Chapter 6 DIVISION OF THE SUBJECT.

1. After the above introductory remarks, it is now time to pass to the study of our object-matter. But we are still in the introduction, and an introduction cannot do more than lay down, for the sake of explanation, the general sketch of the entire course which will be followed by our subsequent scientific considerations.

As, however, we have spoken of art as proceeding from the absolute Idea, and have even assigned as its end the sensuous representation of the absolute itself, we shall have to conduct this review in a way to show, at least in general, how the particular divisions of the subject spring from the conception of artistic beauty as the representation of the absolute. Therefore we must attempt to awaken a very general idea of this conception itself.

It has already been said that the content of art is the Idea, and that its form lies in the plastic use of images accessible to sense. These two sides art has to reconcile into a full and united totality. The first attribution which this involves is the requirement that the content, which is to be offered to artistic representation, shall show itself to be in its nature worthy of such representation. Otherwise we only obtain a bad combination, whereby a content that will not submit to plasticity and to external presentation, is forced into that form, and a matter which is in its nature prosaic is expected to find an appropriate mode of manifestation in the form antagonistic to its nature.

The second requirement, which is derivable from this first, demands of the content of art that it should not be anything abstract in itself. This does not mean that it must be concrete as the sensuous is concrete in contrast to everything spiritual and intellectual, these being taken as in themselves simple and abstract. For everything that has genuine truth in the mind as well as in nature is concrete in itself, and has, in spite of its universality, nevertheless, both subjectivity and particularity within it. If we say, e.g., of God that he is simply One, the supreme Being as such, we have only enunciated a lifeless abstraction of the irrational understanding. Such a God, as he himself is not apprehended in his concrete truth, can afford no material for art, least of all for plastic art. Hence the Jews and the Turks have not been able to represent their God, who does not even amount to such an abstraction of the understanding, in the positive way in which Christians have done so. For God in Christianity is conceived in His truth, and therefore, as in Himself thoroughly concrete, as a person, as a subject,[133] and more closely determined, as mind or spirit. What He is as spirit unfolds itself to the religious apprehension as the Trinity of Persons, which at the same time in relation with itself is One. Here is essentiality, universality, and particularity, together with their reconciled unity; and it is only such unity that constitutes the concrete. Now, as a content in order to possess truth at all must be of this concrete nature, art demands the same concreteness, because a mere abstract universal has not in itself the vocation to advance to particularity and phenomenal manifestation and to unity with itself therein.

If a true and therefore concrete content is to have corresponding to it a sensuous form and modelling, this sensuous form must, in the third place, be no less emphatically something individual, wholly concrete in itself, and one. The character of concreteness as belonging to both elements of art, to the content as to the representation, is precisely the point in which both may coincide and correspond to one another; as, for instance, the natural shape of the human body is such a sensuous concrete as is capable of representing spirit, which is concrete in itself, and of displaying itself in conformity therewith. 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 truth. Art does not appropriate this form either because it simply finds it existing or because there is no other. The concrete content itself involves the element of external and actual, we may say indeed of sensible manifestation. But in compensation this sensuous concrete, in which a content essentially belonging to mind expresses itself, is in its own nature addressed to the inward being; its external element of shape, whereby the content is made perceptible and imaginable, has the aim of existing purely for the heart and mind. This is the only reason for which content and artistic shape are fashioned in conformity with each other. The mere sensuous concrete, external nature as such, has not this purpose for its exclusive ground of origin. The birds' variegated plumage shines unseen, and their song dies away unheard, the Cereus[134] which blossoms only for a night withers without having been admired in the wilds of southern forests, and these forests, jungles of the most beautiful and luxuriant vegetation, with the most odorous and aromatic perfumes, perish and decay no less unenjoyed. The work of art has not such a na?ve self-centred being, but is essentially a question, an address to the responsive heart, an appeal to affections and to minds.

Although the artistic bestowal of sensuous form is in this respect not accidental, yet on the other hand it is not the highest mode of apprehending the spiritually concrete. Thought is a higher mode than representation by means of the sensuous concrete. Although in a relative sense abstract, yet it must not be one-sided but concrete thinking, in order to be true and rational. Whether a given content has sensuous artistic representation for its adequate form, or in virtue of its nature essentially demands a higher and more spiritual embodiment, is a distinction that displays itself at once, if, for instance, we compare the Greek gods with God as conceived according to Christian ideas. The Greek god is not abstract but individual, and is closely akin to the natural human shape; the Christian God is equally a concrete personality, but in the mode of pure spiritual existence, and is to be known as mind[135] and in mind. His medium of existence is therefore essentially inward knowledge and not external natural form, by means of which He can only be represented imperfectly, and not in the whole depth of His idea.

But inasmuch as the task of art is to represent the idea to direct perception in sensuous shape, and not in the form of thought or of pure spirituality as such, and seeing that this work of representation has its value and dignity in the correspondence and the unity of the two sides, i.e. of the Idea and its plastic embodiment, it follows that the level and excellency of art in attaining a realization adequate to its idea,[136] must depend upon the grade of inwardness and unity with which Idea and Shape display themselves as fused into one.

