,illustration3 7cover7 ,,the ,,unicorn ,,quartos1 ,,number ,,two4 ,a ,,book ,,of ,,images4 ,,drawn ,,by ,,william ,t4 ,,horton1 ,,introduced ,,by ,w4 ,b4 ,,yeats1 ,,and ,,published ,,at ,,the ,,unicorn ,,press1 ,,vii4 ,,cecil ,,court1 ,,st4 ,,martin',s ,,lane1 ,,london4 ,,mdcccxcviii4 8,a ,book of ,images40--,page #ad1 ,line #d4 ,the ,publishers are asked to state that 8,the ,brotherhood of the ,new ,life0 claims to be practical rather than visionary1 and that the 8waking dreams0 referred to in the above passage are a purely personal matter4 ,a ,,book ,,of ,,images ,,drawn ,,by ,w4 ,t4 ,,horton ,,introduced ,,by ,w4 ,b4 ,,yeats ,,london ,,at ,,the ,,unicorn ,,press ,,vii ,,cecil ,,court ,,st4 ,,martin',s ,,lane ,,mdcccxcviii ,,contents4 ,,page ,,introduction ,,by ,w4 ,b4 ,,yeats1 #g 8,,by ,,the ,,canal10 #ag 8,,chateau ,,ultime10 #ai 8,,the ,,old ,,pier10 #ba 8,,notre ,,dame ,,de ,,paris10 #bc 8,,trees ,,walking10 #be 8,,la ,,rue ,,des ,,petits-,,toits10 #bg 8,,loneliness10 #bi 8,,the ,,wave10 #ca 8,,nocturne10 #cc 8,,the ,,gap10 #ce 8,,the ,,viaduct10 #cg 8,,the ,,path ,,to ,,the ,,moon10 #ci 8,,diana10 #da 8,,all ,,thy ,,waves ,,are ,,gone ,,over ,,me10 #dc 8,,mammon10 #de 8,,st4 ,,george10 #dg 8,,temptation10 #di 8,,sancta ,,dei ,,genitrix10 #ea 8,,the ,,angel ,,of ,,death10 #ec 8,,ascending ,,into ,,heaven10 #ee 8,,rosa ,,mystica10 #eg 8,,assumptio10 #ei 8,,be ,,strong10 #fa ,,introduction4 ,in ,england1 which has made great ,symbolic ,art1 most people dislike an art if they are told it is symbolic1 for they confuse symbol and allegory4 ,even ,johnson's ,dictionary sees no great difference1 for it calls a ,symbol 8,that which comprehends in its figure a representation of something else20 and an ,allegory1 8,a figurative discourse1 in which something other is intended than is contained in the words literally taken40 ,it is only a very modern ,dictionary that calls a ,symbol 8,the sign or representation of any moral thing by the images or properties of natural things10 which1 though an imperfect definition1 is not unlike 8,the things below are as the things above0 of the ,emerald ,tablet of ,hermes6 ,the ,faery ,queen and ,the ,pilgrim's ,progress have been so important in ,england that ,allegory has overtopped ,symbolism1 and for a time has overwhelmed it in its own downfall4 ,william ,blake was perhaps the first modern to insist on a difference2 and the other day1 when ,i sat for my portrait to a ,german ,symbolist in ,paris1 whose talk was all of his love for ,symbolism and his hatred for ,allegory1 his definitions were the same as ,william ,blake's1 of whom he knew nothing4 ,william ,blake has written1 8,vision or imagination0--meaning symbolism by these words--8is a representation of what actually exists1 really or unchangeably4 ,fable or ,allegory is formed by the daughters of ,memory40 ,the ,german insisted in broken ,english1 and with many gestures1 that ,symbolism said things which could not be said so perfectly in any other way1 and needed but a right instinct for its understanding2 while ,allegory said things which could be said as well1 or better1 in another way1 and needed a right knowledge for its understanding4 ,the one gave dumb things voices1 and bodiless things bodies2 while the other read a meaning--which had never lacked its voice or its body--into something heard or seen1 and loved less for the meaning than for its own sake4 ,the only symbols he cared for were the shapes and motions of the body2 ears hidden by the hair1 to make one think of a mind busy with inner voices2 and a head so bent that back and neck made the one curve1 as in ,blake's ,vision of ,bloodthirstiness1 to call up an emotion of bodily strength2 and he would not put even a lily1 or a rose1 or a poppy into a picture to express purity1 or love1 or sleep1 because he thought such emblems were allegorical1 and had their meaning by a traditional and not by a natural right4 ,i said that the rose1 and the lily1 and the poppy were so married1 by their colour1 and their odour1 and their use1 to love and purity and sleep1 or to other symbols of love and purity and sleep1 and had been so long a part of the imagination of the world1 