat of the essence of its idea and of the realization of that idea1 not of antecedents which go before it as demanded by its idea1 so far art1 as a peculiar scientific object1 has1 for us1 a pre-supposition which lies beyond our consideration1 and which1 being a different content1 belongs in scientific treatment to a different branch of philosophical study4 ,for it is nothing short of the whole of philosophy that is the knowledge of the universe as in itself one single organic totality which develops itself out of its own conception1 and which1 returning into itself so as to form a whole in virtue of the necessity in which it is placed towards itself1 binds itself together with itself into one single world of truth4 ,in the coronal of this scientific necessity1 each individual part is just as much a circle that returns into itself1 as it has1 at the same time1 a necessary connection with other parts4 ,this connection is a backward out of which it derives itself1 as well as a forward1 to which in its own nature it impels itself on and on1 in as far as it is fertile by creating fresh matter out of itself1 and issuing it into the further range of scientific knowledge4 ,therefore1 it is not our present aim to demonstrate the idea of beauty from which we set out1 that is1 to derive it according to its necessity from the pre-suppositions which are its antecedents in science4 ,this task belongs to an encyclopdic development of philosophy as a whole and of its particular branches4 ,for us1 the idea of beauty and of art is a pre-supposition given in the system of philosophy4 ,but as we cannot in this place discuss this system1 and the connection of art with it1 we have not yet the idea of the beautiful before us in a scientific form2 what we have at command are merely the elements and aspects of it1 as they are or have at former periods been presented1 in the diverse ideas of the beautiful and of art in the mere common consciousness4 ,having started from this point1 we shall subsequently pass to the more profound consideration of the views in question1 in order thereby to gain the advantage of1 in the first place1 obtaining a general idea of our object1 and further1 by a brief criticism effecting a preliminary acquaintance with its higher principles1 with which we shall have to do in the sequel4 ,by this mode of treatment our final introduction will act1 so to speak1 as the overture to the account of the subject itself1 and will serve the purpose of a general collection and direction of our thoughts towards the proper object-matter of our discussion4 ,what we know1 to begin with1 as a current idea of the work of art1 comes under the three following general predicates3-- 7#a7 ,we suppose the work of art to be no natural product1 but brought to pass by means of human activity4 7#b7 ,to be essentially made for man1 and1 indeed1 to be more or less borrowed from the sensuous and addressed to man's sense4 7#c7 ,to contain an end4 #a4 ,as regards the first point1 that a work of art is taken to be a product of human activity1 this view has given rise 7a7 to the view that this activity1 being the conscious production of an external object1 can also be known1 and expounded and learnt1 and prosecuted by others4 ,for1 what one can do1 it might seem1 another can do1#df or imitate1#dg as soon as he is acquainted with the mode of procedure2 so that1 supposing universal familiarity with the rules of artistic production1 it would only be a matter of any one's will and pleasure to carry out the process in a uniform way1 and so to produce works of art4 ,it is thus that the above-mentioned rule-providing theories and their precepts1 calculated for practical observance1 have arisen4 ,but that which can be executed according to such instruction1 can only be something formally regular and mechanical4 ,for only what is mechanical is of such an external kind that no more than a purely empty exercise of will and dexterity is required to receive it among our ideas and put it in act2 such an exercise not needing to be supplemented by anything concrete1 or anything that goes beyond the precepts conveyed in general rules4 ,this is most vividly displayed when precepts of the kind in question do not limit themselves to what is purely external and mechanical1 but extend to the meaning-laden spiritual activity of true art4 ,in this region the rules contain nothing but indefinite generalities2 e4g4 ,the theme ought to be interesting1 and each individual ought to be made to speak according to his rank1 age1 sex1 and position4 ,but if rules are meant to be adequate on this subject1 their precepts ought to have been drawn up with such determinateness that they could be carried out just as they are expressed1 without further and original activity of mind4 ,being abstract1 however1 in their content1 such rules reveal themselves1 in respect of their pretension of being adequate to fill the consciousness of the artist1 as wholly inadequate1 inasmuch as artistic production is not formal activity in accordance with given determinations4 ,for it is bound as spiritual activity to work by drawing on its own resources1 and to bring before the mind's eye a quite other and richer content and ampler individual creations than any abstract formul can dictate4 ,such rules may furnish guidance in case of need1 if they contain anything really definite1 and therefore of practical utility2 but their directions can only apply to purely external circumstances4 7b7 ,the tendency which we have just indicated has therefore been abandoned1 and1 in place of it1 the opposite principle has been pursued to no less lengths4 ,for the work of art came to be regarded no longer as the product of an activity general in mankind1 but as the work of a mind endowed with wholly peculiar gifts4 ,this mind1 it is thought1 has then nothing to do but simply to give free play to its particular gift1 as though it were a specific force of nature1 and is to be entirely released from attention to laws of universal validity1 as also from the interference of reflection in its instinctively creative operation4 ,and1 indeed1 it is to be guarded therefrom1 inasmuch as its productions could only be infected and tainted by such a consciousness4 ,in this aspect the work of art was pronounced to be the product of talent and genius1 and stress was laid on the natural element which talent and genius contain4 ,the view was partly right4 ,talent is specific1 and genius universal capability1 with which a man has not the power to endow himself simply by his own self-conscious activity4 ,we shall treat this point more fully in the sequel4 ,in this place we have only to mention the aspect of falsity in the view before us1 in that all consciousness respecting the man's own activity was held1 in the case of artistic production1 not merely superfluous1 but even injurious4 ,production on the part of talent and genius then appears1 in general terms1 as a state1 and1 in particular1 as a state of inspiration4 ,to such a state1 it is said1 genius is in part excited by a given object1 and in part it has the power of its own free will to place itself therein1 in which process1 moreover1 the good service of the champagne bottle is not forgotten4 ,this notion became prominent in ,germany in the so-called epoch of genius1 which was introduced by the early poetical productions of ,goethe1 and subsequently sustained by those of ,schiller4#dh ,in their earliest works these poets began everything anew1 in scorn of all the rules which had then been fabricated1 transgressed these rules of set purpose1 and1 while doing so1 distanced all rivals by a long interval4 ,i will not enter more closely into the confusions which have prevailed respecting the conception of inspiration and genius1 and which prevail even at the present day respecting the omnipotence of inspiration as such4 ,we need only lay down as essential the view that1 though the artist's talent and genius contains a natural element1 yet it is essentially in need of cultivation by thought1 and of reflection on the mode in which it produces1 as well as of practice and skill in producing4 ,a main feature of such production is unquestionably external workmanship1 inasmuch as the work of art has a purely technical side1 which extends into the region of handicraft2 most especially in architecture and sculpture1 less so in painting and music1 least of all in poetry4 ,skill in this comes not by inspiration1 but solely by reflection1 industry1 and practice2 and such skill is indispensable to the artist1 in order that he may master his external material1 and not be thwarted by its stubbornness4 ,moreover1 the higher an artist ranks1 the more profoundly ought he to represent the depths of heart and mind2 and these are not known without learning them1 but are only to be fathomed by the direction of a man's own mind to the inner and outer world4 ,so here1 too1 study is the means whereby the artist brings this content into his consciousness1 and wins the matter and burden of his conceptions4 ,in this respect one art may need the consciousness and cognition of such matter more than others4 ,music1 for instance1 which concerns itself only with the undefined movement of the inward spiritual nature1 and deals with musical sounds as1 so to speak1 feeling without thought1 needs little or no spiritual content to be present in consciousness4 ,it is for this reason that musical talent generally announces itself in very early youth1 while the head is still empty and the heart has been but little moved1 and is capable of attaining to a very considerable height in early years1 before mind and life have experience of themselves4 ,and again1 as a matter of fact we often enough see very great expertness in musical composition1 as also in execution1 subsist along with remarkable barrenness of mind and character4 ,the reverse is the case with poetry4 ,in poetry all depends on the representation1--which must be full of matter and thought--of man1 of his profounder interests1 and of the powers that move him2 and therefore mind and heart themselves must be richly and profoundly educated by life1 experience1 and reflection1 before genius can bring to pass anything mature1 substantial1 and self-complete4 ,goethe's and ,schiller's first productions are of an immaturity1 and even of a rudeness and barbarism1 that are absolutely terrifying4 ,this phenomenon1 that the greater part of those attempts display a predominant mass of thoroughly prosaic and in part of frigid and commonplace elements1 furnishes the chief objection to the common opinion1 that inspiration is inseparable from youth and youthful fire4 ,those two men of genius1 it may be said1 were the first to give our nation works of true poetry1 and yet it was only their mature manhood#di that presented us with creations profound1 substantial1 and the outcome of genuine inspiration1 while no less thoroughly perfect in form4 ,thus1 too1 it was not till his old age that ,homer devised and uttered his immortal songs4 7c7 ,a third view1 which concerns the idea of the work of art as a product of human activity1 refers to the position of such a work towards the external appearances of nature4 ,it was an obvious opinion for the common consciousness to adopt on this head1 that the work of art made by man ranked below the product of nature4 ,the work of art has no feeling in itself1 and is not through and through a living thing1 but1 regarded as an external object1 is dead4 ,but we are wont to prize the living more than the dead4 ,we must admit1 of course1 that the work of art has not in itself movement and life4 ,an animated being in nature is within and without an organization appropriately elaborated down to all its minutest parts1 while the work of art attains the semblance of animation on its surface only1 but within is common stone1 or wood and canvas1 or1 as in the case of poetry1 is idea1 uttering itself in speech and letters4 ,but this aspect1 viz4 its external existence1 is not what makes a work into a production of fine art2 it is a work of art only in as far as1 being the offspring of mind1 it continues to belong to the realm of mind1 has received the baptism of the spiritual1 and only represents that which has been moulded in harmony with mind4 ,a human interest1 the spiritual value which attaches to an incident1 to an individual character1 to an action in its plot and in its dnoment1 is apprehended in the work of art1 and exhibited more purely#ej and transparently than is possible on the soil of common unartistic reality4 ,this gives the work of art a higher rank than anything produced by nature1 which has not sustained this passage through the mind4 ,so1 for instance1 by reason of the feeling and insight of which a landscape as depicted by an artist is a manifestation1 such a work of mind assumes a higher rank than the mere natural landscape4 ,for everything spiritual is better than anything natural4 ,at any rate1 no existence in nature is able1 like art1 to represent divine ideals4 ,upon that which1 in works of art1 the mind borrows from its own inner life it is able1 even on the side of external existence1 to confer permanence2 whereas the individual living thing of nature is transient1 vanishing1 and mutable in its aspect1 while the work of art persists4 ,though1 indeed1 it is not mere permanence1 but the accentuation of the character which animation by mind confers1 that constitutes its genuine pre-eminence as compared with natural reality4 ,nevertheless1 this higher rank assigned to the work of art is in turn disputed by another idea of the common consciousness4 ,it is said that nature and its products are a work of ,god1 created by his goodness and wisdom1 whereas the work of art is merely a human production1 made after man's devising by man's hands4 ,in this antithesis between natural production as a divine creation and human activity as a merely finite creation1 we at once come upon the misconception1 that ,god does not work in man and through man1 but limits the range of his activity to nature alone4 ,this false opinion is to be entirely abandoned if we mean to penetrate the true conception of art4 ,indeed1 in opposition to such an idea1 we must adhere to the very reverse1 believing that ,god is more honoured by what mind does or makes than by the productions or formations of nature4 ,for not only is there a divinity in man1 but in him it is operative under a form that is appropriate to the essence of ,god1 in a mode quite other and higher than in nature4 ,god is a ,spirit1 and it is only in man that the medium through which the divine element passes has the form of conscious spirit1 that actively realizes itself4 ,in nature the corresponding medium is the unconscious1 sensible1 and external1 which is far below consciousness in value4 ,in the products of art ,god is operative neither more nor less than in the phenomena of nature2 but the divine element1 as it makes itself known in the work of art1 has attained1 as being generated out of the mind1 an adequate thoroughfare for its existence2 while existence in the unconscious sensuousness of nature is not a mode of appearance adequate to the ,divine ,being4 7d7 ,granting1 then1 that the work of art is made by man as a creation of mind1 we come to the last question1 which will enable us to draw a deeper result from what has been said4 ,what is man's need to produce works of art8 ,on the one hand the production may be regarded as a mere toy of chance and of man's fancies1 that might just as well be let alone as pursued4 ,for1 it may be said1 there are other and better means for effecting that which is the aim of art1 and man bears in him interests that are yet higher and of more import than art has power to satisfy4 ,but1 on the other hand1 art appears to arise from the higher impulse and to satisfy the higher needs1 at times1 indeed1 even the highest1 the absolute need of man1 being wedded to the religious interests of whole epochs and peoples1 and to their most universal intuitions respecting the world4 ,this inquiry concerning the not contingent but absolute need of art we cannot as yet answer completely1 seeing that it is more concrete than any shape which could here be given to the answer4#ea ,we must1 therefore1 content ourselves for the present with merely establishing the following points4 ,the universal and absolute need out of which art1 on its formal side1#eb arises has its source in the fact that man is a thinking consciousness1 i4e4 that he draws out of himself1 and makes explicit for himself1 that which he is1 and1 generally1 whatever is4 ,the things of nature are only immediate and single1 but man as mind reduplicates himself1 inasmuch as prima facie he is like the things of nature1 but in the second place just as really is for himself1 perceives himself1 has ideas of himself1 thinks himself1 and only thus is active self-realizedness4#ec ,this consciousness of himself man obtains in a twofold way3 in the first place theoretically1 in as far as he has inwardly to bring himself into his own consciousness1 with all that moves in the human breast1 all that stirs and works therein1 and1 generally1 to observe and form an idea of himself1 to fix before himself what thought ascertains to be his real being1 and1 in what is summoned out of his inner self as in what is received from without1 to recognize only himself4 ,secondly1 man is realized for himself by practical activity1 inasmuch as he has the impulse1 in the medium which is directly given to him1 and externally presented before him1 to produce himself1 and therein at the same time to recognize himself4 ,this purpose he achieves by the modification of external things upon which he impresses the seal of his inner being1 and then finds repeated in them his own characteristics4 ,man does this in order as a free subject to strip the outer world of its stubborn foreignness1 and to enjoy in the shape and fashion of things a mere external reality of himself4#ed ,even the child's first impulse involves this practical modification of external things4 ,a boy throws stones into the river1 and then stands admiring the circles that trace themselves on the water1 as an effect in which he attains the sight of something that is his own doing4 ,this need traverses the most manifold phenomena1 up to the mode of self-production in the medium of external things as it is known to us in the work of art4 ,and it is not only external things that man treats in this way1 but himself no less1 i4e4 his own natural form1 which he does not leave as he finds it1 but alters of set purpose4 ,this is the cause of all ornament and decoration1 though it may be as barbarous1 as tasteless1 as utterly disfiguring or even destructive as crushing ,chinese ladies' feet1 or as slitting the ears and lips4 ,it is only among cultivated men that change of the figure1#ee of behaviour1 and of every kind and mode of self-utterance emanates from spiritual education4#ef ,the universal need for expression in art#eg lies1 therefore1 in man's rational impulse to exalt the inner and outer world into a spiritual consciousness for himself1 as an object in which he recognizes his own self4 ,he satisfies the need of this spiritual freedom when he makes all that exists explicit for himself within1 and in a corresponding way realizes this his explicit self without1 evoking thereby1 in this reduplication of himself1 what is in him into vision and into knowledge for his own mind and for that of others4 ,this is the free rationality of man1 in which1 as all action and knowledge1 so also art has its ground and necessary origin4 ,the specific need of art1 however1 in contradistinction to other action1 political or moral1 to religious imagination and to scientific cognition1 we shall consider later4 #b4 ,we have so far been considering that aspect of the work of art in which it is made by man4 ,we have now to pass on to its second characteristic1 that it is made for man's sense1 and for this reason is more or less borrowed from the sensuous4 7a7 ,this reflection has furnished occasion for the consideration to be advanced that fine art is intended to arouse feeling1 and indeed more particularly the feeling which we find suits us--that1 is pleasant feeling4 ,looking at the question thus1 men have treated the investigation of fine art as an investigation of the feelings1 and asked what feelings it must be held that art ought to evoke1--fear1 for example1 and compassion2 and then1 how these could be pleasant--how1 for example1 the contemplation of misfortune could produce satisfaction4 ,this tendency of reflection is traceable particularly to ,moses ,mendelssohn's times1 and many such discussions are to be found in his writings4 ,yet such an investigation did not lead men far1 for feeling is the indefinite dull region of the mind2 what is felt remains wrapped in the form of the most abstract individual subjectivity1#eh and therefore the distinctions of feeling are also quite abstract1 and are not distinctions of the actual object-matter itself4 ,for instance1 fear1 anxiety1 alarm1 terror1 are no doubt of one and the same sort of feeling variously modified1 but in part are mere quantitative heightenings1 in part are forms which in themselves have nothing to do with their content itself1 but are indifferent to it4 ,in the case of fear1 for instance1 an existence is given in which the subject 7i4e4 a person7 has an interest1 but at the same time sees approaching the negative that threatens to annihilate this existence1 and so finds immediately in himself1 as a contradictory affection of his subjectivity1 the two at once1 this interest and that negative4 ,now1 such fear considered in itself is not enough to condition any content1 but is capable of receiving into itself the most diverse and opposite matters4#ei ,feeling1 as such1 is a thoroughly empty form of subjective affection4 ,no doubt this form may in some cases be manifold in itself1 as is hope1 grief1 joy1 or pleasure2 and1 again1 may in such diversity comprehend varied contents1 as there is a feeling of justice1 moral feeling1 sublime religious feeling1 and so forth4 ,but the fact that such content is forthcoming in different forms of feeling is not enough to bring to light its essential and definite nature2 they remain purely subjective affections of myself1 in which the concrete matter vanishes1 as though narrowed into a circle of the utmost abstraction4#fj ,therefore1 the inquiry into the feelings which art arouses1 or ought to arouse1 comes utterly to a standstill in the indefinite1 and is a mode of study which precisely abstracts from the content proper and from its concrete essence and notion4 ,for reflection upon feeling contents itself with the observation of the subjective affection in its isolation1 instead of diving into and fathoming the matter in question itself1 the work of art1 and1 while engaged with it1 simply letting go the mere subjectivity and its states4 ,in feeling it is just this vacant subjectivity that is--not merely retained1 but--given the first place1 and that is why men are so fond of having emotions4 ,and for the same reason such a study becomes tedious from its indefiniteness and vacancy1 and repulsive from its attentiveness to little subjective peculiarities4 7b7 ,now1 as a work of art is not merely to do in general something of the nature of arousing emotion--for this is a purpose which it would have in common1 without specific difference1 with eloquence1 historical composition1 religious edification1 and so forth--but is to do so only in as far as it is beautiful1 reflection hit upon the idea1 seeing that beauty was the object1 of searching out a peculiar feeling of beauty to correspond to it1 and of discovering a particular sense of beauty4 ,in this search it soon appeared that such a sense is no blind instinct made rigidly definite by nature1 and capable from the beginning in its own independent essence of discerning beauty4 ,hence it followed that education came to be demanded for this sense1 and the educated sense of beauty came to be called taste1 which1 although an educated appreciation and apprehension of the beautiful1 was yet supposed to retain the nature of immediate feeling4 ,we have already mentioned how abstract theories undertook to educate such a sense of taste1 and how external and one-sided that sense remained4 ,the criticism of the time when those views prevailed1 was not only defective in universal principles1 but also1 in its particular references to individual works of art1 was less directed to justifying a definite judgment--the power to make one not having at that time been acquired--than to advancing the general education of taste4 ,for this reason such education in its turn came to a standstill in the indefinite1 and merely endeavoured so to equip feeling as sense of beauty by help of reflection1 that there might thenceforth be capacity to find out beauty whenever and wherever it should exist4 ,yet the depths of the matter remained a sealed book to mere taste1 for these depths demand not only sensibility and abstract reflection1 but the undivided reason and the mind in its solid vigour2 while taste was only directed to the external surface about which the feelings play1 and on which one-sided maxims may pass for valid4 ,but1 for this very reason1 what is called good taste takes fright at all more profound effects of art1 and is silent where the reality comes in question1 and where externalities and trivialities vanish4 ,for when great passions and the movements of a profound soul are unveiled1 we are no longer concerned with the finer distinctions of taste and its pettifogging particularities4 ,it feels that genius strides contemptuously over such ground as this1 and1 shrinking before its power1 becomes uneasy1 and knows not which way to turn4 7c7 ,and thus1 as we should expect1 men have abandoned the tendency to consider works of art solely with an eye to the education of taste1 and with the purpose of merely displaying taste4 ,the connoisseur1 or scholar of art1 has replaced the art-judge1 or man of taste4 ,the positive side of art-scholarship1 so far as it concerns a thorough acquaintance with the entire circumference#fa of the individual character in a given work of art1 we have already pronounced to be essential to the study of art4 ,for a work of art1 owing to its nature as at once material and individual1 is essentially originated by particular conditions of the most various kinds1 to which belong especially the time and place of its production1 then the peculiar individuality of the artist1 and in particular the grade of technical development attained by his art4 ,attention to all these aspects is indispensable to distinct and thorough insight and cognition1 and even to the enjoyment of a work of art2 it is with them that connoisseurship1 or art-scholarship1 is chiefly occupied2 and all that it can do for us in its own way is to be accepted with gratitude4 ,yet1 though such scholarship is entitled to rank as something essential1 still it ought not to be taken for the sole or supreme element in the relation which the mind adopts towards a work of art1 and towards art in general4 ,for art-scholarship 7and this is its defective side7 is capable of resting in an acquaintance with purely external aspects1 such as technical or historical details1 etc41 and of guessing but little1 or even knowing absolutely nothing1 of the true and real nature of a work of art4 ,it may even form a disparaging estimate of the value of more profound considerations in comparison with purely positive1 technical1 and historical information4 ,still1 even so1 art-scholarship1 if only it is of a genuine kind1 at least strives after definite grounds and information1 and an intelligent judgment1 with which is closely conjoined the more precise distinction of the different1 even if partly external1 aspects in a work of art1 and the estimation of their importance4 7d7 ,after these remarks upon the modes of study which have arisen out of that aspect of a work of art in which1 being a sensuous object1 it is invested with a relation to man as a sensuous being1 we will now consider this aspect in its more essential relation to art as such1 and so 7,greek3 a7 partly as regards the work of art as object1 7,greek3 b7 partly with respect to the subjectivity of the artist1 his genius1 talent1 and so on2 but without entering into matter relative to these points that can only proceed from the knowledge of art in its universal idea4 ,for we are not yet on genuinely scientific ground1 but have only reached the province of external reflection4 7,greek3 a7 ,the work of art then1 of course1 presents itself to sensuous apprehension4 ,it is addressed to sensuous feeling1 outer or inner1 to sensuous perception and imagination1 just as is the nature that surrounds us without1 or our own sensitive nature within4 ,even a speech1 for instance1 may be addressed to sensuous imagination and feeling4 ,notwithstanding1 the work of art is not only for the sensuous apprehension as sensuous object1 but its position is of such a kind that as sensuous it is at the same time essentially addressed to the mind1 that the mind is meant to be affected by it1 and to find some sort of satisfaction in it4 ,this intention of the work of art explains how it is in no way meant to be a natural product and to possess natural life1 whether a natural product is to be ranked higher or lower than a mere work of art1 as it is often called in a depreciatory sense4 ,for the sensuous aspect of the work of art has a right to existence only in as far as it exists for man's mind1 but not in as far as qua sensuous thing it has separate existence by itself4#fb ,if we examine more closely in what way the sensuous is presented to man1 we find that what is sensuous may bear various relations to the mind4 7aa7 ,the lowest mode of apprehension1 and that least appropriate to the mind1 is purely sensuous apprehension4 ,it consists naturally in mere looking1 listening1 feeling1 just as in seasons of mental fatigue it may often be entertaining to go about without thought1 and just to hear and look around us4 ,the mind1 however1 does not rest in the mere apprehension of external things by sight and hearing1 it makes them objects for its own inner nature1 which then is itself impelled in a correspondingly sensuous form to realize itself in the things1 and relates itself to them as desire4 ,in this appetitive relation to the outer world1 the man stands as a sensuous particular over against the things as likewise particulars2 he does not open his mind to them with general ideas as a thinking being1 but has relations dictated by particular impulses and interests to the objects as themselves particulars1 and preserves himself in them1 inasmuch as he uses them1 consumes them1 and puts in act his self-satisfaction by sacrificing them to it4 ,in this negative relation desire requires for itself not merely the superficial appearance of external things1 but themselves in their concrete sensuous existence4 ,mere pictures of the wood that it wants to use1 or of the animals that it wants to eat1 would be of no service to desire4 ,just as little is it possible for desire to let the object subsist in its freedom4 ,for its impulse urges it just precisely to destroy this independence and freedom of external things1 and to show that they are only there to be destroyed and consumed4 ,but1 at the same time1 the subject himself1 as entangled in the particular limited and valueless interests of his desires1 is neither free in himself1 for he does not determine himself out of the essential universality and rationality of his will1 nor free in relation to the outer world1 for his desire remains essentially determined by things1 and related to them4 ,this relation of desire is not that in which man stands to the work of art4 ,he allows it to subsist as an object1 free and independent1 and enters into relation with it apart from desire1 as with an object which only appeals to the theoretic side of the mind4 ,for this reason the work of art1 although it has sensuous existence1 yet1 in this point of view1 does not require concrete sensuous existence and natural life2 indeed1 it even ought not to remain on such a level1 seeing that it has to satisfy only the interests of mind1 and is bound to exclude from itself all desire4 ,hence it is1 indeed1 that practical desire rates individual things in nature1 organic and inorganic1 which are serviceable to it1 higher than works of art1 which reveal themselves to be useless for its purpose1 and enjoyable only for other modes of mind4 7,greek3 bb7 ,a second mode in which the externally present may be related to the mind is1 in contrast with singular sensuous perception and desire1 the purely theoretical relation to the ,intelligence4 ,the theoretic contemplation of things has no interest in consuming them as particulars1 in satisfying itself sensuously1 and in preserving itself by their means1 but rather in becoming acquainted with them in their universality1 in finding their inner being and law1 and in conceiving them in terms of their notion4 ,therefore the theoretical interest lets the single things be1 and holds aloof from them as sensuous particulars1 because this sensuous particularity is not what the contemplation exercised by the intelligence looks for4 ,for the rational intelligence does not belong1 as do the desires1 to the individual subject#fc as such1 but only to the individual as at the same time in his nature universal4 ,in as far as man has relation to things in respect of this universality1 it is his universal reason which attempts to find himself in nature1 and thereby to reproduce the inner essence of things1 which sensuous existence1 though having its ground therein1 cannot immediately display4 ,but again1 this theoretic interest1 the satisfaction of which is the work of science1 is in the scientific form no more shared by art1 than the latter makes common cause with the impulse of the purely practical desires4 ,science may1 no doubt1 start from the sensuous thing in its individuality1 and may possess a sensuous idea of the way in which such an individual presents itself in its individual colour1 shape1 size1 etc4 ,still1 this isolated sensuous thing1 as such1 has no further relation to the mind1 inasmuch as the intelligence aims at the universal1 the law1 the thought and notion of the object4 ,not only1 therefore1 does it abandon all intercourse with the thing as a given individual1 but transforms it within the mind1 making a concrete object of sense into an abstract matter of thought1 and so into something quite other than the same object qua sensuous phenomenon4 ,the artistic interest1 as distinguished from science1 does not act thus4 ,artistic contemplation accepts the work of art just as it displays itself qua external object1 in immediate determinateness and sensuous individuality clothed in colour1 figure1 and sound1 or as a single isolated perception1 etc41 and does not go so far beyond the immediate appearance of objectivity which is presented before it1 as to aim1 like science1 at apprehending the notion of such an objective appearance as a universal notion4 ,thus1 the interest of art distinguishes itself from the practical interest of desire by the fact that it permits its object to subsist freely and in independence1 while desire utilizes it in its own service by its destruction4 ,on the other hand1 artistic contemplation differs from theoretical consideration by the scientific intelligence1 in cherishing interest for the object as an individual existence1 and not setting to work to transmute it into its universal thought and notion4 ,greek3 gg ,it follows1 then1 from the above1 that though the sensuous must be present in a work of art1 yet it must only appear as surface and semblance of the sensuous4 ,for1 in the sensuous aspect of a work of art1 the mind seeks neither the concrete framework of matter1 that empirically thorough completeness and development of the organism which desire demands1 nor the universal and merely ideal thought4 ,what it requires is sensuous presence1 which1 while not ceasing to be sensuous1 is to be liberated from the apparatus of its merely material nature4 ,and thus the sensuous in works of art is exalted to the rank of a mere semblance in comparison with the immediate existence of things in nature1 and the work of art occupies the mean between what is immediately sensuous and ideal thought4 ,this semblance of the sensuous presents itself to the mind externally as the shape1 the visible look1 and the sonorous vibration of things--supposing that the mind leaves the objects uninterfered with 7physically71 but yet does not descend into their inner essence 7by abstract thought71 for if it did so1 it would entirely destroy their external existence as separate individuals for it4 ,for this reason the sensuous aspect of art only refers to the two theoretical senses of sight and hearing1 while smell1 taste1 and feeling remain excluded from being sources of artistic enjoyment4 ,for smell1 taste1 and feeling have to do with matter as such1 and with its immediate sensuous qualities2 smell with material volatilization in air1 taste with the material dissolution of substance1#fd and feeling with warmth1 coldness1 smoothness1 etc4 ,on this account these senses cannot have to do with the objects of art1 which are destined to maintain themselves in their actual independent existence1 and admit of no purely sensuous relation4 ,the pleasant for these latter senses is not the beautiful in art4 ,thus art on its sensuous side purposely produces no more than a shadow-world of shapes1 sounds1 and imaginable ideas2#fe and it is absolutely out of the question to maintain that it is owing to simple powerlessness and to the limitations on his actions that man1 when evoking worlds of art into existence1 fails to present more than the mere surface of the sensuous1 than mere schemata4#ff ,in art1 these sensuous shapes and sounds present themselves1 not simply for their own sake and for that of their immediate structure1#fg but with the purpose of affording in that shape satisfaction to higher spiritual interests1 seeing that they are powerful to call forth a response and echo in the mind from all the depths of consciousness4 ,it is thus that1 in art1 the sensuous is spiritualized1 i4e4 the spiritual appears in sensuous shape4 7,greek3 b7 ,but for this very reason we have a product of art only in so far as it has found a passage through the mind1 and has been generated by spiritually productive activity4 ,this leads us to the other question which we have to answer--how1 that is1 the sensuous side1 which is indispensable to art1 is operative in the artist as a productive state of the subject or person4 ,this1 the method and fashion of production1 contains in itself as a subjective activity just the same properties which we found objectively present in the work of art2 it must be a spiritual activity which1 nevertheless1 at the same time has in itself the element of sensuousness and immediateness4 ,it is neither1 on the one hand1 purely mechanical work1 as mere unconscious skill in sensuous sleight of hand1#fh or a formal activity according to fixed rules learnt by rote2 nor is it1 on the other hand1 a scientific productive process1 which passes from sense to abstract ideas and thoughts1 or exercises itself exclusively in the element of pure thinking2 rather the spiritual and the sensuous side must in artistic production be as one4 ,for instance1 it would be possible in poetical creation to try and proceed by first apprehending the theme to be treated as a prosaic thought1 and by then putting it into pictorial ideas1 and into rhyme1 and so forth2 so that the pictorial element would simply be hung upon the abstract reflections as an ornament or decoration4 ,such a process could only produce bad poetry1 for in it there would be operative as two separate activities that which in artistic production has its right place only as undivided unity4 ,this genuine mode of production constitutes the activity of artistic fancy4 ,it is the rational element which1 qua spirit1 only exists in as far as it actively extrudes itself into consciousness1 but yet does not array before it what it bears within itself till it does so in sensuous form4 ,this activity has1 therefore1 a spiritual import1 which1 however1 it embodies in sensuous shape4 ,such a process may be compared with the habit even of a man with great experience of the world1 or1 again1 with that of a man of esprit#fi or wit1 who1 although he has complete knowledge of the main stakes of life1 of the substantive interests that hold men together1 of what moves them1 and of what is the power that they recognize1 yet neither has himself apprehended this content in the form of general rules1 nor is able to explain it to others in general reflections1 but makes plain to himself and to others what occupies his consciousness always in particular cases1 whether real or invented1 in adequate instances1 and the like4 ,for in his ideas1 everything shapes itself into concrete images1 determinate in time and place1 to which1 therefore1 names and other external circumstances of all kinds must not be wanting4 ,yet such a kind of imagination rather rests on the recollection of states that he has gone through1 and of experiences that have befallen him1 than is creative in its own strength4 ,his recollection preserves and reproduces the individuality and external fashion of occurrences that had such and such results with all their external circumstances1 and prevents the universal from emerging in its own shape4 ,but the productive fancy of the artist is the fancy of a great mind and heart1 the apprehension and creation of ideas and of shapes1 and1 indeed1 the exhibition of the profoundest and most universal human interests in the definite sensuous mould of pictorial representation4 ,from this it follows at once1 that in one aspect ,fancy unquestionably rests on natural gifts--speaking generally1 on talent--because its mode of production requires a sensuous medium4 ,it is true that we speak in the same way of scientific talent1 but the sciences only presuppose the universal capacity of thought1 which has not1 like ,fancy1 a natural mode 7as well as an intellectual one71 but abstracts just precisely from all that is natural 7or native7 in an activity2 and thus it would be more correct to say that there is no specifically scientific talent in the sense of a mere natural endowment4 ,now1 ,fancy has in it a mode of instinct-like productiveness1 inasmuch as the essential plasticity and sensuousness of the work of art must be subjectively present in the artist as natural disposition and natural impulse1 and1 considering that it is unconscious operation1 must belong to the natural element in man1 as well as to the rational4 ,of course1 natural capacity leaves room for other elements in talent and genius1 for artistic production is just as much of a spiritual and self-conscious nature2 we can but say that its spirituality must1 somehow1 have an element of natural1 plastic1 and formative tendency4 ,for this reason1 though nearly every one can reach a certain point in an art1 yet1 in order to go beyond this point1 with which the art in the strict sense begins1 it is impossible to dispense with native artistic talent of the highest order4 ,considered as a natural endowment1 moreover1 such talent reveals itself for the most part in early youth1 and is manifested in the impelling restlessness that busies itself1 with vivacity and industry1 in creating shapes in some particular sensuous medium1 and in seizing on this species of utterance and communication as the only one1 or as the chief and the most suitable one4 ,and thus1 too1 a precocious technical facility1 that up to a certain grade of attainment is without effort1 is a sign of natural talent4 ,a sculptor finds everything transmute itself into shapes1 and he soon begins to take up the clay and model it4 ,and1 speaking generally1 whatever men of such talents have in their imagination1 whatever rouses and moves their inner nature1 turns at once into shape1 drawing1 melody1 or poem4 7,greek3 g7 ,thirdly1 and to conclude3 the content of art is also in some respects borrowed from the sensuous1 from nature2 or1 in any case1 even if the content is of a spiritual kind1 it can only be seized and fixed by representing the spiritual fact1 such as human relations1 in the shape of phenomena with external reality4 ,,chapter ,,iii4 7,continued74 ,,the ,,conception ,,of ,,artistic ,,beauty4 ,,part ,,ii4--,,the ,,end ,,of ,,art4 #c4 ,the question then arises1 what the interest or the ,end is which man proposes to himself when he reproduces such a content in the form of works of art4 ,this was the third point of view which we set before us with reference to the work of art1 and the closer discussion of which will finally make the transition to the actual and true conception of art4 ,if in this aspect we glance at the common consciousness1 a current idea which may occur to us is-- 7,greek3 a7 ,the principle of the imitation of nature4 ,according to this view the essential purpose of art consists in imitation1 in the sense of a facility in copying natural forms as they exist in a way that corresponds precisely to them2 and the success of such a representation1 exactly corresponding to nature1 is supposed to be what affords complete satisfaction4 7,greek3 a7 ,this definition contains1 prima facie1 nothing beyond the purely formal#gj aim that whatever already exists in the external world1 just as it is therein1 is now to be made a second time by man as a copy of the former1 as well as he can do it with the means at his command4 ,but we may at once regard this repetition as-- 7,greek3 aa7 ,a superfluous labour1 seeing that the things which pictures1 theatrical representations1 etc41 imitate and represent--animals1 natural scenes1 incidents in human life--are before us in other cases already1 in our own gardens or our own houses1 or in cases within our closer or more remote circle of acquaintance4 ,and1 looking more closely1 we may regard this superfluous labour as a presumptuous sport which-- 7,greek3 bb7 ,comes far short of nature4 ,for art is restricted in its means of representation2 and can produce only one-sided deceptions1 i4e4 for instance1 a semblance of reality addressed to one sense only2 and1 in fact1 it invariably gives rise1 if it rests in the formal purpose of mere imitation1 to a mere parody#ga of life1 instead of a genuine vitality4 ,just so the ,turks1 being ,mohammedans1 tolerate1 as is well known1 no pictures copied from men or the like2 and when ,james ,bruce1 on his journey to ,abyssinia1 showed paintings of fish to a ,turk1 the man was amazed at first1 but soon enough made answer3 ,if this fish shall rise up against you on the last day1 and say1 ',you have created for me a body1 but no living soul1' how will you defend yourself against such an accusation8 ,the prophet1 moreover1 it is recorded in the ,sunna1 said to the two women1 ,ommi ,habiba and ,ommi ,selma1 who told him of pictures in thiopian churches--,these pictures will accuse their authors on the day of judgment6 ,there are1 no doubt1 as well1 examples of completely deceptive imitation4 ,zeuxis' painted grapes have from antiquity downward been taken to be the triumph of this principle of the imitation of nature1 because the story is that living doves pecked at them4 ,we might add to this ancient example the modern one of ,bttner's monkey1 which bit in pieces a painted cockchafer in ,rsel's ,diversions of the ,insect ,world1 and was pardoned by his master1 in spite of his having thereby spoilt a beautiful copy of this valuable work1 because of this proof of the excellence of the pictures4 ,but when we reflect on these and similar instances1 it must at once occur to us that1 in place of commending works of art because they have actually deceived even pigeons and monkeys1 we ought simply to censure the people who mean to exalt a work of art by predicating1 as its highest and ultimate quality1 so poor an effect as this4 ,in general1 we may sum up by saying that1 as a matter of mere imitation1 art cannot maintain a rivalry with nature1 and1 if it tries1 must look like a worm trying to crawl after an elephant4 7,greek3 gg7 ,considering the unvarying failure--comparative failure1 at least--of imitation when contrasted with the original in nature1 there remains as end nothing beyond our pleasure in the sleight of hand#gb which can produce something so like nature4 ,and it is doubtless open to man to be pleased at producing over again what is already present in its own right1 by his labour1 skill1 and industry4 ,but enjoyment and admiration1 even of this kind1 naturally grow frigid or chilled precisely in proportion to the resemblance of the copy to the natural type1 or are even converted into tedium and repugnance4 ,there are portraits which1 as has been wittily said1 are sickeningly like2 and ,kant adduces another instance relative to this pleasure in imitation as such1 viz4 that we soon grow tired of a man--and there are such men--who is able to mimic the nightingale's strain quite perfectly2 and as soon as it is discovered that a man is producing the notes1 we are at once weary of the song4 ,we then recognize in it nothing but a conjuring trick1 neither the free production of nature1 nor a work of art2 for we expect from the free productive capacity of human beings something quite other than such music as this1 which only interests us when1 as is the case with the nightingale's note1 it gushes forth from the creature's own vitality without special purpose1 and yet recalls the utterance of human feeling4 ,in general1 such delight at our skill in mimicking can be but limited1 and it becomes man better to take delight in what he produces out of himself4 ,in this sense the invention of any unimportant and technical product has the higher value1 and man may be prouder of having invented the hammer1 the nail1 and so forth1 than of achieving feats of mimicry4 ,for this fervour of abstract#gc copying is to be evened with the feat of the man who had taught himself to throw lentils through a small opening without missing4 ,he displayed this skill of his before ,alexander1 and ,alexander presented him with a bushel of lentils as a reward for his frivolous and meaningless art4 7,greek3 b7 ,moreover1 seeing that the principle of imitation is purely formal1 to make it the end has the result that objective beauty itself disappears4 ,for the question is in that case no longer of what nature that is which is to be copied1 but only whether it is correctly copied4 ,the object and content of the beautiful comes then to be regarded as matter of entire indifference4 ,that is to say1 if we go outside the principle and speak of a difference of beauty and ugliness in considering beasts1 men1 landscapes1 actions1 or characters1 this must nevertheless1 in presence of the maxim in question1#gd be set down as a distinction that does not belong particularly to art1 for which nothing is left but abstract imitation4 ,in this case the above-mentioned lack of a criterion in dealing with the endless forms of nature reduces us1 as regards the selection of objects and their distinction in beauty and ugliness1 to subjective taste as an ultimate fact1 which accepts no rule and admits of no discussion4 ,and1 in fact1 if in selecting objects for representation we start from what men think beautiful or ugly1 and therefore deserving artistic imitation--that is1 from their taste1--then all circles of natural objects open to us1 and not one of them will be likely to fail of a patron4 ,among men1 for instance1 it is the case that at any rate every bridegroom thinks his bride beautiful1 and indeed1 perhaps1 he alone2 though not1 it may be1 every husband his wife2 and that subjective taste for such beauty has no fixed rule one may hold to be the good fortune of both parties4 ,if we1 moreover1 look quite beyond individuals and their accidental taste1 to the taste of nations1 this again is full of extreme diversity and contrast4 ,how often we hear it said that a ,european beauty would not please a ,chinese or even a ,hottentot1 in as far as the ,chinaman has quite a different conception of beauty from the negro1 and the negro in turn from the ,european1 and so forth4 ,indeed1 if we look at the works of art of those extra-,european peoples--their images of the gods1 for instance--which their fancy has originated as venerable and sublime1 they may appear to us as the most gruesome idols1 and their music may sound to our ears as the most horrible noise2 while they1 on their side1 will regard our sculptures1 paintings1 and musical productions as trivial or ugly4 7,greek3 g7 ,but even if we abstract from an objective principle of art1 and if beauty is to be based on subjective and individual taste1 we shall still soon find on the side of art itself that the imitation of nature1 which certainly appeared to be a universal principle and one guaranteed by high authority1 is at any rate not to be accepted in this universal and merely abstract form4 ,for if we look at the different arts it will at once be admitted that even if painting and sculpture represent objects which appear like those of nature1 or the type of which is essentially borrowed from nature1 yet works of architecture on the other hand--and architecture belongs to the fine arts--and the productions of poetry1 in as far as they do not confine themselves to mere description1 are by no means to be called imitations of nature4 ,at least1 if we desired to maintain the principle as valid in the case of these latter arts1 we should have to make a long circuit by conditioning the proposition in various ways1 and reducing the so-called truth#ge at any rate to probability4 ,but if we admitted probability we should again be met by a great difficulty in determining what is probable and what is not2 and still1 moreover1 one would neither consent nor find it possible to exclude from poetry all wholly arbitrary and completely original#gf imaginations4 ,the end of art must1 therefore1 lie in something different from the purely formal#gg imitation of what we find given1 which in any case can bring to the birth only tricks and not works of art4 ,it is1 indeed1 an element essential to the work of art to have natural shapes for its foundation2 seeing that its representation is in the medium of external and therefore of natural phenomena4 ,in painting1 for instance1 it is an important study to know how to copy with precision the colours in their relations to one another1 the effects of light1 reflections1 etc41 and1 no less1 the forms and figures of objects down to their subtlest characteristics4#gh ,it is in this respect chiefly that the principle of naturalism in general and of copying nature has recovered its influence in modern times4 ,its aim is to recall an art which has grown feeble and indistinct to the vigour and crispness of nature2 or1 again1 to invoke against the purely arbitrary and artificial conventionalism1 as unnatural as it was inartistic1 into which art had strayed1 the uniform1 direct1 and solidly coherent sequences of nature4 ,but however true it is that there is something right in this endeavour from one point of view1 yet still the naturalism at which it aims is not as such the substantive and primary concern that underlies fine art4 ,and1 therefore1 although external appearance in the shape of natural reality constitutes an essential condition of art1 yet1 nevertheless1 neither is the given natural world its rule1 nor is the mere imitation of external appearance as external its end4 7b7 ,the further question then arises--,what is the true content of art1 and with what aim is this content to be presented4 ,on this subject our consciousness supplies us with the common opinion that it is the task and aim of art to bring in contact with our sense1 our feeling1 our inspiration1 all that finds a place in the mind of man4 ,art1 it is thought1 should realize in us that familiar saying1 ,homo sum3 humani nihil a me alienum puto4 ,its aim is therefore placed in arousing and animating the slumbering emotions1 inclinations1 and passions2 in filling the heart1 in forcing the human being1 whether cultured or uncultured1 to feel the whole range of what man's soul in its inmost and secret corners has power to experience and to create1 and all that is able to move and to stir the human breast in its depths and in its manifold aspects and possibilities2 to present as a delight to emotion and to perception all that the mind possesses of real and lofty in its thought and in the ,idea--all the splendour of the noble1 the eternal1 and the true2 and no less to make intelligible misfortune and misery1 wickedness and crime2 to make men realize the inmost nature of all that is shocking and horrible1 as also of all pleasure and delight2 and1 finally1 to set imagination roving in idle toyings of fancy1 and luxuriating in the seductive spells of sense-stimulating visions4 ,this endlessly varied content1 it is held1 art is bound to embrace1 partly in order to complete the natural experience in which our external existence consists1 and partly with the general aim of provoking the passions of our nature1 both in order that the experiences of life may not leave us unmoved1 and because we desire to attain to a receptivity that welcomes all phenomena4 ,now1 such a stimulus is not given in this sphere by actual experience itself1 but can only come by the semblance thereof1 by art1 that is1 deceptively substituting its creations for reality4 ,the possibility of this deception by means of artistic semblance rests on the fact that all reality must1 for man1 traverse the medium of perception and ideas1 and cannot otherwise penetrate the feelings and the will4 ,in this process it is quite indifferent whether his attention is claimed by immediate external reality1 or whether this effect is produced by another means--that is1 by images1 symbols1 and ideas1 containing or representing the content of reality4 ,man can frame to himself ideas of things that are not actual as though they were actual4 ,hence it is all the same to our feelings whether external reality or only the semblance of it is the means of bringing in contact with us a situation1 a relation1 or the import of a life4 ,either mode suffices to awaken our response to its burden1 in grief and in rejoicing1 in pathos and in horror1#gi and in traversing the emotions and the passions of wrath1 hatred1 compassion1 of anxiety1 fear1 love1 reverence1 and admiration1 or of the desire of honour and of fame4 ,this awakening of all feelings in us1 the dragging of the heart through the whole significance of life1 the realization of all such inner movements by means of a presented exterior consisting merely in deception--all this was what1 from the point of view which we have been considering1 constituted the peculiar and pre-eminent power of art4 ,now1 as this mode of treatment credits art with the vocation of impressing on the heart and on the imagination good and bad alike1 and of strengthening man to the noblest1 as of enervating him to the most sensuous and selfish emotions1 it follows that the task set before art is still purely formal1 and so it would have no certain purpose1 but would merely furnish the empty form for every possible kind of significance and content4 7c7 ,it is a fact that art does include this formal side1 in that it has power to present every possible subject-matter in artistic dress1 before perception and feeling1 just exactly as argumentative#hj reflection has the power of manipulating all possible objects and modes of action1 and of furnishing them with reasons and justifications4 ,but when we admit so great a variety of content we are at once met by the remark that the manifold feelings and ideas1 which art aims at provoking or reinforcing1 intersect and contradict1 and by mutual interference cancel one another4 ,indeed1 in this aspect1 in so far as art inspires men to directly opposite emotions1 it only magnifies the contradiction of our feelings and passions1 and either sets them staggering like ,bacchantes1 or passes into sophistry and scepticism1 in the same way as argumentation4#ha ,this diversity of the material of art itself compels us1 therefore1 not to be content with so formal#hb an aim for it1 seeing that rationality forces its way into this wild diversity1 and demands to see the emergence of a higher and more universal purpose from these elements in spite of their self-contradiction1 and to be assured of its being attained4 ,just in the same way the ,state and the social life of men are1 of course1 credited with the purpose that in them all human capacities and all individual powers are to be developed and to find utterance in all directions and with all tendencies4 ,but in opposition to so formal a view there at once arises the question in what unity these manifold formations must be comprehended1 and what single end they must have for their fundamental idea and ultimate purpose4 ,as such an end1 reflection soon suggests the notion that art has the capacity and the function of mitigating the fierceness of the desires4 7,greek3 a7 ,in respect to this first idea1 we have only to ascertain in what feature peculiar to art it is that the capacity lies of eliminating brutality and taming and educating the impulses1 desires1 and passions4 ,brutality in general has its reason in a direct selfishness of the impulses1 which go to work right away1 and exclusively for the satisfaction of their concupiscence4 ,now1 desire is most savage and imperious in proportion as1 being isolated and narrow1 it occupies the whole man1 so that he does not retain the power of separating himself as a universal being from this determinateness1 and becoming aware of himself as universal4 ,even if the man in such a case says1 ,the passion is stronger than ,i1 it is true that the abstract ,i is then separated for consciousness from the particular passion2 but still only in a formal way1 inasmuch as this separation is only made in order to pronounce that1 against the power of the passion1 the ,i as such is of no account whatever4 ,the savageness of passion consists1 therefore1 in the oneness of the ,i as universal with the limited content of its desires1 so that the man has no will outside this particular passion4 ,now1 such brutality and untamed violence of passion is softened through art1 to begin with1 by the mere fact that it brings before the man as an idea what in such a state he feels and does4 ,and even if art restricts itself to merely setting up pictures of the passions before the mind's eye1 or even if it were actually to flatter them1 still this is by itself enough to have a softening power1 inasmuch as the man is thereby at least made aware1 of what1 apart from such presentation1 he simply is4 ,for then the man observes his impulses and inclinations1 and whereas before they bore him on without power of reflection1 he now sees them outside himself1 and begins already to be free from them1 in so far as they form an object which he contrasts with himself4 ,hence it may frequently be the case with the artist that when attacked by grief he softens and weakens the intensity of his own feelings in its effect on his own mind by representing it in art4 ,tears1 even1 are enough to bring comfort2 the man1 who to begin with is utterly sunk and concentrated in grief1 is able thus1 at any rate1 to utter in a direct fashion this his inner state4 ,still more of a relief however1 is the utterance of what is within in words1 images1 pictures1 sounds1 and shapes4 ,for this reason it was a good old custom at deaths and funerals to appoint wailing women1 in order to bring the grief before the mind in its utterance4 ,manifestations of sympathy1 too1 hold up the content of a man's misfortune to his view2 when it is much talked about he is forced to reflect upon it1 and is thereby relieved4 ,and so it has always been held that to weep or to speak one's fill is a means to obtain freedom from the oppressive weight of care1 or at least to find momentary relief for the heart4 ,hence the mitigation of the violence of passion has for its universal reason that man is released from his immediate sunkenness#hc in a feeling1 and becomes conscious of it as of something external to him1 towards which he must now enter into an ideal relation4 ,art1 by means of its representations1 while remaining within the sensuous sphere1 delivers man at the same time from the power of sensuousness4 ,of course we may often hear those favourite phrases about man's duty being to remain in immediate oneness with nature1 but such oneness in its abstraction is simply and solely coarseness and savagery2 and art1 in the very process of dissolving this oneness for man1 is raising him with gentle hand above and away from mere sunkenness in nature4 ,man's mode of occupying himself with works of art is always purely contemplative1#hd and educates thereby1 in the first place1 no doubt1 merely attention to the representations themselves1 but then1 going beyond this1 it cultivates attention to their significance1 the power of comparison with other contents1 and receptivity for the general consideration of them1 and for the points of view which it involves4 7,greek3 b7 ,to the above there attaches itself in natural connection the second characteristic which has been ascribed to art as its essential purpose1 viz4 the purification of the passions1 instruction and moral perfecting4 ,for the characteristic that art was to bridle savageness and educate the passions remained quite abstract and general1 so that a question must again arise about a determinate kind and an essential end of this education4 7,greek3 aa7 ,the doctrine of the purification of passion suffers indeed under the same defect as the above doctrine of the mitigation of the desires2 yet1 when more closely looked at1 it at any rate arrives at the point of accentuating the fact that the representations of art may be held to lack a standard by which their worth or unworthiness could be measured4 ,this standard simply means their effectiveness in separating pure from impure in the passions4 ,it therefore requires a content that has capacity to exercise this purifying power1 and1 in as far as the production of such an effect is taken to constitute the substantive end of art1 it must follow that the purifying content must be brought before consciousness in its universality and essentiality4 7,greek3 bb7 ,in this latter aspect the end of art has been pronounced to be that it should teach4 ,thus1 on the one side1 the peculiar character of art would consist in the movement of the emotions and in the satisfaction which lies in this movement1 even in fear1 compassion1 in painful pathos and shock--that is to say1 in the satisfying engagement of the emotions and passions1 and to that extent in a complacency1 entertainment1 and delight in the objects of art1 in their representation and effect2 but1 on the other side1 this purpose 7of art7 is held to find its higher standard only in its instructiveness1 in the fabula docet1#he and thus in the useful influence which the work of art succeeds in exerting on the subject4#hf ,in this respect the ,horatian saw1#hg ,et prodesse volunt et delectare poet1 7,poets aim at utility and entertainment alike7 contains1 concentrated in a few words1 all that has subsequently been elaborated in infinite degrees1 and diluted into the uttermost extreme of insipidity as a doctrine of art4 ,as regards such instruction we have1 then1 to ask1 whether it is meant to be directly or indirectly1 explicitly or implicitly contained in the work of art4 ,if1 speaking generally1 we are concerned about a purpose which is universal and not contingent1 it follows that this purpose1 considering the essentially spiritual nature of art1 cannot but be itself spiritual1 and indeed1 moreover1 one which is not contingent1#hh but actual in its nature and for its own sake4 ,such a purpose in relation to teaching could only consist in bringing before consciousness1 by help of the work of art1 a really and explicitly significant spiritual content4 ,from this point of view it is to be asserted that the higher art ranks itself1 the more it is bound to admit into itself such a content as this1 and that only in the essence of such a content can it find the standard which determines whether what is expressed is appropriate or inappropriate4 ,art was1 in fact1 the first instructress of peoples4 ,but the purpose of instruction may be treated as purpose1 to such a degree that the universal nature of the represented content is doomed to be exhibited and expounded directly and obviously as abstract proposition1 prosaic reflection1 or general theorem1 and not merely in an indirect way in the concrete form of a work of art4 ,by such a severance the sensuous plastic form1 which is just what makes the work of art a work of art1 becomes a mere otiose accessory1 a husk which is expressly pronounced to be mere husk1 a semblance expressly pronounced to be mere semblance4 ,but thereby the very nature of the work of art is distorted4 ,for the work of art ought to bring a content before the mind's eye1 not in its generality as such1 but with this generality made absolutely individual1 and sensuously particularized4 ,if the work of art does not proceed from this principle1 but sets in relief its generalized aspect with the purpose of abstract instruction1 then the imaginative and sensuous aspect is only an external and superfluous adornment1 and the work of art is a thing divided against itself1#hi in which form and content no longer appear as grown into one4 ,in that case the sensuously individual and the spiritually general are become external to one another4 ,and further1 if the purpose of art is limited to this didactic utility1 then its other aspect1 that of pleasure1 entertainment1 and delight1 is pronounced to be in itself unessential1 and ought to have its substance merely in the utility of the teaching on which it is attendant4 ,but this amounts to pronouncing that art does not bear its vocation and purpose in itself1 but that its conception is rooted in something else1 to which it is a means4 ,art is1 in this case1 only one among the several means which prove useful and are applied for the purpose of instruction4 ,this brings us to the boundary at which art is made no longer to be an end on its own merits1 seeing that it is degraded into a mere toy of entertainment or a mere means of instruction4 7,greek3 gg7 ,this boundary becomes most sharply marked when a question is raised1 in its turn1 about a supreme end and aim for the sake of which the passions are to be purified and men are to be instructed4 ,this aim has often1 in modern times1 been declared to be moral improvement1 and the aim of art has been placed in the function of preparing the inclinations and impulses for moral perfection1 and of leading them to this goal4 ,this idea combines purification with instruction1 inasmuch as art is1 by communicating an insight into genuine moral goodness--that is1 by instruction1--at the same time to incite to purification1 and in this way alone to bring about the improvement of mankind as its useful purpose and supreme goal4 ,regarding art in reference to moral improvement1 the same has prima facie to be said as about the didactic purpose4 ,we may readily grant that art must not as a principle take for its aim the immoral and its furtherance4 ,but it is one thing to take immorality for the express aim of representation1 and another to abstain from taking morality4 ,every genuine work of art may have a good moral drawn from it1 but1 of course1 in doing so much depends on interpretation and on him who draws the moral4 ,thus one may hear the most immoral representations defended by saying that we must know evil1 or sin1 in order to act morally2 and1 conversely1 it has been said that the portrayal of ,mary ,magdalene1 the beautiful sinner who afterwards repented1 has seduced many into sin1 because art makes it look so beautiful to repent1 and you must sin before you can repent4 ,but the doctrine of moral improvement1 if consistently carried out1 goes in general yet further4 ,it would not be satisfied with the possibility of extracting a moral from a work of art by interpretation1 but it would1 on the contrary1 display the moral instruction as the substantive purpose of the work of art1 and1 indeed1 would actually admit to portrayal none but moral subjects1 moral characters1 actions1 and incidents4 ,for art has the choice among its subjects1 in contradistinction to history or the sciences which have their matter fixed for them4 ,in order that we may be able to form a thoroughly adequate estimate of the idea that the aim of art is moral from this point of view1 we must inquire first of all for the definite standpoint of the morality on which this doctrine is based4 ,if we look closely at the standpoint of morality as we have to understand it in the best sense at the present day1 we soon find that its conception does not immediately coincide with what apart from it we are in the habit of calling in a general way virtue1 respectability1#ij uprightness1 etc4 ,to be respectable and virtuous is not enough to make a man moral4#ia ,morality involves reflection and the definite consciousness of that which duty prescribes1 and acting out of such a prior consciousness4 ,duty itself is the law of the will1 which man nevertheless lays down freely out of his own self1 and then is supposed to determine himself to this duty for duty's and its fulfilment's sake1 by doing good solely from the conviction which he has attained that it is the good4 ,now this law1 the duty which is chosen for duty's sake to be the guide of action1 out of free conviction and the inner conscience1 and is then acted upon1 is1 taken by itself1#ib the abstract universal of the will1 and is the direct antithesis of nature1 the sensuous impulses1 the self-seeking interests1 the passions1 and of all that is comprehensively entitled the feelings#ic and the heart4 ,in this antagonism the one side is regarded as negativing the other2 and1 seeing that both are present as antagonists within the subject 7person71 he has1 as determining himself out of himself1 the choice of following the one or the other4 ,but1 according to the view under discussion1 a moral aspect is acquired by such a decision1 and by the act performed in accordance with it1 only through the free conviction of duty on the one hand1 and1 on the other hand1 through the conquest1 not only of the particular or separate will1 of the natural motives1 inclinations1 passions1 etc41 but also through that of the nobler emotions and the higher impulses4 ,for the modern moralistic view starts from the fixed antithesis of the will in its spiritual universality to its sensuous natural particularity1#id and consists not in the completed reconciliation of these contrasted sides1 but in their conflict with one another1 which involves the requirement that the impulses which conflict with duty ought to yield to it4 ,this antithesis does not merely display itself for our consciousness1 in the limited region of moral action2 but also emerges as a fundamental distinction and antagonism between that which is real essentially and in its own right1#ie and that which is external reality and existence4 ,formulated in the abstract1 it is the contrast of the universal and particular1 when the former is explicitly fixed over against the latter1 just as the latter is over against the former2 more concretely1 it appears in nature as the opposition of the abstract law against the abundance of individual phenomena1 each having its own character2 in the mind1 as the sensuous and spiritual in man1 as the battle of the spirit against the flesh1 of duty for duty's sake1 the cold command1 with the individual interest1 the warm feelings1 the sensuous inclinations and impulses1 the individual disposition as such2 as the hard conflict of inward freedom and of natural necessity2 further1 as the contradiction of the dead conception--empty in itself--compared with full concrete vitality1 or of theory and subjective thought contrasted with objective existence and experience4 ,these are antitheses which have not been invented1 either by the subtlety of reflection or by the pedantry of philosophy1 but which have from all time and in manifold forms preoccupied and disquieted the human consciousness1 although it was modern culture that elaborated them most distinctly1 and forced them up to the point of most unbending contradiction4 ,intellectual culture and the modern play of understanding create in man this contrast1 which makes him an amphibious animal1 inasmuch as it sets him to live in two contradictory worlds at once2 so that even consciousness wanders back and forward in this contradiction1 and1 shuttle-cocked from side to side1 is unable to satisfy itself as itself on the one side as on the other4 ,for1 on the one side1 we see man a prisoner in common reality and earthly temporality1 oppressed by want and poverty1 hard driven by nature1 entangled in matter1 in sensuous aims and their enjoyments2 on the other side1 he exalts himself to eternal ideas1 to a realm of thought and freedom1 imposes on himself as a will universal laws and attributions1 strips the world of its living and flourishing reality and dissolves it into abstractions1 inasmuch as the mind is put upon vindicating its rights and its dignity simply by denying the rights of nature and maltreating it1 thereby retaliating the oppression and violence which itself has experienced from nature4 ,such a discrepancy in life and consciousness involves for modern culture and its understanding the demand that the contradiction should be resolved4 ,yet the understanding cannot release itself from the fixity of these antitheses4 ,the solution1 therefore1 remains for consciousness a mere ought1 and the present and reality only stir themselves in the unrest of a perpetual to and fro1 which seeks a reconciliation without finding it4 ,then the question arises1 whether such a many-sided and fundamental opposition which never gets beyond a mere ought and a postulated solution1 can be the genuine and complete#if truth1 and1 in general1 the supreme purpose4 ,if the culture of the world#ig has fallen into such a contradiction1 it becomes the task of philosophy to undo or cancel it1 i4e4 to show that neither the one alternative in its abstraction nor the other in similar one-sidedness possesses truth1 but that they are essentially self-dissolving2 that truth only lies in the conciliation and mediation of the two1 and that this mediation is no mere postulate1 but is in its nature and in reality accomplished and always self-accomplishing4 ,this intuition agrees directly with the natural faith and will1 which always has present to the mind's eye precisely this resolved antithesis1 and in action makes it its purpose and achieves it4 ,all that philosophy does is to furnish a reflective insight into the essence of the antithesis in as far as it shows that what constitutes truth is merely the resolution of this antithesis1 and that not in the sense that the conflict and its aspects in any way are not1 but in the sense that they are1 in reconciliation4 7d7 ,now1 as an ultimate aim implied a higher standpoint in the case of moral improvement1 we shall have to vindicate this higher standpoint for art no less than for morals4 ,thereby we at once lay aside the false position1 which has already been remarked upon1 that art has to serve as a means for moral ends1 and to conduce to the moral end of the world1 as such1 by instruction and moral improvement1 and thereby has its substantive aim1 not in itself1 but in something else4 ,if1 therefore1 we now continue to speak of an aim or purpose1 we must1 in the first instance1 get rid of the perverse idea1 which1 in asking ,what is the aim8 retains the accessory meaning of the question1 ,what is the use84 ,the perverseness of this lies in the point that the work of art would then be regarded as aspiring to something else which is set before consciousness as the essential and as what ought to be2 so that then the work of art would only have value as a useful instrument in the realization of an end having substantive importance outside the sphere of art4 ,against this it is necessary to maintain that art has the vocation of revealing the truth in the form of sensuous artistic shape1 of representing the reconciled antithesis just described1 and1 therefore1 has its purpose in itself1 in this representation and revelation4 ,for other objects1 such as instruction1 purification1 improvement1 pecuniary gain1 endeavour after fame and honour1 have nothing to do with the work of art as such1 and do not determine its conception4 ,it is from this point of view1 into which reflective consideration of the matter resolves itself1 that we have to apprehend the idea of art in its inner necessity1 as indeed it was from this point of view1 historically speaking1 that the true appreciation and understanding of art took its origin4 ,for that antithesis1 of which we spoke1 made itself felt1 not only within general reflective culture1 but no less in philosophy as such1 and it was not till philosophy discovered how to overcome this antithesis absolutely1 that it grasped its own conception and1 just in as far as it did so1 the conception of nature and of art4 ,hence this point of view1 as it is the re-awakening of philosophy in general1 so also is the re-awakening of the science of art2 and1 indeed1 it is this re-awakening to which alone sthetic as a science owes its true origin1 and art its higher estimation4 ,,chapter ,,iv4 ,,historical ,,deduction ,,of ,,the ,,true ,,idea ,,of ,,art ,,in ,,modern ,,philosophy4 ,i ,shall touch briefly upon the historical side of the transition above alluded to1 partly for its historical interest1 partly because1 in doing so1 we shall more closely indicate the critical points which are important1 and on the foundation of which we mean to continue our structure4 ,in its most general formulation1 this basis consists in recognizing artistic beauty as one of the means which resolve and reduce to unity the above antithesis and contradiction between the abstract self-concentrated mind and actual nature1 whether that of external phenomena1 or the inner subjective feelings and emotions4 #a4 ,the ,kantian philosophy led the way by not merely feeling the lack of this point of union1 but attaining definite knowledge of it1 and bringing it within the range of our ideas4#ih ,in general1 ,kant treated as his foundation for the intelligence as for the will1 the self-related rationality or freedom1 the self-consciousness that finds and knows itself in itself as infinite4#ii ,this knowledge of the absoluteness of reason in itself which has brought philosophy to its turning-point in modern times1 this absolute beginning1 deserves recognition even if we pronounce ,kant's philosophy inadequate1 and is an element in it which cannot be refuted4 ,but1 in as far as ,kant fell back again into the fixed antithesis of subjective thought and objective things1 of the abstract universality and the sensuous individuality of the will1 it was he more especially who strained to the highest possible pitch the above-mentioned contradiction called morality1#ajj seeing that he moreover exalted the practical side of the mind above the theoretical4 ,in presence of this fixed antithesis1 with its fixity acknowledged by the understanding1 he had no course open but to propound the unity merely in the form of subjective ideas of the reason to which no adequate reality could be shown to correspond1 or again1 to treat it as consisting in postulates which might indeed be deduced from the practical reason1 but whose essential nature#aja was not for him knowable by thought1 and whose practical accomplishment remained a mere ought deferred to infinity4 ,thus1 then1 ,kant no doubt brought the reconciled contradiction within the range of our ideas1 but he succeeded neither in scientifically unfolding its genuine essence nor in presenting it as the true and sole reality4 ,kant indeed pressed on still further1 inasmuch as he recognized the required unity in what he called the intuitive understanding2 but here1 again1 he comes to a standstill in the contradiction of subjectivity and objectivity1 so that although he suggests in the abstract a solution of the contradiction of concept and reality1 universality and particularity1 understanding and sense1 and thereby points to the ,idea1 yet1 on the other hand1 he makes this solution and reconciliation itself a purely subjective one1 not one which is true and actual in its nature and on its own merits4#ajb ,in this respect the ,critique of the power of judgment1 in which he treats of the sthetic and teleological powers of judgment1 is instructive and remarkable4 ,the beautiful objects of nature and art1 the rightly adapted products of nature1 by connecting which ,kant is led to a closer treatment of organic and animated beings1 are regarded by him only from the point of view of the reflection which subjectively judges of them4 ,indeed ,kant defines the power of judgment generally as the power of thinking the particular as contained under the universal2 and he calls the power of judgment reflective when it has only the particular given to it1 and has to find the universal under which it comes4 ,to this end it requires a law1 a principle1 which it has to impose upon itself2 and ,kant suggests as this law that of ,teleology4 ,in the idea of freedom that belongs to the practical reason1 the accomplishment of the end is left as a mere ought1 but in the teleological judgment dealing with animated beings1 ,kant hits on the notion of regarding the living organism in the light that in it the idea1 the universal1 contains the particulars as well4 ,thus in its capacity as end1 it determines the particular and external1 the structure of the limbs1 not from without1 but from within1 and in the sense that the particular conforms to the end spontaneously4 ,yet even in such a judgment1 again1 we are supposed not to know the objective nature of the thing1 but only to be enunciating a subjective mode of reflection4 ,similarly1 ,kant understands the sthetic judgment as neither proceeding from the understanding as such qua the faculty of ideas1 nor from sensuous perception as such with its manifold variety1 but from the free play of the understanding and of the imagination4 ,it is in this free agreement of the faculties of knowledge1 that the thing is related to the subject or person1 and to his feeling of pleasure and complacency4 7a7 ,now this complacency is1 in the first place1 to be devoid of any interest1 i4e41 devoid of relation to our appetitive faculty4 ,if we have an interest1 by way of curiosity for instance1 or a sensuous interest on behalf of our sensuous want1 a desire of possession and use1 then the objects are not important to us for their own sake1 but for the sake of our want4 ,in that case1 what exists has a value only with reference to such a want1 and the relation is of such a kind that the object is on the one side1 and on the other stands an attribution which is distinct from the object1 but to which we relate it4 ,if1 for instance1 ,i consume the object in order to nourish myself by it1 this interest lies only in me1 and remains foreign to the object itself4 ,now1 what ,kant asserts is1 that the relation to the beautiful is not of this kind4 ,the sthetic judgment allows the external existence to subsist free and independent1 giving licence to the object to have its end in itself4 ,this is1 as we saw above1 an important consideration4#ajc 7b7 ,the beautiful1 in the second place1 says ,kant1 is definable as that which1 without a conception1 i4e4 without a category of the understanding1 is perceived as the object of a universal delight4 ,to estimate the beautiful requires a cultivated mind2 the natural man#ajd has no judgment about the beautiful1 seeing that this judgment claims universal validity4 ,the universal is1 indeed to begin with1 as such an abstraction2 but that which in itself and on its own merits#aje is true1 bears in itself the attribution and the claim to be valid even universally4 ,in this sense the beautiful1 too1 ought to be universally recognized1 although the mere conceptions of the understanding are competent to no judgment thereupon4 ,the good1 that1 for instance1 which is right in particular actions1 is subsumed under universal conceptions1 and the act passes for good when it succeeds in corresponding to these conceptions4 ,beauty1 on the other hand1 according to the theory1 should awaken a universal delight directly1 without any such relation4 ,this amounts to nothing else than that1 in contemplating beauty1 we are not conscious of the conception and of the subsumption under it1 and do not permit to take place the severance of the individual object and of the universal conception which in all other cases is present in the judgment4 7c7 ,in the third place1 the beautiful 7,kant says7 has the form