Thus the higher truth is spiritual being that has attained a shape adequate to the conception of spirit. This is what furnishes the principle of division for the science of art. For before the mind can attain the true notion of its absolute essence, it has to traverse a course of stages whose ground is in this idea itself; and to this evolution of the content with which it supplies itself, there corresponds an evolution, immediately connected therewith, of the plastic forms of art, under the shape of which the mind as artist presents to itself the consciousness of itself.

This evolution within the art-spirit has again in its own nature two sides. In the first place the development itself is a spiritual[137] and universal one, in so far as the graduated series of definite conceptions of the world as the definite but comprehensive consciousness of nature, man and God, gives itself artistic shape; and, in the second place, this universal development of art is obliged to provide itself with external existence and sensuous form, 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 arts. It is true, indeed, that the necessary kinds of artistic representation are on the one hand qua spiritual of a very general nature, and not restricted to any one material;[138] while sensuous existence contains manifold varieties of matter. But as this latter, like the mind, has the Idea potentially for its inner soul, it follows from this that particular sensuous materials have a close affinity and secret accord with the spiritual distinctions and types of art presentation.

In its completeness, however, our science divides itself into three principal portions.

First, we obtain a general part. 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 production.

Secondly, there develops itself out of the idea of artistic beauty a particular part, in as far as the essential differences which this idea contains in itself evolve themselves into a scale particular plastic[139] forms.

In the third place there results a final part, which has for its subject the individualization of artistic beauty, 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[140] and their genera and species.

2. With respect to the first part, we must begin by recalling to mind, in order to make the sequel intelligible, that the Idea qua the beautiful in art is not the Idea as such, in the mode in which a metaphysical logic apprehends it as the absolute, but the Idea as developed into concrete form fit for reality, and as having entered into immediate and adequate unity with this reality. For the Idea as such, although it is the essentially and actually true, is yet the truth only in its generality which has not yet taken objective shape; but the Idea as the beautiful in art is at once the Idea when specially determined as in its essence individual reality, and also an individual shape of reality essentially destined to embody and reveal the Idea. This amounts to enunciating the requirement that the Idea, and its plastic mould as concrete reality, are to be made completely adequate to one another. When reduced to such form the Idea, as a reality moulded in conformity with the conception of the Idea, is the Ideal. The problem of this conformity might, to begin with, be understood in the sense that any Idea would serve, so long as the actual shape, it did not matter what shape, represented this particular Idea and no other. But if so, the required truth of the Ideal is confounded with mere correctness, which consists in the expression of any meaning whatever in appropriate fashion so that its import may be readily recognized in the shape created. The Ideal is not to be thus understood. Any content whatever may attain to being represented quite adequately, judged by the standard of its own nature, but it does not therefore gain the right to claim the artistic beauty of the Ideal. Compared indeed with ideal beauty, even the presentation will in such a case appear defective. From this point of view we must remark to begin with, what cannot be proved till later, that the defects of a work of art are not to be regarded simply as always due, for instance, to individual unskillfulness. Defectiveness of form arises from defectiveness of content. So, for example, the Chinese, Indians, and Egyptians in their artistic shapes, their forms of deities, and their idols, never got beyond a formless phase, or one of a vicious and false definiteness of form, and were unable to attain genuine beauty; because their mythological ideas, the content and thought of their works of art, were as yet indeterminate in themselves, or of a vicious determinateness, and did not consist in the content that is absolute in itself. The more that works of art excel in true beauty of presentation, the more profound is the inner truth of their content and thought. And in dealing with this point, 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 imitated. For in certain stages of art-consciousness and of representation, the distortion and disfigurement of natural structures is not unintentional technical inexpertness and want of skill, but intentional alteration, which emanates from the content that is in consciousness, and is required thereby. Thus, from this point of view, there is such a thing as imperfect art, which may be quite perfect, both technically and in other respects, in its determinate sphere, yet reveals itself to be defective when compared with the conception of art as such, and with the Ideal. Only in the highest art are the Idea and the representation genuinely adequate to one another, in the sense that the outward shape given to the Idea is in itself essentially and actually the true shape, because the content of the Idea, which that shape expresses, is itself the true and real content. It is a corollary from this, as we indicated above,[141] that the Idea must be defined in and through itself as concrete totality, and thereby possess in itself the principle and standard of its particularization and determination in external appearance. For example, the Christian imagination will be able to represent God only in human form and with man's intellectual expression, because it is herein that God Himself is completely known in Himself as mind. Determinateness is, as it were, the bridge to phenomenal existence. Where this determinateness is not totality derived from the Idea itself, where the Idea is not conceived as self-determining and self-particularizing, the Idea remains abstract and has its determinateness, and therefore the principle that dictates its particular and exclusively appropriate mode of presentation, not in itself but external to it. Therefore, the Idea when still abstract has even its shape external, and not dictated by itself. The Idea, however, which is concrete in itself bears the principle of its mode of manifestation within itself, and is by that means the free process of giving shape to itself. Thus it is only the truly concrete Idea that can generate the true shape, and this correspondence of the two is the Ideal.