that a symbolist might use them to help out his meaning without becoming an allegorist4 ,i think ,i quoted the lily in the hand of the angel in ,rossetti's ,annunciation1 and the lily in the jar in his ,childhood of ,mary ,virgin1 and thought they made the more important symbols1--the women's bodies1 and the angels' bodies1 and the clear morning light1 take that place1 in the great procession of ,christian symbols1 where they can alone have all their meaning and all their beauty4 ,it is hard to say where ,allegory and ,symbolism melt into one another1 but it is not hard to say where either comes to its perfection2 and though one may doubt whether ,allegory or ,symbolism is the greater in the horns of ,michael ,angelo's ,moses1 one need not doubt that its symbolism has helped to awaken the modern imagination2 while ,tintoretto's ,origin of the ,milky ,way1 which is ,allegory without any ,symbolism1 is1 apart from its fine painting1 but a moment's amusement for our fancy4 ,a hundred generations might write out what seemed the meaning of the one1 and they would write different meanings1 for no symbol tells all its meaning to any generation2 but when you have said1 8,that woman there is ,juno1 and the milk out of her breast is making the ,milky ,way10 you have told the meaning of the other1 and the fine painting1 which has added so much unnecessary beauty1 has not told it better4 99 99 99 99 99 #b4 ,all ,art that is not mere story-telling1 or mere portraiture1 is symbolic1 and has the purpose of those symbolic talismans which medival magicians made with complex colours and forms1 and bade their patients ponder over daily1 and guard with holy secrecy2 for it entangles1 in complex colours and forms1 a part of the ,divine ,essence4 ,a person or a landscape that is a part of a story or a portrait1 evokes but so much emotion as the story or the portrait can permit without loosening the bonds that make it a story or a portrait2 but if you liberate a person or a landscape from the bonds of motives and their actions1 causes and their effects1 and from all bonds but the bonds of your love1 it will change under your eyes1 and become a symbol of an infinite emotion1 a perfected emotion1 a part of the ,divine ,essence2 for we love nothing but the perfect1 and our dreams make all things perfect1 that we may love them4 ,religious and visionary people1 monks and nuns1 and medicine-men1 and opium-eaters1 see symbols in their trances2 for religious and visionary thought is thought about perfection and the way to perfection2 and symbols are the only things free enough from all bonds to speak of perfection4 ,wagner's dramas1 ,keats' odes1 ,blake's pictures and poems1 ,calvert's pictures1 ,rossetti's pictures1 ,villiers de ,lisle ,adam's plays1 and the black-and-white art of ,m4 ,herrmann1 ,mr4 ,beardsley1 ,mr4 ,ricketts1 and ,mr4 ,horton1 the lithographs of ,mr4 ,shannon1 and the pictures of ,mr4 ,whistler1 and the plays of ,m4 ,maeterlinck1 and the poetry of ,verlaine1 in our own day1 but differ from the religious art of ,giotto and his disciples in having accepted all symbolisms1 the symbolism of the ancient shepherds and star-gazers1 that symbolism of bodily beauty which seemed a wicked thing to ,fra ,angelico1 the symbolism in day and night1 and winter and summer1 spring and autumn1 once so great a part of an older religion than ,christianity2 and in having accepted all the ,divine ,intellect1 its anger and its pity1 its waking and its sleep1 its love and its lust1 for the substance of their art4 ,a ,keats or a ,calvert is as much a symbolist as a ,blake or a ,wagner2 but he is a fragmentary symbolist1 for while he evokes in his persons and his landscapes an infinite emotion1 a perfected emotion1 a part of the ,divine ,essence1 he does not set his symbols in the great procession as ,blake would have him1 8in a certain order1 suited to his #8imaginative energy4'0 ,if you paint a beautiful woman and fill her face1 as ,rossetti filled so many faces1 with an infinite love1 a perfected love1 8one's eyes meet no mortal thing when they meet the light of her peaceful eyes10 as ,michael ,angelo said of ,vittoria ,colonna2 but one's