of teleology1#ajf in as far as a teleological character is perceived in the object without the idea of an end4 ,at bottom this only repeats the view which we have just discussed4 ,any natural production1 i4e4 a plant or an animal1 is organized teleologically1 and is so immediately a datum to us in this its teleology that we have no separate abstract idea of the end1 distinct from its given reality4 ,it is in this way that even the beautiful is to be displayed to us as teleological4 ,in finite teleology#ajg end and means remain external to one another1 inasmuch as the end stands in no essential inner relation to the material medium of its accomplishment4 ,in this case1 the idea of the end in its abstraction#ajh distinguishes itself from the object in which the end appears as realized4 ,the beautiful1 on the other hand1 exists as teleological in itself1 without means and end revealing themselves in it as distinct aspects4 ,for instance1 the purpose of the limbs of an organism is the vitality which exists as actual in the limbs themselves2 separately they cease to be limbs4 ,for in the living thing the end and the material medium of the end are so directly united1 that the existing being only exists so long as its purpose dwells in it4 ,the beautiful1 ,kant maintains1 when considered from this point of view1 does not wear its teleology as an external form attached to it2 but the teleological correspondence of the inner and outer is the immanent nature of the beautiful object4 7d7 ,lastly1 ,kant's treatment determines the beautiful1 in the fourth place1 as being recognized1 without a conception1 as object of a necessary delight4 ,necessity is an abstract category1 and indicates an inner essential relation of two aspects2 if the one is1 and because the one is1 then 7and therefore7 the other is4 ,the one in its nature involves the other as well as itself1 just as cause1 e4g41 has no meaning without effect4 ,the delight which the beautiful involves is such a necessary consequence1 wholly without relation to conceptions1 i4e4 to categories of the understanding4 ,thus1 for instance1 we are pleased no doubt by what is symmetrical1 and this is constructed in accordance with a conception of the understanding4 ,but ,kant requires1 to give us pleasure1 even more than the unity and equality that belong to such a conception of the understanding4 ,now1 what we find in all these ,kantian laws is a non-severance of that which in all other cases is presupposed in our consciousness to be distinct4 ,in the beautiful this severance finds itself cancelled1 inasmuch as universal and particular1 end and means1 conception and object thoroughly interpenetrate one another4 ,and thus1 again1 ,kant regards the beautiful in art as an agreement in which the particular itself is in accordance with the conception4 ,particulars1 as such1 are prima facie contingent1 both as regards one another and as regards the universal1 and this very contingent element1 sense1 feeling1 temper1 inclination1 is now in the beauty of art not merely subsumed under universal categories of the understanding and controlled by the conception of feeling in its abstract universality1 but so united with the universal that it reveals itself as inwardly and in its nature and realization#aji adequate thereto4 ,by this means the beauty of art becomes embodiment of a thought1 and the material is not externally determined by this thought1 but exists itself in its freedom4 ,for in this case the natural1 sensuous1 the feelings and so forth have in themselves proportion1 purpose1 and agreement2 while perception and feeling are exalted into spiritual universality1 and thought itself1 not content with renouncing its hostility to nature1 finds cheerfulness therein4 ,thus feeling1 pleasure1 and enjoyment are justified and sanctified1 so that nature and freedom1 sensuousness and the idea1 find their warrant and their satisfaction all in one4 ,yet even this apparently complete reconciliation is ultimately inferred#aaj to be1 nevertheless1 merely subjective in respect of our appreciation as in respect of our production1 and not to be the naturally and completely true and real4 ,these we may take as the main results of the ,kantian ,criticism1 so far as they have interest for us in our present inquiry4 ,this criticism forms the starting-point for the true conception of artistic beauty4 ,yet this conception had to overcome the ,kantian defects before it could assert itself as the higher grasp of the true unity of necessity and freedom1 of the particular and the universal1 of the sensuous and the rational4 #b4 ,and so it must be admitted that the artistic sense of a profound1 and1 at the same time1 philosophic mind was beforehand with philosophy as such1 in demanding and enunciating the principle of totality and reconciliation as against that abstract endlessness of reflective thought1 that duty for duty's sake1 that intelligence devoid of plastic shape1 which apprehend nature and reality1 sensation and feeling as a mere limit1 and as an absolutely hostile element4 ,for ,schiller must be credited with the great merit of having broken through the ,kantian subjectivity and abstractness of thought1 and having dared the attempt to transcend these limits by intellectually grasping the principles of unity and reconciliation as the truth1 and realizing them in art4 ,schiller1 in his sthetic discussions1 did not simply adhere to art and its interest without concerning himself about its relation to philosophy proper1 but compared his interest in artistic beauty with the principles of philosophy2 and it was only by starting from the latter1 and by their help that he penetrated the profounder nature and notion of the beautiful4 ,thus we feel it to be a feature in one period of his works that he has busied himself with thought--more perhaps than was conducive to their unsophisticated beauty as works of art4 ,the intentional character of abstract reflection and even the interest of the philosophical idea are noticeable in many of his poems4 ,this has been made a ground of censure against him1 especially by way of blaming and depreciating him in comparison with ,goethe's agreeable straightforwardness#aaa and objectivity4 ,but in this respect ,schiller1 as poet1 did but pay the debt of his time2 and the reason lay in a perplexity which turned out only to the honour of that sublime soul and profound character1 and to the profit of science and cognition4 ,at the same epoch the same scientific stimulus withdrew ,goethe1 too1 from poetry1 his proper sphere4 ,yet just as ,schiller immersed himself in the study of the inner depths of the mind1 so ,goethe's idiosyncrasy led him to the physical side of art1 to external nature1 to animal and vegetable organisms1 to crystals1 to cloud formation1 and to colour4 ,to such scientific research ,goethe brought the power of his great mind1 which in these regions put to rout#aab the science of mere understanding with its errors1 just as ,schiller1 on the other side1 succeeded in asserting the idea of the free totality of beauty against the understanding's science of volition and thought4 ,a whole set of ,schiller's productions is devoted to this insight of his into the nature of art1 especially the ,letters upon sthetic ,education4 ,in these letters the central point from which ,schiller starts is that every individual human being has within him the capacity of an ideal humanity4 ,this genuine human being1 he says1 is represented by the ,state1#aac which he takes to be the objective1 universal1 or1 so to speak1 normal form in which the diversity of particular subjects or persons aims at aggregating and combining itself into a unity4 ,there were1 then1 he considered1 two imaginable ways in which the human being in time 7in the actual course of events7 might coincide with the human being in the ,idea3 on the one hand1 by the ,state1 qua genus or class-idea of morality1#aad law1 and intelligence1 destroying individuality2 on the other hand1 by the individual raising himself to the level of his genus1 i4e4 by the human being that lives in time ennobling himself into the human being of the ,idea4 ,now reason1 he thinks1 demands unity as such1 the generic character1 but nature demands diversity and individuality2 and both these legislative authorities have simultaneous claims on man4 ,in presence of the conflict between these antagonistic elements1 sthetic education simply consists in realizing the requirement of mediation and reconciliation between them4 ,for the aim of this education is1 according to ,schiller1 to give such form to inclination1 sensuousness1 impulse1 and heart1 that they may become rational in themselves1 and by the same process reason1 freedom1 and spirituality may come forward out of their abstraction1 and uniting with the natural element1 now rationalized throughout1 may in it be invested with flesh and blood4 ,beauty is thus pronounced to be the unification of the rational and the sensuous1 and this unification to be the genuinely real4 ,this notion of ,schiller's may be readily recognized in the general views of ,anmuth und ,wrde1#aae and in his poems more particularly from the fact that he makes the praise of women his subject matter2 because it was in their character that he recognized and held up to notice the spontaneously present combination of the spiritual and natural4 ,now this ,unity of the universal and particular1 of freedom and necessity1 of the spiritual and the natural1 which ,schiller grasped from a scientific point of view as the principle and essence of art1 and laboured indefatigably to evoke into actual existence by help of art and sthetic culture1 was considered1 by a further advance1 as the ,idea itself1 and was thus constituted the principle of knowledge and of existence1 while the ,idea in this sense was recognized as the sole truth and reality4 ,by means of this recognition1 science1 in ,schelling's philosophy1 attained its absolute standpoint1 and although art had previously begun to assert its peculiar nature and dignity in relation to the highest interests of humanity1 yet it was now that the actual notion of art and its place in scientific theory were discovered4 ,art was now accepted1 even if erroneously in one respect1 which this is not the place to discuss1 yet in its higher and genuine vocation4 ,no doubt before this time so early a writer as ,winckelmann had been inspired by his observation of the ideals of the ancients in a way that led him to develop a new sense for the contemplation of art1 to rescue it from the notions of commonplace aims and of mere mimicry of nature1 and to exert an immense influence in favour of searching out the idea of art in the works of art and in its history4 ,for ,winckelmann should be regarded as one of the men who have succeeded in furnishing the mind with a new organ and new methods of study in the field of art4 ,on the theory1 however1 and the scientific knowledge of art his view has had less influence4 #c4 ,to touch briefly on the further course of the subject1 ,a4 ,w4 and ,friedrich von ,schlegel1 in proximity to the renaissance of philosophy1 being covetous of novelty and with a thirst for what was striking and extraordinary1 appropriated as much of the philosophical idea as their natures1 which were anything but philosophical1 and essentially of the critical stamp1 were capable of absorbing4 ,neither of them can claim the reputation of a speculative thinker4 ,but it was they who1 armed with their critical understanding1 set themselves somewhere near the standpoint of the ,idea1 and with great plainness of speech and audacity of innovation1 though with but a poor admixture of philosophy1 directed a clever polemic against the traditional views4 ,and thus they undoubtedly introduced in several branches of art a new standard of judgment in conformity with notions which were higher than those that they attacked4 ,as1 however1 their criticism was not accompanied by the thorough philosophical comprehension of their standard1 this standard retained a character of indefiniteness and vacillation1 with the result that they sometimes did too much and sometimes too little4 ,no doubt they are to be credited with the merit of bringing afresh to light and extolling in a loving spirit much that was held obsolete and was inadequately esteemed by their age1 e4g4 the work of the older painters of ,italy and the ,netherlands1 the ,nibelungen ,lied1 etc42 and1 again1 they endeavoured with zeal to learn and to teach subjects that were little known1 such as the ,indian poetry and mythology4 ,nevertheless1 they attributed too high a value to the productions of such epochs1 and sometimes themselves fell into the blunder of admiring what was but mediocre1 e4g4 ,holberg's comedies1 and attaching a universal importance to what had only relative value1 or even boldly showing themselves enthusiasts for a perverse tendency and subordinate standpoint as if it were something supreme4 ,out of this tendency1 and especially out of the sentiments#aaf and doctrines of ,fried4 von ,schlegel1 there further grew in all its manifold shapes the so-called ,irony4 ,this idea had its deeper root1 if we take it in one of its aspects1 in ,fichte's philosophy1 in so far as the principles of his philosophy were applied to art4 ,fried4 von ,schlegel1 as also ,schelling1 started from ,fichte's point of view2 ,schelling1 to pass wholly beyond it1 ,fried4 von ,schlegel to develop it in a peculiar fashion1 and to tear himself loose from it4 ,as regards the intimate connection of ,fichte's principles with one tendency 7among others7 of the irony1 we need only lay stress on the following point1 that ,fichte establishes the ,i as the absolute principle of all knowledge1 of all reason and cognition2 and that in the sense of the ,i which is1 and is no more than1 utterly abstract and formal4 ,for this reason1 in the second place1 this ,i is in itself absolutely simple1 and1 on the one hand1 every characteristic1 every attribute1 every content is negated therein--for every positive matter is annihilated by absorption into this abstract freedom and unity2 on the other side1 every content which is to be of value for the ,i1 is given position and recognition only by favour of the ,i4 ,whatever is1 is only by favour of the ,i1#aag and what is by my favour ,i am in turn able to annihilate4 ,now1 if we abide by these utterly empty forms which have their origin in the absoluteness of the abstract ,i1 then nothing has value in its real and actual nature1 and regarded#aah in itself1 but only as produced by the subjectivity of the ,i4 ,but if so1 it follows that the ,i is able to remain lord and master of everything1 and in no sphere of morality or legality1 of things human or divine1 profane or sacred1 is there anything that would not have to begin by being given position by the ,i1 and that might not1 therefore1 just as well be in turn annihilated thereby4 ,this amounts to making all that is actual in its own right#aai a mere semblance1 not true and real for its own sake and by its own means1 but a mere appearance due to the ,i1 within whose power and caprice it remains1 and at its free disposal4 ,to admit it or to annihilate it stands purely in the pleasure of the ,i which has attained absoluteness in itself and simply as ,i4 ,in the third place1#abj then1 the ,i is a living1 active individual1 and its life consists in bringing its individuality to its own consciousness as to that of others1 in uttering itself and taking shape in phenomena4 ,for every human being while he lives1 seeks to realize himself1 and does realize himself4 ,with respect to beauty and art this receives the meaning of living as artist and forming one's life artistically4 ,but1 according to the principle before us1 ,i live as artist when all my action and utterance in general1 whenever it has to do with any content1 is for me on the level of mere semblance1 and assumes a shape which is wholly in my power4 ,so ,i am not really in earnest1 either about this content1 or generally1 about its utterance and realization4 ,for genuine earnest comes into being only by means of a substantial interest1 a matter that has something in it1 truth1 morality1 and so forth2 by means of a content which1 as such 7without my help7 is enough to have value for me as something essential1 so that ,i myself only become essential in my own eyes in as far as ,i have immersed myself in such a matter and have come to be in conformity with it in my whole knowledge and action4 ,at the standpoint according to which the artist is the ,i that binds and looses#aba of its own power1 for whom no content of consciousness counts as absolute and as essentially real1 but only as itself an artificial and dissoluble semblance1 such earnest can never come into being1 as nothing has validity ascribed to it but the formalism of the ,i4 ,by others1 indeed1 my self-display in which ,i present myself to them may be taken seriously1 inasmuch as they interpret me as though ,i were really concerned about the matter in hand2 but therein they are simply deceived1 poor born creatures1 without talent and capacity to apprehend and to attain my standpoint4 ,and this shows me that not every one is so free 7formally#abb free1 that is7 as to see in all that usually has value1 dignity1 and sanctity for mankind1 simply a product of his own power of caprice1 whereby he is able to set his seal on the value of such matters1 and to determine himself and obtain a content by their means1 or not4 ,and then this skill in living an ironical artist life apprehends itself as a ,god-like geniality1#abc for which every possible thing is a mere dead creature1 to which the free creator1 knowing himself to be wholly unattached1 feels in no way bound1 seeing that he can annihilate as well as create it4 ,he who has attained such a standpoint of ,god-like geniality looks down in superiority on all mankind besides1 for they are pronounced born and dull in as far as law1 morality1 and so forth retain for them their fixed1 obligatory1 and essential validity4 ,and the individual who thus lives his artist life assigns himself indeed relation to others1 lives with friends1 mistresses1 etc41 but as genius he sets no value on this relation to his determinate reality and particular actions1 or to what is universal in its own right2 that is1 he assumes an ironical attitude towards it4 ,this is the universal import of the genial ,god-like irony1 as that concentration of the ,i into itself for which all bonds are broken1 and which will only endure to live in the bliss of self-enjoyment4#abd ,this irony was the invention of ,herr ,fried4 von ,schlegel1 and many followed him in prating about it then1 or are prating of it afresh just now4 ,the proximate form of this negativity which displays itself as irony is1 then1 on the one hand the futility#abe of all that is matter of fact1 or moral and of substantive import in itself2 the nothingness of all that is objective1 and that has essential and actual value4 ,if the ,i remains at this point of view1 all appears to it as nothing worth and as futile1 excepting its own subjectivity1 which thereby becomes hollow and empty1 and itself mere conceit4#abf ,but on the other hand1 the reverse may happen1 and the ,i may also find itself unsatisfied in its enjoyment of itself1 and may prove insufficient to itself1 so as in consequence to feel a craving for the solid and substantial1 for determinate and essential interests4 ,out of this there arises misfortune and antinomy1 in that the subject desires to penetrate into truth and has a craving for objectivity1 but yet is unable to abandon its isolation and retirement into itself1 and to strip itself free of this unsatisfied abstract inwardness 7of mind71 and so has a seizure of sickly yearning#abg which we have also seen emanate from ,fichte's school4 ,the discontent of this quiescence and feebleness1--which does not like to act or to touch anything for fear of surrendering its inward harmony1 and1 for all its craving after the absolute1 remains none the less unreal and empty1 even though pure in itself1--is the source of morbid saintliness#abh and yearning4 ,for a true saintly soul acts and is a reality4 ,but all that craving is the feeling of the nullity of the empty futile#abi subject or person1 which lacks the strength to escape this its futility1#abi and to fill#acj itself with something of substantial value4 ,in so far1 however1 as the ,irony was treated as a form of art1 it did not content itself with conferring artistic shape upon the life and particular individuality of the artist4 ,in addition to the works of art presented by his own actions1 etc41 the artist was bound to produce external works of art as creations of his fancy4 ,the principle of these productions1 which for the most part can only come to the birth in poetical form1 is1 in due course1 the representation of the ,divine as the ,ironical4 ,the ironical1 as genial individuality1 consists in the self-annihilation of what is noble1 great1 and excellent2 and thus even the objective shapes of art will have to represent the mere principle of absolute subjectivity1 by displaying what has value and nobleness for man as null in its self-annihilation4 ,this implies1 not merely that we are not to be serious about the right1 the moral1 and the true1 but that the highest and best of all has nothing in it1 inasmuch as in its exhibition through individuals1 characters1 and actions1 it refutes and annihilates itself1 and so is irony at its own expense4 ,this mode1 taken in the abstract1 borders closely on the principle of comedy2 but yet within this affinity the comic must be essentially distinguished from the ironical4 ,for the comic must be limited to bringing to nothing what is in itself null1 a false and self-contradictory phenomenon2 for instance1 a whim1 a perversity1 or particular caprice1 set over against a mighty passion2 or even a supposed reliable principle or rigid maxim may be shown to be null4 ,but it is quite another thing when what is in reality moral and true1 any substantial content as such1 exhibits itself as null in an individual and by his means4 ,such an individual is then null and despicable in character1 and weakness and want of character are thus introduced into the representation4 ,in this distinction between the ironical and the comic it is therefore an essential question what import that has which is brought to nothing4 ,in the case supposed they are wretched worthless subjects1 persons destitute of the power to abide by their fixed and essential purpose1 but ready to surrender it and let it be destroyed in them4 ,the ,irony loves this irony of the characterless4 ,for true character involves on the one hand an essential import in its purpose2 on the other hand1 adherence to that purpose1 such that the individuality would be robbed of its whole existence if forced to desist from and to abandon it4 ,this stability and substance constitute the keynote of character4 ,cato can live only as ,roman and as republican4 ,now1 if ,irony is taken as the keynote of the representation1 this means that the supremely inartistic is taken as the true principle of the work of art4 ,for the result is in part insipid figures2 in part shapes void of import and of conduct1#aca seeing that their substantive nature turns out to be a nullity2 and in part1 finally1 those yearning moods and unresolved contradictions of the heart that attach themselves to such conceptions4 ,representations of this kind can awake no genuine interest4 ,and for this reason it is from the ,irony that we have eternal lamentations over the lack of profound feeling1 artistic insight1 and genius in the public1 inasmuch as it does not understand these heights of ,irony4 ,that is to say1 the public does not like all this mediocrity1 half grotesque and half characterless4 ,and it is well that these unsubstantial languishing natures afford no pleasure2 it is a comfort that such insincerity and hypocrisy are not approved1 and that1 on the contrary1 man has a desire no less for full and genuine interests than for characters which remain true to the weighty purposes of their lives4 ,it may be added as an historical remark that those who more particularly adopted irony as the supreme principle of art were ,solger and ,ludwig ,tieck4 ,this is not the place to speak of ,solger at the length which is due to him1 and ,i must content myself with a few observations4 ,solger was not like the others1 satisfied with superficial philosophical culture1 but the genuine speculative need of his innermost nature impelled him to descend into the depths of the philosophic idea4 ,and therein he hit upon the dialectical element of the ,idea1 the point to which ,i give the name of infinite absolute negativity1 the activity of the idea in that it negates itself as the infinite and universal1 so as to become finiteness and particularity1 and just as really cancels this negation in turn1 establishing thereby the universal and infinite in the finite and particular4 ,solger got no further than this negativity1 and it is no doubt an element in the speculative idea1 but yet when conceived as this mere dialectic unrest and dissolution both of infinite and of finite no more than an element2 not1 as ,solger maintains1 the entire ,idea4 ,unhappily ,solger's life was too soon interrupted for him to have achieved the concrete development of the philosophical ,idea4 ,and so he never got beyond this aspect of negativity1 which has affinity with the dissolution that ,irony effects of what is determinate and of what has substantive value in itself1 a negativity in which he saw the principle of artistic activity4 ,yet in his actual life1 considering the solidity1 seriousness1 and strength of his character1 he neither was himself1 in the sense above depicted1 an ironical artist1 nor was his profound feeling for genuine works of art1 developed in protracted art studies1 in this respect of an ironical nature4 ,so much in vindication of ,solger1 whose life1 philosophy1 and art merit to be distinguished from the previously mentioned apostles of irony4 ,as regards ,ludwig ,tieck1 his culture1 too1 dates from that period in which for some time ,jena was the literary centre4#acb ,tieck and others of these distinguished people display great familiarity with the phrases in question1 but without telling us what they mean by them4 ,thus1 ,tieck no doubt always says there ought to be ,irony2 but when he himself approaches the criticism of great works of art1 though his recognition and portrayal of their greatness is excellent1 yet1 if we fancy that now is the best opportunity to explain where the ,irony is1 e4g4 in such a work as ,romeo and ,juliet1 we are taken in--for we hear no more about the ,irony4 ,,chapter ,v ,,division ,,of ,,the ,,subject4 #a4 ,after the above introductory remarks1 it is now time to pass to the study of our object-matter4 ,but we are still in the introduction1 and an introduction cannot do more than lay down1 for the sake of explanation1 the general sketch of the entire course which will be followed by our subsequent scientific considerations4 ,as1 however1 we have spoken of art as proceeding from the absolute ,idea1 and have even assigned as its end the sensuous representation of the absolute itself1 we shall have to conduct this review in a way to show1 at least in general1 how the particular divisions of the subject spring from the conception of artistic beauty as the representation of the absolute4 ,therefore we must attempt to awaken a very general idea of this conception itself4 ,it has already been said that the content of art is the ,idea1 and that its form lies in the plastic use of images accessible to sense4 ,these two sides art has to reconcile into a full and united totality4 ,the first attribution which this involves is the requirement that the content1 which is to be offered to artistic representation1 shall show itself to be in its nature worthy of such representation4 ,otherwise we only obtain a bad combination1 whereby a content that will not submit to plasticity and to external presentation1 is forced into that form1 and a matter which is in its nature prosaic is expected to find an appropriate mode of manifestation in the form antagonistic to its nature4 ,the second requirement1 which is derivable from this first1 demands of the content of art that it should not be anything abstract in itself4 ,this does not mean that it must be concrete as the sensuous is concrete in contrast to everything spiritual and intellectual1 these being taken as in themselves simple and abstract4 ,for everything that has genuine truth in the mind as well as in nature is concrete in itself1 and has1 in spite of its universality1 nevertheless1 both subjectivity and particularity within it4 ,if we say1 e4g41 of ,god that he is simply ,one1 the supreme ,being as such1 we have only enunciated a lifeless abstraction of the irrational understanding4 ,such a ,god1 as he himself is not apprehended in his concrete truth1 can afford no material for art1 least of all for plastic art4 ,hence the ,jews and the ,turks have not been able to represent their ,god1 who does not even amount to such an abstraction of the understanding1 in the positive way in which ,christians have done so4 ,for ,god in ,christianity is conceived in ,his truth1 and therefore1 as in ,himself thoroughly concrete1 as a person1 as a subject1#acc and more closely determined1 as mind or spirit4 ,what ,he is as spirit unfolds itself to the religious apprehension as the ,trinity of ,persons1 which at the same time in relation with itself is ,one4 ,here is essentiality1 universality1 and particularity1 together with their reconciled unity2 and it is only such unity that constitutes the concrete4 ,now1 as a content in order to possess truth at all must be of this concrete nature1 art demands the same concreteness1 because a mere abstract universal has not in itself the vocation to advance to particularity and phenomenal manifestation and to unity with itself therein4 ,if a true and therefore concrete content is to have corresponding to it a sensuous form and modelling1 this sensuous form must1 in the third place1 be no less emphatically something individual1 wholly concrete in itself1 and one4 ,the character of concreteness as belonging to both elements of art1 to the content as to the representation1 is precisely the point in which both may coincide and correspond to one another2 as1 for instance1 the natural shape of the human body is such a sensuous concrete as is capable of representing spirit1 which is concrete in itself1 and of displaying itself in conformity therewith4 ,therefore we ought to abandon the idea that it is a mere matter of accident that an actual phenomenon of the external world is chosen to furnish a shape thus conformable to truth4 ,art does not appropriate this form either because it simply finds it existing or because there is no other4 ,the concrete content itself involves the element of external and actual1 we may say indeed of sensible manifestation4 ,but in compensation this sensuous concrete1 in which a content essentially belonging to mind expresses itself1 is in its own nature addressed to the inward being2 its external element of shape1 whereby the content is made perceptible and imaginable1 has the aim of existing purely for the heart and mind4 ,this is the only reason for which content and artistic shape are fashioned in conformity with each other4 ,the mere sensuous concrete1 external nature as such1 has not this purpose for its exclusive ground of origin4 ,the birds' variegated plumage shines unseen1 and their song dies away unheard1 the ,cereus#acd which blossoms only for a night withers without having been admired in the wilds of southern forests1 and these forests1 jungles of the most beautiful and luxuriant vegetation1 with the most odorous and aromatic perfumes1 perish and decay no less unenjoyed4 ,the work of art has not such a nave self-centred being1 but is essentially a question1 an address to the responsive heart1 an appeal to affections and to minds4 ,although the artistic bestowal of sensuous form is in this respect not accidental1 yet on the other hand it is not the highest mode of apprehending the spiritually concrete4 ,thought is a higher mode than representation by means of the sensuous concrete4 ,although in a relative sense abstract1 yet it must not be one-sided but concrete thinking1 in order to be true and rational4 ,whether a given content has sensuous artistic representation for its adequate form1 or in virtue of its nature essentially demands a higher and more spiritual embodiment1 is a distinction that displays itself at once1 if1 for instance1 we compare the ,greek gods with ,god as conceived according to ,christian ideas4 ,the ,greek god is not abstract but individual1 and is closely akin to the natural human shape2 the ,christian ,god is equally a concrete personality1 but in the mode of pure spiritual existence1 and is to be known as mind#ace and in mind4 ,his medium of existence is therefore essentially inward knowledge and not external natural form1 by means of which ,he can only be represented imperfectly1 and not in the whole depth of ,his idea4 ,but inasmuch as the task of art is to represent the idea to direct perception in sensuous shape1 and not in the form of thought or of pure spirituality as such1 and seeing that this work of representation has its value and dignity in the correspondence and the unity of the two sides1 i4e4 of the ,idea and its plastic embodiment1 it follows that the level and excellency of art in attaining a realization adequate to its idea1#acf must depend upon the grade of inwardness and unity with which ,idea and ,shape display themselves as fused into one4 ,thus the higher truth is spiritual being that has attained a shape adequate to the conception of spirit4 ,this is what furnishes the principle of division for the science of art4 ,for before the mind can attain the true notion of its absolute essence1 it has to traverse a course of stages whose ground is in this idea itself2 and to this evolution of the content with which it supplies itself1 there corresponds an evolution1 immediately connected therewith1 of the plastic forms of art1 under the shape of which the mind as artist presents to itself the consciousness of itself4 ,this evolution within the art-spirit has again in its own nature two sides4 ,in the first place the development itself is a spiritual#acg and universal one1 in so far as the graduated series of definite conceptions of the world as the definite but comprehensive consciousness of nature1 man and ,god1 gives itself artistic shape2 and1 in the second place1 this universal development of art is obliged to provide itself with external existence and sensuous form1 and the definite modes of the sensuous art-existence are themselves a totality of necessary distinctions in the realm of art--which are the several arts4 ,it is true1 indeed1 that the necessary kinds of artistic representation are on the one hand qua spiritual of a very general nature1 and not restricted to any one material2#ach while sensuous existence contains manifold varieties of matter4 ,but as this latter1 like the mind1 has the ,idea potentially for its inner soul1 it follows from this that particular sensuous materials have a close affinity and secret accord with the spiritual distinctions and types of art presentation4 ,in its completeness1 however1 our science divides itself into three principal portions4 ,first1 we obtain a general part4 ,it has for its content and object the universal ,idea of artistic beauty--this beauty being conceived as the ,ideal--together with the nearer relation of the latter both to nature and to subjective artistic production4 ,secondly1 there develops itself out of the idea of artistic beauty a particular part1 in as far as the essential differences which this idea contains in itself evolve themselves into a scale particular plastic#aci forms4 ,in the third place there results a final part1 which has for its subject the individualization of artistic beauty1 that consists in the advance of art to the sensuous realization of its shapes and its self-completion as a system of the several arts#adj and their genera and species4 #b4 ,with respect to the first part1 we must begin by recalling to mind1 in order to make the sequel intelligible1 that the ,idea qua the beautiful in art is not the ,idea as such1 in the mode in which a metaphysical logic apprehends it as the absolute1 but the ,idea as developed into concrete form fit for reality1 and as having entered into immediate and adequate unity with this reality4 ,for the ,idea as such1 although it is the essentially and actually true1 is yet the truth only in its generality which has not yet taken objective shape2 but the ,idea as the beautiful in art is at once the ,idea when specially determined as in its essence individual reality1 and also an individual shape of reality essentially destined to embody and reveal the ,idea4 ,this amounts to enunciating the requirement that the ,idea1 and its plastic mould as concrete reality1 are to be made completely adequate to one another4 ,when reduced to such form the ,idea1 as a reality moulded in conformity with the conception of the ,idea1 is the ,ideal4 ,the problem of this conformity might1 to begin with1 be understood in the sense that any ,idea would serve1 so long as the actual shape1 it did not matter what shape1 represented this particular ,idea and no other4 ,but if so1 the required truth of the ,ideal is confounded with mere correctness1 which consists in the expression of any meaning whatever in appropriate fashion so that its import may be readily recognized in the shape created4 ,the ,ideal is not to be thus understood4 ,any content whatever may attain to being represented quite adequately1 judged by the standard of its own nature1 but it does not therefore gain the right to claim the artistic beauty of the ,ideal4 ,compared indeed with ideal beauty1 even the presentation will in such a case appear defective4 ,from this point of view we must remark to begin with1 what cannot be proved till later1 that the defects of a work of art are not to be regarded simply as always due1 for instance1 to individual unskillfulness4 ,defectiveness of form arises from defectiveness of content4 ,so1 for example1 the ,chinese1 ,indians1 and ,egyptians in their artistic shapes1 their forms of deities1 and their idols1 never got beyond a formless phase1 or one of a vicious and false definiteness of form1 and were unable to attain genuine beauty2 because their mythological ideas1 the content and thought of their works of art1 were as yet indeterminate in themselves1 or of a vicious determinateness1 and did not consist in the content that is absolute in itself4 ,the more that works of art excel in true beauty of presentation1 the more profound is the inner truth of their content and thought4 ,and in dealing with this point1 we have not to think merely perhaps of the greater or lesser skill with which the natural forms as given in external reality are apprehended and imitated4 ,for in certain stages of art-consciousness and of representation1 the distortion and disfigurement of natural structures is not unintentional technical inexpertness and want of skill1 but intentional alteration1 which emanates from the content that is in consciousness1 and is required thereby4 ,thus1 from this point of view1 there is such a thing as imperfect art1 which may be quite perfect1 both technically and in other respects1 in its determinate sphere1 yet reveals itself to be defective when compared with the conception of art as such1 and with the ,ideal4 ,only in the highest art are the ,idea and the representation genuinely adequate to one another1 in the sense that the outward shape given to the ,idea is in itself essentially and actually the true shape1 because the content of the ,idea1 which that shape expresses1 is itself the true and real content4 ,it is a corollary from this1 as we indicated above1#ada that the ,idea must be defined in and through itself as concrete totality1 and thereby possess in itself the principle and standard of its particularization and determination in external appearance4 ,for example1 the ,christian imagination will be able to represent ,god only in human form and with man's intellectual expression1 because it is herein that ,god ,himself is completely known in ,himself as mind4 ,determinateness is1 as it were1 the bridge to phenomenal existence4 ,where this determinateness is not totality derived from the ,idea itself1 where the ,idea is not conceived as self-determining and self-particularizing1 the ,idea remains abstract and has its determinateness1 and therefore the principle that dictates its particular and exclusively appropriate mode of presentation1 not in itself but external to it4 ,therefore1 the ,idea when still abstract has even its shape external1 and not dictated by itself4 ,the ,idea1 however1 which is concrete in itself bears the principle of its mode of manifestation within itself1 and is by that means the free process of giving shape to itself4 ,thus it is only the truly concrete ,idea that can generate the true shape1 and this correspondence of the two is the ,ideal4 #c4 ,now because the ,idea is in this fashion concrete unity1 it follows that this unity can enter into the art-consciousness only by the expansion and reconciliation of the particularities of the ,idea1 and it is through this evolution that artistic beauty comes to possess a totality of particular stages and forms4 ,therefore1 after we have studied the beauty of art in itself and on its own merits1 we must see how beauty as a whole breaks up into its particular determinations4 ,this gives1 as our second part1 the doctrine of the types of art4 ,these forms find their genesis in the different modes of grasping the ,idea as artistic content1 whereby is conditioned a difference of the form in which it manifests itself4 ,hence the types of art are nothing but the different relations of content and shape1 relations which emanate from the ,idea itself1 and furnish thereby the true basis of division for this sphere4 ,for the principle of division must always be contained in that conception whose particularization and division is in question4 ,we have here to consider three relations of the ,idea to its outward shaping4#adb ,greek3 a4 ,first1 the ,idea gives rise to the beginning of ,art when1 being itself still in its indistinctness and obscurity1 or in vicious untrue determinateness1 it is made the import of artistic creations4 ,as indeterminate it does not yet possess in itself that individuality which the ,ideal demands2 its abstractness and one-sidedness leave its shape to be outwardly bizarre and defective4 ,the first form of art is therefore rather a mere search after plastic portrayal than a capacity of genuine representation4 ,the ,idea has not yet found the true form even within itself1 and therefore continues to be merely the struggle and aspiration thereafter4 ,in general terms we may call this form the ,symbolic form of art4 ,in it the abstract ,idea has its outward shape external to itself#adc in natural sensuous matter1 with which the process of shaping begins1 and from which1 qua outward expression1 it is inseparable4 ,natural objects are thus primarily left unaltered1 and yet at the same time invested with the substantial ,idea as their significance1 so that they receive the vocation of expressing it1 and claim to be interpreted as though the ,idea itself were present in them4 ,at the root of this is the fact that natural objects have in them an aspect in which they are capable of representing a universal meaning4 ,but as an adequate correspondence is not yet possible1 this reference can only concern an abstract attribute1 as when a lion is used to mean strength4 ,on the other hand1 this abstractness of the relation brings to consciousness no less strongly the foreignness of the ,idea to natural phenomena2 and the ,idea1 having no other reality to express it1 expatiates in all these shapes1 seeks itself in them in all their unrest and disproportion1 but nevertheless does not find them adequate to itself4 ,then it proceeds to exaggerate the natural shapes and the phenomena of reality into indefiniteness and disproportion1 to intoxicate itself in them1 to seethe and ferment in them1 to do violence to them1 to distort and explode them into unnatural shapes1 and strives by the variety1 hugeness1 and splendour of the forms employed#add to exalt the phenomenon to the