3. Now because the Idea is in this fashion concrete unity, it follows that this unity can enter into the art-consciousness only by the expansion and reconciliation of the particularities of the Idea, and it is through this evolution that artistic beauty comes to possess a totality of particular stages and forms. Therefore, after we have studied the beauty of art in itself and on its own merits, we must see how beauty as a whole breaks up into its particular determinations. This gives, as our second part, the doctrine of the types of art. These forms find their genesis in the different modes of grasping the Idea as artistic content, whereby is conditioned a difference of the form in which it manifests itself. Hence the types of art are nothing but the different relations of content and shape, relations which emanate from the Idea itself, and furnish thereby the true basis of division for this sphere. For the principle of division must always be contained in that conception whose particularization and division is in question.

We have here to consider three relations of the Idea to its outward shaping.[142]

α. First, the Idea gives rise to the beginning of Art when, being itself still in its indistinctness and obscurity, or in vicious untrue determinateness, it is made the import of artistic creations. As indeterminate it does not yet possess in itself that individuality which the Ideal demands; its abstractness and one-sidedness leave its shape to be outwardly bizarre and defective. The first form of art is therefore rather a mere search after plastic portrayal than a capacity of genuine representation. The Idea has not yet found the true form even within itself, and therefore continues to be merely the struggle and aspiration thereafter. In general terms we may call this form the Symbolic form of art. In it the abstract Idea has its outward shape external to itself[143] in natural sensuous matter, with which the process of shaping begins, and from which, qua outward expression, it is inseparable.

Natural objects are thus primarily left unaltered, and yet at the same time invested with the substantial Idea as their significance, so that they receive the vocation of expressing it, and claim to be interpreted as though the Idea itself were present in them. 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 meaning. But as an adequate correspondence is not yet possible, this reference can only concern an abstract attribute, as when a lion is used to mean strength.

On the other hand, this abstractness of the relation brings to consciousness no less strongly the foreignness of the Idea to natural phenomena; and the Idea, having no other reality to express it, expatiates in all these shapes, seeks itself in them in all their unrest and disproportion, but nevertheless does not find them adequate to itself. Then it proceeds to exaggerate the natural shapes and the phenomena of reality into indefiniteness and disproportion, to intoxicate itself in them, to seethe and ferment in them, to do violence to them, to distort and explode them into unnatural shapes, and strives by the variety, hugeness, and splendour of the forms employed[144] to exalt the phenomenon to the level of the Idea. For the Idea is here still more or less indeterminate and non-plastic, but the natural objects are in their shape thoroughly determinate.

Hence, in view of the unsuitability of the two elements to each other, the relation of the Idea to objective reality becomes a negative one, for the former, as in its nature inward,[145] is unsatisfied with such an externality, and as being its inner universal substance[146] persists in exaltation or Sublimity beyond and above all this inadequate abundance of shapes. In virtue of this sublimity the natural phenomena and the human shapes and incidents are accepted, and left as they were, though at the same time understood to be inadequate to their significance, which is exalted far above every earthly content.

These aspects may be pronounced in general terms to constitute the character of the primitive artistic pantheism of the East, which either charges even the meanest objects with the absolute import, or again coerces nature with violence into the expression of its view. By this means it becomes bizarre, grotesque, and tasteless, or turns the infinite but abstract freedom of the substantive Idea disdainfully against all phenomenal being as null and evanescent. By such means the import cannot be completely embodied in the expression, and in spite of all aspiration and endeavour the reciprocal inadequacy of shape and Idea remains insuperable. This may be taken as the first form of art,-Symbolic art with its aspiration, its disquiet,[147] its mystery and its sublimity.

(β) In the second form of art, which we propose to call "Classical," the double defect of symbolic art is cancelled. The plastic shape of symbolic art is imperfect, because, in the first place, the Idea in it only enters into consciousness in abstract determinateness or indeterminateness, and, in the second place, this must always make the conformity of shape to import defective, and in its turn merely abstract. The classical form of art is the solution of this double difficulty; it is the free and adequate embodiment of the Idea in the shape that, according to its conception, is peculiarly appropriate to the Idea itself. With it, therefore, the Idea is capable of entering into free and complete accord. Hence, the classical type of art is the first to afford the production and intuition of the completed Ideal, and to establish it as a realized fact.