thoughts stray to mortal things1 and ask1 maybe1 8,has her love gone from her1 or is he coming80 or 8,what predestinated unhappiness has made the shadow in her eyes80 ,if you paint the same face1 and set a winged rose or a rose of gold somewhere about her1 one's thoughts are of her immortal sisters1 ,pity and ,jealousy1 and of her mother1 ,ancestral ,beauty1 and of her high kinsmen1 the ,holy ,orders1 whose swords make a continual music before her face4 ,the systematic mystic is not the greatest of artists1 because his imagination is too great to be bounded by a picture or a song1 and because only imperfection in a mirror of perfection1 or perfection in a mirror of imperfection1 delight our frailty4 ,there is indeed a systematic mystic in every poet or painter who1 like ,rossetti1 delights in a traditional ,symbolism1 or1 like ,wagner1 delights in a personal ,symbolism2 and such men often fall into trances1 or have waking dreams4 ,their thought wanders from the woman who is ,love herself1 to her sisters and her forebears1 and to all the great procession2 and so august a beauty moves before the mind1 that they forget the things which move before the eyes4 ,william ,blake1 who was the chanticleer of the new dawn1 has written3 8,if the spectator could enter into one of these images of his imagination1 approaching them on the fiery chariot of his contemplative thought1 if 444 he could make a friend and companion of one of these images of wonder1 which always entreat him to leave mortal things 7as he must know71 then would he arise from the grave1 then would he meet the ,lord in the air1 and then he would be happy40 ,and again1 8,the world of imagination is the world of ,eternity4 ,it is the ,divine bosom into which we shall all go after the death of the vegetated body4 ,the world of imagination is infinite and eternal1 whereas the world of generation or vegetation is finite and temporal4 ,there exist in that eternal world the eternal realities of everything which we see reflected in the vegetable glass of nature40 ,every visionary knows that the mind's eye soon comes to see a capricious and variable world1 which the will cannot shape or change1 though it can call it up and banish it again4 ,i closed my eyes a moment ago1 and a company of people in blue robes swept by me in a blinding light1 and had gone before ,i had done more than see little roses embroidered on the hems of their robes1 and confused1 blossoming apple boughs somewhere beyond them1 and recognised one of the company by his square1 black1 curling beard4 ,i have often seen him2 and one night a year ago1 ,i asked him questions which he answered by showing me flowers and precious stones1 of whose meaning ,i had no knowledge1 and seemed too perfected a soul for any knowledge that cannot be spoken in symbol or metaphor4 ,are he and his blue-robed companions1 and their like1 8the ,eternal realities0 of which we are the reflection 8in the vegetable glass of nature10 or a momentary dream8 ,to answer is to take sides in the only controversy in which it is greatly worth taking sides1 and in the only controversy which may never be decided4 99 99 99 99 99 #c4 ,mr4 ,horton1 who is a disciple of 8,the ,brotherhood of the ,new ,life10 which finds the way to ,god in waking dreams1 has his waking dreams1 but more detailed and vivid than mine2 and copies them in his drawings as if they were models posed for him by some unearthly master4 ,a disciple of perhaps the most medival movement in modern mysticism1 he has delighted in picturing the streets of medival ,german towns1 and the castles of medival romances2 and1 at moments1 as in ,all ,thy waves are gone over me1 the images of a kind of humorous piety like that of the medival miracle-plays and moralities4 ,always interesting when he pictures the principal symbols of his faith1 the woman of ,rosa ,mystica and ,ascending into ,heaven1 who is the ,divine womanhood1 the man-at-arms of ,st4 ,george and ,be ,strong1 who is the ,divine manhood1 he is at his best in picturing the ,magi1 who are the wisdom of the world1 uplifting their thuribles before the ,christ1 who is the union of the ,divine manhood and the ,divine womanhood4 ,the rays of the halo1 the great beams of the manger1 the rich ornament of the thuribles and of the cloaks1 make up a pattern where the homeliness come of his pity mixes with an elaborateness come of his adoration4 ,even the phantastic landscapes1 the entangled chimneys against a white sky1 the dark valley with its little points of light1 the cloudy and fragile towns and churches1 are part of the history of a soul2 for ,mr4 ,horton tells me that he has made them spectral1 to make himself feel all things but a waking dream2 and whenever spiritual purpose mixes with artistic purpose1 and not to its injury1 it gives it a new sincerity1 a new simplicity4 ,he tried at first to copy his models in colour1 and with little mastery over colour when even great mastery would not have helped him1 and very literally3 but soon found that you could only represent a world where nothing is still for a moment1 and where colours have odours and odours musical notes1 by formal and conventional images1 midway between the scenery and persons of common life1 and the geometrical emblems on medival talismans4 ,his images are still few1 though they are becoming more plentiful1 and will probably be always but few2 for he who is content to copy common life need never repeat an image1 because his eyes show him always changing scenes1 and none that cannot be copied2 but there must always be a certain monotony in the work of the ,symbolist1 who can only make symbols out of the things that he loves4 ,rossetti and ,botticelli have put the same face into a number of pictures2 ,m4 ,maeterlinck has put a mysterious comer1 and a lighthouse1 and a well in a wood into several plays2 and ,mr4 ,horton has repeated again and again the woman of ,rosa ,mystica1 and the man-at-arms of ,be ,strong2 and has put the crooked way of ,the ,path to the ,moon1 8the straight and narrow way0 into ,st4 ,george1 and an old drawing in ,the ,savoy2 the abyss of ,the ,gap1 the abyss which is always under all things1 into drawings that are not in this book2 and the wave of ,the ,wave1 which is ,god's overshadowing love1 into ,all ,thy waves are gone over me4 ,these formal and conventional images were at first but parts of his waking dreams1 taken away from the parts that could not be drawn2 for he forgot1 as ,blake often forgot1 that you should no more draw the things the mind has seen than the things the eyes have seen1 without considering what your scheme of colour and line1 or your shape and kind of paper can best say3 but his later drawings1 ,sancta ,dei ,genitrix and ,ascending into ,heaven for instance1 show that he is beginning to see his waking dreams over again in the magical mirror of his art4 ,he is beginning1 too1 to draw more accurately1 and will doubtless draw as accurately as the greater number of the more visionary ,symbolists1 who have never1 from the days when visionary ,symbolists carved formal and conventional images of stone in ,assyria and ,egypt1 drawn as accurately as men who are interested in things and not in the meaning of things4 ,his art is immature1 but it is more interesting than the mature art of our magazines1 for it is the reverie of a lonely and profound temperament4 ,w4 ,b4 ,,yeats4 ,illustration ,illustration ,illustration ,illustration ,illustration ,illustration ,illustration ,illustration ,illustration ,illustration ,illustration ,illustration ,illustration ,illustration ,illustration ,illustration ,illustration ,illustration ,illustration ,illustration ,illustration ,illustration ,illustration ,,this ,,book ,,was ,,printed ,,by ,,messrs4 ,,morrison ,,and ,,gibb1 ,,tanfield1 ,,edinburgh4 ,,the ,,blocks ,,were ,,engraved ,,by ,,the ,,art ,,reproduction ,,company1 ,,london4 ,at the ,unicorn ,press4 ,,mm4 ,,rodin1 ,,fantin-,,latour1 ,,and ,,legros4 ,three ,lithographed ,drawings by ,,will ,,rothenstein4 ,in a ,wrapper4 ,price #b1 #bs4 each set4 9999 ,these ,portraits were made from sittings given in ,paris in #ahig4 ,only fifty copies of each drawing were printed 7by ,mr4 ,way71 and the stones have been destroyed4 ,twenty-five sets 7each drawing on hand-made ,van ,guelder paper and signed by the ,artist7 now remain for sale4 ,,mr4 ,,aubrey ,,beardsley4 ,a ,lithographed ,drawing by ,,will ,,rothenstein4 ,price #a1 #as4 9999 ,no later ,portrait than this appears to have been made4 ,after the first few trial proofs only fifty copies were printed1 and the stone has been destroyed4 ,the few copies now offered are all numbered and signed ,artist's ,proofs4 ,,piranesi',s 8,,carceri40 ,sixteen ,plates1 each measuring #ba by #af inches over all1 with an ,introduction by ,e4 ,j4 ,,oldmeadow4 ,two hundred copies only4 ,price #b1 #bs4 net4 ,nearly ready4 ,a ,,book ,,of ,,giants4 ,drawn1 engraved1 and written by ,,william ,,strang4 ,fcap4 #dto1 in a binding designed by the ,author4 ,price #bs4 #f;d4 net4 9999 8,a ,book of ,giants0 contains twelve original wood engravings1 accompanied by humorous verses4 ,admirers and collectors of ,mr4 ,strang's etchings will hasten to acquire copies of this1 his first published set of woodcuts2 but its interest for a wider public1 and as a children's book1 should be only a degree less great4 ,twenty-five copies1 printed from the original blocks1 will be hand-coloured by ,mr4 ,strang4 ,particulars of this edition may be obtained from the ,publishers4 ,a ,,book ,,of ,,images4 ,drawn by ,w4 ,t4 ,,horton1 and ,introduced by ,w4 ,b4 ,,yeats4 ,fcap4 #hvo1 boards4 ,price #bs4 #f;d4 net4 9999 ,this book contains twenty-four drawings1 including a set of ,imaginary ,landscapes and a number of ,mystical ,pieces4 ,,verisimilitudes4 ,a ,volume of ,stories by ,,rudolf ,,dircks4 ,imperial #afmo1 cloth1 gilt4 #cs4 #f;d4 ,the ,manchester ,courier3--8,mr4 ,dircks is one of the cleverest writers of the day4444 ,sure analysis of character1 artistic use of incident4444 ,the volume will be highly valued by lovers of short stories40 ,the ,star3--8,good work4 ,mr4 ,dircks has insight and the courage to efface himself2 he is uncompromisingly true to his subjects2 and he knows to a hair's-breadth what a short story can and cannot do4444 ,well worth reprinting in the exquisite form given them by the publishers40 ,the ,whitehall ,review3--8,great and nervous originality4444 ,a masterly observer4444 ,a number of pictures of the emotions1 drawn with a fearless truth that is as delightful as it is rare1 444 by a genuine artist40 ,,shadows ,,and ,,fireflies4 ,by ,,louis ,,barsac4 ,imp4 #afmo1 bevelled and extra gilt4 ,price #cs4 #f;d4 net4 ,,second ,,edition4 ,the ,outlook3--8,mr4 ,barsac has a genuine gift of expression and a refined sense of natural beauty40 8,j4 ,d40 in ,the ,star3--8,the sonnets attain a particularly high level4 ,the ,earth ,ship 444 is splendidly imagined and splendidly wrought4444 ,in all there is strong evidence of original poetical talent40 ,the ,new ,age3--8,one of the most promising efforts of the younger muse since the early volumes of ,mr4 ,william ,watson and ,mr4 ,john ,davidson40 ,,the ,,little ,,christian ,,year3 ,a ,,book ,,of ,,prayers ,,and ,,verses4 ,medium #afmo1 parchment1 gilt top4 ,price #bs4 #f;d4 net4 ,just ready4 ,,the ,,dome4 ,a ,quarterly4 ,one ,hundred pages1 ,pott #dto1 boards4 ,price #as4 net1 or #es4 per annum1 post free4 9999 ,each number of ,the ,dome contains about twenty examples of ,music1 ,architecture1 ,literature1 ,drawing1 ,painting1 and ,engraving1 including several ,coloured ,plates4 ,among the ,contributors to the first five numbers are--,louis ,barsac1 ,laurence ,binyon1 ,vernon ,blackburn1 ,h4 ,w4 ,brewer1 ,ingeborg von ,bronsart1 ,l4 ,dougall1 ,olivier ,destre1 ,campbell ,dodgson1 ,edward ,elgar1 ,charles ,holmes1 ,laurence ,housman1 ,w4 ,t4 ,horton1 ,edgardo ,levi1 ,liza ,lehmann1 ,alice ,meynell1 ,j4 ,moorat1 ,w4 ,nicholson1 ,charles ,pears1 ,stephen ,phillips1 ,beresford ,pite1 ,j4 ,f4 ,runciman1 ,byam ,shaw1 ,arthur ,symons1 ,francis ,thompson1 ,f4 ,viel-,griffin1 ,gleeson ,white1 ,j4 ,e4 ,woodmeald1 ,paul ,woodroffe1 and ,w4 ,b4 ,yeats4 ,transcriber's ,notes ,italic text is enclosed in underscores4 ,boldface text is enclosed in equals signs4 ,simple typographical errors were corrected4 ,punctuation1 hyphenation1 and spelling were made consistent when a predominant preference was found in the original book2 otherwise they were not changed4 ,the illustrations have no captions4