level of the ,idea4 ,for the ,idea is here still more or less indeterminate and non-plastic1 but the natural objects are in their shape thoroughly determinate4 ,hence1 in view of the unsuitability of the two elements to each other1 the relation of the ,idea to objective reality becomes a negative one1 for the former1 as in its nature inward1#ade is unsatisfied with such an externality1 and as being its inner universal substance#adf persists in exaltation or ,sublimity beyond and above all this inadequate abundance of shapes4 ,in virtue of this sublimity the natural phenomena and the human shapes and incidents are accepted1 and left as they were1 though at the same time understood to be inadequate to their significance1 which is exalted far above every earthly content4 ,these aspects may be pronounced in general terms to constitute the character of the primitive artistic pantheism of the ,east1 which either charges even the meanest objects with the absolute import1 or again coerces nature with violence into the expression of its view4 ,by this means it becomes bizarre1 grotesque1 and tasteless1 or turns the infinite but abstract freedom of the substantive ,idea disdainfully against all phenomenal being as null and evanescent4 ,by such means the import cannot be completely embodied in the expression1 and in spite of all aspiration and endeavour the reciprocal inadequacy of shape and ,idea remains insuperable4 ,this may be taken as the first form of art1--,symbolic art with its aspiration1 its disquiet1#adg its mystery and its sublimity4 7,greek3 b7 ,in the second form of art1 which we propose to call ,classical1 the double defect of symbolic art is cancelled4 ,the plastic shape of symbolic art is imperfect1 because1 in the first place1 the ,idea in it only enters into consciousness in abstract determinateness or indeterminateness1 and1 in the second place1 this must always make the conformity of shape to import defective1 and in its turn merely abstract4 ,the classical form of art is the solution of this double difficulty2 it is the free and adequate embodiment of the ,idea in the shape that1 according to its conception1 is peculiarly appropriate to the ,idea itself4 ,with it1 therefore1 the ,idea is capable of entering into free and complete accord4 ,hence1 the classical type of art is the first to afford the production and intuition of the completed ,ideal1 and to establish it as a realized fact4 ,the conformity1 however1 of notion and reality in classical art must not be taken in the purely formal sense of the agreement of a content with the external shape given to it1 any more than this could be the case with the ,ideal itself4 ,otherwise every copy from nature1 and every type of countenance1 every landscape1 flower1 or scene1 etc41 which forms the purport of any representation1 would be at once made classical by the agreement which it displays between form and content4 ,on the contrary1 in classical art the peculiarity of the content consists in being itself concrete idea1 and1 as such1 the concrete spiritual2 for only the spiritual is the truly inner self4 ,to suit such a content1 then1 we must search out that in ,nature which on its own merits belongs to the essence and actuality of the mind4 ,it must be the absolute#adh notion that invented the shape appropriate to concrete mind1 so that the subjective notion--in this case the spirit of art--has merely found it1 and brought it1 as an existence possessing natural shape1 into accord with free individual spirituality4#adi ,this shape1 with which the ,idea as spiritual--as individually determinate spirituality--invests itself when manifested as a temporal phenomenon1 is the human form4 ,personification and anthropomorphism have often been decried as a degradation of the spiritual2 but art1 in as far as its end is to bring before perception the spiritual in sensuous form1 must advance to such anthropomorphism1 as it is only in its proper body that mind is adequately revealed to sense4 ,the migration of souls is in this respect a false abstraction1#aej and physiology ought to have made it one of its axioms that life had necessarily in its evolution to attain to the human shape1 as the sole sensuous phenomenon that is appropriate to mind4 ,the human form is employed in the classical type of art not as mere sensuous existence1 but exclusively as the existence and physical form corresponding to mind1 and is therefore exempt from all the deficiencies of what is merely sensuous1 and from the contingent finiteness of phenomenal existence4 ,the outer shape must be thus purified in order to express in itself a content adequate to itself2 and again1 if the conformity of import and content is to be complete1 the spiritual meaning which is the content must be of a particular kind4 ,it must1 that is to say1 be qualified to express itself completely in the physical form of man1 without projecting into another world beyond the scope of such an expression in sensuous and bodily terms4 ,this condition has the effect that ,mind is by it at once specified as a particular case of mind1 as human mind1 and not as simply absolute and eternal1 inasmuch as mind in this latter sense is incapable of proclaiming and expressing itself otherwise than as intellectual being4#aea ,out of this latter point arises1 in its turn1 the defect which brings about the dissolution of classical art1 and demands a transition into a third and higher form1 viz4 into the romantic form of art4 7,greek3 g7 ,the romantic form of art destroys the completed union of the ,idea and its reality1 and recurs1 though in a higher phase1 to that difference and antagonism of two aspects which was left unvanquished by symbolic art4 ,the classical type attained the highest excellence1 of which the sensuous embodiment of art is capable2 and if it is in any way defective1 the defect is in art as a whole1 i4e4 in the limitation of its sphere4 ,this limitation consists in the fact that art as such takes for its object ,mind--the conception of which is infinite concrete universality--in the shape of sensuous concreteness1 and in the classical phase sets up the perfect amalgamation of spiritual and sensuous existence as a ,conformity of the two4 ,now1 as a matter of fact1 in such an amalgamation ,mind cannot be represented according to its true notion4 ,for mind is the infinite subjectivity of the ,idea1 which1 as absolute inwardness1#aeb is not capable of finding free expansion in its true nature on condition of remaining transposed into a bodily medium as the existence appropriate to it4 ,as an escape from such a condition the romantic form of art in its turn dissolves the inseparable unity of the classical phase1 because it has won a significance which goes beyond the classical form of art and its mode of expression4#aec ,this significance--if we may recall familiar ideas--coincides with what ,christianity declares to be true of ,god as ,spirit1 in contradistinction to the ,greek faith in gods which forms the essential and appropriate content for classical art4 ,in ,greek art the concrete import is potentially1 but not explicitly1 the unity of the human and divine nature2 a unity which1 just because it is purely immediate#aed and not explicit1 is capable of adequate manifestation in an immediate and sensuous mode4 ,the ,greek god is the object of naive intuition and sensuous imagination4 ,his shape is1 therefore1 the bodily shape of man4 ,the circle of his power and of his being is individual and individually limited4 ,in relation with the subject1#aee he is1 therefore1 an essence and a power with which the subject's inner being is merely in latent unity1 not itself possessing this unity as inward subjective knowledge4 ,now the higher stage is the knowledge of this latent unity1 which as latent is the import of the classical form of art1 and capable of perfect representation in bodily shape4 ,the elevation of the latent or potential into self-conscious knowledge produces an enormous difference4 ,it is the infinite difference which1 e4g41 separates man as such from the animals4 ,man is animal1 but even in his animal functions he is not confined within the latent and potential as the animal is1 but becomes conscious of them1 learns to know them1 and raises them--as1 for instance1 the process of digestion--into self-conscious science4 ,by this means ,man breaks the boundary of merely potential and immediate consciousness1 so that just for the reason that he knows himself to be animal1 he ceases to be animal1 and1 as mind1 attains to self-knowledge4 ,if in the above fashion the unity of the human and divine nature1 which in the former phase was potential1 is raised from an immediate to a conscious unity1 it follows that the true medium for the reality of this content is no longer the sensuous immediate existence of the spiritual1 the human bodily shape1 but self-conscious inward intelligence4#aef ,now1 ,christianity brings ,god before our intelligence as spirit1 or mind--not as particularized individual spirit1 but as absolute1 in spirit and in truth4 ,and for this reason ,christianity retires from the sensuousness of imagination into intellectual inwardness1 and makes this1 not bodily shape1 the medium and actual existence of its significance4 ,so1 too1 the unity of the human and divine nature is a conscious unity1 only to be realized by spiritual knowledge and in spirit4 ,thus the new content1 won by this unity1 is not inseparable from sensuous representation1 as if that were adequate to it1 but is freed from this immediate existence1 which has to be posited#aeg as negative1 absorbed1 and reflected into the spiritual unity4 ,in this way1 romantic art must be considered as art transcending itself1 while remaining within the artistic sphere and in artistic form4 ,therefore1 in short1 we may abide by the statement that in this third stage the object 7of art7 is free1 concrete intellectual being1 which has the function of revealing itself as spiritual existence for the inward#aeh world of spirit4 ,in conformity with such an object-matter1 art cannot work for sensuous perception4 ,it must address itself to the inward mind1 which coalesces with its object simply and as though this were itself1#aei to the subjective inwardness1 to the heart1 the feeling1 which1 being spiritual1 aspires to freedom within itself1 and seeks and finds its reconciliation only in the spirit within4 ,it is this inner world that forms the content of the romantic1 and must therefore find its representation as such inward feeling1 and in the show or presentation of such feeling4 ,the world of inwardness celebrates its triumph over the outer world1 and actually in the sphere of the outer and in its medium manifests this its victory1 owing to which the sensuous appearance sinks into worthlessness4 ,but1 on the other hand1 this type of ,art1#afj like every other1 needs an external vehicle of expression4 ,now the spiritual has withdrawn into itself out of the external and its immediate oneness therewith4 ,for this reason1 the sensuous externality of concrete form is accepted and represented1 as in ,symbolic art1 as something transient and fugitive4 ,and the same measure is dealt to the subjective finite mind and will1 even including the peculiarity or caprice of the individual1 of character1 action1 etc41 or of incident and plot4 ,the aspect of external existence is committed to contingency1 and left at the mercy of freaks of imagination1 whose caprice is no more likely to mirror what is given as it is given1 than to throw the shapes of the outer world into chance medley1 or distort them into grotesqueness4 ,for this external element no longer has its notion and significance1 as in classical art1 in its own sphere1 and in its own medium4 ,it has come to find them in the feelings1 the display of which is in themselves instead of being in the external and its form of reality1 and which have the power to preserve or to regain their state of reconciliation with themselves1 in every accident1 in every unessential circumstance that takes independent shape1 in all misfortune and grief1 and even in crime4 ,owing to this1 the characteristics of symbolic art1 in difference1 discrepancy1 and severance of ,idea and plastic shape1 are here reproduced1 but with an essential difference4 ,in the sphere of the romantic1 the ,idea1 whose defectiveness in the case of the symbol produced the defect of external shape1 has to reveal itself in the medium of spirit and feelings as perfected in itself4 ,and it is because of this higher perfection that it withdraws itself from any adequate union with the external element1 inasmuch as it can seek and achieve its true reality and revelation nowhere but in itself4 ,this we may take as in the abstract the character of the symbolic1 classical1 and romantic forms of art1 which represent the three relations of the ,idea to its embodiment in the sphere of art4 ,they consist in the aspiration after1 and the attainment and transcendence of the ,ideal as the true ,idea of beauty4 #d4 ,the third part of our subject1 in contradistinction to the two just described1 presupposes the conception of the ,ideal1 and the general types of art1 inasmuch as it simply consists of their realization in particular sensuous media4 ,hence we have no longer to do with the inner development of artistic beauty in conformity with its general fundamental principles4 ,what we have to study is how these principles pass into actual existence1 how they distinguish themselves in their external aspect1 and how they give actuality to every element contained in the idea of beauty1 separately and by itself as a work of art1 and not merely as a general type4 ,now1 what art transfers into external existence are the differences#afa proper to the idea of beauty and immanent therein4 ,therefore1 the general types of art must reveal themselves in this third part1 as before1 in the character of the fundamental principle that determines the arrangement and definition of the several arts2 in other words1 the species of art contain in themselves the same essential modifications as those with which we become acquainted as the general types of art4 ,external objectivity1 however1 to which these forms are introduced through the medium of a sensuous and therefore particular material1 affects these types in the way of making them separate into independent and so particular forms embodying their realization4 ,for each type finds its definite character in some one definite external material1 and its adequate actuality in the mode of portrayal which that prescribes4 ,but1 moreover1 these types of art1 being for all their determinateness1 its universal forms1 break the bounds of particular realization by a determinate form of art1 and achieve existence in other arts as well1 although in subordinate fashion4 ,therefore1 the particular arts belong each of them specifically to one of the general types of art1 and constitute its adequate external actuality2 and also they represent1 each of them after its own mode of external plasticity1 the totality of the types of art4#afb ,then1 speaking generally1 we are dealing in this third principal division with the beautiful of art1 as it unfolds itself in the several arts and in their creations into a world of actualized beauty4 ,the content of this world is the beautiful1 and the true beautiful1 as we saw1 is spiritual being in concrete shape1 the ,ideal2 or1 more closely looked at1 the absolute mind1 and the truth itself4 ,this region1 that of divine truth artistically represented to perception and to feeling1 forms the centre of the whole world of art4 ,it is the independent1 free1 and divine plasticity1 which has thoroughly mastered the external elements of form and of medium1 and wears them simply as a means to manifestation of itself4 ,still1 as the beautiful unfolds itself in this region in the character of objective reality1 and in so doing distinguishes within itself its individual aspects and elements1 permitting them independent particularity1 it follows that this centre erects its extremes1 realized in their peculiar actuality1 into its own antitheses4 ,thus one of these extremes comes to consist in an objectivity as yet devoid of mind1 in the merely natural vesture of ,god4 ,at this point the external element takes plastic shape as something that has its spiritual aim and content1 not in itself1 but in another4#afc ,the other extreme is the divine as inward1 as something known1 as the variously particularized subjective existence of the ,deity2 it is the truth as operative and vital in sense1 heart1 and mind of individual subjects1 not persisting in the mould of its external shapes1 but as having returned into subjective1 individual inwardness4 ,in such a mode1 the ,divine is at the same time distinguished from its first manifestation as ,deity1 and passes thereby into the diversity of particulars which belongs to all subjective knowledge--emotion1 perception1 and feeling4 ,in the analogous province of religion1 with which art at its highest stage is immediately connected1 we conceive this same difference as follows4 ,first1 we think of the earthly natural life in its finiteness as standing on one side2 but1 then1 secondly1 consciousness makes ,god its object1 in which the distinction of objectivity and subjectivity is done away4 ,and at last1 thirdly1 we advance from ,god as such to the devotion of the community1 that is1 to ,god as living and present in the subjective consciousness4 ,just so these three chief modifications present themselves in the world of art in independent development4 7,greek3 a7 ,the first of the particular arts with which1 according to their fundamental principle1 we have to begin1 is architecture considered as a fine art4#afd ,its task lies in so manipulating external inorganic nature that it becomes cognate to mind1 as an artistic outer world4 ,the material of architecture is matter itself in its immediate externality as a heavy mass subject to mechanical laws1 and its forms do not depart from the forms of inorganic nature1 but are merely set in order in conformity with relations of the abstract understanding1 i4e4 with relations of symmetry4 ,in this material and in such forms1 the ideal as concrete spirituality does not admit of being realized4 ,hence the reality which is represented in them remains contrasted with the ,idea1 as something external which it has not penetrated1 or has penetrated only to establish an abstract relation4 ,for these reasons1 the fundamental type of the fine art of building is the symbolical form of art4 ,it is architecture that pioneers the way for the adequate realization of the ,god1 and in this its service bestows hard toil upon existing nature1 in order to disentangle it from the jungle of finitude and the abortiveness of chance4 ,by this means it levels a space for the ,god1 gives form to his external surroundings1 and builds him his temple as a fit place for concentration of spirit1 and for its direction to the mind's absolute objects4 ,it raises an enclosure round the assembly of those gathered together1 as a defence against the threatening of the storm1 against rain1 the hurricane1 and wild beasts1 and reveals the will to assemble1 although externally1 yet in conformity with principles of art4 ,with such import as this it has power to inspire its material and its forms more or less effectively1 as the determinate character of the content on behalf of which it sets to work is more or less significant1 more concrete or more abstract1 more profound in sounding its own depths1 or more dim and more superficial4 ,so much1 indeed1 may architecture attempt in this respect as even to create an adequate artistic existence for such an import in its shapes and in its material4 ,but in such a case it has already overstepped its own boundary1 and is leaning to sculpture1 the phase above it4 ,for the limit of architecture lies precisely in this point1 that it retains the spiritual as an inward existence over against the external forms of the art1 and consequently must refer to what has soul only as to something other than its own creations4 ,greek3 b ,architecture1 however1 as we have seen1 has purified the external world1 and endowed it with symmetrical order and with affinity to mind2 and the temple of the ,god1 the house of his community1 stands ready4 ,into this temple1 then1 in the second place1 the ,god enters in the lightning-flash of individuality1 which strikes and permeates the inert mass1 while the infinite#afe and no longer merely symmetrical form belonging to mind itself concentrates and gives shape to the corresponding bodily existence4 ,this is the task of ,sculpture4 ,in as far as in this art the spiritual inward being which architecture can but indicate makes itself at home in the sensuous shape and its external matter1 and in as far as these two sides are so adapted to one another that neither is predominant1 sculpture must be assigned the classical form of art as its fundamental type4 ,for this reason the sensuous element itself has here no expression which could not be that of the spiritual element1 just as1 conversely1 sculpture can represent no spiritual content which does not admit throughout of being adequately presented to perception in bodily form4 ,sculpture should place the spirit before us in its bodily form and in immediate unity therewith at rest and in peace2 and the form should be animated by the content of spiritual individuality4 ,and so the external sensuous matter is here no longer manipulated1 either in conformity with its mechanical quality alone1 as a mass possessing weight1 nor in shapes belonging to the inorganic world1 nor as indifferent to colour1 etc42 but it is wrought in ideal forms of the human figure1 and1 it must be remarked1 in all three spatial dimensions4 ,in this last respect we must claim for sculpture1 that it is in it that the inward and spiritual are first revealed in their eternal repose and essential self-completeness4 ,to such repose and unity with itself there can correspond only that external shape which itself maintains its unity and repose4 ,and this is fulfilled by shape in its abstract spatiality4#aff ,the spirit which sculpture represents is that which is solid in itself1 not broken up in the play of trivialities and of passions2 and hence its external form too is not abandoned to any manifold phases of appearance1 but appears under this one aspect only1 as the abstraction of space in the whole of its dimensions4 7,greek3 g7 ,now1 after architecture has erected the temple1 and the hand of sculpture has supplied it with the statue of the ,god1 then1 in the third place1 this god present to sense is confronted in the spacious halls of his house by the community4 ,the community is the spiritual reflection into itself of such sensuous existence1 and is the animating subjectivity and inner life which brings about the result that the determining principle for the content of art1 as well as for the medium which represents it in outward form1 comes to be particularization dispersion into various shapes1 attributes1 incidents1 etc41 individualization1 and the subjectivity which they require4#afg ,the solid unity which the ,god has in sculpture breaks up into the multitudinous inner lives of individuals1 whose unity is not sensuous1 but purely ideal4#afh ,it is only in this stage that ,god ,himself comes to be really and truly spirit--the spirit in ,his 7,god's7 community2 for ,he here begins to be a to-and-fro1 an alternation between ,his unity within himself and his realization in the individual's knowledge and in its separate being1 as also in the common nature and union of the multitude4 ,in the community1 ,god is released from the abstractness of unexpanded self-identity1 as well as from the simple absorption in a bodily medium1 by which sculpture represents ,him4 ,and ,he is thus exalted into spiritual existence and into knowledge1 into the reflected#afi appearance which essentially displays itself as inward and as subjectivity4 ,therefore the higher content is now the spiritual nature1 and that in its absolute shape4 ,but the dispersion of which we have spoken reveals this at the same time as particular spiritual being1 and as individual character4 ,now1 what manifests itself in this phase as the main thing is not the serene quiescence of the ,god in ,himself1 but appearance as such1 being which is for another1 self-manifestation4 ,and hence1 in the phase we have reached1 all the most manifold subjectivity in its living movement and operation--as human passion1 action1 and incident1 and1 in general1 the wide realm of human feeling1 will1 and its negation1--is for its own sake the object of artistic representation4 ,in conformity with this content1 the sensuous element of art has at once to show itself as made particular in itself and as adapted to subjective inwardness4 ,media that fulfil this requirement we have in colour1 in musical sound1 and finally in sound as the mere indication of inward perceptions and ideas2 and as modes of realizing the import in question by help of these media we obtain painting1 music1 and poetry4 ,in this region the sensuous medium displays itself as subdivided in its own being and universally set down as ideal4#agj ,thus it has the highest degree of conformity with the content of art1 which1 as such1 is spiritual1 and the connection of intelligible import and sensuous medium develops into closer intimacy than was possible in the case of architecture and sculpture4 ,the unity attained1 however1 is a more inward unity1 the weight of which is thrown wholly on the subjective side1 and which1 in as far as form and content are compelled to particularize themselves and give themselves merely ideal existence1 can only come to pass at the expense of the objective universality of the content and also of its amalgamation with the immediately sensuous element4#aga ,the arts1 then1 of which form and content exalt themselves to ideality1 abandon the character of symbolic architecture and the classical ideal of sculpture1 and therefore borrow their type from the romantic form of art1 whose mode of plasticity they are most adequately adapted to express4 ,and they constitute a totality of arts1 because the romantic type is the most concrete in itself4#agb i4 ,the articulation of this third sphere of the individual arts may be determined as follows4 ,the first art in it1 which comes next to sculpture1 is painting4 ,it employs as a medium for its content and for the plastic embodiment of that content visibility as such in as far as it is specialized in its own nature1 i4e4 as developed into colour4 ,it is true that the material employed in architecture and sculpture is also visible and coloured2 but it is not1 as in painting1 visibility as such1 not the simple light which1 differentiating itself in virtue of its contrast with darkness1 and in combination with the latter1 gives rise to colour4#agc ,this quality of visibility1 made subjective in itself and treated as ideal1 needs neither1 like architecture1 the abstractly mechanical attribute of mass as operative in the properties of heavy matter1 nor1 like sculpture1 the complete sensuous attributes of space1 even though concentrated into organic shapes4 ,the visibility and the rendering visible which belong to painting have their differences in a more ideal form1 in the several kinds of colour1 and they liberate art from the sensuous completeness in space which attaches to material things1 by restricting themselves to a plane surface4 ,on the other hand1 the content also attains the most comprehensive specification4 ,whatever can find room in the human heart1 as feeling1 idea1 and purpose2 whatever it is capable of shaping into act--all this diversity of material is capable of entering into the varied content of painting4 ,the whole realm of particular existence1 from the highest embodiment of mind down to the most isolated object of nature1 finds a place here4 ,for it is possible even for finite nature1#agd in its particular scenes and phenomena1 to make its appearance in the realm of art1 if only some allusion to an element of mind endows it with affinity to thought and feeling4 ii4 ,the second art in which the romantic type realizes itself is contrasted with painting1 and is music4 ,its medium1 though still sensuous1 yet develops into still more thorough subjectivity and particularization4 ,music1 too1 treats the sensuous as ideal1 and does so by negating1#age and idealizing into the individual isolation of a single point1 the indifferent externality#agf of space1 whose complete semblance is accepted and imitated by painting4 ,the single point1 qua such a negativity 7excluding space7 is in itself a concrete and active process of positive negation#agg within the attributes of matter1 in the shape of a motion and tremor of the material body within itself and in its relation to itself4 ,such an inchoate ideality of matter1#agh which appears no longer as under the form of space1 but as temporal ideality1#agi is sound1 the sensuous set down as negated1 with its abstract visibility converted into audibility1 inasmuch as sound1 so to speak1 liberates the ideal content from its immersion in matter4 ,this earliest inwardness of matter and inspiration of soul into it furnishes the medium for the mental inwardness--itself as yet indefinite1--and for the soul#ahj into which mind concentrates itself2 and finds utterance in its tones for the heart with its whole gamut of feelings and passions4 ,thus music forms the centre of the romantic arts1 just as sculpture represents the central point between architecture and the arts of romantic subjectivity4 ,thus1 too1 it forms the point of transition between abstract spatial sensuousness1 such as painting employs1 and the abstract spirituality of poetry4 ,music has within itself1 like architecture1 a relation of quantity conformable to the understanding1 as the antithesis to emotion and inwardness2 and has also as its basis a solid conformity to law on the part of the tones1 of their conjunction1 and of their succession4 iii4 most spiritual mode of representation of the romantic art-type1 we must look for it in poetry4 ,its characteristic peculiarity lies in the power with which it subjects to the mind and to its ideas the sensuous element from which music and painting in their degree began to liberate art4 ,for sound1 the only external matter which poetry retains1 is in it no longer the feeling of the sonorous itself1 but is a sign1 which by itself is void of import4 ,and it is a sign of the idea which has become concrete in itself and not merely of indefinite feeling and of its nuances and grades4 ,this is how sound develops into the ,word1 as voice articulate in itself1 whose import it is to indicate ideas and notions4 ,the merely negative point up to which music had developed now makes its appearance as the completely concrete point1 the point which is mind1 the self-conscious individual1 which1 producing out of itself the infinite space of its ideas1 unites it with the temporal character of sound4 ,yet this sensuous element1 which in music was still immediately one with inward feeling1 is in poetry separated from the content of consciousness4 ,in poetry the mind determines this content for its own sake1 and apart from all else1 into the shape of ideas1 and though it employs sound to express them1 yet treats it solely as a symbol without value or import4 ,thus considered1 sound may just as well be reduced to a mere letter1 for the audible1 like the visible1 is thus depressed into a mere indication of mind4#aha ,for this reason the proper medium of poetical representation is the poetical imagination and intellectual portrayal itself4 ,and as this element is common to all types of art1 it follows that poetry runs through them all and develops itself independently in each4 ,poetry is the universal art of the mind which has become free in its own nature1 and which is not tied to find its realization in external sensuous matter1 but expatiates exclusively in the inner space and inner time of the ideas and feelings4 ,yet just in this its highest phase art ends by transcending itself1 inasmuch as it abandons the medium of a harmonious embodiment of mind in sensuous form1 and passes from the poetry of imagination into the prose of thought4 #e4 ,such we may take to be the articulated totality of the particular arts1 viz4 the external art of architecture1 the objective art of sculpture1 and the subjective art of painting music and poetry4 ,many other classifications have been attempted1 for a work of art presents so many aspects1 that1 as has often been the case1 first one and then another is made the basis of classification4 ,for instance1 one might take the sensuous medium4 ,thus architecture is treated as crystallization2 sculpture1 as the organic modelling of the material in its sensuous and spatial totality2 painting1 as the coloured surface and line2 while in music1 space1 as such1 passes into the point of time possessed of content within itself1 until finally the external medium is in poetry depressed into complete insignificance4 ,or1 again1 these differences have been considered with reference to their purely abstract attributes of space and time4 ,such abstract peculiarities of works of art may1 like their material medium1 be consistently explored in their characteristic traits2 but they cannot be worked out as the ultimate and fundamental law1 because any such aspect itself derives its origin from a higher principle1 and must therefore be subordinate thereto4 ,this higher principle we have found in the types of art--symbolic1 classical1 and romantic--which are the universal stages or elements#ahb of the ,idea of beauty itself4 ,for symbolic art attains its most adequate reality and most complete application in architecture1 in which it holds sway in the full import of its notion1 and is not yet degraded to be1 as it were1 the inorganic nature dealt with by another art4 ,the classical type of art1 on the other hand1 finds adequate realization in sculpture1 while it treats architecture only as furnishing an enclosure in which it is to operate1 and has not acquired the power of developing painting and music as absolute#ahc forms for its content4 ,the romantic type of art1 finally1 takes possession of painting and music1 and in like manner of poetic representation1 as substantive and unconditionally adequate modes of utterance4 ,poetry1 however1 is conformable to all types of the beautiful1 and extends over them all1 because the artistic imagination is its proper medium1 and imagination is essential to every product that belongs to the beautiful1 whatever its type may be4 ,and1 therefore1 what the particular arts realize in individual works of art1 are according to their abstract conception simply the universal types which constitute the self-unfolding ,idea of beauty4 ,it is as the external realization of this ,idea that the wide ,pantheon of art is being erected1 whose architect and builder is the spirit of beauty as it awakens to self-knowledge1 and to complete which the history of the world will need its evolution of ages4 ,,footnotes3 #a ,new ,york1 ,appleton and ,co4 #b ,chicago1 ,griggs and ,co41 #ahhe4 #c ,edinburgh1 ,oliver and ,boyd1 #ahhf4 #d ,of these1 ,chapter ,,iii4 is subdivided into two ,parts1 because of the disproportionate length of the division in the original to which it corresponds4 #e ,preface to ,sordello4 #f ,endless duration makes good no better1 nor white any whiter1 is one of ,aristotle's comments on ,plato's eternal ideas1 and is just1 unless eternal conveys a difference of kind4 #g ,whewell1 ,i think1 misinterprets ,plato's language about astronomy in this sense4 ,plato is not decrying observation1 but demanding a theoretical treatment of the laws of motion1--a remarkable anticipation of modern ideas4 #h ,a ,year with the ,birds1 by an ,oxford ,tutor4 #i ,see note above1 p4 xii4 #aj ,the fusion of these meanings in the ,german ,geist gives a force to his pleading which ,english cannot render4 ,he appeals1 e4g41 triumphantly to ,god is a ,spirit1 i4e4 not a ghost but mind4 #aa ,see ,tennyson's ,higher ,pantheism1 especially the fine lines-- ,speak to ,him thou1 for ,he hears1 and ,spirit with ,spirit can meet1 ,closer is ,he than breathing1 and nearer than hands and feet4 #ab ,in ,baumgarten's sthetica1 #agej4 ,see ,lotze's sthetik in ,deutschland1 p4 #d1 and ,scherer's ,hist4 of ,german ,literature1 ,engl4 ,transl41 ii4 #be4 #ac ,aus dem ,geiste--allusion to born of water and of the ,spirit4 #ad ,not in the sense of fancying what you please1 but in the technical sense of having separate existence2 detached1 so to speak1 from the general background of things1 not a mere concurrence of other elements4 #ae ,has no power of distinguishing itself from other things4 #af ,das ,schne--in dem ,scheine4 #ag ,gesetzmssigkeit4 #ah ,raisonnement--a disparaging term in ,hegel4 #ai ,particular--different unconnected matters1 considered as merely thrown together in an aggregate1 or occurring in a series2 opposed to parts or cases united by an essential principle4 #bj ,das ,gttliche4 #ba ,schiene und erschiene4 #bb ,the life in which we treat common circumstances and sensations as1 in their degree1 realities4 #bc ,das ,an--und ,frsichseyende4 #bd ,explication4 #be ,material1 e4g4 colour1 sound1 heavy matter1 etc4 #bf ,element3 perhaps more especially any mental function entering into art--sense1 imagination1 understanding1 etc4 #bg ,philosophy1 ,wissenschaft4 #bh ,haltpunkte3 ultimate points that the matter of art must not leave hold of1 leading ideas that must somehow dominate it4 #bi ,gestaltung3 shaping1 as if arrangement of shapes4 #cj ,kunstkenntniss4 #ca ,gelehrsamkeit4 #cb ,parnetischen ,lehren4 #cc ,bildenden ,knste4 ,i am not sure if ,i have given the best rendering4 ,it is wider than ,plastik1 because it includes painting and architecture4 #cd ,die ,horen--the monthly magazine whose establishment by ,schiller1 in #agie1 first brought ,schiller and ,goethe into contact4 ,it only existed for three years4 ,see ,scherer1 ,eng4 ,trans41 ii4 #agc4 #ce ,that is1 not a caprice of nature or art1 but the perfection of the object after its kind4 #cf ,individualitt4 #cg ,helldunkel4 #ch ,drama1 ,gr4 ,greek3 drama ,handlung1 action4 #ci ,erscheinung4 #dj ,bestimmung4 #da ,bestimmend4 #db ,begeistet wird--,is spiritualized4 #dc ,i have no doubt he means ,shakespeare1 who was unpopular in ,germany before ,goethe's time4 ,vide ,wilhelm ,meister4 #dd ,das ,wahre sehen nicht die einzelnen1 etc4 #de ,the exhibition of particulars as contained in the principle1 and of the principle as contained in particulars4 #df ,machen4 #dg ,nach-machen4 #dh ,see ,appendix to ,eng4 ,trans4 of ,scherer1 ii4 #cdg4 ,goethe's ,gtz von ,berlichingen appeared in #aggc2 ,schiller's ,raber in #agha4 #di ,the ,iphigenie was completed in ,goethe's thirty-eighth year1 fourteen years later than ,gtz4 ,the bulk of his great works are of the same date as the ,iphigenie1 or later4 ,see ,scherer1 ii4 #aeb1 and ,appendix1 #a4 c4 ,schiller's ,wallenstein was completed after his thirty-fifth year4 #ej ,free from irrelevancies4 #ea i4e4 it requires a definite or determinate answer1 depending on a number of ideas which cannot be explained in an introduction4 #eb i4e4 considered generally1 apart from the wishes and1 perhaps1 selfish aims of individual artists4 #ec ,fursichsein4 #ed ,reality derivative from his own reality4 #ee ,he means as in attitude1 bearing1 gentle movement1 etc4 #ef ,bildung4 #eg ,bedurfniss zur ,kunst4 #eh i4e4 you cannot describe it or picture it definitely1 like a thing with attributes1 although you feel it in yourself4 #ei i4e4 you may be afraid of anything2 the fact that you are afraid does not in itself indicate what you are afraid of4 #fj ,my private feeling is compared to a small circle1 in which morality1 justice1 etc41 may be1 but have not room to show their nature4 ,feeling allows of no definition4 #fa ,all its positive aspects or relations1 age1 phase1 artist's history1 etc4 #fb ,its sensuous aspect has no independent warrant or justification1 as that1 for example1 of an animal has in its own separate life4 ,so it must simply be such as is enough to appeal to man's mind1 e4g4 mere surface painting4 #fc i4e4 person4 #fd ,nothing can be tasted which is not dissolved in a liquid4 #fe ,anschauungen4 #ff ,abstract forms1 which are to reality as a diagram to a picture4 #fg ,lit4 figure1 ,gestalt4 #fh ,handgriffen4 #fi ,eines geistreichen4 #gj ,general1 abstract1 as much applicable to one thing as to another4 #ga ,heuchelei1 lit4 hypocrisy4 #gb ,kunststck4 #gc i4e4 mere copying1 devoting one's-self to the one-sided purpose of making a thing over again1 without putting any life or meaning into it4 #gd ,which says that the business of art is to imitate4 #ge ,of imitation4 #gf ,phantastischen4 ,fantastic means odd or wild4 ,hegel only means original1 creative4 #gg ,mechanical1 without origination4 #gh ,nancen4 ,context seems to forbid referring it to colour4 ,i suspect it of meaning character of outline4 #gi ,erschttern4 #hj ,raisonnirende2 a term of disparagement in ,hegel1 applied to proofs1 pro and con1 which do not rest on a thorough conception of the fundamental nature of what is being discussed4 #ha ,raisonnement4 #hb ,formal means here as usual1 empty1 or general2 i4e4 not taking account of varieties in the matter to which it is applied4 #hc ,befangensein4 #hd ,theoretisch4 ,i have no doubt that it has here the meaning of ,greek3 ,therein without a trace of allusion to theory4 ,it is opposed to destructive1 or appetitive4 #he ,the moral4 #hf ,person1 i4e41 here1 audience or spectator4 #hg ,kernspruch4 #hh ,contingent means1 not so much what may or may not exist1 as the trivial1 which makes no difference whether it exists or not4 #hi ,in ihm selbst gebrochenes4 ,i do not suppose there is an allusion to the words ,i use4 #ij ,sittlichkeit almost morality in the ,english sense4 ,it means the habit of virtue1 without the reflective aspiration after goodness as an ideal4 #ia ,moralitt almost conscientiousness or scrupulosity4 ,the above sentence is hardly true with the ,english word moral4 #ib ,fr sich1 is often used where there is no notion of development1 and seems very like an sich4 #ic ,gemth4 #id ,as e4g4 if we suppose that an act done at the bidding of natural affection cannot also be a fulfilment of the command of duty4 ,the reconciliation would be in supposing the natural affection1 e4g4 for parents1 to operate as a moral motive1 being transformed by a recognition of its sacred or spiritual character4 #ie ,an und fr sich4 #if ,an und fr sich ,wahre4 #ig ,allgemeine ,bildung4 #ih ,vorstellung4 #ii ,see ,pref4 ,essay1 p4 xix4 #ajj ,or conscientiousness--what was above described as the moralistic view4 #aja ,an sich4 #ajb ,an und fr sich wahrem und wirklichem4 #ajc ,see p4 #fh1 supra4 #ajd ,der mensch wie er geht und steht4 #aje ,an und fr sich4 #ajf ,zweck-mssigkeit4 #ajg i4e4 in any means which we adopt in order to effect an end which we have distinctly before us as an idea4 ,a knife does not include cutting1 nor a spade digging1 although their construction is relative to these ends4 ,but a man does include living1 i4e4 he is not a man if he ceases to live4 #ajh ,fr sich4 #aji ,an und fr sich4 #aaj ,by ,kant4 #aaa ,unbefangenheit4 #aab ,on ,goethe's discoveries in morphology and errors in optics1 see ,helmholtz's ,popular ,lectures1 series i41 lecture ii42 but compare ,schopenhauer1 ,werke1 vol4 i41 ,ueber das ,sehn und die ,farben4 #aac ,compare ,browning's ,luria3-- ,a people is but the attempt of many ,to rise to the completer life of one4 #aad ,or ,of the moral1 etc41 man4 #aae ,ueber ,anmuth und ,wrde1 ,of ,grace and ,dignity1 a work of ,schiller that appeared in #agic4 #aaf ,gesinnungen4 #aag ,the ,baccalaureus' speech in ,faust 7,part #b7 ,die ,welt1 sie war nicht1 eh' ich sie erschuf1 etc41 appears to be a parody of ,fichte's ideas in this aspect4 #aah ,i think the order of the ,german must be a misprint4 ,so ist nichts an und fr sich und in sich selbst werthvoll betrachtet4 #aai ,an und fr sich seyende4 #abj ,the three points are1 7i47 ,the ,i is abstract4 7ii47 ,everything is a semblance for it4 7iii47 ,its own acts1 even1 are a semblance4 #aba ,not literal4 ,das alles an sich setzende und auflsende ,ich4 #abb ,formal freedom is detachment from everything1 or the 7apparent7 capacity of alternatives2 it is opposed to real freedom1 which is identification of one's-self with something that is capable of satisfying one4 #abc ,genialitt3 the