The conformity, however, 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 it, any more than this could be the case with the Ideal itself. Otherwise every copy from nature, and every type of countenance, every landscape, flower, or scene, etc., which forms the purport of any representation, would be at once made classical by the agreement which it displays between form and content. On the contrary, in classical art the peculiarity of the content consists in being itself concrete idea, and, as such, the concrete spiritual; for only the spiritual is the truly inner self. To suit such a content, then, we must search out that in Nature which on its own merits belongs to the essence and actuality of the mind. It must be the absolute[148] notion that invented the shape appropriate to concrete mind, so that the subjective notion-in this case the spirit of art-has merely found it, and brought it, as an existence possessing natural shape, into accord with free individual spirituality.[149] This shape, with which the Idea as spiritual-as individually determinate spirituality-invests itself when manifested as a temporal phenomenon, is the human form. Personification and anthropomorphism have often been decried as a degradation of the spiritual; but art, in as far as its end is to bring before perception the spiritual in sensuous form, must advance to such anthropomorphism, as it is only in its proper body that mind is adequately revealed to sense. The migration of souls is in this respect a false abstraction,[150] and physiology ought to have made it one of its axioms that life had necessarily in its evolution to attain to the human shape, as the sole sensuous phenomenon that is appropriate to mind. The human form is employed in the classical type of art not as mere sensuous existence, but exclusively as the existence and physical form corresponding to mind, and is therefore exempt from all the deficiencies of what is merely sensuous, and from the contingent finiteness of phenomenal existence. The outer shape must be thus purified in order to express in itself a content adequate to itself; and again, if the conformity of import and content is to be complete, the spiritual meaning which is the content must be of a particular kind. It must, that is to say, be qualified to express itself completely in the physical form of man, without projecting into another world beyond the scope of such an expression in sensuous and bodily terms. This condition has the effect that Mind is by it at once specified as a particular case of mind, as human mind, and not as simply absolute and eternal, inasmuch as mind in this latter sense is incapable of proclaiming and expressing itself otherwise than as intellectual being.[151]

Out of this latter point arises, in its turn, the defect which brings about the dissolution of classical art, and demands a transition into a third and higher form, viz. into the romantic form of art.

(γ) The romantic form of art destroys the completed union of the Idea and its reality, and recurs, though in a higher phase, to that difference and antagonism of two aspects which was left unvanquished by symbolic art. The classical type attained the highest excellence, of which the sensuous embodiment of art is capable; and if it is in any way defective, the defect is in art as a whole, i.e. in the limitation of its sphere. 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 concreteness, and in the classical phase sets up the perfect amalgamation of spiritual and sensuous existence as a Conformity of the two. Now, as a matter of fact, in such an amalgamation Mind cannot be represented according to its true notion. For mind is the infinite subjectivity of the Idea, which, as absolute inwardness,[152] 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 it.

As an escape from such a condition the romantic form of art in its turn dissolves the inseparable unity of the classical phase, because it has won a significance which goes beyond the classical form of art and its mode of expression.[153] This significance-if we may recall familiar ideas-coincides with what Christianity declares to be true of God as Spirit, in contradistinction to the Greek faith in gods which forms the essential and appropriate content for classical art. In Greek art the concrete import is potentially, but not explicitly, the unity of the human and divine nature; a unity which, just because it is purely immediate[154] and not explicit, is capable of adequate manifestation in an immediate and sensuous mode. The Greek god is the object of naive intuition and sensuous imagination. His shape is, therefore, the bodily shape of man. The circle of his power and of his being is individual and individually limited. In relation with the subject,[155] he is, therefore, an essence and a power with which the subject's inner being is merely in latent unity, not itself possessing this unity as inward subjective knowledge. Now the higher stage is the knowledge of this latent unity, which as latent is the import of the classical form of art, and capable of perfect representation in bodily shape. The elevation of the latent or potential into self-conscious knowledge produces an enormous difference. It is the infinite difference which, e.g., separates man as such from the animals. Man is animal, but even in his animal functions he is not confined within the latent and potential as the animal is, but becomes conscious of them, learns to know them, and raises them-as, for instance, the process of digestion-into self-conscious science. By this means Man breaks the boundary of merely potential and immediate consciousness, so that just for the reason that he knows himself to be animal, he ceases to be animal, and, as mind, attains to self-knowledge.

If in the above fashion the unity of the human and divine nature, which in the former phase was potential, is raised from an immediate to a conscious unity, it follows that the true medium for the reality of this content is no longer the sensuous immediate existence of the spiritual, the human bodily shape, but self-conscious inward intelligence.[156] Now, Christianity brings God before our intelligence as spirit, or mind-not as particularized individual spirit, but as absolute, in spirit and in truth. And for this reason Christianity retires from the sensuousness of imagination into intellectual inwardness, and makes this, not bodily shape, the medium and actual existence of its significance. So, too, the unity of the human and divine nature is a conscious unity, only to be realized by spiritual knowledge and in spirit. Thus the new content, won by this unity, is not inseparable from sensuous representation, as if that were adequate to it, but is freed from this immediate existence, which has to be posited[157] as negative, absorbed, and reflected into the spiritual unity. In this way, romantic art must be considered as art transcending itself, while remaining within the artistic sphere and in artistic form.

Therefore, in short, we may abide by the statement that in this third stage the object (of art) is free, concrete intellectual being, which has the function of revealing itself as spiritual existence for the inward[158] world of spirit. In conformity with such an object-matter, art cannot work for sensuous perception. It must address itself to the inward mind, which coalesces with its object simply and as though this were itself,[159] to the subjective inwardness, to the heart, the feeling, which, being spiritual, aspires to freedom within itself, and seeks and finds its reconciliation only in the spirit within. It is this inner world that forms the content of the romantic, and must therefore find its representation as such inward feeling, and in the show or presentation of such feeling. The world of inwardness celebrates its triumph over the outer world, and actually in the sphere of the outer and in its medium manifests this its victory, owing to which the sensuous appearance sinks into worthlessness.

But, on the other hand, this type of Art,[160] like every other, needs an external vehicle of expression. Now the spiritual has withdrawn into itself out of the external and its immediate oneness therewith. For this reason, the sensuous externality of concrete form is accepted and represented, as in Symbolic art, as something transient and fugitive. And the same measure is dealt to the subjective finite mind and will, even including the peculiarity or caprice of the individual, of character, action, etc., or of incident and plot. The aspect of external existence is committed to contingency, and left at the mercy of freaks of imagination, whose caprice is no more likely to mirror what is given as it is given, than to throw the shapes of the outer world into chance medley, or distort them into grotesqueness. For this external element no longer has its notion and significance, as in classical art, in its own sphere, and in its own medium. It has come to find them in the feelings, the display of which is in themselves instead of being in the external and its form of reality, and which have the power to preserve or to regain their state of reconciliation with themselves, in every accident, in every unessential circumstance that takes independent shape, in all misfortune and grief, and even in crime.

Owing to this, the characteristics of symbolic art, in difference, discrepancy, and severance of Idea and plastic shape, are here reproduced, but with an essential difference. In the sphere of the romantic, the Idea, whose defectiveness in the case of the symbol produced the defect of external shape, has to reveal itself in the medium of spirit and feelings as perfected in itself. And it is because of this higher perfection that it withdraws itself from any adequate union with the external element, inasmuch as it can seek and achieve its true reality and revelation nowhere but in itself.

This we may take as in the abstract the character of the symbolic, classical, and romantic forms of art, which represent the three relations of the Idea to its embodiment in the sphere of art. They consist in the aspiration after, and the attainment and transcendence of the Ideal as the true Idea of beauty.

4. The third part of our subject, in contradistinction to the two just described, presupposes the conception of the Ideal, and the general types of art, inasmuch as it simply consists of their realization in particular sensuous media. Hence we have no longer to do with the inner development of artistic beauty in conformity with its general fundamental principles. What we have to study is how these principles pass into actual existence, how they distinguish themselves in their external aspect, and how they give actuality to every element contained in the idea of beauty, separately and by itself as a work of art, and not merely as a general type. Now, what art transfers into external existence are the differences[161] proper to the idea of beauty and immanent therein. Therefore, the general types of art must reveal themselves in this third part, as before, in the character of the fundamental principle that determines the arrangement and definition of the several arts; in other words, the species of art contain in themselves the same essential modifications as those with which we become acquainted as the general types of art. External objectivity, however, to which these forms are introduced through the medium of a sensuous and therefore particular material, affects these types in the way of making them separate into independent and so particular forms embodying their realization. For each type finds its definite character in some one definite external material, and its adequate actuality in the mode of portrayal which that prescribes. But, moreover, these types of art, being for all their determinateness, its universal forms, break the bounds of particular realization by a determinate form of art, and achieve existence in other arts as well, although in subordinate fashion. Therefore, the particular arts belong each of them specifically to one of the general types of art, and constitute its adequate external actuality; and also they represent, each of them after its own mode of external plasticity, the totality of the types of art.[162]

Then, speaking generally, we are dealing in this third principal division with the beautiful of art, as it unfolds itself in the several arts and in their creations into a world of actualized beauty. The content of this world is the beautiful, and the true beautiful, as we saw, is spiritual being in concrete shape, the Ideal; or, more closely looked at, the absolute mind, and the truth itself. This region, that of divine truth artistically represented to perception and to feeling, forms the centre of the whole world of art. It is the independent, free, and divine plasticity, which has thoroughly mastered the external elements of form and of medium, and wears them simply as a means to manifestation of itself. Still, as the beautiful unfolds itself in this region in the character of objective reality, and in so doing distinguishes within itself its individual aspects and elements, permitting them independent particularity, it follows that this centre erects its extremes, realized in their peculiar actuality, into its own antitheses. Thus one of these extremes comes to consist in an objectivity as yet devoid of mind, in the merely natural vesture of God. At this point the external element takes plastic shape as something that has its spiritual aim and content, not in itself, but in another.[163]

The other extreme is the divine as inward, as something known, as the variously particularized subjective existence of the Deity; it is the truth as operative and vital in sense, heart, and mind of individual subjects, not persisting in the mould of its external shapes, but as having returned into subjective, individual inwardness. In such a mode, the Divine is at the same time distinguished from its first manifestation as Deity, and passes thereby into the diversity of particulars which belongs to all subjective knowledge-emotion, perception, and feeling. In the analogous province of religion, with which art at its highest stage is immediately connected, we conceive this same difference as follows. First, we think of the earthly natural life in its finiteness as standing on one side; but, then, secondly, consciousness makes God its object, in which the distinction of objectivity and subjectivity is done away. And at last, thirdly, we advance from God as such to the devotion of the community, that is, to God as living and present in the subjective consciousness. Just so these three chief modifications present themselves in the world of art in independent development.