character or state of mind in which genius is dominant--here1 the mere self-enjoyment of genius4 #abd ,selbstgenuss4 ,i do not think it means self-indulgence1 but the above-described enjoyment of reposing in the superiority of the ego4 #abe ,eitelkeit1 also conceit2 which is the other side of this attitude4 ,hegel uses it on purpose4 #abf ,eitle4 #abg ,sehnsuchtigkeit4 #abh ,krankhafte ,schnseligkeit4 ,schnseligkeit seems to be really a word formed like ,redselig1 etc41 but to be given an equivocating reference to ,schne ,seele1 which ,i have rendered in the next sentence by saintly soul4 #abi ,eitlen1 ,eitelkeit4 #acj ,this recurring phrase may be used etymologically1 as a reminiscence of the ,platonic ,greek3 plrousthai4 #aca ,haltung3 bearing in general1 and more especially the bearing of one who bears himself nobly by reason of a principle4 #acb ,see ,scherer1 ,eng4 ,transl41 ii4 #bdh4 #acc ,it is natural for a reader to ask in what person or subject ,god is conceived to have reality4 ,on this see below1 p4 #afe4 ,it appears certain to me that ,hegel1 when he writes thus1 is referring to the self-consciousness of individual human beings as constituting1 and reflecting on1 an ideal unity between them4 ,this may seem to put a non-natural meaning on the term person or subject1 as if the common element of a number of intelligences could be a single person4 ,it is obvious that the question hinges on the degree in which a unity that is not sensuous but ideal can be effective and actual4 ,i can only say here1 that the more we consider the nature of ideal unity the higher we shall rate its capabilities4 ,see ,prefatory ,essay1 p4 xiv4 #acd ,fackeldistel ,torch thistle1 a plant of the genus ,cereus1 ,nat4 ,order ,cactace4 #ace ,or as spirit and in spirit4 #acf ,the idea of art4 #acg ,the two evolutions are1 speaking roughly1 7i47 that of the subject-matter2 7ii47 that of the particular mode of art3 7i47 e4g4 you have ,egyptian1 ,greek1 ,christian religion1 etc41 with the corresponding views and sentiments1 each in its own relation to art2 7ii47 you have1 as a cross division to the former1 the several arts--sculpture1 music1 poetry1 etc41 each having its special ground and warrant4 #ach ,he is asking himself why sound or paint1 etc41 should correspond to one type of art as theoretically defined--this being intellectual1 not sensuous1 at root--and answers that these media qua natural objects have1 though more latent than in works of art1 an import and purpose of their own1 which reveals itself in their suitability to particular forms of art4 #aci ,gestaltungsformen4 ,i use plastic all through in a pregnant sense1 as one speaks of plastic fancy1 etc42 meaning ideally determinate1 and fit for translating into pictures1 poetry1 etc4 ,these plastic forms are the various modifications of the subject-matter of art4 ,see note1 p4 #aci1 above4 #adj ,see note1 p4 #aci1 above4 #ada ,see p4 #acd1 above4 #adb ,gestaltung4 ,i do not think this means the process of shaping1 but the shapes taken collectively4 #adc i4e4 not in a separate ideal shape devoted to it4 ,he means that man takes a stock or stone as representation or symbol of the divine1 and as there is no real connection between divinity and the stone1 it may either be left untouched and unshaped1 or be hewn into any bizarre or arbitrary shape that comes to hand3 see next paragraph4 #add ,this description is probably directed1 in the first place1 to the ,indian representation of deities1 and would apply to those of many barbaric religions4 ,but its truth may be very simply verified in daily observation of the first attempts of the uneducated at plastic presentation of their ideas1 where costliness1 ingenuity1 labour1 or size take the place of beauty4 #ade ,sie als ,inneres4 #adf i4e4 an idea or purpose which gives these partial and defective representations all the meaning they have1 although they are incapable of really expressing it4 #adg ,ghrung1 lit4 fermentation4 #adh ,der ursprngliche ,begriff1 lit4 the original notion4 #adi i4e4 ,god or the ,universe invented man to be the expression of mind2 art finds him1 and adapts his shape to the artistic embodiment of mind as concentrated in individual instances4 #aej ,because it represents the soul as independent of an appropriate body--the human soul as capable of existing in a beast's body4 #aea ,geistigkeit4 ,the nature of thought1 mind1 or spirit4 ,it cannot be here rendered by mind or spirit1 because these words make us think of an isolated individual1 a mind or soul1 and neglect the common spiritual or intellectual nature1 which is referred to by the author4 #aeb ,it is the essence of mind or thought not to have its parts outside one another4 ,the so-called terms of a judgment are a good instance of parts in thought which are inward to each other4 #aec ,compare ,browning's ,old ,pictures in ,florence4 #aed i4e4 in the form of feeling and imagination--not reflected upon4 #aee ,subject1 i4e4 conscious individual person4 #aef ,innerlichkeit1 lit4 inwardness4 #aeg ,taken1 considered as or determined to be negative4 #aeh ,inward1 again1 does not mean merely inside our heads1 but having the character of spirit in that its parts are not external to one another4 ,a judgment is thus inward4 #aei i4e4 does not keep up a distinction between percipient and object1 as between things in space4 ,goodness1 nobleness1 etc41 are not felt to be other than or outside the mind4 #afj ,the romantic4 #afa i4e4 species1 modifications naturally arising out of a principle4 #afb ,thus e4g4 ,sculpture is the art which corresponds par excellence to the general type called ,classical ,art2 but there is a ,symbolic kind of sculpture1 and ,i suppose a ,romantic or modern kind of sculpture1 although neither of these types are exactly fitted to the capabilities of ,sculpture4 #afc ,architecture as relative to the purposes of life and of religion4 ,see below1 p4 #afb4 #afd ,die schne ,architectur4 #afe ,in the sense self-complete1 not primarily regarded as explained by anything outside1 like a machine or an animal contrasted with a wheel or a limb1 which latter are finite1 because they demand explanation and supplementation from without1 i4e4 necessarily draw attention to their own limit4 #aff i4e4 shape taken simply as an object filling space4 #afg ,the terms used in the text explain themselves if we compare1 e4g41 a ,teniers with a ,greek statue1 or again1 say1 a ,turner with the same4 ,subjectivity means that the work of art appeals to our ordinary feelings1 experiences1 etc4 ,music and poetry are still stronger cases than painting1 according to the theory4 ,poetry especially can deal with everything4 #afh ,the unity of the individuals forming a church or nation is not visible1 but exists in common sentiments1 purposes1 etc41 and in the recognition of their community4 #afi ,an expression constantly applied to consciousness1 because it can look at itself4 ,cf43-- ',tell me1 good ,brutus1 can you see your face8' ',no1 ,cassius2 for the eye sees not itself ,but by reflection1 by some other things4' ,julius ,csar4 #agj ,posited or laid down to be ideal2 almost pronounced or made to be in the sense of not being2 e4g4 musical sound is ideal as existing1 qua work of art1 in memory only1 the moment in which it is actually heard being fugitive2 a picture1 in respect of the third dimension1 which has to be read into it2 and poetry is almost wholly ideal1 i4e4 uses hardly any sensuous element1 but appeals almost entirely to what exists in the mind4 ,subdivided1 besondert1 like particularisirt above2 because of the variety and diversity present in the mere material of colours1 musical sounds1 and ideas4 #aga ,again1 the subject of a ,turner or ,teniers is not objectively universal1 in the simplest sense2 not something that is actually and literally the same everywhere and for every one4 ,and both painting and music 7immediately sensuous elements7 are less completely amalgamated with the ideal1 represent it less solidly and thoroughly than the statue1 so far as the ideal is itself external or plastic4 #agb ,the greater affinity of ,romantic art with the movement and variety of the modern spirit displays itself not only in the greater flexibility of painting1 music1 or poetry1 as compared with architecture and sculpture1 but in the fact that the ,romantic type contains these three arts at least1 while the ,symbolic and ,classical types had only one art each4 #agc ,this is drawn from ,goethe's doctrine of colour1 which ,hegel unfortunately adopted in opposition to ,newton's theory4 #agd ,he means landscape1 principally4 #age ,aufheben1 used pregnantly by ,hegel to mean both cancel1 annul1 and1 preserve1 fix in mind1 idealize4 ,the use of this word is a cardinal point of his dialectic4 ,see ,wiss4 der ,logik41 i4 #ajd4 ,i know of no equivalent but put by1 provincial ,scotch put past4 ,the negation of space is an attribute of music4 ,the parts of a chord are no more in space than are the parts of a judgment4 ,hegel expresses this by saying that music idealizes space and concentrates it into a point4 #agf ,the parts of space1 though external to each other1 are not distinguished by qualitative peculiarities4 #agg ,aufheben4 #agh ,ideality of matter3 the distinctively material attribute of a sonorous body1 its extension1 only appears in its sound indirectly1 or inferentially1 by modifying the nature of the sound4 ,it is1 therefore1 idealized4 #agi ,succession in time is a degree more ideal than co-existence in space1 because it exists solely in the medium of memory4 #ahj ,seele3 mind on its individual side1 as a particular feeling subject4 ,geist is rather mind as the common nature of intelligence4 ,thus in feeling and self-feeling1 mind is said to concentrate itself into a soul4 #aha ,hegel seems to accept this view4 ,was he insensible to sound in poetry8 ,some very grotesque verses of his1 preserved in his biography1 go to show that his ear was not sensitive4 ,yet his critical estimate of poetry is usually just4 ,shakespeare and ,sophocles were probably his favourites4 ,and1 as a matter of proportion1 what he here says is true4 ,it must be remembered that the beauty of sound in poetry is to a great extent indirect1 being supplied by the passion or emotion which the ideas symbolized by the sounds arouse4 ,the beauty of poetical sound in itself is very likely less than often supposed4 ,it must have the capacity for receiving passionate expression2 but that is not the same as the sensuous beauty of a note or a colour4 ,if the words used in a noble poem were divested of all meaning1 they would lose much1 though not all1 of the beauty of their sound4 #ahb ,stages or elements4 ,momente1 ,hegel's technical phrase for the stages which form the essential parts or factors of any idea4 ,they make their appearance successively1 but the earlier are implied and retained in the later4 #ahc ,adequate1 and so of permanent value4 ,,the ,,end4 ,,printed ,,by ,,william ,,clowes ,,and ,,sons1 ,,limited1 ,,london ,,and ,,beccles4 ,a ,,classified ,,list ,,of ,kegan ,paul1 ,treneh1 ,trbner ,co4's ,,publications4 ,,december1 #ahif4 ,,index4 ,angling1 #fg ,animal ,magnetism1 #cj ,anthropology1 #dh ,arts1 ,useful and ,fine1 #ef ,astronomy1 #di ,bibliography1 #ic ,biography1 #cd ,botany1 #di ,buddhism1 #ia ,chemistry1 #ea ,chess1 #ef ,china1 #hf ,diet1 #eg ,education1 #dd ,egypt1 #hg ,essays1 #c ,ethnology1 #dh ,ethics1 #ca ,fiction1 #ab ,finance1 #df ,folk-lore1 #bh ,gastronomy1 #eg ,geology1 #ea ,history1 #ci ,history1 ,constitutional1 #de ,india1 #ha ,islam1 #hi ,japan1 #ij ,languages1 #fg ,law1 #de ,medicine1 #eg ,mental ,science1 #ca ,metaphysics1 #ca ,meteorology1 #ea ,military ,science1 #fj ,mineralogy1 #ea ,moral ,science1 #bg ,music1 #fa ,mythology1 #bh ,numismatics1 #fa ,occult ,sciences1 #bi ,oriental1 #ha ,painting1 #fb ,periodicals1 #ie ,persian1 #gh1 #ib ,philology1 #fg ,philosophy1 #ca ,philosophy1 ,religious1 #bg ,physics1 #ec ,physiology1 #eg ,poetry1 #c ,politics1 #df ,religion1 #af ,sculpture1 #fb ,sociology1 #dd ,societies' ,publications1 #ie ,speculative ,theology1 #bg ,sports1 #ff ,technology1 #fc ,theosophy1 #bf ,topography1 #da ,travels1 #da ,voyages1 #da ,zoology1 #ed ,,paternoster ,,house1 ,,charing ,,cross ,,road1 ,,london1 ,w4,c4 ,,paternoster ,,house1 ,,charing ,,cross ,,road1 ,,london1 ,w4,c41 ,december1 #ahif4 ,a ,,classified ,,list ,,of ,,kegan ,,paul1 ,,trench1 ,,tr,,bner ,co4's ,,publications4 ,,note4--,the letters ,i4 ,s4 ,s4 denote that the ,work forms a ,volume of the ,international ,scientific ,series4 ,i4 ,,belles-,,lettres4 ,,poetry ,,and ,,essays4 ,,schylus1 ,the ,seven ,plays4 ,translated into ,english ,verse by ,professor ,,lewis ,,campbell4 ,crown #hvo1 #gs4 #f;d4 ,,alexander1 ,,william1 ,d4 ,d41 ,,bishop ,,of ,,derry1 ,st4 ,augustine's ,holiday1 and other ,poems4 ,crown #hvo1 #fs4 ,,arnold1 ,sir ,,edwin1 ,in ,my ,lady's ,praise4 ,poems ,old and ,new1 written to the honour of ,fanny1 ,lady ,arnold4 ,fourth ,edition4 ,imperial #afmo1 parchment1 #cs4 #f;d4 ,indian ,idylls4 ,from the ,sanskrit of the ,mahbhrata4 ,second ,edition4 ,crown #hvo1 #fs4 ,indian ,poetry4 ,containing ',the ,indian ,song of ,songs' from the ,sanskrit1 two books from ',the ,iliad of ,india1' and other ,oriental ,poems4 ,sixth ,edition4 #fs4 7,trbner's ,oriental ,series47 ,lotus and ,jewel4 ,containing ',in an ,indian ,temple1' ',a ,casket of ,gems1' ',a ,queen's ,revenge1' with other ,poems4 ,third ,edition4 ,crown #hvo1 #fs4 ,pearls of the ,faith2 or1 ,islam's ,rosary4 ,being the ,ninetynine ,beautiful ,names of ,allah4 ,sixth ,edition4 ,crown #hvo1 #fs4 ,poems1 ,national and ,non-,oriental1 with some ,new ,pieces4 ,second ,edition4 ,crown #hvo1 #fs4 ,the ,light of ,asia2 or1 ,the ,great ,renunciation4 ,being the ,life and ,teaching of ,gautama4 ,presentation ,edition1 with ,illustrations and ,portrait1 small #dto1 #bas4 ,library ,edition1 crown #hvo1 #fs4 ,elzevir ,edition1 #fs4 ,cheap ,edition 7,lotos ,series71 cloth or half-parchment1 #cs4 #f;d4 ,the ,secret of ,death4 ,being a ,version of the ,katha ,upanishad1 from the ,sanskrit4 ,fifth ,edition4 ,crown #hvo1 #fs4 ,the ,song ,celestial2 or1 ,bhagavad-,git4 ,from the ,sanskrit4 ,sixth ,edition4 ,crown #hvo1 #es4 ,with ,sa'di in the ,garden2 or1 ,the ,book of ,love4 ,being the ',ishk1' or third chapter of the ',bostn' of the ,persian poet ,sa'di1 embodied in a ,dialogue4 ,fourth ,edition4 ,crown #hvo1 #fs4 ,poetical ,works4 ,uniform ,edition1 comprising--',the ,light of ,asia1' ',lotus and ,jewel1' ',indian ,poetry1' ',pearls of the ,faith1' ',indian ,idylls1' ',the ,secret of ,death1' ',the ,song ,celestial1' ',with ,sa'di in the ,garden4' #h vols4 crown #hvo1 #dhs4 ,see also ,class ,,oriental4 ,,aveling1 ,f4 ,w41 ,the ,classic ,birthday ,book4 #hvo1 cloth1 #hs4 #f;d42 paste grain1 #aes42 tree calf1 #bas4 ,,barnes1 ,,william1 ,poems of ,rural ,life in the ,dorset ,dialect4 ,new ,edition4 ,crown #hvo1 #fs4 ,,blunt1 ,,wilfrid ,,scawen1 ,poems3-- ,the ,wind and the ,whirlwind4 #hvo1 #as4 #f;d4 ,the ,love ,sonnets of ,proteus4 ,fifth ,edition4 ,elzevir #hvo1 #es4 ,in ,vinculis4 ,with ,portrait4 ,elzevir #hvo1 #es4 ,a ,new ,pilgrimage1 and other ,poems4 ,elzevir #hvo1 #es4 ,esther1 ,love ,lyrics1 and ,natalia's ,resurrection4 #gs4 #f;d4 ,,boswell1 ,c4 ,,stuart1 ,the ,vita ,nuova and its ,author4 ,crown #hvo1 #cs4 #f;d4 net4 ,,breitmann4 ,see ,,leland1 ,c4 ,g4 ,,brinton1 ,d4 ,g41 ,essays of an ,americanist4 #hvo1 #abs4 ,,bryant1 ,w4 ,,cullen1 ,poems4 ,cheap ,edition4 ,small #hvo1 #cs4 #f;d4 ,,burns1 ,,robert1 ,selected ,poems4 ,with an ,introduction by ,,andrew ,,lang4 ,elzevir #hvo1 vellum1 #gs41 #f;d42 parchment or cloth1 #fs4 7,parchment ,library72 ,new ,edition1 #cs4 #f;d4 ,,calderon3 ,essay on the ,life and ,genius of ,calderon4 ,with translations from his ',life's a ,dream' and ',great ,theatre of the ,world4' ,by ,,archbishop ,,trench4 ,second ,edition1 revised and improved4 ,extra foolscap #hvo1 #es4 #f;d4 ,,carlyle1 ,,thomas1 ,sartor ,resartus4 ,elzevir #hvo 7,parchment ,library74 ,vellum1 #gs4 #f;d42 parchment or cloth1 #fs4 ,,chaucer1 ,canterbury ,tales4 ,edited by ,a4 ,w4 ,,pollard4 #b vols4 ,elzevir #hvo 7,parchment ,library74 ,vellum1 #aes42 parchment or cloth1 #abs4 ,canterbury ,chimes2 or1 ,chaucer ,tales retold to ,children4 ,by ,f4 ,,storr and ,h4 ,,turner4 ,with #f ,illustrations from the ,ellesmere ,manuscript4 ,third ,edition4 ,foolscap #hvo1 #cs4 #f;d4 ,,colebrooke1 ,h4 ,t41 ,miscellaneous ,essays4 ,with ,biography by his ,son1 ,sir ,t4 ,e4 ,,colebrooke4 #c vols4 #hvo1 #dbs4 ,,de ,,quincey1 ,,thomas1 ,confessions of an ,english ,opium ,eater4 ,edited by ,,richard ,,garnett4 ,elzevir #hvo 7,parchment ,library74 ,vellum1 #gs4 #f;d42 parchment or cloth1 #fs4 ,,dobson1 ,,austin1 ,poems on ,several ,occasions4 ,with #g full-page ,etchings by ,,adolphe ,,lalauze1 and ,portrait of the ,author etched from life by ,,william ,,strang4 #b vols4 demy #hvo1 #bes4 net4 ,ballad of ,beau ,brocade1 and other ,poems of the ,eighteenth ,century4 ,with #ej ,illustrations by ,,hugh ,,thomson4 ,crown #hvo1 #es4 ,proverbs in ,porcelain4 ,with #be ,illustrations by ,,bernard ,,partridge4 #es4 ,old ,world ,idylls1 and other ,verses4 ,elzevir #hvo1 gilt top1 #fs4 ,at the ,sign of the ,lyre4 ,elzevir #hvo1 gilt top1 #fs4 ,story of ,rosina1 and other ,verses4 ,illustrated by ,,hugh ,,thomson4 ,crown #hvo1 #es4 ,eighteenth ,century ,essays4 ,edited by ,,austin ,,dobson4 ,with ,frontispiece4 ,elzevir #hvo 7,parchment ,library74 ,vellum1 #gs4 #f;d42 parchment or cloth1 #fs4 ,cheap ,edition4 ,see also under ,,gay and ,,prior4 ,,dowden1 ,,edward1 ,studies in ,literature1 #aghi-ahgg4 ,fourth ,edition4 ,large post #hvo1 #fs4 ,new ,studies in ,literature4 ,large post #hvo1 #abs4 ,transcripts and ,studies4 ,large post #hvo1 #fs4 ,see also under ,,shakspere4 ,elizabethan ,sonnet ,cycles4 ,edited by ,,martha ,,foote ,,crowe4 ,in #d vols4 ,small crown #hvo1 #es4 net each vol4 ,vol4 ,i4 ,phillis1 by ,,thomas ,,lodge4 ,licia1 by ,,giles ,,fletcher4 ,,ii4 ,delia-,diana4 ,,elliott1 ,,ebenezer1 ,poems4 ,edited by his son1 the ,rev4 ,,edwin ,,elliott1 of ,st4 ,john's1 ,antigua4 #b vols4 crown #hvo1 #ahs4 ,english ,comic ,dramatists4 ,edited by ,,oswald ,,crawfurd4 ,elzevir #hvo 7,parchment ,library74 ,vellum1 #gs4 #f;d42 parchment or cloth1 #fs4 ,english ,lyrics4 ,elzevir #hvo 7,parchment ,library74 ,vellum1 #gs4 #f;d42 parchment or cloth1 #fs4 ,english ,sacred ,lyrics4 ,elzevir #hvo 7,parchment ,library74 ,vellum #gs4 #f;d42 parchment or cloth1 #fs4 ,english ,poets 7,living74 ,with ,frontispiece by ,,herbert ,,railton4 #ahid ,edition4 ,large crown #hvo1 printed on hand-made paper1 vellum1 #aes42 cloth or parchment1 #abs4 ,,fraser1 ,sir ,,william1 ,bart41 ,disraeli and ,his ,day4 ,second ,edition4 ,post #hvo1 #is4 ,french ,lyrics4 ,see ,,saintsbury4 ,,gay1 ,,john1 ,fables4 ,edited by ,,austin ,,dobson4 ,with ,portrait4 ,elzevir #hvo 7,parchment ,library74 ,vellum1 #gs4 #f;d42 parchment or cloth1 #fs4 ,,goldsmith1 ,vicar of ,wakefield4 ,edited by ,,austin ,,dobson4 ,elzevir #hvo 7,parchment ,library74 ,vellum1 #gs4 #f;d42 parchment or cloth1 #fs4 ,,goodchild1 ,,john ,a41 ,the ,two ,thrones4 ,a ,drama4 ,small crown #hvo1 #cs4 #f;d4 ,,gosse1 ,e41 ,english ,odes4 ,edited by ,e4 ,,gosse4 ,with ,frontispiece4 ,elzevir #hvo 7,parchment ,library74 ,vellum1 #gs4 #f;d42 parchment or cloth1 #fs4 ,,greg1 ,w4 ,r41 ,literary and ,social ,judgments4 ,fourth ,edition4 #b vols4 crown #hvo1 #aes4 ,griselda4 ,a ,society ,novel in ,rhymed ,verse4 #es4 ,,gurney1 ,,alfred1 ,the ,vision of the ,eucharist1 and other ,poems4 ,crown #hvo1 #es4 ,a ,christmas ,faggot4 ,small #hvo1 #es4 ,voices from the ,holy ,sepulchre1 and other ,poems4 ,crown #hvo1 #es4 ,,harrison1 ,,clifford1 ,in ,hours of ,leisure4 ,second ,edition4 ,crown #hvo1 #es4 ,,homer1 ,iliad1 ,greek ,text1 with ,translation4 ,by ,j4 ,g4 ,,cordery4 #b vols4 #hvo1 #ads42 ,cheap ,edition 7translation only71 crown #hvo1 #es4 ,,horatius ,,flaccus1 ,q41 ,opera4 ,edited by ,f4 ,a4 ,,cornish4 ,with ,frontispiece4 ,elzevir #hvo 7,parchment ,library74 ,vellum1 #gs4 #f;d42 parchment or cloth1 #fs4 ,,housman1 ,a4 ,e41 ,a ,shropshire ,lad4 ,small crown #hvo1 #bs4 #f;d4 ,kalender of ,shepherdes4 ,fac-simile ,reprint4 ,with ,introduction and ,glossary by ,dr4 ,h4 ,,oskar ,,sommer4 #b #bs4 net4 ,,keats1 ,,john1 ,poetical ,works4 ,edited by ,w4 ,t4 ,,arnold4 ,large crown #hvo4 ,choicely printed on hand-made paper4 ,with ,etched ,portrait4 ,vellum1 #aes42 parchment or cloth1 #abs4 ,new ,edition4 ,crown #hvo1 cloth1 #cs4 #f;d4 ,,keble1 ,j41 ,the ,christian ,year4 ,with ,portrait4 ,elzevir #hvo 7,parchment ,library74 ,vellum1 #gs4 #f;d42 parchment or cloth1 #fs4 ,new ,edition4 ,rubricated1 crown #hvo1 #bs4 #f;d4 ,also to be had in leather bindings4 ,,king1 ,mrs4 ,,hamilton1 ,poems4 ,the ,disciples4 ,tenth ,edition4 ,elzevir #hvo1 #fs42 ,small #hvo1 #es4 ,book of ,dreams4 ,third ,edition4 ,crown #hvo1 #cs4 #f;d4 ,sermon in the ,hospital 7from ',the ,disciples'74 ,foolscap #hvo1 #as4 ,cheap ,edition1 #c;d4 ,ballads of the ,north1 and other ,poems4 ,crown #hvo1 #es4 ,,lamb1 ,,charles1 ,beauty and the ,beast2 or1 ,a ,rough ,outside with a ,gentle ,heart4 ,a ,poem4 ,foolscap #hvo1 vellum1 #ajs4 #f;d4 ,,lang1 ,,andrew1 ,lost ,leaders4 ,crown #hvo1 #es4 ,ballades in ,blue ,china4 ,elzevir #hvo1 #es4 ,rhymes ,la ,mode4 ,with ,frontispiece by ,e4 ,a4 ,,abbey4 ,second ,edition4 ,elzevir #hvo1 #es4 ,,leland1 ,c4 ,g41 ,breitmann ,ballads4 ,only ,complete ,edition1 including #ai ,original ,ballads1 illustrating his travels in ,europe4 ,crown #hvo1 #fs4 ,another ,edition 7,lotos ,series71 #cs4 #f;d4 ,pidgin-,english ,sing-,song2 or1 ,songs and ,stories in the ,china-,english dialect4 ,second ,edition4 ,crown #hvo1 #es4 ,,lindsay1 ,,lady1 ,the ,king's ,last ,vigil4 ,elzevir #hvo1 #es4 ,lyrics and ,other ,poems4 ,second ,edition4 ,elzevir #hvo1 #es4 ,,linton1 ,w4 ,j41 ,rare ,poems of the ,sixteenth and ,seventeenth ,centuries4 ,crown #hvo1 #es4 ,,linton1 ,w4 ,j41 and ,,stoddard1 ,r4 ,h41 ,english ,verse4 ,chaucer to ,burns--,translations--,lyrics of the ,nineteenth ,century--,dramatic ,scenes and ,characters--,ballads and ,romances4 #e vols4 crown #hvo1 #es4 each4 ,,locker1 ,f41 ,london ,lyrics4 ,tenth ,edition4 ,with ,portrait4 ,elzevir #hvo1 cloth extra1 gilt top1 #es4 ,,lowell1 ,,james ,,russell1 ,biglow ,papers4 ,edited by ,,thomas ,,hughes1 ,q4,c4 ,foolscap #hvo1 #bs4 #f;d4 ,,lyall1 ,sir ,,alfred1 ,verses ,written in ,india4 ,fourth ,edition4 ,elzevir #hvo1 gilt top1 #es4 ,,macaulay1 ,lord1 ,essays on ,men and ,books3 ,lord ,clive1 ,milton1 ,earl of ,chatham1 ,lord ,byron4 ,edited by ,,alex4 ,h4 ,,japp4 7,lotos ,series71 #cs4 #f;d4 ,,mackay1 ,,eric1 ,a ,lover's ,litanies1 and other ,poems4 ,with ,portrait of ,author4 7,lotos ,series71 #cs4 #f;d4 ,,marchant1 ,w4 ,t41 ,in ,praise of ,ale3 ,songs1 ,ballads1 ,epigrams1 and ,anecdotes4 ,crown #hvo1 #ajs4 #f;d4 ,,milton1 ,,john1 ,poetical ,works4 #b vols4 ,elzevir #hvo 7,parchment ,library74 ,vellum1 #gs4 #f;d42 parchment or cloth1 #fs4 ,sonnets4 ,edited by ,,mark ,,pattison4 ,with ,portrait4 ,elzevir #hvo 7,parchment ,library74 ,vellum1 #gs4 #f;d42 parchment or cloth1 #fs4 ,prose ,writings4 ,edited by ,e4 ,,myers4 ,elzevir #hvo 7,parchment ,library74 ,vellum1 #gs4 #f;d42 parchment or cloth1 #fs4 ,,morris1 ,sir ,,lewis1 ,complete ,poetical ,works1 including ',a ,vision of ,saints4' #a vol4 ,with latest ,portrait4 ,tenth ,thousand4 ,crown #hvo1 cloth plain1 #fs42 cloth extra1 gilt edges1 #gs4 #f;d4 ,the ,epic of ,hades4 ,with #af ,autotype ,illustrations1 after the ,drawings of ,,george ,r4 ,,chapman4 #dto1 cloth extra1 gilt edges1 #bas4 ,the ,epic of ,hades4 ,presentation ,edition4 #dto1 cloth extra1 gilt edges1 #gs4 #f;d4 ,the ,epic of ,hades4 ,elzevir ,edition4 ,printed on hand-made paper1 cloth extra1 gilt top1 #es4 ,poetical ,works4 ,complete in #g vols4 ,foolscap #hvo1 #es4 each4 ,vol4 ,i4 ,songs of ,two ,worlds4 ,twenty-second ,thousand4 ,,ii4 ,the ,epic of ,hades4 ,thirty-eighth ,thousand4 ,,iii4 ,gwen and ,the ,ode of ,life4 ,twentieth ,thousand4 ,,iv4 ,songs ,unsung and ,gycia4 ,seventeenth ,thousand4 ,v4 ,songs of ,britain4 ,fifteenth ,thousand4 ,,vi4 ,a ,vision of ,saints4 ,fifth ,thousand4 ,,vii4 ,songs ,without ,notes4 ,idylls and ,lyrics4 ,third ,edition4 #abmo1 cloth1 #es4 ,the ,birthday ,book4 ,edited by ,s4 ,s4 ,,chapman4 ,with ,frontispiece4 #cbmo1 cloth extra1 gilt edges1 #bs42 cloth limp1 #as4 #f;d4 ,,munchausen',s ,travels and ,surprising ,adventures4 ,illustrated by ,,alfred ,,crowquill4 7,lotos ,series71 #cs4 #f;d4 ,,newman1 ,cardinal1 ,characteristics from the ,writings of4 ,selections from his various ,works4 ,arranged by ,w4 ,s4 ,,lilly4 ,ninth ,edition4 ,with ,portrait4 ,crown #hvo1 #fs4 asterism ,portrait of the late ,cardinal ,newman1 mounted for framing1 #bs4 #f;d4 ,,parkes1 ,sir ,,henry1 ,sonnets and other ,verse4 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parchment or cloth1 #fs4 per vol4 ,,cheap ,,edition1 #as4 per vol4 net4 asterism ,,the ,,cheap ,,edition may also be had complete-- #ab vols4 in cloth box1 #aes4 net2 or bound in #f vols41 #abs4 net4 ,in ,,one ,,volume1 with ,glossarial ,index-- ,super ,royal #hvo1 #gs4 #f;d4 ,concordance to ,shakespeare's ,poems4 ,by ,mrs4 ,,furness4 #ahs4 ,a ,new ,variorum ,edition of ,shakespeare4 ,edited by ,,horace ,,howard ,,furness4 #ahs4 each vol4 ,vol4 ,i4 ,romeo4 ,,ii4 ,macbeth4 ,vols4 ,,iii4 and ,,iv4 ,hamlet4 ,vol4 ,v4 ,lear4 ,,vi4 ,othello4 ,,vii4 ,merchant of ,venice4 ,vol4 ,,viii4 ,as ,you ,like ,it4 ,sonnets4 ,edited by ,,edward ,,dowden4 ,with ,frontispiece4 ,elzevir #hvo 7,parchment ,library74 ,vellum1 #gs4 #f;d42 parchment or cloth1 #fs4 ,index to ,shakespeare's ,works4 ,by sc,e4 ,o',connor_/sc4 ,crown #hvo1 #es4 ,shakespeare ,classical ,dictionary2 or1 ,mythological ,allusions in the ,plays of ,shakespeare explained4 ,by ,h4 ,m4 ,,selby4 ,foolscap #hvo1 #as4 ,shakspere3 ,a ,critical 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,,banks1 ,mrs4 ,g4 ,,linn,,us1 ,god's ,providence ,house4 ,crown #hvo1 #fs4 ,,benson1 ,,may ,,eleanor1 ,at ,sundry ,times and in ,divers ,manners4 ,with ,portrait and ,memoir4 #b vols4 ,crown #hvo1 #ajs4 #f;d4 ,,caird1 ,,mona1 ,the ,wing of ,azrael4 ,crown #hvo1 #fs4 ,,child1 ,j4 ,t41 ,the ,pearl of ,asia4 #ajs4 #f;d4 ,,compton1 ,c4 ,g41 ,scot ,free4 ,a ,novel4 ,crown #hvo1 #fs4 ,,fletcher1 ,j4 ,s41 ,the ,winding ,way4 ,crown #hvo1 #fs4 ,,goodchild1 ,,john ,a41 ,my ,friends at ,sant ',ampelio4 ,crown #hvo1 #gs4 #f;d4 ,,gray1 ,,maxwell1 ,in the ,heart of the ,storm4 ,with ,frontispiece4 ,crown #hvo1 #fs4 ,the ,reproach of ,annesley4 ,with ,frontispiece4 ,crown #hvo1 #fs4 ,silence of ,dean ,maitland4 ,with ,frontispiece4 ,crown #hvo1 #fs4 ,new and ,illustrated ,edition1 post #hvo1 #fs4 ,costly ,freak4 ,with ,frontispiece4 ,crown #hvo1 #fs4 ,an ,innocent ,impostor4 ,with ,frontispiece4 ,crown #hvo1 #fs4 ,,grey1 ,,rowland1 ,in ,sunny ,switzerland2 ,a ,tale of ,six ,weeks4 ,second ,edition4 ,small #hvo1 #es4 ,lindenblumen1 and other ,stories4 ,small #hvo1 #es4 ,jacob's ,letter1 and other ,stories4 ,crown #hvo1 #es4 ,,gurney1 ,rev4 ,,alfred1 ,the ,story of a ,friendship4 ,crown #hvo1 #es4 ,,hawthorne1 ,,nathaniel1 ,works4 ,complete in #ab vols4 ,large post #hvo1 #gs4 #f;d4 each4 ,scarlet ,letter4 ,new ,illustrated ,edition4 ,post #hvo1 #ajs4 #f;d4 ,dr4 ,grimshawe's ,secret4 ,a ,romance4 ,with ,preface and ,notes by ,julian ,hawthorne4 ,post #hvo1 #gs4 #f;d4 _/ ,,housman1 ,,lawrence1 ,all ,fellows4 ,with #g ,illustrations1 ,title ,page1 and ,cover designed by the ,author4 ,imperial #afmo1 #fs4 ,the ,house of ,joy4 ,with #i ,illustrations1 and ,cover specially designed by the ,author4 ,crown #hvo1 #fs4 ,a ,farm in ,fairyland4 ,with #ab ,illustrations by the ,author4 ,crown #hvo1 #fs4 ,,huysmans1 ,j4 ,k41 ,en ,route4 ,translated by ,c4 ,,kegan ,,paul4 ,second ,edition4 ,crown #hvo1 #fs4 ,,ingelow1 ,,jean1 ,off the ,skelligs4 ,a ,novel4 ,with ,frontispiece4 ,crown #hvo1 #fs4 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#cs4 #f;d4 ,flight of the ,shadow4 ,with ,frontispiece4 ,crown #hvo1 #fs4 ,new and cheaper ,edition1 #cs4 #f;d4 ,malcolm4 ,with ,portrait of the ,author engraved on ,steel4 ,crown #hvo1 #fs4 ,new and cheaper ,edition1 #cs4 #f;d4 ,castle ,warlock4 ,with ,frontispiece4 ,crown #hvo1 #fs4 ,new and cheaper ,edition1 #cs4 #f;d4 ,there and ,back4 ,with ,frontispiece4 #fs4 ,new and cheaper ,edition1 #cs4 #f;d4 ,donal ,grant4 ,with ,frontispiece4 ,crown #hvo1 #fs4 ,new and cheaper ,edition1 #cs4 #f;d4 ,home ,again4 ,with ,frontispiece4 ,crown #hvo1 #fs4 ,new and cheaper ,edition1 #cs4 #f;d4 ,the ,marquis of ,lossie4 ,with ,frontispiece4 ,crown #hvo1 #fs ,new and cheaper ,edition1 #cs4 #f;d4 ,mac,k,e,n,n,a1 ,s4 ,t41 ,plucky ,fellows4 ,a ,book for ,boys4 ,with #f ,illustrations4 ,fifth ,edition4 ,crown #hvo1 #cs4 #f;d4 ,,malet1 ,,lucas1 ,colonel ,enderby's ,wife4 ,with ,frontispiece4 ,crown #hvo1 #fs4 ,a ,counsel of ,perfection4 ,with ,frontispiece4 ,crown #hvo1 #fs4 ,little ,peter4 ,a ,christmas ,morality for ,children of any age4 ,with numerous ,illustrations4 ,fourth ,thousand4 #es4 ,,mulholland1 ,,rosa1 ,marcella ,grace4 ,an ,irish ,novel4 ,new ,edition1 with ,illustrations4 ,crown #hvo1 #fs4 ,a ,fair ,emigrant4 ,with ,frontispiece4 ,crown #hvo1 #fs4 ,new and cheaper ,edition1 #bs4 ,,owlglass1 ,,tyll1 ,marvellous and ,rare ,conceits4 ,translated by ,,kenneth ,,mackenzie4 ,illustrated by ,,alfred ,,crowquill4 7,lotos ,series71 #cs4 #f;d4 ,,pontopiddan1 ,,henrik1 ,the ,apothecary's ,daughters4 ,translated from the ,danish by ,,gordius ,,nielsen4 ,crown #hvo1 #cs4 #f;d4 ,,prig1 ,the ,prigment3 ',the ,life of a ,prig1' ',prig's ,bede1' ',how to ,make a ,saint1' ',black is ,white4' ,second ,edition4 ,in #a vol4 crown #hvo1 #es4 ,a ,romance of the ,recusants4 ,crown #hvo1 #es4 ,black is ,white2 or1 ,continuity ,continued4 ,second ,edition4 ,foolscap #hvo1 #cs4 #f;d4 ,prig's ,bede4 ,the ,venerable ,bede ,expurgated1 ,expounded1 and ,exposed4 ,second ,edition4 ,foolscap #hvo1 #cs4 #f;d4 ,riches or ,ruin4 ,foolscap #hvo1 #cs4 #f;d4 ,egosophy4 ,foolscap #hvo1 #cs4 #f;d4 ,,reaney1 ,mrs4 ,g4 ,s41 ,waking and ,working2 or1 ,from ,girlhood to ,womanhood4 ,new and cheaper ,edition4 ,with ,frontispiece4 ,crown #hvo1 #cs4 #f;d4 ,blessing and ,blessed4 ,a ,sketch of ,girl ,life4 ,new and cheaper ,edition4 ,crown #hvo1 #cs4 #f;d4 ,rose ,gurney's ,discovery4 ,a ,story for ,girls4 ,dedicated to their ,mothers4 ,crown #hvo1 #gs4 #f;d4 ,english ,girls3 ,their ,place and ,power4 ,with ,preface by the ,rev4 ,r4 ,w4 ,,dale4 ,fifth ,edition4 ,foolscap #hvo1 #bs4 #f;d4 ,just ,any ,one1 and other ,stories4 ,with #c ,illustrations4 #afmo1 #as4 #f;d4 ,sunbeam ,willie1 and other ,stories4 ,with #c ,illustrations4 #afmo1 #as4 #f;d4 ,sunshine ,jenny1 and other ,stories4 ,with #c ,illustrations4 #afmo1 #as4 #f;d4 ,,ross1 ,,percy1 ,a ,professor of ,alchemy4 ,crown #hvo1 #cs4 #f;d4 ,,shaw1 ,,flora ,l41 ,castle ,blair4 ,a ,story of ,youthful ,days4 ,crown #hvo1 #cs4 #f;d4 ,,spinner1 ,,alice1 ,lucilla3 ,an ,experiment4 #b vols4 crown #hvo1 #abs4 net4 ,also cheaper ,edition1 crown #hvo1 #cs4 #f;d4 ,sporting ,stories and ,sketches4 ,by ,g4 ,g4 ,with ,frontispiece by ,g4 ,,bowers4 ,new and cheaper ,edition1 picture-boards1 crown #hvo1 #bs4 ,,stretton1 ,,hesba1 ,david ,lloyd's ,last ,will4 ,with #d ,illustrations4 ,new ,edition1 royal #afmo1 #bs4 #f;d4 ',,tasma1' ,a ,sydney ,sovereign1 and other ,tales4 ,crown #hvo1 cloth1 #fs4 ,in ,her ,earliest ,youth4 ,cheap ,edition4 ,crown #hvo1 #fs4 ,,taylor1 ,colonel ,,meadows1 ,seeta4 ,a ,novel4 ,with ,frontispiece4 ,crown #hvo1 #cs4 #f;d4 ,tippoo ,sultaun4 ,a ,tale of the ,mysore ,war4 ,with ,frontispiece4 ,crown #hvo1 #cs4 #f;d4 ,ralph ,darnell4 ,with ,frontispiece4 ,crown #hvo1 #cs4 #f;d4 ,a ,noble ,queen4 ,with ,frontispiece4 ,crown #hvo1 #cs4 #f;d4 ,the ,confessions of a ,thug4 ,with ,frontispiece4 ,crown #hvo1 #cs4 #f;d4 ,tara4 ,a ,mahratta ,tale4 ,with ,frontispiece4 ,crown #hvo1 #cs4 #f;d4 ,,thackeray1 ,w4 ,m41 ,sultan ,stork1 and other ,stories and ,sketches1 #ahbi-dd4 ,now first collected1 to which is added the ,bibliography of ,thackeray4 ,large #hvo1 #ajs4 #f;d4 ,,theodoli1 ,the ,,marchesa1 ,candiduccia4 ,scenes from ,roman ,life4 #b vols4 crown #hvo1 #abs4 net4 ,,traherne1 ,mrs4 ,,arthur1 ,the ,mill on the ,usk4 ,crown #hvo1 #fs4 ,,ii4 ,,religion4 ,,theology1 ,,exegesis1 ,,devotional ,,works1 ,,etc4 ,,abrahams1 ,l4 ,b41 ,manual of ,scripture ,history for ,jewish ,schools and ,families4 ,with ,map4 ,crown #hvo1 #as4 #f;d4 ,,alexander1 ,,william1 ,bishop1 ,the ,great ,question1 and other ,sermons4 ,crown #hvo1 #fs4 ,,allies1 ,,thomas ,w41 ,the ,monastic ,life1 from the ,fathers of the ,desert to ,charlemagne4 ,post #hvo1 #is4 net4 ,,anderson1 ,,robert1 ,a ,doubter's ,doubt about ,science and ,religion4 ,second ,edition4 ,crown #hvo1 #cs4 #f;d4 ,,arnold1 ,,thomas1 and ,,scannell1 ,t4 ,b41 ,catholic ,dictionary4 ,an ,account of the ,doctrine1 ,discipline1 ,rites1 ,ceremonies1 etc41 of the ,catholic ,church4 ,fourth ,edition1 revised and enlarged4 #hvo1 #bas4 ,,badham1 ,f4 ,p41 ,formation of the ,gospels4 ,crown #hvo1 #es4 ,,bagshawe1 ,,edward ,g41 ,bishop1 ,notes on ,christian ,doctrine4 ,crown #hvo1 #es4 ,,bagshawe1 ,,john ,b41 ,skeleton ,sermons for the ,sundays and ,holidays in the ,year4 ,crown #hvo1 #cs4 #f;d4 ,bibliotheca ,sacra4 ,annual ,subscription1 #ads4 ,,bold1 ,,philip1 ,catholic ,doctrine and ,discipline ,simply ,explained4 ,revised and in part ,edited by ,father ,,eyre1 ,s4,j4 ,post #hvo1 #ajs4 #f;d4 ,,bridgett1 ,rev4 ,t4 ,e41 ,history of the ,holy ,eucharist in ,great ,britain4 #b vols4 #hvo1 #ahs4 ,,brooke1 ,rev4 ,,stopford ,a41 ,christ in ,modern ,life4 ,seventeenth ,edition4 ,crown #hvo1 #es4 ,the ,spirit of the ,christian ,life4 ,fourth ,edition4 ,crown #hvo1 #es4 ,the ,fight of ,faith4 ,sermons preached on various occasions4 ,sixth ,edition4 ,crown #hvo1 #es4 ,sermons4 ,two ,series4 ,thirteenth ,edition4 ,crown #hvo1 #es4 each4 ,theology in the ,english ,poets--,cowper1 ,coleridge1 ,wordsworth1 and ,burns4 ,sixth ,edition4 ,post #hvo1 #es4 ,,budge1 ,e4 ,a4 ,,wallis1 ,the ,book of ,governors4 ,the ,historica ,monastica of ,thomas1 ,bishop of ,marga4 #b vols4 #hvo1 #djs4 net4 ,saint ,michael the ,archangel4 ,three ,encomiums in the ,coptic ,texts1 with a ,translation4 ,imperial #hvo1 #aes4 net4 ,,carpenter1 ,r4 ,l41 ,personal and ,social ,christianity4 ,sermons and ,addresses by the late ,,russell ,,lant ,,carpenter4 ,with a ,short ,memoir by ,,frances ,e4 ,,cooke4 ,edited by ,j4 ,,estlin ,,carpenter4 ,crown #hvo1 #fs4 ,catherine of ,siena4 ,the ,dialogue of the ,seraphic ,virgin ,catherine of ,siena4 ,translated from the ,italian1 with an ,introduction on the ,study of ,mysticism4 ,by ,,algar ,,thorold4 #hvo1 #aes4 ,,cheyne1 ,canon ,t4 ,k41 ,the ,origin and ,religious ,contents of the ,psalter4 ,the ,bampton ,lectures1 #ahhi4 #hvo1 #afs4 ,the ,prophecies of ,isaiah4 ,with ,notes and ,dissertations4 ,fifth ,edition4 #b vols4 #hvo1 #bes4 ,job and ,solomon2 or1 ,the ,wisdom of the ,old ,testament4 #hvo1 #abs4 #f;d4 ,the ,book of ,psalms2 or1 ,the ,praises of ,israel4 ,with ,commentary4 #hvo1 #afs4 ,elzevir #hvo 7,parchment ,library74 ,vellum1 #gs4 #f;d42 parchment or cloth1 #fs4 ,,clark1 ,,henry ,w41 ,history of ,tithes1 from ,abraham to ,queen ,victoria4 ,crown #hvo1 #es4 ,,clarke1 ,,james ,,freeman1 ,ten ,great ,religions4 ,an ,essay in ,comparative ,theology4 #hvo4 ,part ,i4 #ajs4 #f;d42 ,part ,,ii4 ,a ,comparison of all ,religions1 #ajs4 #f;d4 ,,clodd1 ,,edward1 ,jesus of ,nazareth4 ,with a ,brief ,sketch of ,jewish ,history to the ,time of ,his ,birth4 ,second ,edition4 ,small crown #hvo1 #fs4 ,special ,edition for ,schools1 in #b parts1 #as4 #f;d4 each4 ,childhood of ,religions1 including a ,simple ,account of the ,birth and ,growth of ,myths and ,legends4 ,new ,edition1 revised and partly re-written4 ,crown #hvo1 #es4 ,special ,edition for schools1 #as4 #f;d4 ,,cox1 ,rev4 ,,samuel1 ,d4 ,d41 ,commentary on the ,book of ,job4 ,with a ,translation4 ,second ,edition4 #hvo1 #aes4 ,balaam4 ,an ,exposition and a ,study4 ,crown #hvo1 #es4 ,miracles4 ,an ,argument and a ,challenge4 ,crown #hvo1 #bs4 #f;d4 ,salvator ,mundi2 or1 ,is ,christ the ,saviour of all ,men8 ,twelfth ,edition4 ,crown #hvo1 #bs4 #f;d4 ,the ,larger ,hope4 ,a ,sequel to ',salvator ,mundi' ,second ,edition4 #afmo1 #as4 ,genesis of ,evil1 and other ,sermons1 mainly ,expository4 ,fourth ,edition4 ,crown #hvo1 #fs4 ,,davidson1 ,,samuel1 ,introduction to the ,new ,testament4 ,third ,edition1 ,revised and enlarged4 #b vols4 demy #hvo1 #cjs4 ,,dawson1 ,,george1 ,the ,authentic ,gospel1 and other ,sermons4 ,edited by ,,george ,,st4 ,,clair4 ,fourth ,edition4 ,small #hvo1 #cs4 #f;d4 ,every-day ,counsels4 ,edited by ,,george ,,st4 ,,clair4 ,crown #hvo1 #fs4 ,prayers4 ,first ,series4 ,edited by his ,wife4 ,tenth ,edition4 ,small #hvo1 #cs4 #f;d4 ,second ,series4 ,edited by ,,george ,,st4 ,,clair4 ,small #hvo1 #cs4 #f;d4 ,sermons on ,disputed ,points and ,special ,occasions4 ,edited by his ,wife4 ,fifth ,edition4 ,small #hvo1 #cs4 #f;d4 ,sermons on ,daily ,life and ,duty4 ,edited by his ,wife4 ,fifth ,edition4 ,small #hvo1 #cs4 #f;d4 ,,dembo1 ,dr4 ,j4 ,a41 ,the ,jewish ,method of ,slaughter4 ,crown #hvo1 #bs4 #f;d4 net4 ,,didon1 ,father1 ,jesus ,christ4 ,cheaper ,edition4 #b vols4 #hvo1 #abs4 ,belief in the ,divinity of ,jesus ,christ4 ,crown #hvo1 #es4 ,,dorman1 ,,marcus ,r41 ,from ,matter to ,mind4 ,crown #hvo1 #gs4 #f;d4 ,,draper1 ,j4 ,w41 ,the ,conflict between ,religion and ,science4 ,twenty-first ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,eyton1 ,,robert1 ,the ,apostles' ,creed4 ,sermons4 ,crown #hvo1 #cs4 #f;d4 ,the ,true ,life1 and other ,sermons4 ,second ,edition4 ,crown #hvo1 #fs4 ,the ,lord's ,prayer4 ,sermons4 ,crown #hvo1 #cs4 #f;d4 ,the ,ten ,commandments4 ,sermons4 ,crown #hvo1 #cs4 #f;d4 ,the ,search for ,god1 and other ,sermons4 ,crown #hvo1 #cs4 #f;d4 ,the ,temptation of ,jesus1 and other ,sermons4 ,crown #hvo1 #cs4 #f;d4 ,the ,beatitudes4 ,sermons4 ,crown #hvo1 #cs4 #f;d4 ,french ,jansenists4 ,by the ,author of ',spanish ,mystics' and ',many ,voices4' ,crown #hvo1 #fs4 ,,friedl,,nder1 ,m41 ,text ,book of ,jewish ,religion4 ,fourth ,edition1 ,revised4 ,crown #hvo1 #as4 #f;d4 ,the ,jewish ,religion4 ,crown #hvo1 #es4 ,,grimley1 ,,rev4 ,h4 ,n41 ,,tremadoc ,,sermons4 ,chiefly on the ,spiritual ,body1 the ,unseen ,world1 and the ,divine ,humanity4 ,fourth ,edition4 ,crown #hvo1 #fs4 ,the ,prayer of ,humanity4 ,sermons on the ,lord's ,prayer4 ,crown #hvo1 #cs4 #f;d4 ,the ,temple of ,humanity1 and other ,sermons4 ,crown #hvo1 #fs4 ,,haweis1 ,rev4 ,h4 ,r41 ,current ,coin4 ,materialism--,the ,devil--,crime--,drunkenness--,pauperism --,emotion--,recreation--,the ,sabbath4 ,sixth ,edition4 ,crown #hvo1 #es4 ,arrows in the ,air4 ,fifth ,edition4 ,crown #hvo1 #es4 ,speech in ,season4 ,sixth ,edition4 ,crown #hvo1 #es4 ,thoughts for the ,times4 ,fourteenth ,edition4 ,crown #hvo1 #es4 ,unsectarian ,family ,prayers4 ,new ,edition4 ,foolscap #hvo1 #as4 #f;d4 ,,hershon1 ,j4 ,p41 ,talmudic ,miscellany2 or1 ,one ,thousand and ,one ,extracts from the ,talmud1 the ,midrashim1 and the ,kabbalah4 ,post #hvo1 #ads4 7,trbner's ,oriental ,series47 ,,islam4 ,see ,class ,,oriental4 ,,kempis1 ,,thomas 1 ,imitation of ,christ4 ,revised ,translation4 ,elzevir #hvo1 7,parchment ,library74 ,vellum1 #gs4 #f;d42 parchment or cloth1 #fs4 ,,red ,,line ,,edition4 ,foolscap #hvo1 #bs4 #f;d4 ,cabinet ,edition1 small #hvo1 #as4 #f;d42 cloth limp1 #as4 ,,miniature ,,edition4 #cbmo4 ,with ,red ,lines1 #as4 #f;d42 without ,red ,lines1 #as4 ,de ,imitatione ,christi4 ,latin and ,english4 ,crown #hvo1 #gs4 #f;d4 ,l,,picier1 ,,alexius ,w41 ,d4,d41 ,indulgences3 ,their ,origin1 ,nature1 and ,development4 ,post #hvo1 #ajs4 #f;d4 ,life's ,greatest ,possibility4 ,an ,essay in ,spiritual ,realism4 ,foolscap #hvo1 #bs4 #f;d4 ,,lovat1 ,lady1 ,seeds and ,sheaves3 ,thoughts for ,incurables4 ,crown #hvo1 #es4 ,,maimonides1 ,guide of the ,perplexed1 from the ,original ,text4 ,annotated by ,h4 ,,friedl,,nder4 #c vols4 post #hvo1 #cas4 #f;d4 7,philosophical ,library47 ,,manning1 ,cardinal1 ,towards ,evening3 ,selections from the ,writings of ,cardinal ,manning4 ,fourth ,edition1 with ,fac-simile4 #afmo1 #bs4 ,,mead1 ,c4 ,m41 ,d4,d41 ,supernatural ,revelation3 ,an ,essay concerning the ,basis of the ,christian ,faith4 ,royal #hvo1 #ads4 ,,moore1 ,,aubrey ,l41 ,science and the ,faith3 ,essays on ,apologetic ,subjects4 ,third ,edition4 ,crown #hvo1 #fs4 ,,parker1 ,,theodore 7,minister of the ,twenty-eighth ,congregational ,society at ,boston1 ,u4,s471 ,collected ,works4 #ad vols4 #hvo1 #fs4 each4 ,vol4 ,i4 ,discourse on ,matters ,pertaining to ,religion4 ,,ii4 ,ten ,sermons and ,prayers4 ,,iii4 ,discourses on ,theology4 ,,iv4 ,discourses on ,politics4 ,v4 ,,vi4 ,discourses on ,slavery4 ,,vii4 ,discourses on ,social ,science4 ,,viii4 ,miscellaneous ,discourses4 ,,ix4 ,x4 ,critical ,writings4 ,,xi4 ,sermons on ,theism1 ,atheism1 and ,popular ,theology4 ,,xii4 ,autobiographical and ,miscellaneous ,pieces4 ,,xiii4 ,historic ,americans4 ,,xiv4 ,lessons from the ,world of ,matter and the ,world of ,man4 ,discourse on ,matters ,pertaining to ,religion4 ,people's ,edition4 ,crown #hvo1 #bs42 #as4 #f;d4 ,,pascal1 ,thoughts4 ,translated by ,c4 ,,kegan ,,paul4 ,foolscap #hvo1 parchment1 #abs4 ,new ,edition1 crown #hvo1 #fs4 ,,pastor1 ,dr4 ,,ludwig1 ,the ,history of the ,popes4 ,translated from the ,german by ,,frederick ,j4 ,,antrobus4 ,vols4 #c and #d1 #hvo1 #bds4 net4 ,paul of ,tarsus4 ,by the ,author of ',rabbi ,jeshua4' ,crown #hvo1 #ds4 #f;d4 ,,pearson1 ,,samuel1 ,scholars of ,christ4 ,crown #hvo1 #fs4 ,week-,day ,living4 ,third ,edition4 ,crown #hvo1 #fs4 ,,pulpit ,,commentary1 ,the 7,old ,testament ,series74 ,edited by the ,very ,rev4 ,dean ,h4 ,d4 ,m4 ,,spence1 ,d4,d41 and ,rev4 ,j4 ,s4 ,,exell4 ,super royal #hvo4 ,genesis1 by the ,rev4 ,t4 ,,whitelaw1 ,d4,d4 ,homilies by 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,d4,d41 and ,rev4 ,prof4 ,s4 ,d4 ,f4 ,,salmond1 ,d4,d4 ,homilies by the ,rev4 ,a4 ,,maclaren1 ,d4,d41 ,rev4 ,c4 ,,clemance1 ,d4,d41 ,rev4 ,prof4 ,j4 ,r4 ,,thomson1 ,rev4 ,c4 ,,new1 ,rev4 ,u4 ,r4 ,,thomas1 ,rev4 ,r4 ,,finlayson1 ,rev4 ,w4 ,,jones1 ,rev4 ,prof4 ,t4 ,,croskery1 ,d4,d41 and ,rev4 ,j4 ,s4 ,,bright1 ,d4,d4 ,second ,edition4 #aes4 ,revelation4 ,introduction by the ,rev4 ,t4 ,,randell1 ,principal of ,bede ,college1 ,durham4 ,exposition by the ,rev4 ,a4 ,,plummer1 ,d4,d41 assisted by ,rev4 ,t4 ,,randell and ,a4 ,t4 ,,bott4 ,homilies by the ,rev4 ,c4 ,,clemance1 ,d4,d41 ,rev4 ,s4 ,,conway1 ,rev4 ,r4 ,,green1 and ,rev4 ,d4 ,,thomas1 ,d4,d4 ,second ,edition4 #aes4 ,,pusey1 ,rev4 ,e4 ,b41 ,d4,d41 ,sermons for the ,church's ,seasons from ,advent to ,trinity4 ,crown #hvo1 #es4 ,,renan1 ,,ernest1 ,life of ,jesus4 ,crown #hvo1 #as4 #f;d42 paper covers1 #as4 ,the ,apostles4 ,crown #hvo1 #as4 #f;d42 paper covers1 #as4 ,,reynolds1 ,rev4 ,j4 ,w41 ,the ,supernatural in ,nature4 ,a ,verification by the ,free ,use of ,science4 ,third ,edition1 revised and enlarged4 #hvo1 #ads4 ,mystery of the ,universe ,our ,common ,faith4 #hvo1 #ads4 ,mystery of ,miracles4 ,third ,edition1 enlarged4 ,crown #hvo1 #fs4 ,the ,world to ,come4 ,immortality a ,physical ,fact4 ,crown #hvo1 #fs4 ,,richardson1 ,,austin1 ,what are the ,catholic ,claims8 ,introduction by ,rev4 ,,luke ,,rivington4 ,crown #hvo1 #cs4 #f;d4 ,,rivington1 ,rev4 ,,luke1 ,authority2 or1 ,a ,plain ,reason for ,joining the ,church of ,rome4 ,fifth ,edition4 ,crown #hvo1 #cs4 #f;d4 ,dependence2 or1 ,the ,insecurity of the ,anglican ,position4 ,crown #hvo1 #es4 ,,robertson1 ,rev4 ,f4 ,w41 ,notes on ,genesis4 ,new and cheaper ,edition4 ,small #hvo1 #cs4 #f;d4 ,st4 ,paul's ,epistle to the ,corinthians4 ,expository ,lectures4 ,new ,edition4 ,small #hvo1 #es4 ,lectures and ,addresses1 with other ,literary ,remains4 ,new ,edition4 ,small #hvo1 #es4 ,sermons4 ,five ,series4 ,small #hvo1 #cs4 #f;d4 each4 asterism ,portrait of the late ,rev4 ,f4 ,w4 ,,robertson1 mounted for framing1 #bs4 #f;d4 ,,rowan1 ,,frederica1 ,meditations on ,death and ,eternity4 ,translated from the ,german by ,f4 ,,rowan4 ,published by ,her ,majesty's gracious permission4 ,crown #hvo1 #fs4 ,meditations on ,life and its ,religious ,duties4 ,translated from the ,german by ,f4 ,,rowan4 ,published by ,her ,majesty's gracious permission4 ,crown #hvo1 #fs4 ,,scannell1 ,,thomas ,b41 and ,,wilhelm1 ,,joseph1 ,d4,d41 ,manual of ,catholic ,theology1 based on ,,scheeben',s ',dogmatik4' ,vol ,i4 #aes4 ,,schleiermacher1 ,f41 ,on ,religion4 ,speeches to its ,cultured ,despisers4 ,translated1 with ,introduction1 by ,j4 ,,oman4 #hvo1 #gs4 #f;d4 ,,tayler1 ,j4 ,j41 ,retrospect of the ,religious ,life of ,england2 or1 ,church1 ,puritanism1 