(α) The first of the particular arts with which, according to their fundamental principle, we have to begin, is architecture considered as a fine art.[164] Its task lies in so manipulating external inorganic nature that it becomes cognate to mind, as an artistic outer world. The material of architecture is matter itself in its immediate externality as a heavy mass subject to mechanical laws, and its forms do not depart from the forms of inorganic nature, but are merely set in order in conformity with relations of the abstract understanding, i.e. with relations of symmetry. In this material and in such forms, the ideal as concrete spirituality does not admit of being realized. Hence the reality which is represented in them remains contrasted with the Idea, as something external which it has not penetrated, or has penetrated only to establish an abstract relation. For these reasons, the fundamental type of the fine art of building is the symbolical form of art. It is architecture that pioneers the way for the adequate realization of the God, and in this its service bestows hard toil upon existing nature, in order to disentangle it from the jungle of finitude and the abortiveness of chance. By this means it levels a space for the God, gives form to his external surroundings, and builds him his temple as a fit place for concentration of spirit, and for its direction to the mind's absolute objects. It raises an enclosure round the assembly of those gathered together, as a defence against the threatening of the storm, against rain, the hurricane, and wild beasts, and reveals the will to assemble, although externally, yet in conformity with principles of art. With such import as this it has power to inspire its material and its forms more or less effectively, as the determinate character of the content on behalf of which it sets to work is more or less significant, more concrete or more abstract, more profound in sounding its own depths, or more dim and more superficial. So much, indeed, may architecture attempt in this respect as even to create an adequate artistic existence for such an import in its shapes and in its material. But in such a case it has already overstepped its own boundary, and is leaning to sculpture, the phase above it. For the limit of architecture lies precisely in this point, that it retains the spiritual as an inward existence over against the external forms of the art, and consequently must refer to what has soul only as to something other than its own creations.

β Architecture, however, as we have seen, has purified the external world, and endowed it with symmetrical order and with affinity to mind; and the temple of the God, the house of his community, stands ready. Into this temple, then, in the second place, the God enters in the lightning-flash of individuality, which strikes and permeates the inert mass, while the infinite[165] and no longer merely symmetrical form belonging to mind itself concentrates and gives shape to the corresponding bodily existence. This is the task of Sculpture. 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 matter, and in as far as these two sides are so adapted to one another that neither is predominant, sculpture must be assigned the classical form of art as its fundamental type. For this reason the sensuous element itself has here no expression which could not be that of the spiritual element, just as, conversely, sculpture can represent no spiritual content which does not admit throughout of being adequately presented to perception in bodily form. Sculpture should place the spirit before us in its bodily form and in immediate unity therewith at rest and in peace; and the form should be animated by the content of spiritual individuality. And so the external sensuous matter is here no longer manipulated, either in conformity with its mechanical quality alone, as a mass possessing weight, nor in shapes belonging to the inorganic world, nor as indifferent to colour, etc.; but it is wrought in ideal forms of the human figure, and, it must be remarked, in all three spatial dimensions.

In this last respect we must claim for sculpture, that it is in it that the inward and spiritual are first revealed in their eternal repose and essential self-completeness. To such repose and unity with itself there can correspond only that external shape which itself maintains its unity and repose. And this is fulfilled by shape in its abstract spatiality.[166] The spirit which sculpture represents is that which is solid in itself, not broken up in the play of trivialities and of passions; and hence its external form too is not abandoned to any manifold phases of appearance, but appears under this one aspect only, as the abstraction of space in the whole of its dimensions.

(γ) Now, after architecture has erected the temple, and the hand of sculpture has supplied it with the statue of the God, then, in the third place, this god present to sense is confronted in the spacious halls of his house by the community. The community is the spiritual reflection into itself of such sensuous existence, and is the animating subjectivity and inner life which brings about the result that the determining principle for the content of art, as well as for the medium which represents it in outward form, comes to be particularization [dispersion into various shapes, attributes, incidents, etc.], individualization, and the subjectivity which they require.[167] The solid unity which the God has in sculpture breaks up into the multitudinous inner lives of individuals, whose unity is not sensuous, but purely ideal.[168]

It is only in this stage that God Himself comes to be really and truly spirit-the spirit in His (God's) community; for He here begins to be a to-and-fro, an alternation between His unity within himself and his realization in the individual's knowledge and in its separate being, as also in the common nature and union of the multitude. In the community, God is released from the abstractness of unexpanded self-identity, as well as from the simple absorption in a bodily medium, by which sculpture represents Him. And He is thus exalted into spiritual existence and into knowledge, into the reflected[169] appearance which essentially displays itself as inward and as subjectivity. Therefore the higher content is now the spiritual nature, and that in its absolute shape. But the dispersion of which we have spoken reveals this at the same time as particular spiritual being, and as individual character. Now, what manifests itself in this phase as the main thing is not the serene quiescence of the God in Himself, but appearance as such, being which is for another, self-manifestation. And hence, in the phase we have reached, all the most manifold subjectivity in its living movement and operation-as human passion, action, and incident, and, in general, the wide realm of human feeling, will, and its negation,-is for its own sake the object of artistic representation. In conformity with this content, the sensuous element of art has at once to show itself as made particular in itself and as adapted to subjective inwardness. Media that fulfil this requirement we have in colour, in musical sound, and finally in sound as the mere indication of inward perceptions and ideas; and as modes of realizing the import in question by help of these media we obtain painting, music, and poetry. In this region the sensuous medium displays itself as subdivided in its own being and universally set down as ideal.[170] Thus it has the highest degree of conformity with the content of art, which, as such, is spiritual, and the connection of intelligible import and sensuous medium develops into closer intimacy than was possible in the case of architecture and sculpture. The unity attained, however, is a more inward unity, the weight of which is thrown wholly on the subjective side, and which, in as far as form and content are compelled to particularize themselves and give themselves merely ideal existence, can only come to pass at the expense of the objective universality of the content and also of its amalgamation with the immediately sensuous element.[171]

The arts, then, of which form and content exalt themselves to ideality, abandon the character of symbolic architecture and the classical ideal of sculpture, and therefore borrow their type from the romantic form of art, whose mode of plasticity they are most adequately adapted to express. And they constitute a totality of arts, because the romantic type is the most concrete in itself.[172]

i. The articulation of this third sphere of the individual arts may be determined as follows. The first art in it, which comes next to sculpture, is painting. 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 nature, i.e. as developed into colour. It is true that the material employed in architecture and sculpture is also visible and coloured; but it is not, as in painting, visibility as such, not the simple light which, differentiating itself in virtue of its contrast with darkness, and in combination with the latter, gives rise to colour.[173] This quality of visibility, made subjective in itself and treated as ideal, needs neither, like architecture, the abstractly mechanical attribute of mass as operative in the properties of heavy matter, nor, like sculpture, the complete sensuous attributes of space, even though concentrated into organic shapes. The visibility and the rendering visible which belong to painting have their differences in a more ideal form, in the several kinds of colour, and they liberate art from the sensuous completeness in space which attaches to material things, by restricting themselves to a plane surface.

On the other hand, the content also attains the most comprehensive specification. Whatever can find room in the human heart, as feeling, idea, and purpose; whatever it is capable of shaping into act-all this diversity of material is capable of entering into the varied content of painting. The whole realm of particular existence, from the highest embodiment of mind down to the most isolated object of nature, finds a place here. For it is possible even for finite nature,[174] in its particular scenes and phenomena, to make its appearance in the realm of art, if only some allusion to an element of mind endows it with affinity to thought and feeling.

ii. The second art in which the romantic type realizes itself is contrasted with painting, and is music. Its medium, though still sensuous, yet develops into still more thorough subjectivity and particularization. Music, too, treats the sensuous as ideal, and does so by negating,[175] and idealizing into the individual isolation of a single point, the indifferent externality[176] of space, whose complete semblance is accepted and imitated by painting. The single point, qua such a negativity (excluding space) is in itself a concrete and active process of positive negation[177] within the attributes of matter, in the shape of a motion and tremor of the material body within itself and in its relation to itself. Such an inchoate ideality of matter,[178] which appears no longer as under the form of space, but as temporal ideality,[179] is sound, the sensuous set down as negated, with its abstract visibility converted into audibility, inasmuch as sound, so to speak, liberates the ideal content from its immersion in matter. This earliest inwardness of matter and inspiration of soul into it furnishes the medium for the mental inwardness-itself as yet indefinite,-and for the soul[180] into which mind concentrates itself; and finds utterance in its tones for the heart with its whole gamut of feelings and passions. Thus music forms the centre of the romantic arts, just as sculpture represents the central point between architecture and the arts of romantic subjectivity. Thus, too, it forms the point of transition between abstract spatial sensuousness, such as painting employs, and the abstract spirituality of poetry. Music has within itself, like architecture, a relation of quantity conformable to the understanding, as the antithesis to emotion and inwardness; and has also as its basis a solid conformity to law on the part of the tones, of their conjunction, and of their succession.

iii. most spiritual mode of representation of the romantic art-type, we must look for it in poetry. 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 art. For sound, the only external matter which poetry retains, is in it no longer the feeling of the sonorous itself, but is a sign, which by itself is void of import. 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 grades. This is how sound develops into the Word, as voice articulate in itself, whose import it is to indicate ideas and notions. The merely negative point up to which music had developed now makes its appearance as the completely concrete point, the point which is mind, the self-conscious individual, which, producing out of itself the infinite space of its ideas, unites it with the temporal character of sound. Yet this sensuous element, which in music was still immediately one with inward feeling, is in poetry separated from the content of consciousness. In poetry the mind determines this content for its own sake, and apart from all else, into the shape of ideas, and though it employs sound to express them, yet treats it solely as a symbol without value or import. Thus considered, sound may just as well be reduced to a mere letter, for the audible, like the visible, is thus depressed into a mere indication of mind.[181] For this reason the proper medium of poetical representation is the poetical imagination and intellectual portrayal itself. And as this element is common to all types of art, it follows that poetry runs through them all and develops itself independently in each. Poetry is the universal art of the mind which has become free in its own nature, and which is not tied to find its realization in external sensuous matter, but expatiates exclusively in the inner space and inner time of the ideas and feelings. Yet just in this its highest phase art ends by transcending itself, inasmuch as it abandons the medium of a harmonious embodiment of mind in sensuous form, and passes from the poetry of imagination into the prose of thought.