and ,free ,inquiry4 ,second ,edition4 ,post #hvo1 #gs4 #f;d4 ,,tiele1 ,prof4 ,c4 ,p41 ,outlines of the ,history of ,religion to the ,spread of the ,universal ,religions4 ,from the ,dutch1 by ,j4 ,,estlin ,,carpenter4 ,fifth ,edition4 ,post #hvo1 #gs4 #f;d4 7,philosophical ,library1 and ,trbner's ,oriental ,series47 ,history of the ,egyptian and ,mesopotamian ,religions4 ,translated by ,j4 ,,ballingal4 ,post #hvo1 #gs4 #f;d4 7,trbner's ,oriental ,series47 ,,trench1 ,archbishop1 ,notes on the ,parables of our ,lord4 #hvo1 #abs4 ,cheap ,edition4 ,sixty-first ,thousand4 #gs4 #f;d4 ,notes on the ,miracles of our ,lord4 #hvo1 #abs4 ,cheap ,edition4 ,forty-eighth ,thousand4 #gs4 #f;d4 ,brief ,thoughts and ,meditations on some ,passages in ,holy ,scripture4 ,third ,edition4 ,crown #hvo1 #cs4 #f;d4 ,apocalypse3 ,commentary on the ,epistles to the ,seven ,churches of ,asia4 ,fourth ,edition1 revised4 #hvo1 #hs4 #f;d4 ,on the ,authorised ,version of the ,new ,testament4 ,second ,edition4 #hvo1 #gs4 ,proverbs and their ,lessons4 ,eighth ,edition1 enlarged4 ,foolscap #hvo1 #ds4 ,studies in the ,gospels4 ,fifth ,edition1 revised4 #hvo1 #ajs4 #f;d4 ,synonyms of the ,new ,testament4 ,tenth ,edition1 enlarged4 #hvo1 #abs4 ,sermons1 ,new and ,old4 ,crown #hvo1 #fs4 ,lectures on ,medival ,church ,history4 ,being the substance of ,lectures delivered at ,queen's ,college1 ,london4 ,second ,edition4 #hvo1 #abs4 ,shipwrecks of ,faith4 ,three ,sermons preached before the ,university of ,cambridge4 ,foolscap #hvo1 #bs4 #f;d4 ,westminster and other ,sermons4 ,crown #hvo1 #fs4 ,,trumbull1 ,h4 ,,clay1 ,the ,blood-,covenant4 ,a ,primitive ,rite1 and its bearing on ,scripture4 ,post #hvo1 #gs4 #f;d4 ,,turton1 ,major ,w4 ,h41 ,the ,truth of ,christianity4 ,crown #hvo1 #fs4 ,,wilson1 ,archdeacon1 ,rochdale ,sermons1 #ahia-d4 ,crown #hvo1 #es4 ,,wyld1 ,dr4 ,,george1 ,christo-,theosophy2 or1 ,spiritual ,dynamics4 ,crown #hvo1 #cs4 #f;d4 net4 ,,religious ,,philosophy ,,and ,,speculative ,,theology4 7,see also ,,philosophy47 ,,arnold1 ,sir ,,edwin1 ,death--and ,afterwards4 ,reprinted from the ,fortnightly ,review of ,august1 #ahhe1 with a ,supplement4 ,eleventh ,edition4 ,crown #hvo1 cloth1 #as4 #f;d42 paper covers1 #as4 ,,feuerbach1 ,l41 ,essence of ,christianity4 ,from the ,german1 by ,,marian ,,evans4 ,second ,edition4 ,post #hvo1 #gs4 #f;d4 7,philosophical ,library47 ,,fitzarthur1 ,t41 ,the ,worth of ,human ,testimony4 ,foolscap #hvo1 #bs4 ,,graham1 ,,william1 ,creed of ,science1 ,religious1 ,moral1 and ,social4 ,second ,edition1 revised4 ,crown #hvo1 #fs4 ,,greg1 ,w4 ,r41 ,the ,creed of ,christendom4 ,eighth ,edition4 #b vols4 post #hvo1 #aes4 7,philosophical ,library47 ,enigmas of ,life4 ,seventeenth ,edition4 ,post #hvo1 #ajs4 #f;d4 ,new ,edition1 with ,prefatory ,memoir1 ,edited by his ,wife4 #fs4 7,philosophical ,library47 ,miscellaneous ,essays4 ,two ,series4 ,crown #hvo1 #gs4 #f;d4 each4 ,,hegel1 ,g4 ,w4 ,f41 ,lectures on the ,philosophy of ,religion4 ,translated by the ,rev4 ,e4 ,b4 ,,spiers and ,j4 ,,burdon ,,sanderson4 #c vols4 #hvo1 #abs4 each4 7,see also ,,philosophy47 ,,heine1 ,h41 ,religion and ,philosophy in ,germany4 ,translated by ,j4 ,,snodgrass4 ,post #hvo1 #fs4 7,philosophical ,library47 ,,morison1 ,j4 ,,cotter1 ,the ,service of ,man4 ,an ,essay towards the ,religion of the ,future4 ,crown #hvo1 #es4 ,,newman1 ,f4 ,w41 ,miscellanies4 ,essays1 ,tracts1 and ,addresses1 ,moral and ,religious4 #hvo4 ,vol4 ,i4 #ajs4 #f;d4 ,,physicus1 ,candid ,examination of ,theism4 ,second ,edition4 ,post #hvo1 #gs4 #f;d4 7,philosophical ,library47 ,,reade1 ,,winwood1 ,the ,martyrdom of ,man4 ,fourteenth ,edition4 ,crown #hvo4 #gs4 #f;d4 ,,ward1 ,w4 ,g41 ,essays on the ,philosophy of ,theism4 ,edited1 with an ,introduction1 by ,,wilfrid ,,ward4 #b vols4 #hvo1 #bas4 ,,mythology1 ,,etc4 ,,brinton1 ,d4 ,g41 ,rig ,veda ,americanus4 #hvo1 #abs4 ,,cox1 ,sir ,g4 ,w41 ,bart41 ,mythology of the ,aryan ,nations4 ,new ,edition4 #hvo1 #afs4 ,tales of ,ancient ,greece4 ,new ,edition4 ,small crown #hvo1 #fs4 ,tales of the ,gods and ,heroes4 ,small ,crown #hvo1 #cs4 #f;d4 ,manual of ,mythology in the ,form of ,question and ,answer4 ,new ,edition4 ,foolscap #hvo1 #cs4 ,introduction to the ,science of ,comparative ,mythology and ,folk-,lore4 ,second ,edition4 ,crown #hvo1 #gs4 #f;d4 ,,dowson1 ,,john1 ,classical ,dictionary of ,hindu ,mythology and ,history1 ,geography and ,literature4 ,post #hvo1 #afs4 7,trbner's ,oriental ,series47 ,,gubernatis1 ,,angelo ,,de1 ,zoological ,mythology2 or1 ,the ,legends of ,animals4 #b vols4 #hvo1 #a #hs4 ,,muir1 ,,john1 ,cosmogony1 ,mythology1 etc41 of the ,indians in the ,vedic ,age4 ,third ,edition4 #a #as4 ,,vignoli1 ,,tito1 ,myth and ,science4 ,an ,essay4 ,third ,edition4 ,with ,supplementary ,note4 ,crown #hvo1 #es4 7,i4,s4,s47 ,,wake1 ,c4 ,s41 ,serpent ,worship1 and other ,essays1 with a ,chapter on ,totemism4 #hvo1 #ajs4 #f;d4 ,,westropp1 ,h4 ,m41 ,primitive ,symbolism as ,illustrated in ,phallic ,worship2 or1 ,the ,reproductive ,principle4 ,with ,introduction by ,major-,gen4 ,,forlong4 #hvo1 #gs4 #f;d4 ,,wilson1 ,h4 ,h41 ,vishnu ,purn4 ,a ,system of ,hindu ,mythology and ,tradition4 ,from the original ,sanskrit4 ,illustrated by ,notes derived chiefly from other ,purns4 ,translated by ,h4 ,h4 ,,wilson4 ,edited by ,,fitz ,,edward ,,hall4 #e vols1 #c #ds4 #f;d4 ,,folk-,,lore4 ,,bleek1 ,w4 ,h4 ,i41 ,hottentot ,folk-,lore4--,reynard the ,fox in ,south ,africa2 or1 ,hottentot ,fables and ,tales4 ,post #hvo1 #cs4 #f;d4 ,,catlin1 ,,george1 ,mandan ,customs4--,o-,kee-,pa1 a ,religious ,ceremony2 and other customs of the ,mandans4 ,with #ac ,coloured ,illustrations4 ,small #dto1 #ads4 ,,cox1 ,sir ,g4 ,w41 and ,,jones1 ,e4 ,h41 ,popular ,romances of the ,middle ,ages4 ,third ,edition4 ,crown #hvo1 #fs4 ,,gaster1 ,m41 ,greeko-,slavonic ,literature and its ,relation to the ,folk-,lore of ,europe during the ,middle ,ages4 ,large post #hvo1 #gs4 #f;d4 ,,gomme1 ,g4 ,,laurence1 ,ethnology in ,folk-,lore4 ,crown #hvo1 #bs4 #f;d4 7,modern ,science ,series47 ,indian ,folk-,lore4 ,see class ,,oriental4 ,,long1 ,j41 ,eastern ,proverbs and ,emblems ,illustrating ,old ,truths4 ,post #hvo1 #fs4 7,trbner's ,oriental ,series47 ,,macritchie1 ,,david1 ,fians1 ,fairies1 and ,picts4 ,with ,illustrations4 ,large post #hvo1 #gs4 #f;d4 ,,northall1 ,g4 ,f41 ,english ,folk ,rhymes4 ,a ,collection of ,traditional ,verses relating to ,places and ,persons1 ,customs1 ,superstitions1 etc4 ,crown #hvo1 #ajs4 #f;d4 ,turkish ,tales4--,the ,history of the ,forty ,vezirs2 or1 ,the ,story of the ,forty ,morns and ,eves4 ,translated from the ,turkish by ,e4 ,j4 ,w4 ,,gibb4 ,crown #hvo1 #ajs4 #f;d4 ,,iii4 ,,occult ,,sciences4 ,,baughan1 ,,rosa1 ,the ,influence of the ,stars4 ,a ,treatise on ,astrology1 ,chiromancy1 and ,physiognomy4 #hvo1 #es4 ,,binet1 ,a41 and ,f,r1 ,c41 ,animal ,magnetism4 ,second ,edition4 ,crown #hvo1 #es4 7,i4,s4,s47 ,,collins1 ,,mabel1 ,through the ,gates of ,gold4 ,mysticism4 ,small #hvo1 #ds4 #f;d4 ,,cook1 ,,louisa ,s41 ,geometrical ,psychology2 or1 ,the ,science of ,representation4 ,an ,abstract of the ,theories and ,diagrams of ,b4 ,w4 ,,betts4 ,sixteen ,plates4 #hvo1 #gs4 #f;d4 ,,cotton1 ,,louise1 ,palmistry and its ,practical ,uses4 ,twelve ,plates4 ,crown #hvo1 #bs4 #f;d4 ,d',,assier1 ,,adolphe1 ,posthumous ,humanity4 ,a ,study of ,phantoms1 from the ,french4 ,by ,,colonel ,,olcott4 ,with ,appendix and ,notes4 ,crown #hvo1 #gs4 #f;d4 ,,dewey1 ,j4 ,h41 ,the ,way1 the ,truth1 and the ,life4 ,a ,handbook of ,christian ,theosophy1 ,healing1 and ,psychic ,culture4 #ajs4 #f;d4 ,,hartmann1 ,,franz1 ,white and ,black ,magic2 or1 ,the ,science of ,finite and ,infinite ,life4 ,fourth ,edition1 revised4 ,crown #hvo1 #fs4 ,life of ,paracelsus1 and the ,substance of his ,teachings4 ,new and ,revised ,edition4 ,post #hvo1 #gs4 #f;d4 ,life and ,doctrines of ,jacob ,boehme4 ,an ,introduction to the ,study of his ,works4 ,post #hvo1 #ajs4 #f;d4 ,,heidenhain1 ,,rudolph1 ,hypnotism1 or ,animal ,magnetism4 ,with ,preface by ,g4 ,j4 ,,romanes4 ,second ,edition4 ,small #hvo1 #bs4 #f;d4 ,,hermes1 ,,trismegistus1 ,christian ,neoplatonist1 ,theological and ,philosophical ,works of4 ,translated from the ,greek by ,j4 ,d4 ,,chambers4 #hvo1 #gs4 #f;d4 ,the ,virgin of the ,world4 ,translated and ,edited by the ,authors of ',the ,perfect ,way4' ,illustrations4 #dto1 imitation parchment1 #ajs4 #f;d4 ,,jennings1 ,,hargrave1 ,the ,indian ,religions2 or1 ,results of the ,mysterious ,buddhism4 #hvo1 #ajs4 #f;d4 ,,kingsford1 ,,anna1 and ,,maitland1 ,,edward1 ,the ,perfect ,way2 or1 ,the ,finding of ,christ4 ,third ,edition1 revised4 ,square #afmo1 #gs4 #f;d4 ,,kingsford1 ,,anna1 ,spiritual ,hermeneutics of ,astrology and ,holy ,writ4 ,with ,illustrations4 #dto1 parchment1 #ajs4 #f;d4 ,,mathers1 ,s4 ,l4 ,m41 ,the ,key of ,solomon the ,king4 ,translated from ancient ,,mss4 in the ,british ,museum4 ,with ,plates4 ,crown #dto1 #bes4 ,the ,kaballah ,unveiled4 ,containing the ,three ,books of the ,zohar1 translated from the ,chaldee and ,hebrew ,text4 ,post #hvo1 #ajs4 #f;d4 ,the ,tarot4 ,its ,occult ,signification1 use in ,fortune-telling1 and method of ,play4 ,with ,pack of #gh ,tarot ,cards1 #es42 without the ,cards1 #as4 #f;d4 ,,olcott1 ,colonel1 ,theosophy1 ,religion1 and ,occult ,science4 ,with ,glossary of ,eastern ,words4 ,crown #hvo1 #gs4 #f;d4 ,,owen1 ,,robert ,,dale1 ,footfalls on the ,boundary of another ,world4 ,with ,narrative ,illustrations4 ,post #hvo1 #gs4 #f;d4 ,debatable ,land between this ,world and the ,next4 ,with ,illustrative ,narrations4 ,second ,edition4 ,crown #hvo1 #gs4 #f;d4 ,threading ,my ,way4 ,twenty-seven ,years of ,autobiography4 ,crown #hvo1 #gs4 #f;d4 ,,prel1 ,,carl ,,du1 ,philosophy of ,mysticism4 ,translated from the ,german by ,c4 ,c4 ,,massey4 #b vols #hvo1 cloth1 #bes4 ,psychical ,research ,society1 ,proceedings4 ,irregular4 ,,serjeant1 ,w4 ,c4 ,,eldon1 ,the ,astrologer's ,guide 7,anima ,astrologi74 #hvo1 #gs4 #f;d4 ,,street1 ,j4 ,c41 ,the ,hidden ,way across the ,threshold2 or1 ,the ,mystery which hath been hidden for ,ages and from ,generations4 ,with ,plates4 ,large #hvo1 #aes4 ,,vaughan1 ,,thomas1 ,magical ,writings4 ,edited1 with ,introduction and ,notes1 by ,a4 ,e4 ,,waite4 ,small #dto1 #ajs4 #f;d4 ,,vincent1 ,r4 ,,harry1 ,the ,elements of ,hypnotism4 ,crown #hvo1 #es4 ,,waite1 ,a4 ,e41 ,lives of ,alchemystical ,philosophers4 #hvo1 #ajs4 #f;d4 ,magical ,writings of ,thomas ,vaughan4 ,small #dto1 #ajs4 #f;d4 ,real ,history of the ,rosicrucians4 ,with ,illustrations4 ,crown #hvo1 #gs4 #f;d4 ,mysteries of ,magic4 ,a ,digest of the ,writings of ,eliphas ,lvi4 ,new and revised ,edition4 ,with ,illustrations4 #hvo1 #ajs4 #f;d4 ,the ,occult ,sciences4 ,crown #hvo1 #fs4 _/ ,,iv4 ,,philosophy4 7,see also ,,religion47 ,,acland1 ,sir ,,thomas ,,dyke1 ,knowledge1 ,duty1 and ,faith4 ,a ,study of ,principles ,ancient and ,modern4 ,crown #hvo1 #cs4 #f;d4 ,,alexander1 ,s41 ,moral ,order and ,progress3 ,an ,analysis of ,ethical ,conceptions4 ,second ,edition4 ,post #hvo1 #ads4 7,philosophical ,library47 ,,allen1 ,,grant1 ,colour ,sense3 ,its ,origin and ,development4 ,an ,essay in ,comparative ,psychology4 ,second ,edition4 ,post #hvo1 #ajs4 #f;d4 7,philosophical ,library47 ,,aristotle1 ,the ,nicomachean ,ethics4 ,translated by ,f4 ,h4 ,,peters4 ,third ,edition4 ,crown #hvo1 #fs4 ,,bain1 ,,alexander1 ,mind and ,body3 ,the ,theories of their ,relations4 ,with ,four ,illustrations4 ,eighth ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,bastian1 ,h4 ,,charlton1 ,brain as an ,organ of ,mind4 ,with numerous ,illustrations4 ,fourth ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,comte1 ,,auguste1 ,positive ,philosophy4 ,translated and ,condensed by ,,harriet ,,martineau4 #b vols4 ,third ,edition4 ,large post #hvo1 #aes4 ,catechism of ,positive ,religion4 ,from the ,french by ,r4 ,,congreve4 ,third ,edition4 ,crown #hvo1 #bs4 #f;d4 ,,fichte1 ,j4 ,,gottlieb1 ,characteristics of the ,present ,age4 ,translated by ,w4 ,,smith4 ,post #hvo1 #fs4 ,new ,exposition of the ,science of ,knowledge4 ,translated by ,a4 ,e4 ,,kroeger4 #hvo1 #abs4 ,science of ,knowledge4 ,translated by ,a4 ,e4 ,,kroeger4 ,with an ,introduction by ,prof4 ,w4 ,t4 ,,harris4 #ajs4 #f;d4 7,philosophical ,library47 ,science of ,rights4 ,translated by ,a4 ,e4 ,,kroeger4 ,with an ,introduction by ,prof4 ,w4 ,t4 ,,harris4 #abs4 #f;d4 7,philosophical ,library47 ,science of ,ethics4 ,translated by ,w4 ,t4 ,,harris4 #gs4 #f;d4 ,popular ,works3 ,the ,nature of the ,scholar1 ,the ,vocation of the ,scholar1 ,the ,vocation of ,man1 ,the ,doctrine of ,religion1 ,characteristics of the ,present ,age1 ,outlines of the ,doctrine of ,knowledge4 ,with a ,memoir by ,w4 ,,smith4 #b vols4 #bas4 7,philosophical ,library47 ,,guicciardini1 ,f41 ,counsels and ,reflections4 ,translated by ,n4 ,h4 ,,thomson4 ,crown #hvo1 #fs4 ,,hartmann1 ,e4 von1 ,philosophy of the ,unconscious4 ,translated by ,w4 ,c4 ,,coupland4 #c vols4 post #hvo1 #cas4 #f;d4 7,philosophical ,library47 ,,hegel1 ,g4 ,w4 ,f41 ,lectures on the ,history of ,philosophy4 ,translated by ,e4 ,s4 ,,haldane4 #c vols4 post #hvo1 each #abs4 ,,hinton1 ,,james1 ,the ,law-,breaker1 and ,the ,coming of the ,law4 ,edited by ,,margaret ,,hinton4 ,crown #hvo1 #fs4 ,mystery of ,pain4 ,new ,edition4 ,foolscap #hvo1 #as4 ,philosophy and ,religion4 ,selections from the ,,mss4 of the late ,james ,hinton4 ,edited by ,,caroline ,,haddon4 ,second ,edition4 ,crown #hvo1 #es4 ,the ,larger ,life4 ,studies in ,hinton's ,ethics4 ,by ,,caroline ,,haddon4 ,crown #hvo1 #es4 ,,hughes1 ,h41 ,principles of ,natural and ,supernatural ,morals4 ,vol4 ,i4 ,natural ,morals4 #hvo1 #abs4 ,the ,theory of ,inference4 #hvo1 #ajs4 #f;d4 ,,jordan1 ,f41 ,character as seen in ,body and ,parentage4 ,with ,illustrations4 ,third ,edition4 ,small crown #hvo1 #bs4 #f;d4 net4 ,,lewes1 ,,george ,,henry1 ,problems of ,life and ,mind4 #hvo4 ,series ,i4 ,foundations of a ,creed4 #b vols4 #bhs4 ,,ii4 ,physical ,basis of ,mind4 ,with ,illustrations4 #afs4 ,,iii4 #b vols4 #bbs4 #f;d4 ,the ,physical ,basis of ,mind4 ,with ,illustrations4 ,new ,edition4 ,with ,prefatory ,note by ,prof4 ,j4 ,,sully4 ,large post #hvo1 #ajs4 #f;d4 ,,lange1 ,prof4 ,f4 ,a41 ,history of ,materialism1 and ,criticism of its ,present ,importance4 ,authorised ,translation by ,,ernest ,c4 ,,thomas4 #c vols4 post #hvo1 #ajs4 #f;d4 each4 7,philosophical ,library47 ,,lesley1 ,j4 ,p41 ,man's ,origin and ,destiny4 ,sketched from the ,platform of the ,physical ,sciences4 ,second ,edition4 ,crown #hvo1 #gs4 #f;d4 ,,lubbock1 ,sir ,john1 ,senses1 ,instincts1 and ,intelligence of ,animals4 ,with special reference to ,insects4 ,with #ajj ,illustrations4 ,third ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,luys1 ,j41 ,brain and its ,functions4 ,with ,illustrations4 ,third ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,maudsley1 ,h41 ,body and ,will4 ,an ,essay concerning ,will1 in its ,metaphysical1 ,physiological1 and ,pathological ,aspects4 #hvo1 #abs4 ,responsibility in ,mental ,disease4 ,fourth ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,supernaturalism4--,natural ,causes and ,supernatural ,seemings4 ,second ,edition4 ,crown #hvo1 #fs4 ,,mill1 ,,john ,,stuart1 ,auguste ,comte and ,positivism4 ,third ,edition4 ,post #hvo1 #cs4 #f;d4 7,philosophical ,library47 ,,mivart1 ,,st4 ,,george1 ,on ,truth4 #hvo1 #afs4 ,origin of ,human ,reason4 #hvo1 #ajs4 #f;d4 ,,moore1 ,,aubrey ,l41 ,essays1 ,scientific and ,philosophical4 ,with ,memoir of the ,author4 ,crown #hvo1 #fs4 ,,morselli1 ,prof4 ,h41 ,suicide4 ,an ,essay on ,comparative ,moral ,statistics4 ,second ,edition4 ,with ,diagrams4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,ribot1 ,prof4 ,t41 ,english ,psychology4 ,crown #hvo1 #gs4 #f;d4 ,diseases of ,memory4 ,an ,essay in the ,positive ,psychology4 ,third ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,riehl1 ,dr4 ,a41 ,introduction to the ,theory of ,science and ,metaphysics4 ,translated by ,dr4 ,,arthur ,,fairbanks4 ,post #hvo1 #is4 7,philosophical ,library47 ,,romanes1 ,g4 ,j41 ,mental ,evolution in ,man4 ,origin of the ,human ,faculty4 #hvo1 #ads4 ,mental ,evolution in ,animals4 ,with ,posthumous ,essay on ,instinct by ,,charles ,,darwin4 #hvo1 #abs4 ,animal ,intelligence4 ,fourth ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,schopenhauer1 ,,arthur1 ,the ,world as ,will and ,idea4 ,from the ,german4 ,by ,r4 ,r4 ,,haldane and ,j4 ,,kemp4 ,third ,edition4 #c vols4 post #hvo1 #abs4 each vol4 ,,simcox1 ,,edith1 ,natural ,law4 ,an ,essay in ,ethics4 ,second ,edition4 ,post #hvo1 #ajs4 #f;d4 7,philosophical ,library47 ,,sully1 ,,james1 ,illusions4 ,a ,psychological ,study4 ,third ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,wedgwood1 ,,julia1 ,the ,moral ,ideal4 ,an ,historic ,study4 ,second ,edition4 #hvo1 #is4 ,v4 ,,history4 ,,biography4 ,alchemystical ,philosophers1 ,lives of4 ,with a ,bibliography of ,alchemy4 ,by ,a4 ,e4 ,,waite4 #hvo1 #ajs4 #f;d4 ,,anselm1 ,st41 ,archbishop of ,canterbury1 and ,primate of the ,britons1 ,life and ,times of4 ,by ,,martin ,,rule4 #b vols4 #hvo1 #cbs4 ,,appleton1 ,dr41 ,his ,life and ,literary ,relics4 ,by ,j4 ,h4 ,,appleton and ,a4 ,h4 ,,sayce4 ,post #hvo1 #ajs4 #f;d4 7,philosophical ,library47 ,,bacon1 ,,francis1 ,life and ,times of4 ,by ,,james ,,spedding4 #b vols4 post #hvo1 #bas4 ,,betterton1 ,,thomas4 ,by ,r4 ,w4 ,,lowe4 ,crown #hvo1 #bs4 #f;d4 7,eminent ,actors47 ,,blavatsky1 ,madame1 ,incidents in the ,life of4 ,by ,a4 ,p4 ,,sinnett4 ,with ,portrait4 #hvo1 #ajs4 #f;d4 ,,boehme1 ,,jacob1 ,life and ,doctrines of4 ,an ,introduction to the ,study of his ,works4 ,by ,,franz ,,hartmann4 ,post #hvo1 #ajs4 #f;d4 ,,bradshaw1 ,,henry4 ,a ,memoir4 ,by ,g4 ,w4 ,,prothero4 ,with ,portrait and ,fac-simile4 #hvo1 #afs4 ,brave ,men's ,footsteps4 ,a ,book of ,example and ,anecdote for ,young ,people4 ,by the ,editor of ',men who have ,risen4' ,illustrations by ,c4 ,,doyle4 ,ninth ,edition4 ,crown #hvo1 #bs4 #f;d4 ,,bruno1 ,,giordano1 the ,nolan1 ,life of4 ,by ,i4 ,,frith4 ,revised by ,professor ,,moriz ,,carriere4 ,with ,portrait4 ,post #hvo1 #ads4 ,,burke1 the ,very ,rev4 ,t4 ,n41 ,life of4 ,by ,w4 ,j4 ,,fitzpatrick4 ,with ,portrait4 #b vols4 #hvo1 #cjs4 ,new and cheaper ,edition1 #gs4 #f;d4 ,,burrows1 ,,henry ,,william4 ,memorials4 ,by ,e4 ,,wordsworth4 ,with ,portrait4 ,crown #hvo1 #fs4 ,,caxton1 ,,william1 ,england's ,first ,printer1 ,biography and ,typography of4 ,by ,w4 ,,blades4 #hvo1 hand-made paper1 imitation old bevelled binding1 #a #as4 ,cheap ,edition1 ,crown #hvo1 #es4 ,,dawson1 ,,george1 ,biographical ,lectures4 ,edited by ,,george ,,st4 ,,clair4 ,third ,edition4 ,large crown #hvo1 #gs4 #f;d4 ,,dickens1 ,,charles1 and the ,stage2 or1 ,a ,record of his ,connection with the ,drama4 ,by ,t4 ,,edgar ,,pemberton4 ,crown #hvo1 #fs4 ,,digby1 ,sir ,,everard1 ,the ,life of a ,conspirator1 a ,biography of4 ,by one of his ,descendants4 ,with ,portrait4 ,demy #hvo1 #is4 ,,dora1 ,sister4 ,a ,biography4 ,by ,,margaret ,,lonsdale4 ,with ,portrait4 ,thirtieth ,edition4 ,small #hvo1 #bs4 #f;d4 ,,drummond1 ,,thomas1 ,life and ,letters of1 ,under-,secretary in ,ireland1 #ahce-dj4 ,by ,r4 ,,barry ,o',,brien4 #hvo1 #ads4 ,,duncan1 ,,francis1 ,c4,b41 ,r4,a41 ,m4,p41 ,life of4 ,by ,rev4 ,,henry ,,birdwood ,,blogg4 ,with ,introduction by the ,,bishop ,,of ,,chester4 ,crown #hvo1 #cs4 #f;d4 ,,edmund1 ,st41 of ,canterbury1 ,life4 ,from ,original ,sources4 ,by ,,wilfrid ,,wallace4 ,with #e ,illustrations and ,map4 #hvo1 #aes4 ,,emerson1 ,,ralph ,,waldo1 ,talks with4 ,by ,c4 ,j4 ,,woodbury4 ,crown #hvo1 #es4 ,emerson at ,home and ,abroad4 ,by ,m4 ,d4 ,,conway4 ,with ,portrait4 ,post #hvo1 #ajs4 #f;d4 7,philosophical ,library47 ,episodes in the ,lives of ,men1 ,women1 and ,lovers4 ,by ,,edith ,,simcox1 ,crown #hvo1 #gs4 #f;d4 ,,fichte1 ,,johann ,,gottlieb1 ,memoir of4 ,by ,w4 ,,smith4 ,second ,edition4 ,post #hvo1 #ds4 ,,forbes1 ,bishop4 ,a ,memoir4 ,by ,,donald ,j4 ,,mackay4 ,with ,portrait and ,map4 ,crown #hvo1 #gs4 #f;d4 ,,francis1 ,s41 of ,assisi1 ,history of4 ,by ,abb ,l,,on ,,le ,,monnier4 ,with a ,preface by ,cardinal ,,vaughan4 #hvo1 #afs4 ,,francis ,,xavier1 the ,apostle of the ,indies4 ,by ,,mary ,,hall ,,mclean4 ,crown #hvo1 #fs4 net4 ,from ,world to ,cloister2 or1 ,my ,noviciate4 ,by ',,bernard4' ,crown #hvo1 #es4 ,,garrick1 ,,david4 ,by ,,joseph ,,knight4 ,with ,portrait4 ,demy #hvo1 #ajs4 #f;d4 net4 ,,gilbert1 ,mrs4 ,autobiography1 and other ,memorials4 ,edited by ,,josiah ,,gilbert4 ,fifth ,edition4 ,crown #hvo1 #gs4 #f;d4 ,,gladstone1 ,,william ,,ewart1 ,life of4 ,told by ,himself in ,speeches and ,public ,letters4 ,by ,h4 ,j4 ,,leech4 ,crown #hvo1 #cs4 #f;d4 ,,gooch1 ,sir ,,daniel1 ,bart41 ,diaries of4 ,with an ,introductory ,notice by ,sir ,,theodore ,,martin1 ,k4,c4,b4 ,with #b ,portraits and an ,illustration4 ,crown #hvo1 #fs4 ,,gordon1 ,major-,general ,c4 ,g41 ,his journals at ,khartoum4 ,printed from the ,original ,,mss41 with ,introduction and ,notes by ,a4 ,,egmont ,,hake4 ,portrait1 #b ,maps1 and #cj ,illustrations4 #b vols4 #hvo1 #bas4 ,cheap ,edition1 #fs4 ,gordon's ,last ,journal3 ,a ,fac-simile of the ,last ,journal received in ,england from ,,general ,,gordon4 ,reproduced by photo-lithography4 ,imperial #dto1 #c #cs4 ,,gower1 ,lord ,,ronald1 ,my ,reminiscences4 ,new ,edition4 ,post #hvo1 #gs4 #f;d4 ,,hamilton1 ,,arthur1 ,b4,a41 of ,trinity ,college1 ,cambridge4 ,memoirs of4 ,crown #hvo1 #fs4 ,,hinton1 ,,james1 ,life and ,letters of4 ,with an ,introduction by ,sir ,w4 ,w4 ,,gull1 and ,portrait engraved on steel by ,c4 ,h4 ,,jeens4 ,sixth ,edition4 ,crown #hvo1 #hs4 #f;d4 ,,johnson1 ,,samuel1 ,lives of the ,most ,eminent ,english ,poets4 ,edited1 with ,notes and ,introduction1 by ,,arthur ,,waugh1 and with #cj ,portraits4 #f vols4 foolscap #hvo1 #a #afs4 ,,kempis1 ,,thomas 4 ,notes of a ,visit to the ,scenes in which the ,life of ,thomas ,kempis was spent4 ,by ,f4 ,r4 ,,cruise4 ,with numerous ,illustrations4 #hvo1 #abs4 ,,khama4 ,the ,story of an ,african ,chief4 ,by ,mrs4 ,,wyndham ,,knight-,,bruce4 ,fourth ,edition4 #afmo1 #bs4 ,k,r,s1 ,,alexander ,,cosma ,,de1 ,life and ,works of1 between #ahai and #ahdb4 ,with a short notice of all his ,works and ,essays1 from original documents4 ,by ,,theodore ,,duka4 ,post #hvo1 #is4 7,trbner's ,oriental ,series47 ,,laud1 ,,william1 sometime ,archbishop of ,canterbury4 ,by ,a4 ,c4 ,,benson4 ,crown #hvo1 #fs4 ,life of ,archbishop ,laud4 ,by a ,romish ,recusant4 #hvo1 #aes4 ,,leslie1 ,,fred41 ,recollections of4 ,by ,w4 ,l4 ,,vincent4 ,with ,illustrations4 #b vols4 #hvo1 #cjs4 ,,lessing3 ,his ,life and ,writings4 ,by ,,james ,,sime4 ,new and cheaper ,edition4 #b vols4 ,with portraits4 ,post #hvo1 #abs4 7,philosophical ,library47 ,,longfellow1 ,,henry ,,wadsworth1 ,life of4 ,by his ,brother ,,samuel ,,longfellow4 ,with ,portraits and ,illustrations4 #c vols4 #hvo1 #dbs4 ,,lowder1 ,,charles4 ,a ,biography4 ,by the ,author of ',st4 ,teresa' ,twelfth ,edition4 ,with ,portrait4 ,crown #hvo1 #cs4 #f;d4 ,,lytton1 ,lord1 ,life1 ,letters1 and ,literary ,remains of ,edward ,bulwer1 ,lord ,lytton4 ,by the ,earl of ,,lytton4 ,with ,portraits1 ,illustrations1 and ,fac-similes4 #hvo4 ,vols4 ,i4 and ,,ii41 #cbs4 ,,macklin1 ,,charles4 ,by ,,edward ,,abbott ,,parry4 ,crown #hvo1 #bs4 #f;d4 7,eminent ,actors47 ,,mackonochie1 ,,alexander ,,heriot4 ,a ,memoir4 ,by ,e4 ,a4 ,t4 ,edited1 with ,preface1 by ,e4 ,f4 ,,russell4 ,with ,portrait and ,views4 ,large crown #hvo1 #gs4 #f;d4 ,cheap ,edition1 crown #hvo1 #cs4 #f;d4 ,,macready1 ,,william ,,charles4 ,by ,,william ,,archer4 ,crown #hvo1 #bs4 #f;d4 7,eminent ,actors47 ,,marie ,,antoinette1 ,last ,days of4 ,an ,historical ,sketch4 ,by ,lord ,,ronald ,,gower4 ,with ,portrait and ,fac-similes4 ,foolscap #dto1 #ajs4 #f;d4 ,marie ,antoinette and ,her ,children1 the ,dauphin and the ,duchesse ,d',angoulme1 ,the ,prison ,life of4 ,by ,m4 ,c4 ,,bishop4 ,new and revised ,edition4 ,with ,portrait4 ,crown #hvo1 #fs4 ,,mitchel1 ,,john1 ,life of4 ,by ,w4 ,,dillon4 ,with ,portrait4 #b vols4 #hvo1 #bas4 ,,mohl1 ,,julius and ,,mary1 ,letters and ,recollections of4 ,by ,m4 ,c4 ,m4 ,,simpson4 ,with ,portraits and #b ,illustrations4 #hvo1 #aes4 ,,moltke 7,general von74 ,letters to ,his ,wife and other ,relatives4 ,the only complete ,edition in any language4 ,with an ,introduction by ,,sidney ,,whitman4 ,portraits1 etc4 #b vols4 #hvo1 cloth1 #a #ajs4 #ahif4 ,of the most surpassing interest4 ,,morris1 ,,gouverneur1 ,minister of the ,united ,states to ,france1 ,diary and ,letters of4 ,by ,,anne ,c4 ,,morris4 ,with ,portraits4 #b vols4 #hvo1 #cjs4 ,,motley1 ,,john ,,lothrop4 ,a ,memoir4 ,by ,,oliver ,,wendell ,,holmes4 ,crown #hvo1 #fs4 ,,munro1 ,major-,general ,sir ,,thomas4 ,a ,memoir4 ,by ,sir ,a4 ,j4 ,,arbuthnot4 ,crown #hvo1 #cs4 #f;d4 ,,newman1 ,,john ,,henry1 the ,founder of ,modern ,anglicanism1 and a ,cardinal of the ,roman ,church4 ,by ,,wilfrid ,,meynell4 ,crown #hvo1 #bs4 #f;d4 ,,nun1 ,a3 ,her ,friends and ,her ,order4 ,being a ,sketch of the ,life of ,mother ,mary ,xaveria ,fallon4 ,by ,,katherine ,,tynan4 ,crown #hvo1 #es4 ,o',,connell1 ,count1 ,the ,last ,colonel of the ,irish ,brigade1 and ,old ,irish ,life at ,home and ,abroad1 #agde-ahcc4 ,by ,mrs4 ,,morgan ,j4 ,o',,connell4 #b vols4 #hvo1 #bes4 ,,owen1 ,,robert ,,dale1 ,threading my ,way4 ,twenty-seven ,years of ,autobiography4 ,crown #hvo1 #gs4 #f;d4 ,,paracelsus1 ,life of1 and the ,substance of ,his ,teachings4 ,by ,,franz ,,hartmann4 ,new and ,revised ,edition4 ,post #hvo1 #gs4 #f;d4 ,,plutarch4 ,his ,life1 ,his ,lives1 and ,his ,morals4 ,by ,archbishop ,,trench4 ,second ,edition enlarged4 ,foolscap #hvo1 #cs4 #f;d4 ,,rawle1 ,bishop4 ,a ,memoir4 ,by ,g4 ,,mather and ,c4 ,j4 ,,blagg4 ,large crown #hvo1 #gs4 #f;d4 ,,robertson1 ,f4 ,w41 ,life and ,letters of4 ,edited by ,,stopford ,,brooke4 ,i4 ,library ,edition1 with ,portrait4 #hvo1 #abs4 ,,ii4 ,with ,portrait4 #b vols4 crown #hvo1 #gs4 #f;d4 ,,iii4 ,popular ,edition4 ,crown #hvo1 #fs4 ,,rupert of the ,rhine4 ,a ,biographical ,sketch of the ,life of ,prince ,rupert4 ,by ,lord ,,ronald ,,gower4 ,with #c ,portraits4 ,crown #hvo1 buckram1 #fs4 ,,selwyn1 ,bishop1 of ,new ,zealand and of ,lichfield4 ,a ,sketch of his ,life and ,work1 with further ,gleanings from his ,letters1 ,sermons1 and ,speeches4 ,by ,canon ,,curteis4 ,large crown #hvo1 #gs4 #f;d4 ,,shelley1 ,,percy ,,bysshe1 ,life of4 ,by ,,edward ,,dowden1 ,,ll4,d4 ,with ,portrait4 #abs4 net4 ,,skinner1 ,,james4 ,a ,memoir4 ,by the ,author of ',charles ,lowder4' ,with ,preface by the ,rev4 ,canon ,,carter1 and ,portrait4 ,large crown #hvo1 #gs4 #f;d4 ,cheap ,edition1 crown #hvo1 #cs4 #f;d4 ,,spinoza1 ,,benedict ,,de1 ,life1 ,correspondence1 and ,ethics of4 ,by ,r4 ,,willis4 #hvo1 #bas4 ,,taylor1 ,,reynell1 ,c4,b41 ,c4,s4,i4 ,a ,biography4 ,by ,e4 ,,gambier ,,parry4 ,with ,portrait and ,map4 #hvo1 #ads4 ,,tennyson1 ,poet1 ,philosopher1 and ,idealist4 ,by ,j4 ,c4 ,,walters4 ,with ,portrait4 #hvo1 #abs4 ,,trench1 ,archbishop1 ,letters and ,memorials of4 ,by the ,author of ',charles ,lowder4' ,with #b ,portraits4 #b vols4 #hvo1 #bas4 ,,trench1 ,mrs4 ,,richard1 ,remains of the late4 ,being ,selections from her ,journals1 ,letters1 and other ,papers4 ,edited by her ,son1 ,archbishop ,,trench4 ,new and cheaper ,edition4 ,with ,portraits4 #hvo1 #fs4 ,wells ,wills1 arranged in ,parishes and ,annotated4 ,by ,f4 ,w4 ,,weaver4 #hvo1 #ajs4 #f;d4 ,,wilberforce1 ,bishop1 of ,oxford and ,winchester1 ,life of4 ,by his ,son4 ,crown #hvo1 #is4 ,,wolseley1 ,,william1 ,admiral of the ,red ,squadron1 ,memoir of4 ,by ,,mary ,c4 ,,innes4 #hvo1 #is4 net4 ,,heraldry4 ,heraldry1 ,english and ,foreign4 ,by ,r4 ,c4 ,,jenkins4 ,with a ,dictionary of ,heraldic ,terms and #aef ,illustrations4 ,small #hvo1 #cs4 #f;d4 ,,history4 ,,bain1 ,r4 ,,nisbet1 ,gustavus ,,iii4 and ,his ,contemporaries1 #agdf-agib4 ,from original documents4 #b vols4 post #hvo1 #bas4 net4 ,,baird1 ,,henry ,m41 ,the ,huguenots and the ,revocation of the ,edict of ,nantes4 ,with ,maps4 #b vols1 #hvo1 #cjs4 ,,bancroft1 ,k4 ,h41 ,popular ,history of the ,mexican ,people4 #hvo1 #aes4 ,,baring-,,gould1 ,s41 ,germany1 ,present and ,past4 ,new and cheaper ,edition4 ,large crown #hvo1 #gs4 #f;d4 ,,bridgett1 ,t4 ,e41 ,blunders and ,forgeries4 ,historical ,essays4 ,crown #hvo1 #fs4 ,,bryant1 ,,sophie1 ,celtic ,ireland4 ,with #c ,maps4 ,crown #hvo1 #es4 ,,bryce1 ,,james1 ,two ,centuries of ,irish ,history4 ,with ,introduction by ,,jas4 ,,bryce1 ,m4,p4 #hvo1 #afs4 ,,greville1 ,the ,hon4 ,e41 ,the ,year-,book of ,australia4 ,published ,annually4 #hvo1 #ajs4 #f;d4 net4 ,,denvir1 ,,john1 ,the ,irish in ,britain from the ,earliest ,times to the ,fall and ,death of ,parnell4 ,by ,,john ,,denvir4 ,crown #hvo1 #bs4 #f;d4 ,,djemaleddin1 ,,bey1 ,sultan ,murad ,v4 ,the ,turkish ,dynastic ,mystery1 #ahgf-ie4 ,with #f ,portraits4 ,crown #hvo1 #is4 net4 ,,duruy1 ,,victor1 ,the ,history of ,greece4 ,with ,introduction by ,prof4 ,j4 ,p4 ,,mahaffy4 ,maps and many ,illustrations1 some coloured4 #h vols4 super royal #hvo1 #h #hs4 ,egypt4 ,see ,,oriental4 ,,freeman1 ,e4 ,a41 ,lectures to ,american ,audiences4 ,i4 ,the ,english ,people in its ,three ,homes4 ,,ii4 ,practical ,bearings of ,general ,european ,history4 ,post #hvo1 #is4 ,,gardiner1 ,,samuel ,r41 and ,,mullinger1 ,j4 ,,bass1 ,introduction to the ,study of ,english ,history4 ,third and enlarged ,edition4 ,post #hvo1 #gs4 #f;d4 net4 ,,hillebrand1 ,,karl1 ,france and the ,french in the ,second ,half of the ,nineteenth ,century4 ,translated from the ,third ,german ,edition4 ,post #hvo1 #ajs4 #f;d4 ,,holst1 ,h4 von1 ,the ,french ,revolution4 #b vols4 crown #hvo1 cloth1 #ahs4 ,,hope1 ,mrs41 ,the ,first ,divorce of ,henry ,,viii4 ,as told in the ,state ,papers4 ,crown #hvo1 #fs4 ,india4 ,see ,,oriental4 ,,janssen1 ,,johannes1 ,history of the ,german ,people at the ,close of the ,middle ,ages4 ,translated by ,m4 ,a4 ,,mitchell and ,a4 ,m4 ,,christie4 #b vols4 #hvo1 #bes4 ,,kingsford1 ,w41 ,the ,history of ,canada4 ,by ,w4 ,,kingsford4 ,vol4 i4 #afjh-afhb2 vol4 ii4 #afgi-agbe2 vol4 iii4 #agbf-agef2 vol4 iv4 #agef-agfc2 vol4 v4 #agfc-agge2 vol4 vi4 #aggf-aggi2 vol4 vii4 #aggi-ahjg2 vol4 viii4 #ahjh-ahae4 ,with ,maps4 #hvo1 #aes4 each volume4 ,,leland1 ,c4 ,g41 ,the ,gypsies4 ,crown #hvo1 #ajs4 #f;d4 ,,leonard1 ,major ,,arthur ,g41 ,how ,we ,made ,rhodesia4 ,second ,edition4 ,crown #hvo1 #fs4 ,,livy4 ,discourses on the ,first ,decade of ,titus ,livius4 ,from the ,italian of ,,niccol ,,machiavelli4 ,by ,n4 ,,hill ,,thompson4 ,large crown #hvo1 #abs4 ,,moore1 ,,aubrey ,l41 ,lectures and ,papers on the ,history of the ,reformation in ,england and on the ,continent4 #hvo1 #afs4 ,o',,clery1 ,,the1 ,the ,making of ,italy1 #ahef-ahgj4 #hvo1 #afs4 ,o',,hagan1 ,,john1 ,joan of ,arc4 ,an ,historical ,essay4 ,crown #hvo1 #cs4 #f;d4 ,,paravicini1 ,,frances ,,de1 ,the ,early ,history of ,balliol ,college4 #hvo1 #abs4 ,,pastor1 ,dr4 ,,ludwig1 ,the ,history of the ,popes4 ,translated from the ,german by ,,frederick ,j4 ,,antrobus4 ,vols4 ,,iii4 and ,,iv4 #hvo1 #bds4 net4 ,,peet1 ,rev4 ,,stephen ,d41 ,prehistoric ,america4 ,vol4 ,i41 ,the ,mound ,builders4 ,illustrated4 ,crown #hvo1 #bas4 net4 ,,reindorf1 ,rev4 ,,carl ,,christian1 ,history of the ,gold ,coast and ,asante4 ,demy #hvo1 #is4 net4 ,,sarjent1 ,lt4 ,,herbert ,h41 ,napoleon ,bonaparte's ,first ,campaign4 ,crown #hvo1 #fs4 ,,trench1 ,archbishop1 ,gustavus ,adolphus in ,germany1 and other ,lectures on the ,thirty ,years' ,war4 ,third ,edition1 enlarged4 ,foolscap #hvo1 #ds4 ,,walpole1 ,c4 ,g41 ,short ,history of ,ireland4 ,with #e ,maps and ,appendices4 ,third ,edition4 ,crown #hvo1 #fs4 ,,wright1 ,,thomas1 ,early ,britain--,the ,celt1 the ,roman1 and the ,saxon4 ,a ,history of the ,early ,inhabitants of ,britain down to the ,conversion of the ,anglo-,saxons to ,christianity4 ,corrected and ,enlarged ,edition4 ,with nearly #cjj ,engravings4 ,crown #hvo1 #is4 ,,travels1 ,,voyages1 ,,guide-,,books1 ,,etc4 ,,aubertin1 ,j4 ,j41 ,wanderings and ,wonderings4 ,with ,portrait1 ,map1 and #g ,illustrations4 ,crown #hvo1 #hs4 #f;d4 ,by ,order of the ,sun to ,chili4 ,with ,illustrations4 ,crown #hvo1 #es4 ,,bevan1 ,,theodore ,f41 ,toil1 ,travel1 and ,discovery in ,british ,new ,guinea4 ,with #e ,maps4 ,large crown #hvo1 #gs4 #f;d4 ,,bradshaw',s ,guide4 ,dictionary of ,mineral ,waters1 ,climatic ,health ,resorts1 ,sea ,baths1 and ,hydropathic ,establishments4 ,with a ,map1 #cs4 #f;d42 without ,map1 #bs4 #f;d4 ,,brown1 ,,horatio ,f41 ,venetian ,studies4 ,crown #hvo1 #gs4 #f;d4 ,,burgess1 ,w4 ,w41 ,bits of ,old ,chelsea4 #dj splendid ,etchings4 ,with ,letterpress ,descriptions by ,,lionel ,,johnson and ,,richard ,,le ,,gallienne4 ,only #ajj copies printed4 ,folio1 #aj #ajs4 net4 ,,corney1 ,p41 ,early ,northern ,pacific ,voyages 7#ahac-ahah74 ,with ,preface by ,prof4 ,w4 ,d4 ,,alexander4 ,crown #hvo1 #gs4 #f;d4 ,,croker ,t4 ,,crofton1 ,a ,walk from ,london to ,fulham4 ,enlarged and ,re-written by ,,beatrice ,e4 ,,horne4 ,with ,illustrations4 #gs4 #f;d4 net4 ,,grimble1 ,,augustus1 ,the ,deer ,forests of ,scotland4 ,illustrated by ,a4 ,,thorburn4 #dto1 #b #ajs4 net4 ,,haeckel1 ,prof4 ,,ernst1 ,a ,visit to ,ceylon4 ,post #hvo1 #gs4 #f;d4 ,,heilprin1 ,a41 ,bermuda ,islands4 #hvo1 #ahs4 ,,hendriks1 ,,dom ,,laurence1 ,the ,london ,charterhouse3 ,its ,monks and its ,martyrs4 ,illustrated4 #hvo1 #aes4 ,,hornaday1 ,w4 ,t41 ,two ,years in a ,jungle4 ,with ,illustrations4 #hvo1 #bas4 ,,im ,,thurn1 ,,everard ,f41 ,among the ,indians of ,guiana4 ,sketches1 chiefly ,anthropologic1 from the ,interior of ,british ,guiana4 ,with #ec ,illustrations and a ,map4 #hvo1 #ahs4 ,,johnston1 ,h4 ,h41 ,the ,kilima-,njaro ,expedition4 ,a ,record of ,scientific ,exploration in ,eastern ,equatorial ,africa4 ,with #f ,maps and #hj ,illustrations4 #hvo1 #bas4 ,history of a ,slave4 ,with #dg ,illustrations4 ,square #hvo1 #fs4 ,,kraus1 ,j41 ,carlsbad and its ,natural ,healing ,agents4 ,with ,notes by ,,john ,t4 ,,wallers4 ,third ,edition4 ,crown #hvo1 #fs4 #f;d4 ,,leland1 ,c4 ,g41 ,fu-,sang2 or1 ,the ,discovery of ,america by ,chinese ,buddhist ,priests in the ,fifth ,century4 ,crown #hvo1 #gs4 #f;d4 ,,markham1 ,captain ,,albert ,,hastings1 ,the ,great ,frozen ,sea4 ,a ,personal ,narrative of the ,voyage of the ,alert during the ,arctic ,expedition of #ahge-gf4 ,with ,illustrations and ,map4 ,sixth and cheaper ,edition4 ,crown #hvo1 #fs4 ,,mitchell1 ,e4 ,h41 ,forty ,days in the ,holy ,land4 ,with #f ,illustrations4 ,crown #hvo1 #fs4 ,,mulhall1 ,m4 ,g4 and ,e4 ,t41 ,handbook of the ,river ,plate1 comprising the ,argentine ,republic1 ,uruguay1 and ,paraguay4 ,with ,railway ,map4 ,sixth ,edition4 ,crown #hvo1 #fs4 ,,oates1 ,,frank1 ,matabele ,land and the ,victoria ,falls3 ,a ,naturalist's wanderings in the interior of ,south ,africa4 ,edited by ,c4 ,g4 ,,oates4 ,with numerous ,illustrations and #d ,maps4 #hvo1 #bas4 ,,pidgeon1 ,,david1 ,venice4 ,with ,frontispiece after ,,turner4 ,small crown #hvo1 #cs4 #f;d4 net4 ,,rendell1 ,j4 ,m41 ,handbook of the ,island of ,madeira4 ,with ,plan and ,map4 ,second ,edition4 ,foolscap #hvo1 #as4 #f;d4 ,,reynolds-,,ball1 ,e4 ,a41 ,mediterranean ,winter ,resorts4 ,with ,maps and ,diagrams4 ,third ,edition4 ,foolscap #hvo1 #es4 ,,rolfe1 ,e4 ,n41 and ,,ingleby1 ,h41 ,naples in #ahhh4 ,with ,illustrations4 ,crown #hvo1 #fs4 ,,routledge1 ,canon ,c4 ,f41 ,history of ,st4 ,martin's ,church1 ,canterbury4 ,crown #hvo1 #es4 ,,st4 ,,clair1 ,,george1 ,buried ,cities and ,bible ,countries4 ,large crown #hvo1 #gs4 #f;d4 ,,samuelson1 ,,james1 ,bulgaria1 ,past and ,present3 ,historical1 ,political1 and ,descriptive4 ,with ,map and numerous ,illustrations4 #hvo1 #ajs4 #f;d4 ,,stoddard1 ,,charles ,,augustus1 ,cruising among the ,caribbees4 ,summer ,days in ,winter ,months4 ,with ,illustrations4 #hvo1 #is4 ,,strachey1 ,sir ,,john1 ,india4 ,with ,map4 ,new ,edition4 ,crown #hvo1 #fs4 ,,taylor1 ,canon ,,isaac1 ,egypt4 ,leaves from an ,egyptian ,note-,book4 ,crown #hvo1 #es4 ,,vincent1 ,,frank1 ,around and ,about ,south ,america3 ,twenty ,months of ,quest and ,query4 ,with ,maps1 ,plans1 and #ed ,illustrations4 ,medium #hvo1 #bas4 ,wales4--,through ,north ,wales with a ,knapsack4 ,by ,four ,schoolmistresses4 ,with a ,sketch ,map4 ,small #hvo1 #bs4 #f;d4 ,,ward1 ,,bernard1 ,history of ,st4 ,edmund's ,college1 ,old ,hall 7,ware74 ,with ,illustrations4 #hvo1 #ajs4 #f;d4 ,,wright1 ,g4 ,f41 and ,,apham1 ,w41 ,greenland ,icefields1 and ,life in the ,north ,atlantic4 ,with ,maps and ,illustrations4 ,crown #hvo1 #gs4 #f;d4 ,,young1 ,,rosalind ,,amelia1 ,mutiny of the ',bounty1' and ,story of ,pitcairn ,island3 #agij-ahid4 ,by a ,,native ,,daughter4 ,third ,edition1 ,illustrated4 ,crown #hvo1 #es4 ,,vi4--,,sociology4 ,,education4 ,,bain1 ,,alexander1 ,education as a ,science4 ,seventh ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,browning1 ,,oscar1 ,introduction to the ,history of ,educational ,theories4 ,second ,edition4 #cs4 #f;d4 7,education ,library47 ,,galloway1 ,r41 ,scientific and ,technical ,education2 or1 ,how the ,inductive ,sciences are taught1 and how they ought to be taught4 #hvo1 #ajs4 #f;d4 ,,haeckel1 ,prof4 ,e41 ,freedom in ,science and ,teaching4 ,with a ,prefatory ,note by ,prof4 ,t4 ,h4 ,,huxley4 ,crown #hvo1 #es4 ,,hawtrey1 ,,mabel1 ,the ,co-,education of the ,sexes4 ,crown #hvo1 #bs4 #f;d4 net4 ,,lessing1 ,g4 ,e41 ,education of the ,human ,race4 ,from the ,german4 ,by ,f4 ,w4 ,,robertson4 ,fourth ,edition1 revised4 ,foolscap #hvo1 #bs4 #f;d4 ,,landon1 ,,joseph1 ,school ,management4 ,including a ,general ,view of the ,work of ,education1 ,organisation1 and ,discipline4 ,eighth ,edition4 ,crown #hvo1 #fs4 7,education ,library47 ,,magnus1 ,sir ,,philip1 ,industrial ,education4 #fs4 7,education ,library47 ,,mahaffy1 ,prof41 ,old ,greek ,education4 ,second ,edition4 #cs4 #f;d4 7,education ,library47 ,,mason1 ,,charlotte ,m41 ,home ,education4 ,a course of ,lectures to ,ladies4 ,new ,edition4 #hvo1 #fs4 ,parents and ,children4 #hvo4 #fs4 ,our ,public ,schools3 ,eton1 ,harrow1 ,winchester1 ,rugby1 ,westminster1 ,marlborough1 and the ,charterhouse4 ,crown #hvo1 #fs4 ,parents' ,review4 ,monthly4 #f;d4 ,,plumptre1 ,c4 ,j41 ,lectures on ,elocution4 ,delivered at ,king's ,college4 ,fifth ,edition4 ,illustrated4 ,post #hvo1 #aes4 ,,law4 ,,amos1 ,prof4 ,,sheldon1 ,history and ,principles of the ,civil ,law of ,rome4 ,an ,aid to the ,study of ,scientific and ,comparative ,jurisprudence4 #hvo1 #afs4 ,science of ,law4 ,seventh ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,bentham1 ,,jeremy1 ,theory of ,legislation as ,enunciated by ,bentham4 ,translated from the ,french of ,etienne ,dumont by ,r4 ,,hildreth4 ,seventh ,edition4 ,post #hvo1 #gs4 #f;d4 ,new and cheaper ,edition4 ,crown #hvo1 #cs4 #f;d4 7,paternoster ,library47 ,,bertillon1 ,,alphonse1 ,signaletic ,instructions1 including the ,theory and ,practice of ,anthropometrical ,identification4 ,translated under the ,supervision of ,major ,r4 ,w4 ,,mcclaughty4 ,illustrated4 ,large #hvo1 half morocco1 #a #ajs4 ,,field1 ,d4 ,d41 ,outlines of an ,international ,code4 ,second ,edition4 ,royal #hvo1 #b #bs4 ,,foster1 ,,roger1 ,commentaries on the ,constitution of the ,united ,states1 ,historical1 and ,juridical4 ,vol4 #a1 royal #hvo1 #a #ds4 net4 ,,halleck',s ,international ,law2 or1 ,rules ,regulating the ,intercourse of ,states in ,peace and ,war4 ,third ,edition1 thoroughly revised by ,sir ,,sherston ,,baker1 ,bart4 #b vols4 #hvo1 #chs4 ,,holst1 ,h4 von1 ,the ,constitutional ,law of the ,united ,states of ,america4 ,translated by ,,alfred ,,bishop ,,mason4 ,royal #hvo1 cloth1 #ajs4 #f;d4 ,the ,constitutional ,history of the ,united ,states4 ,translated by ,,lalor4 #h vols41 #hvo1 cloth4 ,vols4 #a1 #b1 #c1 #d1 #e1 and #g1 #ahs4 each2 vols4 #f and #h1 #abs4 #f;d4 each4 ,,jenkins1 ,e41 and ,,raymond1 ,j41 ,architect's ,legal ,handbook4 ,fourth ,edition1 revised4 ,crown #hvo1 #fs4 ,,levi1 ,prof4 ,,leone1 ,international ,law1 with ,materials for a ,code of ,international ,law4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,salaman1 ,j4 ,s41 ,trade ,marks3 their ,registration and ,protection4 ,crown #hvo1 #es4 ,,politics1 ,,labour1 ,,socialism1 ,,finance1 ,,etc4 ,,amos1 ,prof4 ,,sheldon1 ,science of ,politics4 ,third ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,bagehot1 ,,walter1 ,physics and ,politics2 or1 ,the ,application of the ,principles of ',natural ,selection' and ',inheritance' to ,political ,society4 ,new ,edition4 ,crown #hvo1 #cs4 #f;d4 7,paternoster ,library47 ,the ,english ,constitution4 ,new ,edition4 ,crown #hvo1 #cs4 #f;d4 7,paternoster ,library47 ,lombard ,street4 ,a ,description of the ,money ,market4 ,new ,edition4 ,with ,notes1 bringing the work up to the present time1 by ,e4 ,,johnstone4 ,crown #hvo1 #cs4 #f;d4 7,paternoster ,library47 ,essays on ,parliamentary ,reform4 ,new ,edition4 ,crown #hvo1 #cs4 #f;d4 7,paternoster ,library47 ,,besant1 ,sir ,,walter1 and ,others1 ,the ,poor in ,great ,cities4 ,with ,illustrations by ,,hugh ,,thompson1 etc4 #hvo1 #abs4 ,,brentano1 ,,lujo1 ,history and ,development of ,guilds1 and the ,origin of ,trade ,unions4 #hvo1 #cs4 #f;d4 ,,bryce1 ,j41 ,handbook of ,home ,rule4 ,being ,articles on the ,irish ,question4 ,second ,edition4 ,crown #hvo1 #as4 #f;d42 paper covers1 #as4 ,,clapperton1 ,,jane ,h41 ,scientific ,meliorism1 and the ,evolution of ,happiness4 ,large crown #hvo1 #hs4 #f;d4 ,,davitt1 ,,michael1 ,speech before the ,special ,commission4 ,crown #hvo1 #es4 ,,fairbanks1 ,,arthur1 ,introduction to ,sociology4 ,post #hvo1 #gs4 #f;d4 7,philosophical ,library47 ,,george1 ,,henry1 ,progress and ,poverty4 ,an ,inquiry into the ,causes of ,industrial ,depressions1 and of ,increase of ,want with ,increase of ,wealth2 the ,remedy4 ,fifth ,edition4 ,post #hvo1 #gs4 #f;d4 ,cabinet ,edition1 crown #hvo1 #bs4 #f;d4 ,cheap ,edition1 limp cloth1 #as4 #f;d42 paper covers1 #as4 ,protection or ,free ,trade4 ,an ,examination of the ,tariff ,question1 with especial regard to the interests of ,labour4 ,second ,edition4 ,crown #hvo1 #es4 ,cheap ,edition1 limp cloth1 #as4 #f;d42 paper covers1 #as4 ,social ,problems4 ,fourth ,thousand4 ,crown #hvo1 #es4 ,cheap ,edition1 limp cloth1 #as4 #f;d42 paper covers1 #as4 ,a ,perplexed ,philosopher4 ,being an ,examination of ,mr4 ,herbert ,spencer's various utterances on the ,land ,question1 etc4 ,crown #hvo1 #es4 ,cheap ,edition1 limp cloth1 #as4 #f;d42 paper covers1 #as4 ,,graham1 ,,william1 ,socialism ,new and ,old4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,the ,social ,problem1 in its ,economic1 ,moral and ,political ,aspects4 #hvo1 #ads4 ,,greg1 ,w4 ,r41 ,political ,problems for our ,age and ,country4 #hvo1 #ajs4 #f;d4 ,,haggard1 ,h4 ,,rider1 ,cetewayo and ,his ,white ,neighbours4 ,crown #hvo1 #cs4 #f;d4 7,paternoster ,library47 ,,hopkins1 ,,ellice1 ,work amongst ,working ,men4 ,sixth ,edition4 ,crown #hvo1 #cs4 #f;d4 ,,humboldt1 ,baron ,w4 von1 ,the ,sphere and ,duties of ,government4 ,from the ,german1 by ,j4 ,,coulthard4 ,post #hvo1 #es4 ,,jevons1 ,w4 ,,stanley1 ,money and the ,mechanism of ,exchange4 ,ninth ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,kaufmann1 ,m41 ,christian ,socialism4 ,crown #hvo1 #ds4 #f;d4 ,utopias2 or1 ,schemes of ,social ,improvement1 from ,sir ,thomas ,more to ,karl ,marx4 ,crown #hvo1 #es4 ,,lefevre1 ,right ,hon4 ,g4 ,,shaw1 ,peel and ,o',connell4 #hvo1 #ajs4 #f;d4 ,incidents of ,coercion4 ,a ,journal of ,visits to ,ireland4 ,third ,edition4 ,crown #hvo1 limp cloth1 #as4 #f;d42 paper covers1 #as4 ,irish ,members and ,english ,gaolers4 ,crown #hvo1 limp cloth1 #as4 #f;d42 paper covers1 #as4 ,combination and ,coercion in ,ireland4 ,sequel to ',incidents of ,coercion4' ,crown #hvo1 cloth1 #as4 #f;d42 paper covers1 #as4 ,,lynch1 ,e4 ,m41 ,killboylan ,bank2 or1 ,every ,man ,his ,own ,banker4 ,foolscap #hvo1 #cs4 #f;d4 7,village ,library47 ,,minton1 ,,francis1 ,welfare of the ,millions4 ,crown #hvo1 limp cloth1 #as4 #f;d42 paper covers1 #as4 ,o',,brien1 ,r4 ,,barry1 ,home ,ruler's ,manual4 ,crown #hvo1 cloth1 #as4 #f;d42 paper covers1 #as4 ,irish ,wrongs and ,english ,remedies1 with other ,essays4 ,crown #hvo1 #es4 ,,perry1 ,,arthur ,,latham1 ,principles of ,political ,economy4 ,large post #hvo1 #is4 ,,plimsoll1 ,,samuel1 ,cattle ,ships4 ,being the ,fifth ,chapter of ',an ,appeal for our ,seamen4' ,with #df ,illustrations4 ,cheap ,edition1 #as4 ,,spencer1 ,,herbert1 ,study of ,sociology4 ,fifteenth ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,sumner1 ,w4 ,g41 ,what ,social ,classes ,owe to each ,other4 #ahmo1 #cs4 #f;d4 ,,taylor1 ,sir ,h41 ,the ,statesman4 ,foolscap #hvo1 #cs4 #f;d4 ,,taylor1 ,r4 ,,whateley ,,cooke1 ,the ,modern ,factory ,system4 #hvo1 #ads4 ,,thompson1 ,sir ,h41 ,modern ,cremation4 ,second ,edition1 revised and enlarged4 ,crown #hvo1 #as42 cloth1 #bs4 ,,vii4--,,natural ,,science4 ,,anthropology ,,and ,,ethnology4 ,anthropological ,institute of ,great ,britain and ,ireland1 ,journal of4 ,quarterly4 #es4 ,,balkwill1 ,f4 ,h41 ,the ,testimony of the ,teeth to ,man's ,place in ,nature4 ,with ,illustrations4 ,crown #hvo1 #fs4 ,,carpenter1 ,w4 ,b41 ,nature and ,man4 ,with a ,memorial ,sketch by ,j4 ,,estlin ,,carpenter4 ,portrait4 ,large crown #hvo1 #hs4 #f;d4 ,,clodd1 ,,edward1 ,childhood of the ,world3 ,a ,simple ,account of ,man in ,early ,times4 ,eighth ,edition4 ,crown #hvo1 #cs4 ,special ,edition for ,schools1 #as4 ,,curr1 ,,edward ,m41 ,the ,australian ,race4 ,its ,origin1 ,languages1 ,customs1 etc4 ,with ,map and ,illustrations4 #c vols4 #hvo1 #a vol4 #dto1 #b #bs4 ,,fornander1 ,a41 ,account of the ,polynesian ,race4 ,its ,origin and ,migrations1 and the ,ancient ,history of the ,hawaiian people4 ,post #hvo4 ,vol4 ,i4 #gs4 #f;d42 ,vol4 ,,ii4 #ajs4 #f;d42 ,vol4 ,,iii4 #is4 7,philosophical ,library47 ,,geiger1 ,,lazarus1 ,development of the ,human ,race4 ,translated from the ,german by ,d4 ,,asher4 ,post #hvo1 #fs4 7,philosophical ,library47 ,,haeckel1 ,prof4 ,,ernst1 ,history of the ,evolution of ,man4 ,with numerous ,illustrations4 #b vols4 post #hvo1 #cbs4 ,,joly1 ,n41 ,man before ,metals4 ,with #adh ,illustrations4 ,fourth ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,quatrefages1 ,prof4 ,a4 ,,de1 ,the ,human ,species4 ,fifth ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,smith1 ,r4 ,,brough1 ,the ,aborigines of ,victoria4 ,compiled for the ,government4 ,with ,maps1 ,plates1 and ,woodcuts4 #b vols4 royal #hvo1 #c #cs4 ,,starcke1 ,c4 ,n41 ,the ,primitive ,family in its ,origin and ,development4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,wright1 ,g4 ,,frederick1 ,the ,ice ,age in ,north ,america1 and its ,bearing upon the ,antiquity of ,man4 ,with ,maps and ,illustrations4 #hvo1 #bas4 ,man and the ,glacial ,period4 ,with #aaa ,illustrations and ,map4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,astronomy4 ,,drayson1 ,major-,general1 ,untrodden ,ground in ,astronomy and ,geology4 ,with ,numerous ,figures4 #hvo1 #ads4 ,,loomis1 ,e41 ,a ,treatise on ,astronomy4 #hvo1 sheep1 #gs4 #f;d4 ,introduction to ,practical ,astronomy4 #hvo1 sheep1 #gs4 #f;d4 ,,stanley1 ,w4 ,f41 ,notes on the ,nebular ,theory4 #hvo1 #is4 ,,young1 ,professor1 ,the ,sun1 with ,illustrations4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,botany4 ,,candolle1 ,,alphonse ,,de1 ,origin of ,cultivated ,plants4 ,second ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,cooke1 ,m4 ,c41 ,british ,edible ,fungi3 ,how to ,distinguish and how to ,cook them4 ,with ,coloured ,figures of upwards of ,forty ,species4 ,crown #hvo1 #gs4 #f;d4 ,fungi3 their ,nature1 ,influences1 ,uses1 c4 ,edited by ,rev4 ,m4 ,j4 ,,berkeley4 ,with numerous ,illustrations4 ,fourth ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,introduction to ,fresh-,water ,alg4 ,with an ,enumeration of all the ,british ,species4 ,with #ac plates4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,davies1 ,g4 ,,christopher1 ,rambles and ,adventures of ,our ,school ,field ,club4 ,with #d ,illustrations4 ,new and cheaper ,edition4 ,crown #hvo1 #cs4 #f;d4 ,,henslow1 ,prof4 ,g41 ,origin of ,floral ,structures through ,insect and other ,agencies4 ,with #hh ,illustrations4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,the ,origin of ,plant ,structures4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,hickson1 ,s4 ,j41 ,the ,fauna of the ,deep ,sea4 ,crown #hvo1 #bs4 #f;d4 7,modern ,science ,series47 ,,lendenfeld1 ,r4 von1 ,monograph of the ,horny ,sponges4 ,with #ej ,plates4 ,issued by direction of the ,royal ,society4 #dto1 #c4 ,,lubbock1 ,sir ,,john1 ,contribution to ,our ,knowledge of ,seedlings4 ,with nearly #gjj figures in text4 #b vols41 #hvo1 #cfs4 net4 ,also ,popular ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,phillips1 ,w41 ,manual of ,british ,discomycetes4 ,with ,descriptions of all the ,species of ,fungi hitherto found in ,britain1 included in the ,family1 and ,illustrations of the ,genera4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,sedding1 ,,john ,d41 ,gardencraft1 ,old and ,new4 ,with ,memorial ,notice by the ,rev4 ,e4 ,f4 ,,russell4 #af ,illustrations4 ,second ,edition4 #hvo1 #abs4 ,tropical ,agriculturist4 ,monthly4 ,annual ,subscription1 #a #fs4 ,,trouessart1 ,e4 ,l41 ,microbes1 ,ferments1 and ,moulds4 ,with #ajg ,illustrations4 ,second ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,ward1 ,h4 ,,marshall1 ,the ,oak3 a ,popular ,introduction to ,forest ,botany4 ,crown #hvo1 #bs4 #f;d4 7,modern ,science ,series47 ,,weed1 ,c4 ,m41 ,fungi and ,fungicides4 ,a ,practical ,manual4 ,crown #hvo1 #es4 ,,youmans1 ,,eliza ,a41 ,first ,book of ,botany4 ,designed to ,cultivate the ,observing ,powers of ,children4 ,with #cjj ,engravings4 ,new and ,cheaper ,edition4 ,crown #hvo1 #bs4 #f;d4 ,,chemistry4 ,,cooke1 ,prof4 ,j4 ,p41 ,laboratory ,practice4 ,a ,series of ,experiments on the ,fundamental ,principles of ,chemistry4 ,crown #hvo1 #es4 ,new ,chemistry4 ,with #ca ,illustrations4 ,ninth ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,richter1 ,prof4 ,v4 von1 ,chemistry of the ,carbon ,compounds3 or ,organic ,chemistry4 ,authorised ,translation by ,,edgar ,f4 ,,smith4 ,second ,american ,edition from ,sixth ,german ,edition4 ,crown #hvo1 #bjs4 ,text-,book of ,inorganic ,chemistry4 ,authorised ,translation by ,,edgar ,f4 ,,smith4 ,third ,american ,edition from ,fifth ,german ,edition4 ,crown #hvo1 #hs4 #f;d4 ,,smith1 ,,edgar ,f41 ,electro-,chemical ,analysis4 ,with #be ,illustrations4 ,square #afmo1 #es4 ,,strecker1 ,,adolph1 ,text-,book of ,organic ,chemistry4 ,edited by ,professor ,,wislicenus4 ,translated and ,edited1 with extensive ,additions1 by ,w4 ,r4 ,,hodgkinson and ,a4 ,j4 ,,greenaway4 ,second and cheaper ,edition4 #hvo1 #abs4 #f;d4 ,,vogel1 ,dr4 ,,hermann1 ,chemistry of ,light and ,photography4 ,with #ajj ,illustrations4 ,fifth ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,geology1 ,,mineralogy1 ,,etc4 ,,abercromby1 ,hon4 ,,ralph1 ,weather4 ,a popular ,exposition of the ,nature of ,weather ,changes from day to day4 ,with #if ,figures4 ,second ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,ball1 ,sir ,,robert1 ,the ,cause of an ,ice ,age4 ,crown #hvo1 #bs4 #f;d4 7,modern ,science ,series47 ,,bonney1 ,prof4 ,t4 ,g41 ,ice ,work1 ,present and ,past4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,catlin1 ,,george1 ,the ,lifted and ,subsided ,rocks of ,america4 ,with their ,influence on the ,oceanic1 ,atmospheric1 and ,land ,currents1 and the ,distribution of ,races4 ,with #b ,maps1 ,crown #hvo1 #fs4 #f;d4 ,,dana1 ,e4 ,s41 ,text-,book of ,mineralogy4 ,with ,treatise on ,crystallography and ,physical ,mineralogy4 ,third ,edition4 ,with #hjj ,woodcuts and ,plates4 #hvo1 #aes4 ,,dana1 ,j4 ,d41 ,text-,book of ,geology1 for ,schools4 ,illustrated4 ,crown #hvo1 #ajs4 ,manual of ,geology4 ,illustrated by a ,chart of the ,world1 and #ajjj ,figures4 ,fourth ,edition4 #hvo1 #bhs4 ,the ,geological ,story ,briefly ,told4 ,illustrated4 #abmo1 #gs4 #f;d4 ,,dana1 ,j4 ,d41 and ,,brush1 ,j4 ,g41 ,system of ,mineralogy4 ,sixth ,edition1 entirely re-written and enlarged4 ,royal #hvo1 #b #abs4 #f;d4 ,manual of ,mineralogy and ,petrography4 ,fourth ,edition4 ,numerous ,woodcuts4 ,crown #hvo1 #fs4 net4 ,,dawson1 ,sir ,j4 ,w41 ,geological ,history of ,plants4 ,with #hj ,illustrations4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,geological ,,survey ,,of ,,india ,,in ,,calcutta3 ,palontologia ,indica4 ,folio4 #ahfc-ie4 ,published at various prices4 asterism ,index to the ,genera and species described in the ,palontologia ,indica up to the year #ahia4 ,by ,w4 ,,theobald4 #ahf pp4 folio4 #ahib4 #ds4 ,memoirs of the ,geological ,survey4 ,vols4 ,i4--,,xxiv4 ,royal #hvo4 #ahei-ia4 #ajs4 each4 asterism ,contents and ,index to the first #bj volumes4 ,by ,w4 ,,theobald4 ,royal #hvo4 #ahib4 #ds4 ,records of the ,geological ,survey4 ,vols4 ,i4-,,xxviii4 ,royal #hvo4 #ahfh-ie4 #ds4 each4 asterism ,contents and ,index to the first #bj volumes 7#ahfh-hg74 ,royal #hvo4 #ahia4 #ds4 ,,haeckel1 ,prof4 ,,ernst1 ,the ,history of ,creation4 ,new ,edition4 ,translation revised by ,prof4 ,e4 ,,ray ,,lankester4 ,with #bj ,plates and numerous ,figures4 ,fourth ,edition4 #b vols4 large post #hvo1 #cbs4 ,,judd1 ,prof4 ,j4 ,w41 ,volcanoes3 ,what they ,are1 and ,what they ,teach4 ,with #if ,illustrations on wood4 ,fourth ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,kinahan1 ,g4 ,h41 ,valleys1 and their ,relations to ,fissures1 ,fractures1 and ,faults4 ,crown #hvo1 #gs4 #f;d4 ,,loomis1 ,e41 ,a ,treatise on ,meteorology4 #hvo4 sheep1 #gs4 #f;d4 ,,mallet1 ,f4 ,r41 ,manual of the ,geology of ,india4 ,part #d4--,mineralogy 7mainly non-economic74 #age pp4 royal #hvo4 #ahhg4 #ds4 ,,milne1 ,j41 ,earthquakes and other ,earth ,movements4 ,with #ch ,figures4 ,third and revised ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,moses1 ,a4 ,j41 and ,,parsons1 ,c4 ,l41 ,elements of ,mineralogy1 ,crystallography1 and ,blow-pipe ,analysis4 #hvo1 #ajs4 ,,oldham1 ,r4 ,d41 ,manual of the ,geology of ,india4 ,second ,edition1 revised and largely re-written4 ,royal #hvo1 half calf4 #ahic4 #afs4 ,,scott1 ,,robert ,h41 ,elementary ,meteorology4 ,fifth ,edition4 ,with numerous ,illustrations4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,symons1 ,g4 ,j41 ,the ,eruption of ,krakatoa1 and ,subsequent ,phenomena4 ,report of the ,krakatoa ,committee of the ,royal ,society4 ,with #f ,chromo-lithographs1 and #dj ,maps and ,diagrams4 #dto1 #a #ajs4 ,,tyndall1 ,j41 ,forms of ,water in ,clouds and ,rivers1 ,ice and ,glaciers4 ,with #be ,illustrations4 ,tenth ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,wright1 ,g4 ,f41 ,the ,ice ,age in ,north ,america1 and its ,bearing upon the ,antiquity of ,man4 ,with ,maps and ,illustrations4 #hvo1 #bas4 ,,mathematics4 ,,clifford1 ,w4 ,,kingdon1 ,common ,sense of the ,exact ,sciences4 ,second ,edition4 ,with #ajj ,figures4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,klein1 ,,felix1 ,lectures on the ,ikosahedron1 and the ,solution of ,equations of the ,fifth ,degree4 ,translated by ,g4 ,g4 ,,morrice4 #hvo1 #ajs4 #f;d4 ,,physics4 ,,babbitt1 ,e4 ,d41 ,the ,principles of ,light and ,colour4 ,with over #bjj ,engravings and #d ,coloured ,plates4 ,royal #hvo1 #bas4 net4 ,electricity in ,daily ,life4 ,a ,popular ,account of its ,application to ,everyday ,uses4 ,with #abe ,illustrations4 ,square #hvo1 #is4 ,,glazebrook1 ,r4 ,t41 ,laws and ,properties of ,matter4 ,crown #hvo1 #bs4 #f;d4 7,modern ,science ,series47 ,,hospitalier1 ,e41 ,the ,modern ,applications of ,electricity4 ,translated and ,enlarged by ,,julius ,,maier4 ,second ,edition1 revised1 with many ,additions and ,numerous ,illustrations4 #b vols4 #hvo1 #bes4 ,,le ,,conte1 ,,joseph1 ,sight4 ,an ,exposition of the ,principles of ,monocular and ,binocular ,vision4 ,second ,edition4 ,with #acb ,illustrations4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,lommel1 ,dr4 ,,eugene1 ,nature of ,light4 ,with a ,general ,account of ,physical ,optics4 ,with #ahh ,illustrations and a ,table of ,spectra in ,chromo-lithography4 ,fifth ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,rood1 ,,ogden ,n41 ,colour4 ,a ,text-,book of ,modern ,chromatics4 ,with ,applications to ,art and ,industry4 ,with #acj ,original ,illustrations4 ,third ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,stallo1 ,j4 ,b41 ,concepts and ,theories of ,modern ,physics4 ,third ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,stewart1 ,,balfour1 ,conservation of ,energy4 ,with #ad ,illustrations4 ,seventh ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,wurtz1 ,prof41 ,the ,atomic ,theory4 ,translated by ,e4 ,,cleminshaw4 ,fifth ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,zoology4 ,,beneden1 ,j4 ,p41 van1 ,animal ,parasites and ,messmates4 ,with #hc ,illustrations4 ,fourth ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,bernstein1 ,prof41 ,the ,five ,senses of ,man4 ,with #ia ,illustrations4 ,fifth ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,comstock1 ,,john ,,henry and ,,anna ,b41 ,a ,manual for the ,study of ,insects4 ,royal #hvo1 #bes4 net4 ,,flower1 ,w4 ,h41 ,the ,horse3 ,a ,study in ,natural ,history4 ,crown #hvo1 #bs4 #f;d4 7,modern ,science ,series47 ,,hartmann1 ,r41 ,anthropoid ,apes4 ,with #fc ,illustrations4 ,second ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,heilprin1 ,prof4 ,a41 ,geographical and ,geological ,distribution of ,animals4 ,with ,frontispiece4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,hornaday1 ,w4 ,t41 ,taxidermy and ,zoological ,collecting4 ,with ,chapters on ,collecting and ,preserving ,insects1 by ,w4 ,j4 ,,holland1 ,d4,d4 ,with #bd ,plates and #he ,illustrations4 #hvo1 #ajs4 #f;d4 ,,huxley1 ,prof4 ,t4 ,h41 ,the ,crayfish3 ,an ,introduction to the ,study of ,zoology4 ,with #hb ,illustrations4 ,fifth ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,kew1 ,h4 ,w41 ,dispersal of ,shells4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,lubbock1 ,sir ,,john1 ,ants1 ,bees1 and ,wasps4 ,a ,record of ,observations on the ,habits of the ,social ,hymenoptera4 ,with #e ,chromo-lithographic ,plates4 ,tenth ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,on the ,senses1 ,instincts1 and ,intelligence of ,animals4 ,with ,special ,reference to ,insects4 ,with #aah ,illustrations4 ,third ,edition4 ,crown #hvo4 7,i4 ,s4 ,s47 ,,marey1 ,prof4 ,e4 ,j41 ,animal ,mechanism1 ,a ,treatise on ,terrestrial and ,arial ,locomotion4 ,with #aag ,illustrations4 ,third ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,meyer1 ,g4 ,,hermann von1 ,organs of ,speech and their ,application in the ,formation of ,articulate ,sounds4 ,with #dg ,illustrations4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,pettigrew1 ,j4 ,b41 ,animal ,locomotion2 or1 ,walking1 ,swimming1 and ,flying4 ,with #acj ,illustrations4 ,third ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,poulton1 ,e4 ,b41 ,colours of ,animals3 their ,meaning and ,use1 especially considered in the case of ,insects4 ,with ,coloured ,frontispiece and #ff ,illustrations in text4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,rodd1 ,e4 ,h41 ,birds of ,cornwall and the ,scilly ,islands4 ,edited by ,j4 ,e4 ,,harting4 ,with ,portrait and ,map4 #hvo1 #ads4 ,,romanes1 ,g4 ,j41 ,jelly-,fish1 ,star-,fish1 and ,sea-,urchins4 ,being a ,research on ,primitive ,nervous ,systems4 ,with ,illustrations4 ,second ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 7,see also ,,philosophy47 ,,schmidt1 ,prof4 ,o41 ,doctrine of ,descent and ,darwinism4 ,with #bf ,illustrations4 ,seventh ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,mammalia in their ,relation to ,primeval ,times4 ,with #ea ,woodcuts4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,semper1 ,,karl1 ,natural ,conditions of ,existence as they affect ,animal ,life4 ,with #b ,maps and #ajf ,woodcuts4 ,fourth ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,stebbing1 ,t4 ,r4 ,r41 ,a ,history of ,crustacea4 ,recent ,malacostraca4 ,with numerous ,illustrations4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,trimen1 ,,roland1 ,south ,african ,butterflies4 ,a ,monograph of the ,extra-tropical ,species4 ,with #ab ,coloured ,plates4 #c vols41 #hvo1 #b #abs4 #f;d4 ,,warner1 ,prof4 ,f41 ,physical ,expression3 ,its ,modes and ,principles4 ,with #ej ,illustrations4 ,second ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,weed1 ,c4 ,m41 ,insects and ,insecticides4 ,illustrated4 ,crown #hvo1 #gs4 #f;d4 ,,witherby1 ,,harry1 ,forest ,birds1 their ,haunts and ,habits4 ,with ,illustrations4 ,crown #hvo1 #bs4 #f;d4 ,,viii4--,,useful ,,arts ,,and ,,sciences ,,and ,,fine ,,arts4 ,,chess4 ,british ,chess ,magazine4 ,monthly1 d4 ,,euclid',s ,analysis of the ,chess ,ending1 ,king and ,queen against ,king and ,rook4 ,edited by ,e4 ,,freeborough4 #hvo1 #fs4 net4 ,,freeborough1 ,e41 ,chess ,endings4 ,a ,companion to ,chess ,openings1 ,ancient and ,modern4 ,edited and arranged by ,e4 ,,freeborough4 ,large post #hvo1 #gs4 #f;d4 ,select ,chess ,end ,games4 ,edited and arranged4 ,crown #hvo1 #as4 #f;d4 net4 ,,freeborough1 ,e41 and ,,ranken1 ,c4 ,e41 ,chess ,openings1 ,ancient and ,modern4 ,revised and ,corrected up to the ,present ,time from the best ,authorities4 ,large post #hvo1 #hs4 ,,gossip1 ,g4 ,h4 ,d41 ,the ,chess ,player's ,text-,book4 ,an ,elementary ,treatise on the ,game of ,chess4 ,numerous ,diagrams4 #afmo1 #bs4 ,,greenwell1 ,w4 ,j41 ,chess ,exemplified in ,one ,hundred and ,thirty-two ,games of the ,most ,celebrated ,players4 ,by ,w4 ,j4 ,,greenwell1 #hvo1 #es4 ,,walker',s ,chess ,studies4 ,new ,edition4 ,with ,preface by ,e4 ,,freeborough4 ,large post #hvo1 #gs4 #f;d4 ,,gastronomy ,,and ,,diet4 ,,allen1 ,,mary ,l41 ,luncheon ,dishes4 ,comprising ,menus in ,french and ,english1 as well as ,suggestions for ,arrangement and ,decoration of ,table4 ,foolscap #hvo1 cloth #as4 #f;d42 paper1 #as4 ,five ,o'clock ,tea4 ,containing ,receipts for ,cakes1 ,savoury ,sandwiches1 etc4 ,eighth ,thousand4 ,foolscap #hvo1 #as4 #f;d42 paper covers1 #as4 ,,cameron1 ,miss1 ,soups and ,stews1 and ,choice ,ragouts4 #as4 #f;d42 paper covers1 #as4 ,,de ,,joncourt1 ,,marie1 ,wholesome ,cookery4 ,fifth ,edition4 ,crown #hvo1 #as4 #f;d42 paper covers1 #as4 ,,hooper1 ,,mary1 ,cookery for ,invalids1 ,persons of ,delicate ,digestion1 and ,children4 ,fifth ,edition4 ,crown #hvo1 #bs4 #f;d4 ,every-,day ,meals4 ,being ,economical and ,wholesome ,recipes for ,breakfast1 ,luncheon1 and ,supper4 ,seventh ,edition4 ,crown #hvo1 #bs4 #f;d4 ,little ,dinners4 ,how to ,serve them with ,elegance and ,economy4 ,twenty-first ,edition4 ,crown #hvo1 #bs4 #f;d4 ,,kingsford1 ,,anna1 ,the ,perfect ,way in ,diet4 ,a ,treatise advocating a return to the ,natural and ,ancient ,food of our race4 ,third ,edition4 ,small #hvo1 #bs4 ,,newman1 ,,francis ,,william1 ,essays on ,diet4 ,small #hvo1 cloth limp1 #bs4 ,,santiago1 ,d41 ,curry ,cook's ,assistant4 ,foolscap #hvo1 #as4 #f;d42 paper covers1 #as4 ,,smith1 ,e41 ,foods4 ,with numerous ,illustrations4 ,ninth ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,thompson1 ,sir ,h41 ,diet in ,relation to ,age and ,activity4 ,foolscap #hvo1 #as4 #f;d42 paper covers1 #as4 ,,medicine ,,and ,,physiology4 ,,brothers1 ,a41 ,infantile ,mortality during ,child-,birth1 and ,its ,prevention4 #hvo1 #gs4 #f;d4 net4 ,,browne1 ,,edgar ,a41 ,how to use the ,ophthalmoscope4 ,third ,edition4 ,crown #hvo1 #cs4 #f;d4 ,,bunge1 ,prof4 ,g41 ,text-,book of ,physiological and ,pathological ,chemistry1 for ,physicians and ,students4 ,translated from the ,german by ,l4 ,c4 ,,wooldridge4 #hvo1 #afs4 ,,byford1 ,h4 ,j41 ,manual of ,gynecology4 ,with #bcd ,illustrations4 ,crown #hvo1 #ajs4 #f;d4 net4 ,,carpenter1 ,w4 ,b41 ,principles of ,mental ,physiology4 ,with their ,applications to the ,training and ,discipline of the ,mind and the ,study of its ,morbid ,conditions4 ,illustrated4 ,sixth ,edition1 #hvo1 #abs4 ,,catlin1 ,,george1 ,shut ,your ,mouth and ,save ,your ,life4 ,with #bi ,illustrations4 ,eighth ,edition4 ,crown #hvo1 #bs4 #f;d4 ,,dunn1 ,h4 ,p41 ,infant ,health4 ,the ,physiology and ,hygiene of ,early ,life4 ,small crown #hvo1 #cs4 #f;d4 ,,dymock1 ,w41 ,,warden1 ,c4 ,j4 ,h41 and ,,hooper1 ,d41 ,pharmacographia ,indica4 ,the principal ,drugs of ,vegetable ,origin met with in ,british ,india4 ,six ,parts and an ,index4 #hvo4 #ahhi-ic #c #ajs4 ,,green1 ,f4 ,w4 ,,edridge1 ,colour ,blindness and ,colour ,perception4 ,with #c ,coloured ,plates4 ,crown #hvo1 #es4 ,,hammerston1 ,,olof1 ,a ,text-,book of ,physiological ,chemistry4 #hvo1 #a4 ,,harlingen1 ,a4 van1 ,handbook on the ,diagnosis and ,treatment of ,skin ,disease4 ,with #fj ,illustrations4 #hvo1 #abs4 net4 ,index ,medicus4 ,a ,monthly ,classified ,record of the ,current ,medical ,literature of the ,world4 ,annual ,subscription1 #e #es4 ,,jackson1 ,,edward1 ,skiascopy and ,its ,practical ,application to the ,study of ,refraction4 #es4 ,,kraus1 ,dr4 ,j41 ,the ,etiology1 ,symptoms and ,treatment of ,gall-,stones4 ,with ,remarks on ,operative ,treatment by ,h4 ,,morris4 ,crown #hvo1 #es4 ,,kraus1 ,dr4 ,j44 ,senr41 ,pathology and ,therapy of ,gall-,stones4 ,crown #hvo4 #es4 ,carlsbad3 ,its ,thermal ,springs and ,baths1 and ,how to ,use them4 ,fourth ,edition1 revised and enlarged4 ,crown #hvo1 #fs4 #f;d4 ,,lagrange1 ,f41 ,physiology of ,bodily ,exercise4 ,second ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,lehmann1 ,k4 ,b41 ,methods of ,practical ,hygiene4 ,translated by ,w4 ,,crookes4 #b vols41 #hvo1 #a #aas4 #f;d4 ,l,,ckes1 ,,eva ,c4 ,e41 ,lectures on ,general ,nursing4 ,delivered to the ,probationers of the ,london ,hospital ,training ,school for ,nurses4 ,fourth ,edition4 ,crown #hvo1 #bs4 #f;d4 ,,metchnikoff1 ,,elias1 ,lectures on the ,comparative ,pathology of ,inflammation4 ,translated from the ,french by ,f4 ,a4 and ,e4 ,h4 ,,starling4 #hvo1 #abs4 ,,nunn1 ,t4 ,w41 ,growing ,children and ,awkward ,walking4 ,crown #hvo1 #bs4 ,,pilcher1 ,j4 ,e41 ,first ,aid in ,illness and ,injury4 ,with #agd ,illustrations4 ,crown #hvo1 #fs4 ,,puritz1 ,,ludwig1 ,code-,book of ,gymnastic ,exercises4 #cbmo1 #as4 #f;d4 net4 ,,pye1 ,w41 ,surgical ,handicraft4 ,a ,manual of ,surgical ,manipulations1 c4 ,with #bce ,illustrations4 ,third ,edition4 ,revised and ,edited by ,t4 ,h4 ,r4 ,,crowle4 ,crown #hvo1 #ajs4 #f;d4 ,elementary ,bandaging and ,surgical ,dressing1 for the use of ,dressers and ,nurses4 ,twelfth ,thousand4 #ahmo1 #bs4 ,,ribot1 ,prof4 ,t41 ,heredity3 ,a ,psychological ,study of its ,phenomena1 ,laws1 ,causes1 and ,consequences4 ,second ,edition4 ,large crown #hvo1 #is4 ,,rosenthal1 ,prof4 ,j41 ,general ,physiology of ,muscles and ,nerves4 ,third ,edition4 ,with #ge ,illustrations4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,sanitarian4 ,devoted to the ,preservation of ,health1 ,mental and ,physical ,culture4 ,monthly4 ,annual ,subscription1 #ahs4 ,,scoville1 ,w4 ,l41 ,the ,art of ,compounding ,drugs4 ,for ,students and ,pharmacists at the ,prescription ,counter4 #hvo1 #abs4 ,,strahan1 ,s4 ,a4 ,k41 ,marriage and ,disease4 ,a ,study of ,heredity and the more important ,family ,degenerations4 ,crown #hvo1 #fs4 ,,taylor1 ,,charles ,,bell1 ,lectures on ,diseases of the ,eye4 ,third ,edition4 #hvo1 #ajs4 ,,tyrrell1 ,,walter1 ,nervous ,exhaustion3 its ,causes1 ,outcomes1 and ,treatment4 ,crown #hvo1 #cs4 ,,wake1 ,c4 ,,staniland1 ,development of ,marriage and ,kinship4 #hvo1 #ahs4 ,,wallis1 ,j4 ,,white1 ,manual of ,hygiene4 ,crown #hvo1 #bs4 #f;d4 ,,wooldridge1 ,l4 ,c41 ,on the ,chemistry of the ,blood1 and other ,scientific ,papers4 ,arranged by ,,victor ,,horsley and ,,ernest ,,starling4 ,with ,introduction by ,,victor ,,horsley4 ,with ,illustrations4 #hvo1 #afs4 ,,military ,,science4 ,,baker1 ,lt-,col4 ,,eden1 ,r4,a41 ,preliminary ,tactics4 ,an ,introduction to the ,study of ,war4 ,for the use of ,junior ,officers4 ,crown #hvo1 #fs4 ,,brackenbury1 ,major-,general1 ,field ,works4 ,their ,technical ,construction and ,tactical ,application4 #b vols4 small crown #hvo1 #abs4 ,,buxton1 ,major1 ,elements of ,military ,administration4 ,first ,part3 ,permanent ,system of ,administration4 ,small crown #hvo1 #gs4 #f;d4 ,cavalry ,tactics1 ,organisation1 etc41 ,notes on4 ,by a ,,cavalry ,,officer4 ,with ,diagrams4 #hvo1 #abs4 ,,clery1 ,gen4 ,c4 ,,francis1 ,minor ,tactics4 #acth ,edition ,revised1 with #bf ,maps and ,plans4 ,crown #hvo1 #is4 ,,foster1 ,c4 ,w41 ,modern ,war4 ,translated by ,c4 ,w4 ,,foster4 ,part ,i43 ,strategy1 and ,atlas of #fd ,plates4 #hvo1 #a #afs4 ,part ,,ii43 ,grand ,tactics1 #aes4 ,,gall1 ,captain ,h4 ,r41 ,solutions of the ,tactical ,problems ,examinations for ,captains1 ,may1 #ahif4 ,crown #hvo1 #bs4 #f;d4 ,,harrison1 ,col4 ,r41 ,officer's ,memorandum ,book for ,peace and ,war4 ,fourth ,edition1 revised4 ,oblong #cbmo1 red basil1 with pencil1 #cs4 #f;d4 ,,hutchinson1 ,col41 and ,,macgregor1 ,major1 ,military ,sketching and ,reconnaissance4 ,fifth ,edition4 ,with #af ,plates4 ,small crown #hvo1 #ds4 ,,pratt1 ,lieut4-,col4 ,s4 ,c41 ,field ,artillery4 ,its ,equipment1 ,organisation1 and ,tactics4 ,sixth ,edition4 ,revised by ,lieut4-,col4 ,,eden ,,baker4 ,small crown #hvo1 #fs4 7,military ,handbooks47 ,military ,law4 ,its ,procedure and ,practice4 ,eleventh revised ,edition4 ,small crown #hvo1 #ds4 #f;d4 net4 7,military ,handbooks47 ,,schaw1 ,col4 ,h41 ,defence and ,attack of ,positions and ,localities4 ,fourth ,edition4 ,crown #hvo1 #cs4 #f;d4 ,,shaw1 ,lieut4-,col4 ,,wilkinson1 ,elements of ,modern ,tactics practically applied to ,english ,formations4 ,eighth ,edition4 ,with #ca ,plates and ,maps4 ,small crown #hvo1 #is4 net4 7,military ,handbooks47 ,,trench1 ,major-,general1 ,cavalry in ,modern ,war4 ,small crown #hvo1 #fs4 7,military ,handbooks47 ,,windham1 ,sir ,c4 ,a41 ,the ,crimean ,diary of the late ,general ,sir ,charles ,a4 ,windham1 ,k4,c4,b4 ,with an ,introduction by ,sir ,w4 ,h4 ,,russell4 ,edited by ,major ,,hugh ,,pearce4 ,with an added ,chapter on ,the ,defence of ,cawnpore1 by ,lieut4-,col4 ,,john ,,adye1 ,c4,b4 #hvo4 ,,music4 ,,blaserna1 ,prof4 ,p41 ,theory of ,sound in its ,relation to ,music4 ,with ,numerous ,illustrations4 ,fourth ,edition4 ,crown #hvo1 #es4 7,i4,s4,s47 ,,locher1 ,,carl1 ,explanation of ,organ ,stops4 ,with ,hints for ,effective ,combinations4 #hvo1 #es4 ,,parry1 ,c4 ,,hubert ,h41 ,the ,evolution of the ,art of ,music4 ,crown #hvo1 #es4 ,also cloth1 gilt top1 #fs4 7,i4,s4,s47 ,,pole1 ,w41 ,philosophy of ,music4 ,lectures delivered at the ,royal ,institution4 ,fourth ,edition4 ,post #hvo1 #gs4 #f;d4 7,philosophical ,library47 ,,wagner1 ,,richard1 ,prose ,works4 ,translated by ,w4 ,,ashton ,,ellis4 ,vol4 ,i4 ,the ,art ,work of the ,future1 c4 #hvo1 #abs4 #f;d4 net4 ,vol4 ,,ii4 ,the ,drama4 #hvo1 #abs4 #f;d4 net4 ,vol4 ,,iii4 ,the ,theatre4 #hvo1 #abs4 #f;d4 net4 ,vol4 ,,iv4 ,art and ,politics4 #hvo1 #abs4 #f;d4 net4 ,,numismatics4 ,numismata ,orientalia4 ,royal #dto1 in paper wrapper4 ,part ,i4--,ancient ,indian ,weights4 ,by ,e4 ,,thomas4 ,with a plate and ,map1 #is4 #f;d4 ,part ,,ii4--,coins of the ,urtuki ,turkumns4 ,by ,s4 ,,lane ,,poole4 ,with #f ,plates1 #is4 ,part ,,iii4--,coinage of ,lydia and ,persia4 ,by ,,barclay ,v4 ,,head4 ,with #c ,plates1 #ajs4 #f;d4 ,part ,,iv4--,coins of the ,tuluni ,dynasty4 ,by ,e4 ,t4 ,,rogers4 ,with #a ,plate1 #es4 ,part ,v4--,parthian ,coinage4 ,by ,,percy ,,gardner4 ,with #h ,plates1 #ahs4 ,part ,,vi4--,ancient ,coins and ,measures of ,ceylon4 ,by ,t4 ,w4 ,,rhys ,,davids4 ,with #a ,plate1 #ajs4 ,vol4 ,i4 ,containing the first six parts as specified above4 ,royal #dto1 half bound1 #c #acs4 #f;d4 ,vol4 ,,ii4 ,coins of the ,jews4 ,being a ,history of the ,jewish ,coinage in the ,old and ,new ,testaments4 ,by ,f4 ,w4 ,,madden4 ,with #bgi ,woodcuts and ,plate4 ,royal #dto1 #b4 ,vol4 ,,iii4 ,part ,i4--,the ,coins of ,arakan1 of ,pegu1 and of ,burma4 ,by ,lieut4-,general ,sir ,,arthur ,,phayre4 ,also contains the ,indian ,balhara and the ,arabian ,intercourse with ,india in the ninth and following centuries4 ,by ,,edward ,,thomas4 ,with #e ,illustrations4 ,royal #dto1 #hs4 #f;d4 ,vol4 ,,iii4 ,part ,,ii4--,the ,coins of ,southern ,india4 ,by ,sir ,w4 ,elliott4 ,with ,map and ,plates4 ,royal #dto1 #bes4 ,numismata ,orientalia4 ,illustrated4 ,fifty-seven ,plates of ,oriental ,coins1 ,ancient and ,modern1 from the collection of the late ,,william ,,marsden1 ,f4,r4,s4 ,engraved from drawings made under his directions4 #dto1 #cas4 #f;d4 ,,painting1 ,,sculpture1 ,,etc4 ,,blake1 ,,william1 ,selections from the ,writings of4 ,edited1 with ,introduction1 by ,,laurence ,,housman4 ,with ,frontispiece4 ,elzevir #hvo1 ,parchment or cloth1 #fs42 vellum1 #gs4 #f;d4 7,parchment ,library47 ,,clement ,c4 ,e41 and ,,hutton1 ,l41 ,artists of the ,nineteenth ,century and their ,works4 #bjej ,biographical ,sketches4 ,third ,edition1 revised4 ,crown #hvo1 #aes4 ,,gower1 ,lord ,,ronald1 ,bric--,brac4 ,being some ,photo-prints illustrating ,art ,objects at ,gower ,lodge1 ,windsor4 ,with ,letterpress ,descriptions4 ,super-royal #hvo1 #aes42 extra binding1 #bas4 ,,holmes1 ,,forbes ,a4 ,w41 ,the ,science of ,beauty4 ,an ,analytical ,inquiry into the ,laws of ,aesthetics4 ,second ,edition4 ,post #hvo1 #cs4 #f;d4 ,,housman1 ,,laurence1 ,arthur ,boyd ,houghton4 ,selections from his ,work in ,black and ,white4 ,with ,introductory ,essay4 #dto1 #aes4 net4 ,,howells1 ,w4 ,d41 ,a ,little ,girl among the ,old ,masters4 ,with #ed ,plates4 ,oblong crown #hvo1 #ajs4 ,,leighton1 ,lord1 ,p4,r4,a41 ,addresses to the ,students of the ,royal ,academy4 ,with ,portrait4 #hvo1 #gs4 #f;d4 ,,mitchell1 ,,lucy ,m41 ,history of ,ancient ,sculpture4 ,with numerous ,illustrations4 ,super-royal #hvo1 #dbs4 ,,reynolds1 ,sir ,,joshua1 ,discourses4 ,edited by ,e4 ,,gosse4 ,elzevir #hvo 7,parchment ,library47 ,vellum1 #gs4 #f;d42 parchment or cloth1 #fs4 ,,thackeray1 ,w4 ,m41 ,essay on the ,genius of ,george ,cruikshank4 ,reprinted verbatim from the ,westminster ,review4 ,with #dj ,illustrations4 ,royal #hvo1 #gs4 #f;d4 ,,thompson1 ,sir ,e4 ,,maunde4 ,english ,illuminated ,manuscripts4 ,with #ba ,plates in chromo-lithography4 ,imp4 #hvo1 #ahs4 ,,woltmann1 ,,alfred1 and ,,woermann1 ,,karl1 ,history of ,painting4 ,with numerous ,illustrations4 ,med4 #hvo1 ,vol4 ,i43 ,painting in ,antiquity and the ,middle ,ages1 #bhs4 ,vol4 ,,ii43 ,the ,painting of the ,renasence1 #dbs4 ,the two volumes may be had bound in cloth with bevelled boards and gilt leaves1 price #cjs4 and #des4 respectively4 ,,technology1 ,,etc4 ,amateur ,mechanic's ,workshop4 ,plain and ,concise ,directions for the ,manipulation of ,wood and ,metals4 ,by the ,author of ',the ,lathe and its ,uses4' ,sixth ,edition4 ,illustrated4 #hvo1 #fs4 ,,anderson1 ,,william1 ,practical ,mercantile ,correspondence4 ,a ,collection of ,modern ,letters of ,business4 ,with ,notes4 ,thirtieth ,edition1 ,revised4 ,crown #hvo1 #cs4 #f;d4 ,,axon1 ,w4 ,e4 ,a41 ,the ,mechanic's ,friend4 ,a ,collection of ,receipts and ,practical ,suggestions relating to ,aquaria1 ,bronzing1 ,cements1 ,drawing1 ,dyes1 ,electricity1 ,gilding1 ,glass-working1 c4 ,second ,edition4 ,numerous ,woodcuts4 ,crown #hvo1 #cs4 #f;d4 ,,bellows1 ,w41 ,the ,ocean ,liners of the ,world ,illustrated4 ,second ,edition4 ,small oblong #dto1 #as4 ,,du ,,moncel1 ,count1 ,the ,telephone1 the ,microphone1 and the ,phonograph4 ,with #gd ,illustrations4 ,third ,edition4 ,small #hvo1 #es4 ,,eger1 ,,gustav1 ,technological ,dictionary4 ,in the ,english and ,german ,languages4 #b vols4 royal #hvo1 #a #gs4 ,,fulton1 ,j41 ,a ,treatise on the ,manufacture of ,coke1 and the ,saving of ,by-,products4 #hvo1 #bas4 ,,galloway1 ,,robert1 ,treatise on ,fuel4 ,scientific and ,practical4 ,with ,illustrations4 ,post #hvo1 #fs4 ,,hulme1 ,f4 ,,edward1 ,mathematical ,drawing ,instruments1 and ,how to ,use them4 ,with ,illustrations4 ,third ,edition4 ,imperial #afmo1 #cs4 #f;d4 ,,husmann1 ,g41 ,american ,grape ,growing and ,wine ,making4 ,new and entirely ,revised ,edition4 ,crown #hvo1 #gs4 #f;d4 ,,inman1 ,,james1 ,nautical ,tables4 ,designed for the use of ,british ,seamen4 ,new ,edition1 ,revised and ,enlarged4 #hvo1 #afs4 ,,japp1 ,a4 ,h41 ,days with ,industrials4 ,adventures and ,experiences among ,curious ,industries4 ,with ,illustrations4 ,crown #hvo1 #fs4 ,,kamarsch1 ,,karl1 ,technological ,dictionary of the ,terms ,employed in the ,arts and ,sciences 7,architecture1 ,engineering1 ,mechanics1 ,shipbuilding and ,navigation1 ,metallurgy1 ,mathematics1 c474 ,fourth ,revised ,edition4 #c vols4 imperial #hvo4 ,vol4 ,i4 ,german--,english--,french4 #abs4 ,vol4 ,,ii4 ,english--,german--,french4 #abs4 ,vol4 ,,iii4 ,french--,german--,english4 #aes4 ,,krohnke1 ,g4 ,h4 ,a41 ,handbook for ,laying out ,curves on ,railways and ,tramways4 ,crown #hvo1 #es4 ,lathe1 ,the1 and its ,uses2 or1 ,instruction in the ,art of ,turning ,wood and ,metal4 ,sixth ,edition4 ,illustrated4 #hvo1 #ajs4 #f;d4 ,,lawlor1 ,j4 ,j41 ,practical ,hot ,water ,heating1 ,steam and ,gas ,fitting4 ,crown #hvo1 #hs4 #f;d4 ,,leffmann1 ,,henry1 and ,,beam1 ,w41 ,examination of ,water for ,sanitary and ,technical ,purposes4 ,second ,edition1 ,revised and ,enlarged4 ,with ,illustrations4 ,crown #hvo1 #es4 ,analysis of ,milk and ,milk ,products4 ,crown #hvo1 #es4 ,,lukin1 ,j41 ,amongst ,machines4 ,a ,description of ,various ,mechanical ,appliances used in the ,manufacture of ,wood1 ,metal1 etc4 ,a book for boys4 ,third ,edition4 ,with #fd ,engravings4 ,crown #hvo1 #cs4 #f;d4 ,the ,boy ,engineers4 ,what ,they ,did1 and ,how ,they ,did ,it4 ,a book for boys4 ,with #cj ,engravings4 ,third ,edition4 ,crown #hvo1 #cs4 #f;d4 ,the ,young ,mechanic4 ,a ,book for ,boys1 containing ,directions for the ,use of all kinds of ,tools1 and for the ,construction of ,steam ,engines and ,mechanical ,models4 ,seventh ,edition4 ,with #gj ,engravings4 ,crown #hvo1 #cs4 #f;d4 ,,maguire1 ,w4 ,r41 ,domestic ,sanitary ,drainage and ,plumbing4 ,second ,edition4 ,revised4 #hvo1 #abs4 ,,malden1 ,w4 ,j41 ,pig ,keeping for ,profit4 ,crown #hvo1 #bs4 #f;d4 7,village ,library47 ,,moore1 ,,cunningham ,,wilson1 ,a ,practical ,guide for ,prospectors1 ,explorers1 and ,miners4 #hvo1 #abs4 net4 ,,morfit1 ,,campbell1 ,pure ,fertilisers1 and the ,chemical ,conversion of ,rock ,guanos1 etc41 into various valuable products4 #hvo1 #d #ds4 ,manufacture of ,soaps4 ,with ,illustrations4 #hvo1 #b #abs4 #f;d4 ,,osterberg1 ,,max1 ,synopsis of ,current ,electrical ,literature4 #hvo1 #es4 net4 ,,richardson1 ,m4 ,t41 ,practical ,blacksmithing4 ,with #djj ,illustrations4 #d vols4 ,crown #hvo1 #es4 each4 ,practical ,carriage ,building4 #b vols4 #ajs4 ,practical ,horse-shoer4 ,with #agj ,illustrations4 ,crown #hvo1 #es4 ,,ross1 ,lieut4-,col4 ,w4 ,a41 ,pyrology2 or1 ,fire ,chemistry4 ,small #dto1 #cfs4 ,,scheidel1 ,dr4 ,a41 ,the ,cyanide ,process2 its ,practical ,applications and ,economical ,results4 #hvo1 #fs4 ,,schooling1 ,j4 ,,holt1 ,handwriting and ,expression4 ,a ,study of ,written ,gesture1 with #aej ,fac-simile ,reproductions of the ,handwritings of ,men and ,women of various ,nationalities4 ,translated4 #hvo1 #fs4 ,,sch,,tzenberger1 ,prof41 ,fermentation4 ,with #bh ,illustrations4 ,fourth ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,science4 ,weekly4 #a #bs4 ,scientific ,american4 ,weekly4 #ahs4 ,scientific ,american4 ,export ,edition4 ,monthly4 #a #es4 ,scientific ,american4 ,building ,edition4 ,monthly4 #ads4 ,do4 ,supplement4 ,weekly4 #a #es4 ,,sedding1 ,j4 ,d41 ,art and ,handicraft4 ,six ,essays4 #hvo1 #gs4 #f;d4 ,,smith1 ,,hamilton1 ,hydraulics4 ,the ,flow of ,water through ,orifices1 over ,weirs1 and through ,open ,conduits and ,pipes4 ,with #ag ,plates4 ,royal #dto1 #cjs4 ,,thurston1 ,prof4 ,r4 ,h41 ,history of the ,growth of the ,steam ,engine4 ,with ,numerous ,illustrations4 ,fourth ,edition4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,manual of the ,steam ,engine4 ,for ,engineers and ,technical ,schools4 ,parts ,i4 and ,,ii4 ,royal #hvo4 #cas4 #f;d4 each ,part4 ,,wanklyn1 ,j4 ,a41 ,milk ,analysis4 ,a ,practical ,treatise on the ,examination of ,milk and its ,derivatives1 ,cream1 ,butter and ,cheese4 ,second ,edition4 ,crown #hvo1 #es4 ,,wanklyn1 ,j4 ,a41 and ,,chapman1 ,e4 ,t41 ,water ,analysis4 ,a ,treatise on the ,examination of ,potable ,water4 ,tenth ,edition4 thoroughly ,revised4 ,crown #hvo1 #es4 ,,wanklyn1 ,j4 ,a41 and ,,cooper1 ,w4 ,j41 ,bread ,analysis4 ,a ,practical ,treatise on the ,examination of ,flour and ,bread4 ,crown #hvo1 #es4 ,air ,analysis4 ,a ,practical ,treatise4 ,with ,appendix on ,illuminating ,gas4 ,crown #hvo1 #es4 ,,waterhouse1 ,col4 ,j41 ,preparation of ,drawings for ,photographic ,reproduction4 ,with ,plates4 ,crown #hvo1 #es4 ,,weisbach1 ,,julius1 ,theoretical ,mechanics4 ,a ,manual of the ,mechanics of ,engineering4 ,designed as a ,text ,book for ,technical ,schools1 and for the use of ,engineers4 ,from the ,german1 by ,e4 ,b4 ,,coxe4 ,with #ijb ,woodcuts4 ,second ,edition4 #hvo1 #cas4 #f;d4 ,,wiechmann1 ,g4 ,f41 ,sugar ,analysis4 ,for ,refineries1 ,sugar-,houses1 ,experimental ,stations1 c4 #hvo1 #abs4 #f;d4 ,,wilcox1 ,,lute1 ,irrigation ,farming4 ,crown #hvo1 #ajs4 ,,wylde1 ,w41 ,inspection of ,meat4 ,a ,guide and ,instruction ,book to ,officers supervising ,contract ,meat1 and to all ,sanitary ,inspectors4 ,with #cb ,coloured ,plates4 #hvo1 #ajs4 #f;d4 ,,sports4 ,,gould1 ,a4 ,c41 ,modern ,american ,pistols and ,revolvers4 #hvo1 cloth1 #gs4 #f;d4 ,modern ,american ,rifles4 #hvo1 cloth1 #ajs4 #f;d4 ,,hillier1 ,g4 ,,lacy1 ,all ,about ,bicycling4 #abmo1 #as4 ,,money1 ,captain ,,albert 7,blue ,rock17 ,pigeon ,shooting4 ,foolscap #hvo1 #es4 net4 ,,newhouse4 ,the ,trapper's ,guide4 ,a ,manual of ,instruction4 ,crown #hvo1 #es4 ,practical ,hints on ,shooting4 ,by #bj-;,,bore4 #hvo1 #abs4 ,,wheeldon1 ,j4 ,p41 ,angling ,resorts near ,london4 ,the ,thames and the ,lea4 ,crown #hvo1 paper1 #as4 #f;d4 ,,ix4--,,philology4 ,,comparative ,,philology4 ,,abel1 ,,carl1 ,linguistic ,essays4 ,post #hvo1 #is4 7,trbner's ,oriental ,series47 ,slavic and ,latin4 ,lectures on ,comparative ,lexicography4 ,post #hvo1 #es4 ,,brugmann1 ,k41 ,elements of the ,comparative ,grammar of the ,indo-,germanic ,languages4 ,a ,concise ,exposition of the ,history of ,sanscrit1 ,old ,iranian1 ,old ,armenian1 ,old ,greek1 ,latin1 ,umbrian1 ,samnitic1 ,old ,irish1 ,gothic1 ,old ,high ,german1 ,lithuanian1 and ,old ,bulgarian4 ,in #e vols4 #hvo1 cloth4 ,vol4 ,i4 ,introduction and ,phonology4 ,by ,j4 ,,wright4 #ehb pp4 #ahhh4 #ahs4 ,vol4 ,,ii4 ,part ,i4--,morphology4 ,stem ,formation and ,inflection4 ,by ,s4 ,,conway and ,w4 ,d4 ,,rouse4 #ejj pp4 #ahia4 #afs4 ,vol4 ,,iii4 ,part ,,ii4--,morphology4 ,numerals1 ,nouns1 and ,pronouns4 ,by ,s4 ,,conway and ,w4 ,d4 ,,rouse4 #dab pp4 #ahib4 #abs4 #f;d4 ,vol4 ,,iv4 ,part ,,iii4--,morphology4 ,verbs3 ,formation of the ,stem1 and ,inflection or ,conjugation4 ,by ,s4 ,,conway and ,w4 ,d4 ,,rouse4 #fcj pp4 #ahie4 #a4 ,vol4 ,v4 ,index of ,words1 ,matters1 and ,authors mentioned in ,vols4 ,i4-,,iv4 #bej pp4 #ahie4 #is4 ,,byrne1 ,dean ,,james1 ,general ,principles of the ,structure of ,language4 #b vols4 ,second and ,revised ,edition4 #hvo1 #cfs4 ,origin of ,greek1 ,latin1 and ,gothic ,roots4 ,second and ,revised ,edition4 #hvo1 #ahs4 ,,cust1 ,r41 ,linguistic and ,oriental ,essays4 ,post #hvo4 ,first ,series1 #ajs4 #f;d4 ,second ,series1 with #f ,maps1 #bas4 ,third ,series1 #bas4 7,trbner's ,oriental ,series47 ,,delbruck1 ,b41 ,introduction to the ,study of ,language4 ,the ,history and ,methods of ,comparative ,philology of the ,indo-,european ,languages4 #hvo1 #es4 ,,garlanda1 ,,federico1 ,the ,fortunes of ,words4 ,crown #hvo1 #es4 ,the ,philosophy of ,words4 ,a ,popular ,introduction to the ,science of ,language4 ,crown #hvo1 #es4 ,,greg1 ,r4 ,p41 ,comparative ,philology of the ,old and ,new ,worlds in ,relation to ,archaic ,speech4 ,with ,copious ,vocabularies4 ,super royal #hvo4 #a #aas4 #f;d4 ,,lefevre1 ,,andr1 ,race and ,language4 ,crown #hvo1 #es4 7,i4,s4,s47 ,philological ,society1 ,transactions and ,proceedings of4 ,irregular4 ,,sayce1 ,a4 ,h41 ,introduction to the ,science of ,language4 ,new and ,cheaper ,edition4 #b vols4 ,crown #hvo1 #is4 ,the ,principles of ,comparative ,philology4 ,fourth ,edition1 revised and enlarged4 ,crown #hvo1 #ajs4 #f;d4 ,,schleicher1 ,,august1 ,comparative ,grammar of the ,indo-,european1 ,sanskrit1 ,greek1 and ,latin ,languages4 ,translated from the ,third ,german ,edition by ,h4 ,,bendall4 #hvo1 #acs4 #f;d4 ,,taylor1 ,canon ,,isaac1 ,the ,alphabet4 ,an ,account of the ,origin and ,development of ,letters4 ,with numerous ,tables and ,fac-similes4 #b vols4 #hvo1 #cfs4 ,,whitney1 ,prof4 ,w4 ,d41 ,life and ,growth of ,language4 ,sixth ,edition4 ,crown #hvo1 #es4 7,i4,s4,s47 ,language and the ,study of ,language4 ,fourth ,edition4 ,crown #hvo1 #ajs4 #f;d4 ,language and its ,study4 ,with especial ,reference to the ,indo-,european ,family of ,languages4 ,edited by ,r4 ,,morris4 ,second ,edition4 ,crown #hvo1 #es4 _/ ,,african4 ,,cust1 ,r4 ,n4 ,a ,sketch of the ,modern ,languages of ,africa4 #b vols4 ,with #ca autotype portraits1 #ahhc4 ,post #hvo1 #ahs4 7,t4,o4,s47 ,,albanian4 ,grammaire ,albanaise1 l'usage de ceux qui dsirent apprendre cette langue sans l'aide d'un matre4 ,par ,p4 ,w4 ,crown #hvo1 #gs4 #f;d4 ,,anglo-,,saxon4 ,,rask1 ,,erasmus1 ,grammar of the ,anglo-,saxon ,tongue4 ,from the ,danish1 by ,b4 ,,thorpe4 ,third ,edition4 ,post #hvo1 #es4 #f;d4 ,,arabic4 ,,cotton1 ,general ,sir ,a41 ,arabic ,primer4 ,consisting of #ahj short sentences1 containing #cj primary words prepared according to the vocal system of studying language4 #ch pp41 crown #hvo1 cloth4 #ahgf4 #bs4 ,diwans1 ,the1 of the six ancient ,arabic ,poets--,ennabiga1 ',antara1 ,tharafa1 ,zuhair1 ',alqama1 and ,imruulqais1 and a collection of their fragments1 with a list of the various readings of the text edited by ,w4 ,,ahlwardt4 #hvo1 wrapper4 #ahgj4 #abs4 ,,hirschfeld1 ,h41 ,arabic ,chrestomathy in ,hebrew characters1 with a ,glossary4 viii4 and #agd pp41 #hvo1 cloth4 #ahib4 #gs44 #f;d4 ,,meakin1 ,j4 ,e4 ,,budgett1 ,introduction to the ,arabic of ,morocco4 ,english-,arabic ,vocabulary1 ,grammar1 ,notes1 etc4 ,foolscap #hvo1 #fs4 net4 ,,newman1 ,f4 ,w41 ,dictionary of ,modern ,arabic4 7,anglo-,arabic and ,arabo-,english47 #b vols4 ,crown #hvo1 #a #as4 ,handbook of ,modern ,arabic4 ,post #hvo1 #fs4 ,,penrice1 ,j41 ,dictionary and ,glossary of the ,korn1 with copious ,grammatical ,references and ,explanations4 #ahgc4 ,small #dto1 #a #as4 ,,salmon1 ,h4 ,a41 ,arabic-,english ,dictionary4 ,comprising about #abj1jjj ,arabic words with ,english ,index of about #ej1jjj words4 #b vols4 ,post #hvo1 #cfs4 ,,bantu4 ,,kolbe1 ,f4 ,w41 ,a ,language ,study based on ,bantu4 ,an ,inquiry into the ,laws of ,root ,formation4 #hvo1 #fs4 ,,torrend1 ,j41 ,comparative ,grammar of the ,south ,african ,bantu ,languages4 ,comprising those of ,zanzibar1 ,mozambique1 the ,zambezi1 ,kafirland1 ,benguela1 ,angola1 the ,congo1 the ,ogowe1 the ,cameroons1 the ,lake ,region1 c4 ,super-royal #hvo1 #bes4 ,,basque4 ,,van ,,eys1 ,w41 ,outlines of ,basque ,grammar4 ,crown #hvo1 #cs4 #f;d44 ,,bengali4 ,,yates and ,,wenger1 ,bengali ,grammar4 ,new and ,revised ,edition4 #acf pp4 small #hvo1 cloth4 #ahhe4 #ds4 ,,chinese4 ,,ball1 ,j4 ,d41 ,how to ,write ,chinese4 ,part ,i4 ,royal #hvo1 boards4 #ahhh4 #ajs4 #f;d4 ,,eitel1 ,e4 ,j41 ,chinese ,dictionary in the ,cantonese ,dialect4 ,with ,supplement4 ,royal #hvo1 half calf4 #b #abs4 #f;d4 ,,hirth1 ,f41 ,text ,book of ,documentary ,chinese4 ,with a ,vocabulary4 #b vols1 demy #dto1 #a #as4 ,notes on the ,chinese ,documentary ,style4 #ahhh4 #hvo1 #cs4 #f;d4 ,,lobscheid1 ,rev4 ,w41 ,chinese and ,english ,dictionary4 ,arranged according to the ,radicals4 #ahga4 ,royal #dto1 cloth1 #b #hs4 ,english-,chinese ,dictionary4 ,with the ,punti and ,mandarin ,pronunciation4 #ahff-fi4 #d vols41 folio1 #d #ds4 ,,williams1 ,s4 ,,wells1 ,syllabic ,dictionary of the ,chinese ,language4 ,arranged according to the ,wu-,fang ,yuen ,yin1 with the ,pronunciation of the ,characters as heard in ,pekin1 ,canton1 ,amoy1 and ,shanghai4 ,third ,edition4 #dto1 half calf1 #c #aes4 ,also ,index to same1 arranged according to ,sir ,thomas ,wade's system of orthography1 by ,,acheson4 #hvo1 cloth1 #abs4 #f;d4 ,,cuneiform4 ,,bertin1 ,,george1 ,abridged ,grammar of the ,languages of the ,cuneiform ,inscriptions4 ,crown #hvo1 #es4 ,,danish4 ,,bojesen1 ,,maria1 ,guide to the ,danish ,language4 #abmo1 #es4 ,,ott1 ,e4 ,c41 ,dano-,norwegian ,grammar4 ,a ,manual for ,students of ,danish1 based on the ,ollendorffian ,system4 ,third ,edition4 ,crown #hvo1 #gs4 #f;d4 ,key1 #cs4 ,simplified ,grammar of the ,danish ,language4 ,crown #hvo1 #bs4 #f;d4 ,,rosing1 ,s41 ,danish ,dictionary4 ,crown #hvo1 #hs4 #f;d4 ,,dutch4 ,,ahn1 ,f41 ,grammar of the ,dutch ,language4 #abmo1 #cs4 #f;d4 ,,haldeman1 ,s4 ,s41 ,pennsylvania ,dutch4 ,a ,dialect of ,south ,germany1 with an ,infusion of ,english4 #hvo1 #cs4 #f;d4 ,,east ,,indian4 ,,beames1 ,j41 ,outlines of ,indian ,philology4 ,with language ,map4 ,second ,edition1 enlarged and revised4 #ahfh4 ,crown #hvo1 #es4 ,comparative ,grammar of the ,modern ,aryan ,languages of ,india4 ,hindi1 ,panjabi1 ,sindi1 ,gujarati1 ,marathi1 ,oriya1 and ,bengali4 ,in #c vols4 #hvo1 #afs4 each vol4 ,vol4 ,i4--,on ,sounds1 xvi4 and #cfj pp4 #ahgb4 ,vol4 ,,ii4--,the ,noun and ,pronoun1 xii4 and #cdh pp4 #ahge4 ,vol4 ,,iii4--,the ,verb1 viii4 and #caf pp4 #ahgi4 ,,campbell1 ,g41 ,specimens of ,languages of ,india4 ,including those of the aboriginal tribes of ,bengal1 the ,central ,provinces1 and the ,eastern ,frontier4 ,royal #dto1 boards4 #ahgd4 #a #aas4 #f;d4 ,,whitworth1 ,g4 ,e41 ,anglo-,indian ,dictionary4 ,a ,glossary of ,indian terms used in ,english1 and of such ,english or other non-,indian terms as have obtained special meanings in ,india4 #hvo1 #abs4 ,,egyptian4 ,,budge1 ,e4 ,a4 ,,wallis1 ,first ,steps in ,egyptian4 ,large post #hvo1 #is4 net4 ,an ,egyptian ,reading ,book for ,beginners1 with a ,vocabulary4 #hvo1 #aes4 net4 ,,english4 ,,bartlett1 ,j4 ,r41 ,dictionary of ,americanisms4 ,a ,glossary of ,words and ,phrases colloquially used in the ,united ,states4 ,fourth ,edition4 #hvo1 #bas4 ,,bowen1 ,h4 ,c41 ,studies in ,english4 ,for the use of ,modern ,schools4 ,tenth ,thousand4 ,small crown #hvo1 #as4 #f;d4 ,english ,grammar for ,beginners4 ,foolscap #hvo1 #as4 ,,carre,o1 ,metodo para aprender a ,leer1 escribir y hablar el ,ingles segun el sistema de ,ollendorff4 #hvo1 #ds4 #f;d4 ,key1 #cs4 ,,jenkins1 ,,jabez1 ,vest-,pocket ,lexicon4 ,an ,english ,dictionary of all except ,familiar ,words1 including the principal ,scientific and ,technical ,terms4 #fdmo1 roan1 #as4 #f;d42 cloth1 #as4 ,,smith1 ,h4 ,,percy1 ,glossary of ,terms and ,phrases4 ,cheap ,edition4 ,medium #hvo1 #cs4 #f;d4 ,,trench1 ,archbishop1 ,english ,past and ,present4 ,fourteenth ,edition1 ,revised and ,improved4 ,foolscap #hvo1 #es4 ,on the ,study of ,words4 ,twenty-third ,edition1 ,revised4 ,foolscap #hvo1 #es4 ,select ,glossary of ,english ,words used formerly in ,senses ,different from the ,present4 ,seventh ,edition1 ,revised and ,enlarged4 ,foolscap #hvo1 #es4 ,,wedgwood1 ,h41 ,dictionary of ,english ,etymology4 ,fourth ,edition1 ,revised and ,enlarged4 #hvo1 #a #as4 ,contested ,etymology in the ,dictionary of the ,rev4 ,w4 ,w4 ,skeat4 ,crown #hvo1 #es4 ,,whitney1 ,prof4 ,w4 ,d41 ,essentials of ,english ,grammar4 ,second ,edition4 ,crown #hvo1 #cs4 #f;d4 ,,french4 ,,ahn1 ,f41 ,method of ,learning ,french4 ,first and ,second ,courses4 #abmo1 #cs4 ,separately1 #as4 #f;d4 each4 ,method of ,learning ,french4 ,third ,course4 #abmo1 #as4 #f;d4 ,,bellows1 ,,john1 ,french and ,english ,dictionary for the ,pocket4 ,containing the ,french-,english and ,english-,french ,divisions on the same page1 ,conjugating all the ,verbs1 ,distinguishing the ,genders by ,different ,types1 giving ,numerous ,aids to ,pronunciation1 c4 ,fifty-third ,thousand of the ,second ,edition4 #cbmo1 morocco tuck1 #abs4 #f;d42 roan1 #ajs4 #f;d4 ,,brette1 ,p4 ,h41 and ,,thomas1 ,f41 ,french ,examination ,papers set at the ,university of ,london4 ,part ,i4--,matriculation and the ,general ,examination for ,women4 ,crown #hvo1 #cs4 #f;d4 ,key1 #es4 ,part ,,ii4--,first ,b4,a4 ,examinations for ,honours and ,d4 ,litt4 ,examinations4 ,crown #hvo1 #gs4 ,,cassal1 ,,charles1 ,glossary of ,idioms1 ,gallicisms1 and other ,difficulties contained in the ,senior ,course of the ',modern ,french ,reader4' ,crown #hvo1 #bs4 #f;d4 ,,cassal1 ,,charles1 and ,,karcher1 ,,theodore1 ,modern ,french ,reader4 ,junior ,course4 ,nineteenth ,edition4 ,crown #hvo1 #bs4 #f;d4 ,senior ,course4 ,crown #hvo1 #ds4 ,senior ,course and ,glossary in #a vol4 ,crown #hvo1 #fs4 ,little ,french ,reader4 ,extracted from the ',modern ,french ,reader4' ,third ,edition4 ,crown #hvo1 #bs4 ,,karcher1 ,,theodore1 ,questionnaire ,franais4 ,questions on ,french ,grammar1 ,idiomatic ,difficulties1 and ,military ,expressions4 ,fourth ,edition4 ,crown #hvo1 #ds4 #f;d42 interleaved with writing paper1 #es4 #f;d4 ,,larmoyer1 ,m4 ,,de1 ,practical ,french ,grammar4 ,crown #hvo4 ,new ,edition1 in one vol41 #cs4 #f;d4 ,two ,parts1 #bs4 #f;d4 each4 ,,le-,,brun1 ,l41 ,materials for ,translating ,english into ,french4 ,seventh ,edition4 ,post #hvo1 #ds4 #f;d4 ,,nugent1 ,french-,english and ,english-,french ,pocket ,dictionary4 #bdmo1 #cs4 ,,roche1 ,a41 ,french ,grammar4 ,adopted by the ,imperial ,council of ,public ,instruction4 ,crown #hvo1 #cs4 ,french ,translation4 ,prose and ,poetry1 from ,english ,authors1 for reading1 composition1 and translation4 ,second ,edition4 ,foolscap #hvo1 #bs4 #f;d4 ,,simonn1 ,metodo para aprender a ,leer ,escribir y hablar el ,frances1 segun el verdadero sistema de ,ollendorff4 ,crown #hvo1 #fs4 ,key1 #cs4 #f;d4 ,,van ,,laun1 ,h41 ,grammar of the ,french ,language4 ,crown #hvo4 ,accidence and ,syntax1 #ds42 ,exercises1 #cs4 #f;d4 ,,weller1 ,e41 ,improved ,dictionary4 ,english-,french and ,french-,english4 ,royal #hvo1 #gs4 #f;d4 ,,german4 ,,ahn1 ,f41 ,grammar of the ,german ,language4 ,new ,edition4 ,crown #hvo1 #cs4 #f;d4 ,method of ,learning ,german4 #abmo1 #cs4 ,key1 #h;d4 ,manual of ,german ,conversation2 or1 ,vade ,mecum for ,english ,travellers4 ,second ,edition4 #abmo1 #as4 #f;d4 ,,froembling1 ,f4 ,,otto1 ,graduated ,german ,reader4 ,a ,selection from the most popular writers4 ,with a ,vocabulary4 ,twelfth ,edition4 #abmo1 #cs4 #f;d4 ,graduated ,exercises for ,translation into ,german4 ,extracts from the best ,english ,authors1 with ,idiomatic ,notes4 ,crown #hvo1 #ds4 #f;d42 without ,notes1 #ds4 ,,greek4 ,,contopoulos1 ,n41 ,lexicon of ,modern ,greek-,english and ,english-,modern ,greek4 #b vols41 #hvo1 #bgs4 ,modern-,greek and ,english ,dialogues and ,correspondence4 ,foolscap #hvo1 #bs4 #f;d4 ,,geldart1 ,e4 ,m41 ,guide to ,modern ,greek4 ,post #hvo1 #gs4 #f;d4 ,key1 #bs4 #f;d4 ,simplified ,grammar of ,modern ,greek4 ,crown #hvo1 #bs4 #f;d4 ,,paul1 ,c4 ,,kegan1 and ,,stone1 ,e4 ,d41 ,philological ,introduction to ,greek and ,latin for ,students4 ,translated and adapted from the ,german4 ,third ,edition4 ,crown #hvo1 #fs4 ,,thompson1 ,e4 ,,maunde1 ,handbook of ,greek and ,latin ,palography4 ,second ,edition4 ,revised4 ,with numerous fac-similes4 ,crown #hvo1 #es4 7,i4 ,s4 ,s47 ,,gujarati4 ,,tisdall1 ,rev4 ,w4 ,,st4 ,,clair1 ,a ,simplified ,grammar of the ,gujarati ,language4 ,together with a short ,reading ,book and ,vocabulary4 ,crown #hvo1 #ajs4 #f;d4 ,,hebrew4 ,,ballin1 ,,ada ,s4 and ,f4 ,l41 ,hebrew ,grammar4 ,with ,exercises selected from the ,bible4 ,crown #hvo1 #gs4 #f;d4 ,,bickell1 ,g41 ,outlines of ,hebrew ,grammar4 #hvo1 cloth1 #ds4 ,,hindi4 ,,ballantyne1 ,j4 ,r41 ,elements of ,hindi and ,braj ,bhakha ,grammar4 ,compiled for the ,east ,india ,college at ,haileybury4 ,second ,edition4 ,crown #hvo1 #es4 ,,bate1 ,j4 ,d41 ,hindi-,english ,dictionary4 ,royal #hvo1 cloth4 #ahge4 #a #aas4 #f;d4 ,,kellogg1 ,s4 ,h41 ,grammar of the ,hindi ,language4 ,with copious ,philological ,notes and ,tables4 ,second ,edition1 ,revised and ,enlarged4 #ahic4 #hvo1 cloth1 #ahs4 ,,hindustani4 ,,craven1 ,t41 ,english-,hindustani and ,hindustani-,english ,dictionary4 ,new ,edition4 #ahmo1 #ds4 #f;d4 ,,dowson1 ,j41 ,grammar of the ,urdu or ,hindustani ,language4 ,second ,edition4 ,crown #hvo1 #ajs4 #f;d4 ,hindustani ,exercise ,book4 ,passages and ,extracts for ,translation into ,hindustani4 ,crown #hvo1 #bs4 #f;d4 ,,fallon1 ,s4 ,w41 ,a ,new ,english-,hindustani ,dictionary4 ,with ,illustrations from ,english ,literature and ,colloquial ,english4 iv4 and #fgd pp4 royal #hvo1 cloth4 #ahhc4 7,published at ,rs4 #bb47 ,reduced to #a4 asterism ,printed in ,roman characters only4 ,a ,new ,hindustani-,english ,dictionary4 ,with ,illustrations from ,hindustani ,literature and ,folk-lore4 xxiv4 ix4 and #abaf pp4 royal #hvo1 cloth4 #ahgi4 7,published at ,rs4 #eb47 ,reduced to #b4 asterism ,all ,hindustani words are printed in the ,persian and ,roman character2 those of ,hindi origin also in the ,devanagari4 ,,palmer1 ,e4 ,h41 ,simplified ,grammar of ,hindustani1 ,persian1 and ,arabic4 ,second ,edition4 ,crown #hvo1 #es4 ,,phillips1 ,col4 ,a4 ,n41 ,hindustani ,idioms4 ,with ,vocabulary and ,explanatory ,notes4 ,crown #hvo1 #es4 ,,hungarian4 ,,singer1 ,j41 ,simplified ,grammar of the ,hungarian ,language4 ,crown #hvo1 #ds4 #f;d4 ,,irish4 ,,stokes1 ,,whitley1 ,goidelica4 ,old and ,early-,middle ,irish ,glosses1 ,prose and ,verse4 ,second ,edition4 ,medium #hvo1 #ahs4 ,,italian4 ,,ahn1 ,f41 ,method of ,learning ,italian4 #abmo1 #cs4 #f;d4 ,,camerini1 ,e41 ,l',eco ,italiano4 ,a ,guide to ,italian ,conversation4 ,with ,vocabulary4 #abmo1 #ds4 #f;d4 ,,millhouse1 ,j41 ,english and ,italian ,dictionary4 #b vols4 #hvo1 #abs4 ,manual of ,italian ,conversation4 #ahmo1 #bs4 _/ ,,japanese4 ,,baba1 ,,tatui1 ,elementary ,grammar of the ,japanese ,language4 ,with easy ,progressive ,exercises4 ,second ,edition4 #es4 ,,chamberlain1 ,prof4 ,b4 ,h41 ,simplified ,japanese ,grammar4 ,crown #hvo1 #es4 ,romanised ,japanese ,reader4 ,consisting of ,japanese ,anecdotes and ,maxims1 with ,english ,translations and ,notes4 #abmo1 #fs4 ,handbook of ,colloquial ,japanese4 ,second ,edition4 #hvo1 #abs4 #f;d4 ,handbook of the ,japanese ,language4 ,for ,tourists and ,residents4 ,in the ,colloquial style4 #bdmo1 #ds4 ,,hepburn1 ,j4 ,c41 ,japanese and ,english ,dictionary4 ,second ,edition4 ,imp4 #hvo1 half roan1 #ahs4 ,japanese-,english and ,english-,japanese ,dictionary4 ,third ,edition4 ,royal #hvo1 half morocco1 #cjs4 ,pocket ,edition1 square #afmo1 #ads4 ,index of ,chinese characters in the royal #hvo4 ,edition1 arranged according to their radicals by ,w4 ,h4 ,,whitney4 #ahhh4 ,cloth1 #ds4 #f;d4 ,,imbrie1 ,w41 ,handbook of ,english-,japanese ,etymology4 ,second ,edition1 #ahhi4 #hvo1 #fs4 ,,mutsu1 ,h41 ,japanese ,conversation ,course4 #ahid4 ,small #hvo1 #bs4 #f;d4 ,,khassi4 ,,roberts1 ,h41 ,grammar of the ,khassi ,language4 ,crown #hvo1 #ajs4 #f;d4 ,,latin4 ,,ahn1 ,f41 ,latin ,grammar for ,beginners4 ,thirteenth ,edition4 #abmo1 #cs4 ,,ihne1 ,w41 ,latin ,grammar for ,beginners1 on ,ahn's ,system4 #abmo1 #cs4 ,,malagasy4 ,,parker1 ,g4 ,w41 ,concise ,grammar of the ,malagasy ,language4 ,crown #hvo1 #es4 ,,norwegian4 ,,smith1 ,m41 and ,,horneman1 ,h41 ,norwegian ,grammar4 ,with a ,glossary for ,tourists4 ,post #hvo1 #bs4 ,,pali4 ,,childers1 ,r4 ,c41 ,pali-,english ,dictionary4 ,with ,sanskrit ,equivalents4 ,imperial #hvo1 #c #cs4 ,m,,ller1 ,e41 ,simplified ,grammar of the ,pali ,language4 ,crown #hvo1 #gs4 #f;d4 ,,panjabi4 ,,tisdall1 ,w4 ,,st4 ,,clair1 ,simplified ,grammar and ,reading ,book of the ,panjabi ,language4 ,crown #hvo1 #gs4 #f;d4 ,,persian4 ,,finn1 ,a41 ,persian for ,travellers4 ,oblong #cbmo1 #es4 ,,palmer1 ,e4 ,h41 ,english-,persian ,dictionary4 ,with ,simplified ,grammar of the ,persian ,language4 ,royal #afmo1 #ajs4 #f;d4 ,persian-,english ,dictionary4 ,second ,edition4 ,royal #afmo1 #ajs4 #f;d4 ,simplified ,grammar of ,hindustani1 ,persian1 and ,arabic4 ,second ,edition4 ,crown #hvo1 #es4 _/ ,,polish4 ,,morfill1 ,w4 ,r41 ,simplified ,grammar of the ,polish ,language4 ,crown #hvo4 #cs4 #f;d4 ,,portuguese4 ,d',,orsey1 ,a4 ,j4 ,d41 ,colloquial ,portuguese2 or1 ,the ,words and ,phrases of ,every-day ,life4 ,fourth ,edition4 ,crown #hvo1 #cs4 #f;d4 ,grammar of ,portuguese and ,english4 ,adapted to ,ollendorff's ,system4 ,fourth ,edition4 #abmo1 #gs4 ,,vieyra',s ,pocket ,dictionary of the ,portuguese and ,english ,languages4 #b vols4 ,post #hvo1 #ajs4 ,,pushto 7or ,afghan74 ,,trumpp1 ,e41 ,grammar of the ,pas'to2 or1 ,language of the ,afghans1 compared with the ,tranian and ,north ,indian ,idioms4 ,cloth1 #ahgc4 #bas4 ,,romany4 ,,leland1 ,c4 ,g41 ,english ,gipsies and their ,language4 ,new and ,cheaper ,edition4 ,crown #hvo1 #cs4 #f;d4 ,,roumanian4 ,,torceanu1 ,r41 ,simplified ,grammar of the ,roumanian ,language4 ,crown #hvo1 #es4 ,,russian4 ,,riola1 ,,henry1 ,how to ,learn ,russian4 ,a ,manual for ,students4 ,based upon the ,ollendorffian ,system4 ,fourth ,edition4 ,crown #hvo1 #abs4 ,key1 #es4 ,russian ,reader4 ,with ,vocabulary4 ,crown #hvo1 #ajs4 #f;d4 _/ ,,sanskrit4 ,,ballantyne1 ,j4 ,r41 ,first ,lessons in ,sanscrit ,grammar4 ,fifth ,edition4 #hvo1 #cs4 #f;d4 ,,benfey1 ,,theodor1 ,grammar of the ,sanskrit ,language4 ,for the use of ,early ,students4 ,second ,edition4 ,royal #hvo1 #ajs4 #f;d4 ,,cowell1 ,e4 ,b41 ,short ,introduction to the ,ordinary ,prakrit of the ,sanskrit ,dramas4 ,crown #hvo1 #cs4 #f;d4 ,prakrita-,prakasa1 or the ,prakrit ,grammar of ,vararuchi4 ,with the ,commentary 7,manorama7 of ,bhamaha4 #hvo1 #ads4 ,,whitney1 ,prof4 ,w4 ,d41 ,sanskrit ,grammar4 ,including both the ,classical ,language and the ,older ,dialects of ,veda and ,brahmana4 ,second ,edition4 #hvo1 #abs4 ,,serbian4 ,,morfill1 ,w4 ,r41 ,simplified ,serbian ,grammar4 ,crown #hvo1 #ds4 #f;d4 ,,somali4 ,somali-,english ,dictionary4 ,post #hvo4 ,in the ,press4 ,orders booked4 ,,sinhalese4 ,,mendis1 ,,gunasekara ,a41 ,a ,comprehensive ,grammar of the ,sinhalese ,language4 #hvo1 #abs4 #f;d4 ,sinhalese ,made ,easy2 or1 ,phrase-,book of ,colloquial ,sinhalese4 ,revised and enlarged ,edition4 #abmo1 #cs4 #f;d4 ,,spanish4 ,,beale1 ,,alfred ,a41 ,excelsior ,english-,spanish and ,spanish-,english ,dictionary4 ,commercial and ,technical4 ,foolscap #hvo1 roan1 #ajs4 #f;d4 ,,butler1 ,f41 ,spanish ,teacher1 and ,colloquial ,phrase-,book4 #ahmo1 half roan1 #bs4 #f;d4 ,,velasquez1 ,m4 de la ,,cadena1 ,dictionary of the ,spanish and ,english ,languages4 ,for the use of ,young ,learners and ,travellers4 ,crown #hvo1 #fs4 ,pronouncing ,dictionary of the ,spanish and ,english ,languages4 ,royal #hvo1 #a #ds4 ,new ,spanish ,reader4 ,passages from the most approved ,authors1 with ,vocabulary4 ,post #hvo1 #fs4 ,introduction to ,spanish ,conversation4 #abmo1 #bs4 #f;d4 ,,velasquez and ,,simonn1 ,new ,method of ,learning the ,spanish ,language4 ,adapted to ,ollendorff's system4 ,revised and corrected by ,senor ,,vivar4 ,post #hvo1 #fs42 ,key1 #ds4 ,,suahili4 ,,krapf1 ,l41 ,dictionary of the ,suahili ,language4 #hvo1 #a #ajs4 ,,swedish4 ,,otte1 ,e4 ,c41 ,simplified ,grammar of the ,swedish ,language4 ,crown #hvo1 #bs4 #f;d4 ,,tamil4 ,,arden1 ,a4 ,h41 ,a ,progressive ,grammar of ,common ,tamil4 #hvo1 #es4 ,a ,companion ,reader to ,arden's ,progressive ,tamil ,grammar4 #b vols4 #hvo1 #es4 each4 ,vol4 ,i43 ,companion ,exercises and ,easy ,stories4 ,vol4 ,,ii43 ,the ,panchatranta in ,tamil4 _/ ,,tibetan4 ,j,,schke1 ,h4 ,a41 ,tibetan ,grammar4 ,prepared by ,dr4 ,h4 ,,wenzell4 ,second ,edition4 ,crown #hvo1 #es4 ,tibetan-,english ,dictionary4 ,with special reference to the prevailing dialects1 to which is added an ,english-,tibetan ,vocabulary4 ,royal #hvo1 cloth4 7,published #a #ajs47 #a #as4 _/ ,,turkish4 ,,arnold1 ,sir ,,edwin1 ,grammar of the ,turkish ,language4 ,with ,dialogues and ,vocabulary4 ,post #hvo1 #bs4 #f;d4 ,,redhouse1 ,j4 ,w41 ,simplified ,grammar of the ,ottoman-,turkish ,language4 ,crown #hvo1 #ajs4 #f;d4 ,turkish ,vade-,mecum of ,ottoman ,colloquial ,language4 ,english-,turkish and ,turkish-,english1 the whole in ,english ,characters1 the ,pronunciation being fully indicated4 ,third ,edition4 #cbmo1 #fs4 _/ ,,volapuk4 ,,sprague1 ,c4 ,e41 ,handbook of ,volapuk4 ,the ,international ,language4 ,second ,edition4 ,crown #hvo1 #es4 ,,zulu4 ,,roberts1 ,c41 ,an ,english-,zulu ,dictionary4 ,crown #hvo1 #es4 net4 ,the ,zulu-,kafir ,language4 ,crown #hvo1 #fs4 net4 _/ ,x4--,,oriental4 ,,british ,,india4 ,,alb,,runi',s ,india3 ,the ,religion1 ,philosophy1 ,literature1 c41 of ,india about ,a4,d4 #ajcj4 ,arabic ,text1 edited by ,prof4 ,e4 ,,sachau1 #ahhg4 #dto1 #c #cs4 ,,arnold1 ,sir ,,edwin1 ,india ,revisited4 ,with #cb full-page ,illustrations4 ,crown #hvo1 #fs4 7,see also class ,,belles-,,lettres47 ,,baldwin1 ,capt4 ,j4 ,h41 ,large and ,small ,game of ,bengal and the ,north-,western ,provinces of ,india4 ,with ,illustrations4 ,second ,edition4 ,small #dto1 #ajs4 #f;d4 ,,ball1 ,v41 ,diamonds1 ,coal1 and ,gold of ,india4 ,foolscap #hvo4 #ahha4 #es4 ,,ballantyne1 ,j4 ,r41 ,sankhya ,aphorisms of ,kapila4 ,translated and ,edited4 ,third ,edition4 ,post #hvo1 #afs4 7,trbner's ,oriental ,series47 ,,barth1 ,a41 ,religions of ,india4 ,translated by the ,rev4 ,j4 ,,wood4 ,third ,edition4 ,post #hvo1 #afs4 7,trbner's ,oriental ,series47 ,bhagavad-,gita2 or1 ,the ,song ,celestial4 ,from the ,sanskrit by ,sir ,e4 ,,arnold4 ,fifth ,edition4 #ahid4 ,crown #hvo1 #es4 ,bhagavadgita4 ,with ,commentary and ,notes1 as well as ,references to the ,christian ,scriptures4 ,translated from the ,sanskrit by ,m4 ,,chatterji4 ,second ,edition4 #ahib4 #hvo1 #ajs4 #f;d4 ,bhagavad-,gita4 ,english translation1 with a ,commentary and a few introductory papers by ,,hurrychund ,,chintamon4 #ahgd4 x4 and #hc pp4 #hvo1 #fs4 ,bhagavad ,gita2 or1 the ,sacred ,lay4 ,translated1 with notes1 from the ,sanskrit by ,j4 ,,davies4 ,third ,edition4 #ahic4 ,post #hvo1 #fs4 7,trbner's ,oriental ,series47 ,,bose1 ,p4 ,,nath41 ,a ,history of ,hindu ,civilization during ,british ,rule4 ,vols4 ,i4 and ,,ii4 together1 #aes4 net4 ,vol4 ,,iii41 #gs4 #f;d4 net4 ,crown #hvo4 ,to be completed in #d volumes4 ,,boyd1 ,p41 ,nagananda2 or1 the ,joy of the ,snake ,world4 ,from the ,sanskrit of ,sri-,harsha-,deva4 #ahgb4 ,crown #hvo1 #ds4 #f;d4 ,,british ,,museum ,,catalogues ,,of ,,indian ,,literature4 ,special ,list ,sent on ,application4 ,,burnell1 ,a4 ,c41 ,south ,indian ,palography1 from the #dth to the #agth ,century4 ,enlarged ,edition1 with ,map and ,plates4 #dto1 #b #abs4 #f;d4 ,ordinances of ,manu4 ,translated from the ,sanskrit1 with introduction4 ,completed and edited by ,e4 ,w4 ,hopkins4 #ahhd4 ,post #hvo1 #abs4 7,trbner's ,oriental ,series47 ,,christian1 ,j41 ,behar ,proverbs4 ,classified and arranged according to subject-matter1 with notes4 #ahij4 ,post #hvo1 #ajs4 #f;d4 7,trbner's ,oriental ,series47 ,,cotton1 ,h4 ,j4 ,s41 ,new ,india2 or1 ,india in ,transition4 ,third ,edition4 ,crown #hvo1 #ds4 #f;d4 ,,cowell1 ,prof4 ,e4 ,b41 ,short ,introduction to the ,ordinary ,prakrit of the ,sanskrit ,dramas4 #ahge4 ,crown #hvo1 #cs4 #f;d4 ,prakrita-,prakasa2 or1 ,the ,prakrit ,grammar of ,vararuchi4 ,with the ,commentary 7,manorama7 of ,bhamaha4 #ahfh4 #hvo1 #ads4 ,,cowell and ,,gough1 ,a4 ,e41 ,the ,sarva-,darsana-,samgraha2 or1 ,review of the ,different ,systems of ,hindu ,philosophy4 #ahhb4 ,post #hvo1 #ajs4 #f;d4 7,trbner's ,oriental ,series47 ,,cunningham1 ,major-,genl4 ,,alex41 ,ancient ,geography of ,india4 ,vol4 ,i43 ,the ,buddhist ,period4 ,with #ac ,maps4 #ahgj4 #hvo1 #a #hs4 ,,davies1 ,j41 ,sankhya ,karika of ,iswara ,krishna4 ,an ,exposition of the ,system of ,kapila4 #ahha4 ,post #hvo1 #fs4 7,trbner's ,oriental ,series47 ,,dowson1 ,j41 ,classical ,dictionary of ,hindu ,mythology and ,history1 ,geography and ,literature4 #ahgi4 ,post #hvo1 #afs4 7,trbner's ,oriental ,series47 ,,dutt1 ,,romesh ,,chunder1 ,history of ,civilisation in ,ancient ,india1 based on ,sanskrit ,literature4 ,revised ,edition in #b vols4 #ahid4 #hvo1 #bas4 ,lays of ,ancient ,india4 ,selections from ,indian ,poetry rendered into ,english verse4 #ahid4 ,post #hvo1 #gs4 #f;d4 ,,dutt1 ,,toru1 ,ancient ,ballads and ,legends of ,hindustan4 ,with an ,introductory ,memoir by ,,edmund ,,gosse4 #ahmo1 cloth extra1 gilt top1 #es4 ,,edgren1 ,h41 ,compendious ,sanskrit ,grammar4 ,with a brief sketch of scenic ,prakrit4 ,crown #hvo1 #ajs4 #f;d4 7,forms a volume of ,trbner's ,collection of ,simplified ,grammars47 ,,elliot1 ,sir ,h4 ,m41 ,history of ,india1 as told by its own ,historians4 ,the ,muhammadan ,period4 ,revised and continued by ,professor ,,john ,,dowson4 #hvols4 #ahga-gg4 #hvo1 #h #hs4 ,history1 ,folk-lore1 and ,distribution of the ,races of the ,north-,western ,provinces of ,india4 ,edited by ,j4 ,,beames4 ,with three coloured ,maps4 #b vols4 #ahfi4 #hvo1 #a #afs4 ,,fergusson1 ,j41 ,archology in ,india4 vii4 and #aae pp4 text1 with numerous ,cuts4 #ahhd4 #hvo1 #es4 ,,fergusson1 ,j41 and ,,burgess1 ,j41 ,the ,cave ,temples of ,india4 #ecf pp4 text1 with one hundred ,plates4 #ahhj4 #dto1 half calf 7,pub4 at #b #bs47 #a #aas4 #f;d4 ,,gough1 ,a4 ,e41 ,philosophy of the ,upanishads4 #ahhb4 ,post #hvo1 #is4 7,trbner's ,oriental ,series47 ,,gover1 ,c4 ,e41 ,folk ,songs of ,southern ,india4 ,containing ,canarese1 ,badaga1 ,coorg1 ,tamil1 ,malayalam1 and ,telugu ,songs4 #hvo1 #ajs4 #f;d4 ,,gray1 ,j41 ,ancient ,proverbs and ,maxims from ,burmese ,sources2 or1 ,the ,niti ,literature of ,burmah4 ,post #hvo1 #fs4 7,trbner's ,oriental ,series47 ,,griffin1 ,sir ,,lepel1 ,the ,rajas of the ,punjab4 ,history of the principal ,states in the ,punjab1 and their political relations with the ,british ,government4 #ahgj4 ,royal #hvo1 #bas4 ,,haig1 ,maj4-,gen41 ,the ,indus ,delta ,country4 ,with #c ,maps4 #ahie4 ,royal #hvo1 #es4 net4 ,,haug1 ,m41 ,essays on the ,sacred ,language1 ,writings1 and ,religion of the ,parsis4 ,third ,edition4 ,edited and enlarged by ,e4 ,w4 ,,west4 #ahhd4 ,post #hvo1 #afs4 7,trbner's ,oriental ,series47 ,,hodgson1 ,b4 ,h41 ,essays on the ,languages1 ,literature1 and ,religion of ,nepal and ,tibet4 #ahgd4 #hvo1 #ads4 ,miscellaneous ,essays relating to ,indian ,subjects4 #b vols4 #ahhj4 ,post #hvo1 #bhs4 7,trbner's ,oriental ,series47 ,,hunter1 ,sir ,w4 ,w41 ,imperial ,gazetteer of ,india4 ,second ,edition1 enlarged and revised4 #ad vols4 #ahhe-hg4 #hvo1 half calf4 7,pub4 at #c #cs47 #b #bs4 ,imperial ,series of the ,reports of the ,archological ,survey of ,india4 ,list ,sent on ,application4 ,,jacob1 ,g4 ,a41 ,manual of ,hindu ,pantheism4 ,the ,vedntasra4 ,translated1 with ,annotations1 c4 ,third ,edition4 #ahia4 ,post #hvo1 #fs4 7,trbner's ,oriental ,series47 ,,johnson1 ,s41 ,oriental ,religions1 and their ,relation to ,universal ,religion3 ,india4 #b vols4 #ahgi4 #djb and #djh pp4 #hvo1 #a #as4 7,trbner's ,philosophical ,library47 ,,knowles1 ,j4 ,h41 ,folk ,tales of ,kashmir4 #ahhh4 ,post #hvo1 #afs4 7,trbner's ,oriental ,series47 ,koran4 ,selections from it1 with a commentary4 ,translated by ,e4 ,w4 ,,lane4 ,new ,revised ,edition1 with ,introduction by ,s4 ,,lane-,,poole4 #ahgi4 ,post #hvo1 #is4 7,trbner's ,oriental ,series47 ,mahabharata4 ,translated literally from the original ,sanskrit text into ,english prose by ,m4 ,n4 ,,dutt1 ,m4,a4 ,to be complete in #cj parts1 of which the first three are out4 ,subscription price to the whole work1 #a #es4 ,mahabharata4 ,translated into ,english prose by the late ,,protap ,,chundra ,r,o,y4 ,price of the whole work1 bound in #aj vols4 #hvo1 #aj #ajs4 ,,maisey1 ,gen4 ,f4 ,c41 ,sanchi and its ,remains4 ,with ,introductory ,note by the late ,maj4-,gen4 ,sir ,,alex4 ,,cunningham4 ,with #dj plates4 #ahib4 ,royal #dto1 #b #ajs4 ,manava-,dharma-,castra1 the ,code of ,manu4 ,original ,sanskrit text4 ,edited1 with critical ,notes1 by ,,julius ,,jolly4 #ahhg4 ,post #hvo1 #ajs4 #f;d4 7,trbner's ,oriental ,series47 ,,mason1 ,f41 ,burma1 its ,people1 and ,productions4 ,being ,notes on the ,fauna1 ,flora1 and ,minerals of ,tenasserim1 ,pegu1 and ,burma4 ,new ,edition1 re-written and enlarged by ,w4 ,,theobald4 #b vols4 #ahhd4 #dto4 7,pub4 at #c #cs47 #a #aas4 #f;d4 ,,muir1 ,j41 ,original ,sanskrit ,texts1 on the ,origin and ,history of the ,people of ,india1 their ,religion and ,institutions4 ,collected1 ,translated1 and ,illustrated by ,,john ,,muir4 #e vols4 #hvo4 ,price of a complete set1 #e #es4 ,sold only in sets4 ,m,,ller1 ,,max1 ,sacred ,hymns of the ,bramins1 as preserved in the ,rig-,veda-,sanhita4 ,translated from the ,sanskrit4 ,vol4 ,i43 ,hymns to the ,maruts1 or the ,storm-,gods4 #ahfi4 #hvo1 #abs4 #f;d4 ,hymns of the ,rig-,veda4 ,in the ,sanhita and ,pada texts4 ,reprinted from the ,edition ,princeps4 #b vols4 ,second ,edition4 #ahgg4 #hvo4 7,pub4 at #a #abs47 #afs4 ,naradiya ,dharma-,sastra2 or1 ,the ,institutes of ,narada4 ,translated from the ,sanskrit by ,,julius ,,jolly4 #ahgf4 ,crown #hvo1 #ajs4 #f;d4 ,,pickford1 ,j41 ,maha-vira-,charita2 or1 ,the ,adventures of the ,great ,hero ,rama4 ,from the ,sanskrit of ,bhavabhti4 #ahga4 ,crown #hvo1 #es4 ,,routledge1 ,j41 ,english ,rule and ,native ,opinion in ,india4 ,from notes taken in #ahgj-gd4 #ahgh4 #hvo1 #ajs4 #f;d4 ,,scott1 ,j4 ,g41 ,burma as it ,was1 as it ,is1 and as it ,will ,be4 ,cheap ,edition4 #ahhf4 ,crown #hvo1 #bs4 #f;d4 ,,strachey1 ,sir ,j41 ,india41 with map4 ,new ,edition4 #ahid4 ,crown #hvo1 #fs4 ,,watt1 ,g41 ,a ,dictionary of the ,economic ,products of ,india4 #f volumes1 bound in #i4 #ahhi-ahic4 ,royal #hvo1 half calf1 #c #cs4 ,,weber1 ,a41 ,history of ,indian ,literature4 ,translated from the ,german4 ,third ,edition4 #ahij4 ,post #hvo1 #ajs4 #f;d4 7,trbner's ,oriental ,series47 ,,wheeler1 ,j4 ,,talboys1 ,history of ,india4 ,from the ,earliest ,ages down to the time of the ,mughul ,empire4 #e vols4 #ahfg-ahha4 #hvo1 #f #fs4 net4 ,or separate1 except vol4 ,i4 ,early ,records of ,british ,india4 ,a ,history of the ,english ,settlements in ,india4 #ahgh4 ,royal #hvo1 #aes4 ,,williams1 ,sir ,m4 ,,monier1 ,modern ,india and the ,indians4 ,fifth ,edition4 ,post #hvo1 #ads4 7,trbner's ,oriental ,series47 ,,wilson1 ,h4 ,h41 ,complete ,works4 #ab vols41 bound in #ac4 #ahfb-gg4 #hvo1 #aj #ajs4 net4 ,rig-,veda-,sanhita4 ,a ,collection of ,ancient ,hindu ,hymns4 ,from the ,sanskrit4 ,edited by ,e4 ,b4 ,,cowell and ,w4 ,f4 ,,webster1 #f vols4 #ahed-ahhh4 #hvo1 #f #fs4 net4 ,the ,megha-,duta 7,cloud ,messenger74 ,translated into ,english verse with the ,sanskrit text of ,kalidasa4 ,third ,edition4 #ahfg4 #dto1 #ajs4 #f;d4 ,,central ,,and ,,western ,,asia4 ,,bretschneider1 ,e41 ,medival ,researches from ,eastern ,asiatic ,sources4 ,fragments towards the ,knowledge of the ,geography and ,history of ,central and ,western ,asia1 from the #acth to the #agth ,century4 #b vols4 ,with two ,maps4 #ahhh4 ,post #hvo1 #bas4 7,trbner's ,oriental ,series47 ,papers ,relating to ,indo-,china4 ,reprinted from ,dalrymple's ,oriental ,repertory1 ,asiatic ,researches1 and the ,journal of the ,asiatic ,society of ,bengal4 #b vols4 #ahhf4 ,post #hvo1 #bas4 ----,second ,series4 ,edited by the late ,r4 ,,rost4 ,with ,plates1 and a ,map4 #b vols4 #ahhg4 #bes4 7,trbner's ,oriental ,series47 ,,ralston1 ,w4 ,r4 ,s41 ,tibetan ,tales4 ,derived from ,indian sources4 ,done into ,english from the ,german of ,f4 ,,anton ,,von ,,schiefner4 #ahhb4 ,post #hvo1 #ads4 7,trbner's ,oriental ,series47 ,,china4 ,,alexander1 ,maj4-,gen4 ,g4 ,g41 ,confucius1 the ,great ,teacher4 ,crown #hvo1 #fs4 ,lao-tsze1 the ,great ,thinker4 ,crown #hvo1 #es4 ,,allen1 ,c4 ,f4 ,,romilly1 ,book of ,chinese ,poetry4 ,being the ,collection of ,ballads1 ,sagas1 ,hymns1 and other ,pieces known as the ,shih ,ching1 metrically translated4 #hvo1 #afs4 ,,balfour1 ,f4 ,h41 ,leaves from my ,chinese ,scrap-,book4 ,post #hvo1 #gs4 #f;d4 ,,dennys1 ,n4 ,b41 ,folk-,lore of ,china1 and its ,affinities with that of the ,aryan and ,semitic ,races4 #hvo1 #ajs4 #f;d4 ,,douglas1 ,prof4 ,r4 ,k41 ,catalogue of ,chinese ,printed ,books1 ,manuscripts1 and ,drawings in the ,library of the ,british ,museum4 #dto1 #bjs4 ,chinese ,language and ,literature4 ,crown #hvo1 #es4 ,life of ,jenghiz ,khan4 ,translated from the ,chinese4 ,crown #hvo1 #es4 ,,edkins1 ,j41 ,d4,d41 ,religion in ,china4 ,containing a ,brief ,account of the ,three ,religions of the ,chinese4 ,third ,edition4 ,post #hvo1 #gs4 #f;d4 7,trbner's ,oriental ,series47 ,,faber1 ,e41 ,the ,mind of ,mencius2 or1 ,political ,economy ,founded upon ,moral ,philosophy4 ,a ,systematic ,digest of the ,doctrines of the ,chinese ,philosopher ,mencius4 ,translated from the ,german1 with ,additional ,notes1 by ,a4 ,b4 ,,hutchinson4 ,post #hvo1 #ajs4 #f;d4 7,trbner's ,oriental ,series47 ,,fergusson1 ,t41 ,chinese ,researches1 ,chinese ,chronology and ,cycles4 ,crown #hvo1 #ajs4 #f;d4 ,,hahn1 ,t41 ,tsuni-,goam1 the ,supreme ,being of the ,khoi-,khoi4 ,post #hvo1 #gs4 #f;d4 7,trbner's ,oriental ,series47 ,,johnson1 ,s41 ,oriental ,religions and their ,relation to ,universal ,religion4 ,china4 #hvo1 cloth1 #bes4 ,,legge1 ,,james1 ,chinese ,classics4 ,translated into ,english4 ,popular ,edition4 ,crown #hvo4 ,vol4 ,i4--,life and ,teachings of ,confucius4 ,sixth ,edition4 #ajs4 #f;d4 ,,ii4--,works of ,mencius4 #abs4 ,,iii4--,she-,king1 or ,book of ,poetry4 #abs4 ,,smith1 ,,arthur ,h41 ,chinese ,characteristics4 ,second ,edition4 ,revised1 with ,illustrations4 #hvo1 #ajs4 #f;d4 ,,egypt ,,and ,,assyria4 ,,british ,,museum ,,publications3 ,,tylor1 ,j4 ,j41 ,wall ,drawings and ,monuments of ,el ,kab4 ,part ,i43 ,paheri4 #ah ,plates4 ,with ,notes by ,,somers ,,clarke4 #b #bs4 ,other ,parts in preparation4 ,,budge1 ,e4 ,a4 ,,wallis1 ,book of the ,dead4 ,the ,papyrus of ,ani1 in the ,british ,museum4 ,with ,translation and ,transliteration4 #dto1 half morocco1 #a #ajs4 ,archaic ,classics1 ,assyrian ,texts4 ,being ,extracts from the ,annals of ,shalmaneser ,,ii41 ,sennacherib1 and ,assur-,bani-,pal1 with ,philological ,notes4 ,small #dto1 #gs4 #f;d4 ,history of ,esarhaddon 7,son of ,sennacherib71 ,king of ,assyria1 ,b4,c4 #fha-ffh4 ,translated from the ,cuneiform ,inscriptions in the ,british ,museum4 ,post #hvo1 #ajs4 #f;d4 7,trbner's ,oriental ,series47 ,inscriptions in the ,hieratic and ,demotic ,character4 ,folio1 #a #gs4 #f;d4 ,egyptian ,texts of the ,earliest ,period4 ,from the coffin of ,amamu4 #cb ,coloured ,plates4 ,folio1 #b #bs4 ,fac-simile of an ,egyptian ,hieratic ,papyrus of the ,reign of ,rameses ,,iii41 now in the ,british ,museum4 ,folio1 #c4 ,photographs of the ,papyrus of ,nebseni1 in the ,british ,museum4 ,unmounted1 #b #bs4 ,or1 ,mounted and in portfolio1 on special terms4 ,,egypt ,,exploration ,,fund3 ,,memoirs4 ,vol4 ,i4--,the ,store ,city of ,pithom1 and the ,route of the ,exodus4 ,by ,e4 ,,naville4 ,third ,edition4 #ahhg4 ,out of print4 ,,ii4--,tanis4 ,part ,i41 by ,w4 ,m4 ,,flinders ,,petrie4 ,second ,edition4 #ahhh4 #a #es4 ,,iii4--,naukratis4 ,part ,i4 ,by ,w4 ,m4 ,,flinders ,,petrie4 ,third ,edition4 #ahhh4 #a #es4 ,,iv4--,goshen1 and the ,shrine of ,saft-el-,henneh4 ,by ,e4 ,,naville4 ,second ,edition4 #ahhh4 #a #es4 ,v4--,tanis4 ,part ,,ii4 ,including ,tell ,defenneh1 and ,tell ,nebesheh4 ,by ,w4 ,m4 ,,flinders ,,petrie1 etc4 #ahhh4 #a #es4 ,,vi4--,naukratis4 ,part ,,ii4 ,by ,e4 ,a4 ,,gardner and ,f4 ,l4 ,,griffith4 #ahhi4 #a #es4 ,,vii4--,the ,city of ,divas1 and the ,mound of the ,jew4 ,by ,e4 ,,naville and ,f4 ,l4 ,,griffith4 #ahij4 #a #es4 ,,viii4--,bubastis4 ,by ,e4 ,,naville4 #ahia4 #a #es4 ,,ix4--,two ,hieroglyphic ,papyri from ,tanis4 #ahia4 #es4 ,i4 ,the ,sign ,papyrus4 ,by ,f4 ,l4 ,,griffith4 ,,ii4 ,the ,geographical ,papyrus4 ,by ,w4 ,m4 ,,flinders ,,petrie4 ,x4--,the ,festival ,hall of ,osorkon ,,ii4 7,bubastis74 ,by ,e4 ,,naville4 #ahib4 #a #es4 ,,xi4--,ahnas el ,medineh4 ,by ,e4 ,naville4 ,and ,the ,tomb of ,paheri at ,el ,kab4 ,by ,j4 ,j4 ,,tylor and ,f4 ,l4 ,,griffith4 #ahid4 #a #es4 ,,xii4--,deir el ,bahari4 ,introductory ,volume4 ,by ,e4 ,,naville4 #ahid4 #a #es4 ,,xiii4--,temple of ,deir el ,bahari4 ,by ,e4 ,,naville4 ,part ,i4 #ahif4 #a #ajs4 ,atlas of ,ancient ,egypt4 ,second ,edition4 ,revised4 ,small #dto1 #cs4 #f;d4 ,,le ,,plongeon1 ,,augustus1 ,queen ,moo and the ,sphinx4 ,royal #hvo1 #a #ajs4 net4 ,,mariette1 ,,alphonse1 ,the ,monuments of ,upper ,egypt4 ,crown #hvo1 #gs4 #f;d4 ,,paton1 ,a4 ,a41 ,history of the ,egyptian ,revolution4 ,from the ,period of the ,mamelukes to the death of ,mohammed ,ali4 ,second ,edition4 #b vols4 #hvo1 #gs4 #f;d4 ,,publications ,,of ,,the ,,arch,,ological ,,survey ,,of ,,egypt3 ,,first ,,memoir4--,beni ,hasan4 ,part ,i4 ,by ,p4 ,e4 ,,newberry4 #ahij-ia4 #a #es4 ,,second ,,memoir4--,beni ,hasan4 ,part ,,ii4 ,by ,p4 ,e4 ,,newberry and ,g4 ,w4 ,,fraser4 #ahia-ib4 #a #es4 ,,third ,,memoir4--,el ,bersheh4 ,part ,i4 ,by ,p4 ,e4 ,,newberry4 #ahib-ic4 #a #es4 ,,fourth ,,memoir4--,el ,bersheh4 ,part ,,ii4 ,by ,f4 ,l4 ,,griffith and ,p4 ,e4 ,,newberry4 #ahic-id4 #a #es4 ,,fifth ,,memoir4--,beni ,hasan4 ,part ,,iii4 ,by ,f4 ,l4 ,,griffith4 #a #es4 ,,sandwith1 ,f4 ,m41 ,egypt as a ,winter ,resort4 ,crown #hvo1 #cs4 #f;d4 ,,islam4 ,,blunt1 ,w4 ,s41 ,the ,future of ,islam4 ,crown #hvo1 #fs4 ,,brown1 ,j4 ,p41 ,the ,dervishes4 ,with ,illustrations4 #ahfh4 ,crown #hvo1 #ads4 ,,bunsen1 ,,ernest ,,de1 ,islam1 or ,true ,christianity4 ,crown #hvo1 #es4 ,,hunter1 ,sir ,w4 ,w41 ,the ,indian ,musalmans4 ,third ,edition4 #ahgf4 #hvo1 #ajs4 #f;d4 ,,lane1 ,e4 ,w41 ,selections from the ,koran4 ,new ,edition4 ,with ,introduction by ,,stanley ,,lane-,,poole4 ,post #hvo1 #is4 7,trbner's ,oriental ,series47 ,,redhouse1 ,j4 ,w41 ,history1 ,system1 and ,varieties of ,turkish ,poetry4 ,illustrated by ,specimens in the ,original ,english ,paraphrase4 #hvo1 #bs4 #f;d4 ,the ,mesnevi4 ,usually known as the ,mesneviyi ,sherif1 or ,holy ,mesnevi of ,mevlana 7,our ,lord71 ,jelalu'd-,din ,muhammed ,er-,rumi4 ,illustrated by a ,selection of ,characteristic ,anecdotes4 ,translated by ,j4 ,w4 ,,redhouse4 ,post #hvo1 #a #as4 7,trbner's ,oriental ,series47 ,tentative ,chronological ,synopsis of the ,history of ,arabia and its ,neighbours1 from ,b4,c4 #ejj1jjj 787 to ,a4,d4 #fgi4 #hvo1 paper1 #as4 ,,sell1 ,rev4 ,,edward1 ,the ,faith of ,islam4 ,second ,edition1 ,revised4 ,post #hvo1 #abs4 #f;d4 7,trbner's ,oriental ,library47 ,,wherry1 ,a ,comprehensive ,commentary to the ,quran4 ,to which is ,prefixed ,sale's ,preliminary ,discourse1 with additional ,notes and ,emendations4 ,together with a ,complete ,index to the ,text1 ,preliminary ,discourse1 and ,notes4 ,vols4 ,i41 ,,ii41 and ,,iii41 #abs4 #f;d4 each4 ,vol4 ,,iv41 #ajs4 #f;d4 ,,wright1 ,w41 ,book of ,kalilah and ,dimnah4 ,translated from ,arabic into ,syriac1 with ,preface and ,glossary in ,english4 #hvo1 #bas4 ,,japan4 ,,chamberlain1 ,,basil1 ,classical ,poetry of the ,japanese4 ,post #hvo1 #gs4 #f;d4 7,trbner's ,oriental ,series47 ,things ,japanese4 ,second ,edition4 ,crown #hvo1 #hs4 #f;d4 ,chushingura1 or the ,loyal ,retainers of ,akao4 ,translated by ,,jukichi ,,inouye1 with numerous ,illustrations by ,,eisen ,,tomioka4 #hvo1 #cs4 #f;d4 ,,gower1 ,lord ,,ronald1 ,notes of a ,tour from ,brindisi to ,yokohama1 #ahhc-hd4 ,foolscap #hvo1 #bs4 #f;d4 ,,griffis1 ,w4 ,e41 ,the ,mikado's ,empire4 ,book ,i4--,history of ,japan from ,b4,c4 #ffj to ,a4,d4 #ahgb4 ,book ,,ii4--,personal ,experiences1 ,observations1 and ,studies in ,japan1 #ahgj-gd4 ,second ,edition4 ,illustrated4 #hvo1 #bjs4 ,history of the ,empire of ,japan4 ,compiled and ,translated under the direction of the ,department of ,education1 ,tokyo4 ,with numerous ,illustrations1 of which some are in ,colours and ,collotype1 and a ,map4 vi4 and #dbh pp4 of text4 #ahic4 #hvo1 boards1 #abs4 #f;d4 asterism ,the ,illustrations are printed on ,japanese paper4 ,nihongi2 or1 ,chronicles of ,japan from the ,earliest ,times to ,a4,d4 #fig4 ,translated from the original ,chinese and ,japanese1 by ,w4 ,g4 ,,aston4 ,vol4 ,i4 #ahif4 #hvo4 ,price1 complete in #b vols41 #bas4 ,,salway1 ,,charlotte ,m41 ,fans of ,japan4 ,with #aj full-page ,coloured ,plates1 and #ci ,blocks in ,text4 ,royal #dto1 #cas4 #f;d4 net4 ,,tayui1 ,r41 ,the ,commercial ,guide and ,trade ,directory of ,japan4 ,royal #hvo1 cloth1 #a #as4 ,,wenckstern1 ,f4 von1 ,bibliography of the ,japanese ,empire4 ,being a ,classified ,list of all ,books1 ,essays1 and ,maps in ,european ,languages1 relating to ,dai ,nihon1 published in ,europe1 ,america1 and the ,east1 from #ahei-ic1 to which is added a fac-simile reprint of ,lon ,pags' ,bibliographie japonaise depuis le ,,xve4 sicle jusqu' #ahei4 #ahie4 ,large #hvo1 #a #es4 net4 ,,oriental ,,buddhism4 ,,beal1 ,s41 ,the ,romantic ,legend of ,sakya ,buddha4 ,from the ,chinese ,sanskrit4 #ahge4 ,crown #hvo1 #abs4 ,life of ,hiuen-,tsiang4 ,by the ,shamans ,,hwui ,,li and ,,yen-,,tsung1 with an ,account of the ,works of ,i-,,tsing4 ,post #hvo1 #ajs4 7,trbner's ,oriental ,series47 ,dhammapada4--,texts from the ,buddhist ,canon1 commonly known as ,dhammapada4 ,translated from the ,chinese4 ,post #hvo1 #gs4 #f;d4 7,trbner's ,oriental ,series47 ,catena of ,buddhist ,scriptures4 ,from the ,chinese4 #hvo1 #aes4 ,si-,yu-,ki3 ,buddhist ,records of the ,western ,world4 ,translated from the ,chinese of ,,hiuen ,,tsiang 7,a4,d4 #fbi74 ,with ,maps4 #b vols4 ,post #hvo1 #bds4 7,trbner's ,oriental ,series47 ,,bikshu1 ,,subhadra1 ,buddhist ,catechism4 #abmo1 #bs4 ,,edkins1 ,j41 ,d4,d41 ,chinese ,buddhism4 ,sketches ,historical and ,critical4 ,post #hvo1 #ahs4 7,trbner's ,oriental ,series47 ,,eitel1 ,e4 ,j41 ,chinese ,buddhism4 ,handbook for the ,student of4 ,second ,edition4 ,crown #hvo1 #ahs4 ,,fausboll1 ,v41 ,the ,jataka4 ,together with its ,commentary1 being tales of the anterior birth of ,gotama ,buddha4 ,now first published in ,pali4 ,vols4 ,i4-,,vi4 #hvo1 #bhs4 each4 ,,jennings1 ,h41 ,the ,indian ,religions2 or1 ,results of the ,mysterious ,buddhism4 #ahij4 #hvo1 #ajs4 #f;d4 ,,kistner1 ,o41 ,buddha and his ,doctrines4 ,a ,bibliographical ,essay4 #dto1 #bs4 #f;d4 ,,lillie1 ,a41 ,popular ,life of ,buddha4 ,containing an answer to the ,hibbert ,lectures of #ahha4 ,with ,illustrations4 #ahhc4 ,crown #hvo1 #fs4 ,buddhism in ,christendom2 or1 ,jesus the ,essene4 ,with ,illustrations4 #ahhg4 #hvo1 #aes4 ,,rhys-,,davids1 ,t4 ,w41 ,buddhist ,birth-,stories2 or1 ,jataka ,tales4 ,the ,oldest ,collection of ,folk-,lore extant4 ,being the ,jatakatthavannana1 translated from the ,pali ,text of ,v4 ,,fausboll4 ,vol4 ,i4 ,post #hvo1 #ahs4 7,trbner's ,oriental ,series47 ,,rockhill1 ,w4 ,w41 ,life of the ,buddha and the ,early ,history of his ,order4 ,derived from ,tibetan works in the ,bkah-,hgyur and the ,bstan-,hgyur4 #ahhd4 ,post #hvo1 #ajs4 #f;d4 7,trbner's ,oriental ,series47 ,udanavarga4 ,a collection of ,verses from the ,buddhist ,canon4 ,compiled by ,,dharmatr,,ta1 and translated from the ,tibetan4 #ahhc4 ,post #hvo1 #is4 7,trbner's ,oriental ,series47 ,,swamy1 ,sir ,m4 ,c41 ,sutta ,nipata2 or1 ,dialogues and ,discourses of ,gotama ,buddha4 ,translated from the ,original ,pali4 ,crown #hvo1 #fs4 ,the ,dathavansa2 or1 the ,history of the ,tooth ,relic of ,gotama ,buddha41 ,pali ,text with ,translation4 #hvo1 #ajs4 #f;d4 ,english ,translation only1 #fs4 7,see also under ,,china47 ,,persian4 ,,hafiz1 ,the ,divan4 ,by ,,khwaja ,,shamsu-,d-,,din ,,muhammad-,i-,,hafiz-,i-,,shirazi4 ,translated into ,english ,prose1 with ,remarks1 etc41 by ,lieut4-,col4 ,h4 ,,wilberforce ,,clarke4 ,vols4 ,i4 and ,,ii4 #ahia4 #dto1 cloth1 #b #abs4 #f;d4 ,vol4 ,,iii41 #dto1 cloth1 #a #aas4 ,,hafiz1 of ,shiraz1 ,selections from ,his ,poems4 ,translated from the ,persian by ,h4 ,,bicknell4 #ahge4 #dto1 cloth1 #b #bs4 ,,johnson1 ,s41 ,oriental ,religions and their ,relation to ,universal ,religion4 ,persia4 #hvo1 #ahs4 ,,omar ,,khayyam1 ,the ,quatrains4 ,persian ,text with an ,english ,verse ,translation by ,e4 ,h4 ,,whinfield4 #ahhc4 ,post #hvo1 cloth1 #ajs4 #f;d4 7,trbner's ,oriental ,series47 ,the ,quatrains4 ,new ,translation into ,english ,verse by ,e4 ,h4 ,,whinfield4 #ahha4 ,post #hvo1 cloth1 #es4 7,trbner's ,oriental ,series47 ,,rieu1 ,c41 ,catalogue of ,persian ,manuscripts in the ,british ,museum4 #c vols4 #ahgi-hc4 #dto1 cloth1 #bes4 each volume4 ,,sa',d ,,ud ,,din ,,mahmud ,,shabistari4 ,gulshan i ,raz 7the ,mystic ,rose ,garden74 ,persian ,text with an ,english ,translation1 ,notes1 and a ,commentary1 by ,e4 ,h4 ,,whinfield4 #ahhj4 #dto1 cloth1 #ajs4 #f;d4 ,the ,gulistan1 or ,rose ,garden of ,shekh ,mushliu'd-,din ,sadi of ,shiraz4 ,translated from the ,atish ,kadah1 by ,e4 ,b4 ,,eastwick4 ,second ,edition4 ,post #hvo1 #ajs4 #f;d4 7,trbner's ,oriental ,series47 ,vazir of ,lankuran4 ,a ,persian ,play1 with a ,grammatical ,introduction1 ,translation1 ,notes1 and ,vocabulary1 by ,w4 ,h4 ,,haggard and ,g4 ,,le ,,strange4 ,crown #hvo1 #ajs4 #f;d4 ,,xi4--,,bibliography1 ,,periodicals1 ,,and ,,publications ,,of ,,societies4 ,,bibliography4 ,,allibone1 ,s4 ,a41 ,dictionary of ,english ,literature and ,british and ,american ,authors4 ,from the ,earliest ,accounts to the ,latter ,half of the #aith ,century4 #c vols4 ,royal #hvo1 #e #hs4 ,,supplement1 #ahia1 #b vols4 royal #hvo1 #c #cs4 ,bibliographica--#c ,volumes4 ,containing the #ab parts4 ,bound in half morocco 7,roxburgh style74 ,large ,imperial #hvo1 #b #bs4 net4 each4 ,british ,museum ,publications4 ,list on application4 ,,duff1 ,e4 ,,gordon1 ,early ,printed ,books4 ,with ,frontispiece and ,ten ,plates4 ,post #hvo1 #fs4 net4 7,books about ,books47 ,,elton1 ,,charles and ,,mary1 ,the ,great ,book ,collectors4 ,with #aj ,illustrations4 ,post #hvo1 #fs4 net4 7,books about ,books47 ,,fletcher1 ,w4 ,,younger1 ,english ,bookbindings in the ,british ,museum4 ,with #ff plates4 ,printed in fac-simile by ,w4 ,,griggs4 ,folio1 limited to #ejj copies1 #c #cs4 net4 ,,hardy1 ,w4 ,j41 ,book ,plates4 ,with ,frontispiece and #cf ,illustrations of ,book ,plates4 ,post #hvo1 #fs4 net4 7,books about ,books47 ,,horne1 ,h4 ,p41 ,the ,binding of ,books4 ,with #ab ,plates4 ,post #hvo1 #fs4 net4 7,books about ,books47 ,,ibrahim1 ,,himly1 ,prince1 ,the ,literature of ,egypt and the ,soudan4 ,a ,bibliography1 comprising ,printed ,books1 ,periodical ,writings1 and ,papers of ,learned ,societies1 ,maps and ,charts1 ,ancient ,papyri ,manuscripts1 ,drawings1 etc4 #b vols4 ,demy #dto1 #c #cs4 ,japan1 ,bibliography of4 7,see ,,oriental47 ,,madan1 ,,falconer1 ,books in ,manuscript4 ,with #h ,plates4 ,post #hvo1 #fs4 net4 7,books about ,books47 ,,pollard1 ,a4 ,w41 ,early ,illustrated ,books4 ,with ,plates4 ,post #hvo1 #fs4 net4 7,books about ,books47 ,,poole1 ,w4 ,f41 ,index to ,periodical ,literature4 ,revised ,edition4 ,royal #hvo1 #c #acs4 #f;d4 net4 ,,first ,,supplement1 #ahhb to #ahhg4 ,royal #hvo1 #b net4 ,,second ,,supplement1 #ahhg to #ahib4 ,royal #hvo1 #b net4 ,,slater1 ,j4 ,h41 ,early ,editions4 ,a ,bibliographical ,survey of the ,works of some ,popular ,authors4 #hvo1 #bas4 net4 ,interleaved with ,writing ,paper1 #bfs4 net4 ,,swinburne1 ,bibliography of ,algernon ,charles ,swinburne from #aheg to #ahhg4 ,crown #hvo1 vellum1 gilt1 #fs4 ,,thackeray1 ,bibliography of4 ,sultan ,stork1 and other ,stories and ,sketches1 #ahbi-dd1 now first collected4 ,to which is added the ,bibliography of ,thackeray4 ,large #hvo1 #ajs4 #f;d4 ,,thompson1 ,sir ,e4 ,,maunde1 ,english ,illuminated ,manuscripts4 ,with #ba ,plates in ,chromo-,lithography4 ,imperial #hvo1 #ahs4 net4 ,,tr,,bner',s ,bibliographical ,guide to ,american ,literature from #ahag to #ahhg4 #hvo1 half bound1 #ahs4 ,catalogue of ,dictionaries and ,grammars of the ,principal ,languages and ,dialects of the ,world4 ,second ,edition4 #hvo1 #es4 _/ ,,periodicals ,,and ,,societies4 ,anthropological ,institute of ,great ,britain and ,ireland1 ,journal of4 ,quarterly4 #es4 ,antiquarian ,magazine and ,bibliographer1 ,the4 ,edited by ,,edward ,,walford and ,g4 ,w4 ,,redway4 ,complete in #ab vols4 #hvo1 #c net4 ,asiatic ,society of ,bengal1 ,journal4 #hvo1 #cs4 per number4 ,proceedings1 #as4 per number4 ,asiatic ,society1 ,royal4 ,bombay ,branch4 ,journal4 ,irregular4 ,asiatic ,society1 ,royal4 ,ceylon ,branch4 ,journal4 ,irregular4 ,asiatic ,society1 ,royal4 ,china ,branch4 ,journal4 ,irregular4 ,asiatic ,society1 ,royal4 ,straits ,branch4 ,journal4 ,irregular4 ,asiatic ,society4 ,japan ,branch4 ,transactions4 ,irregular4 ,bibliotheca ,sacra4 ,quarterly1 #cs4 #f;d4 ,annual ,subscription1 #ads4 ,british ,chess ,magazine4 ,monthly1 #i;d4 ,calcutta ,review4 ,quarterly1 #fs4 ,imperial ,institute ,year ,book4 #ajs4 net4 ,index ,medicus4 ,a ,monthly ,classified ,record of the ,current ,medical ,literature of the ,world4 ,annual ,subscription1 #ejs4 ,indian ,antiquary4 ,a ,journal of ,oriental ,research in ,archology1 ,history1 ,literature1 ,languages1 ,philosophy1 ,religion1 ,folk-lore1 etc4 ,annual ,subscription1 #a #afs4 ,indian ,evangelical ,review4 ,annual ,subscription1 #ajs4 ,psychical ,research ,society1 ,proceedings4 ,irregular4 ,sanitarian4 ,devoted to the ,preservation of ,health1 ,mental and ,physical ,culture4 ,monthly4 ,annual ,subscription1 #ahs4 ,science4 ,weekly4 ,annual ,subscription1 #a #bs4 ,scientific ,american4 ,weekly4 ,annual ,subscription1 #ahs4 ,scientific ,american1 ,export ,edition4 ,monthly4 ,annual ,subscription1 #a #es4 ,scientific ,american1 ,building ,edition4 ,monthly4 ,annual ,subscription1 #ads44 --------,supplement4 ,weekly4 ,annual ,subscription1 #a #es4 ,tropical ,agriculturist4 ,monthly4 ,annual ,subscription1 #a #fs4 ,parents' ,review4 ,monthly1 #f;d4 99 99 99 99 99 ,messrs4 ,,kegan ,,paul1 ,,trench1 ,,tr,,bner ,,co41 ,ltd1 are also ,publishers to the following ,societies1 etc41 lists of publications of which may be had on application3 ,the ,chaucer ,society4 ,the ,early ,english ,text ,society4 ,the ,new ,shakspere ,society4 ,the ,wagner ,society4 ,the ,british ,museum4 ,the ,geological ,survey of ,india4 ,the ,india ,office4 ,the ,egypt ,exploration ,fund4 ,plymouth3 ,w4 ,,brendon and ,,son1 ,printers 99 99 99 99 99 ,transcriber's ,note ,obvious typographical errors have been corrected1 but inconsistencies of spelling1 hyphenation and accent have been retained4 ,the table of contents confuses ,translator's ,preface and ,prefatory ,essay by the ,translator1 omitting the second of these4 ,this has been corrected4 ,italics are represented thus1 italics and bold thus1 bold4 ,the list of publications contains a number of asterisms shown as asterism and several macron accented vowels shown as1 for example a4 ,the page reference in the book catalogue index to ,theosophy has been corrected4