5. Such we may take to be the articulated totality of the particular arts, viz. the external art of architecture, the objective art of sculpture, and the subjective art of painting music and poetry. Many other classifications have been attempted, for a work of art presents so many aspects, that, as has often been the case, first one and then another is made the basis of classification. For instance, one might take the sensuous medium. Thus architecture is treated as crystallization; sculpture, as the organic modelling of the material in its sensuous and spatial totality; painting, as the coloured surface and line; while in music, space, as such, passes into the point of time possessed of content within itself, until finally the external medium is in poetry depressed into complete insignificance. Or, again, these differences have been considered with reference to their purely abstract attributes of space and time. Such abstract peculiarities of works of art may, like their material medium, be consistently explored in their characteristic traits; but they cannot be worked out as the ultimate and fundamental law, because any such aspect itself derives its origin from a higher principle, and must therefore be subordinate thereto.

This higher principle we have found in the types of art-symbolic, classical, and romantic-which are the universal stages or elements[182] of the Idea of beauty itself. For symbolic art attains its most adequate reality and most complete application in architecture, in which it holds sway in the full import of its notion, and is not yet degraded to be, as it were, the inorganic nature dealt with by another art. The classical type of art, on the other hand, finds adequate realization in sculpture, while it treats architecture only as furnishing an enclosure in which it is to operate, and has not acquired the power of developing painting and music as absolute[183] forms for its content. The romantic type of art, finally, takes possession of painting and music, and in like manner of poetic representation, as substantive and unconditionally adequate modes of utterance. Poetry, however, is conformable to all types of the beautiful, and extends over them all, because the artistic imagination is its proper medium, and imagination is essential to every product that belongs to the beautiful, whatever its type may be.

And, therefore, what the particular arts realize in individual works of art, are according to their abstract conception simply the universal types which constitute the self-unfolding Idea of beauty. It is as the external realization of this Idea that the wide Pantheon of art is being erected, whose architect and builder is the spirit of beauty as it awakens to self-knowledge, and to complete which the history of the world will need its evolution of ages.

THE END.

PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, LONDON AND BECCLES.

* * *

A CLASSIFIED LIST

OF

Kegan Paul, Treneh, Trübner & Co.'s

PUBLICATIONS.

December, 1896.

INDEX

Angling 67 Metaphysics 31

Animal Magnetism 30 Meteorology 51

Anthropology 48 Military Science 60

Arts, Useful and Fine 56 Minerology 51

Astronomy 49 Moral Science 27

Bibliography 93 Music 61

Biography 34 Mythology 28

Botany 49 Numismatics 61

Buddhism 91 Occult Sciences 29

Chemistry 51 Oriental 81

Chess 56 Painting 62

China 86 Periodicals 95

Diet 57 Persian 78, 92

Education 44 Philology 67

Egypt 87 Philosophy 31

Essays 3 Philosophy, Religious 27

Ethnology 48 Physics 53

Ethics 31 Physiology 57

Fiction 12 Poetry 3

Finance 46 Politics 46

Folk-lore 28 Religion 16

Gastronomy 57 Sculpture 62

Geology 51 Sociology 44

History 39 Societies' Publications 95

History, Constitutional 45 Speculative Theology 27

India 81 Sports 66

Islam 89 Technology 63

Japan 90 Theosophy 26

Languages 67 Topography 41

Law 45 Travels 41

Medicine 57 Voyages 41

Mental Science 31 Zoology 54

PATERNOSTER HOUSE,

CHARING CROSS ROAD, LONDON, W.C.

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Paternoster House,

Charing Cross Road, London, W.C.,

December, 1896.

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Ecclesiastes and Song of Solomon, by the Rev. W. J. Deane and Rev. Prof. R. A. Redford. Homilies by the Rev. T. Whitelaw, D.D., Rev. B. C. Caffin, Rev. Prof. J. R. Thomson, Rev. S. Conway, Rev. D. Davies, Rev. W. Clarkson, and Rev. J. Willcock. 21s.

Isaiah, by the Rev. Canon G. Rawlinson. Homilies by the Rev. Prof. E. Johnson, Rev. W. Clarkson, Rev. W. M. Statham, and Rev. R. Tuck. Third Edition. 2 vols. 15s. each.

Jeremiah and Lamentations, by the Rev. Canon T. K. Cheyne, D.D. Homilies by the Rev. Prof. J. R. Thomson, Rev. W. F. Adeney, Rev. A. F. Muir, Rev. S. Conway, Rev. D. Young, and Rev. J. Waite. Fourth Edition. 2 vols. 15s. each.

Ezekiel, by the Very Rev. E. H. Plumptre, D.D. Homilies by the Rev. Prof. W. F. Adeney, Rev. Prof. J. R. Thomson, Rev. J. D. Davies, Rev. W. Jones, and Rev. W. Clarkson. Introduction by the Rev. T. Whitelaw, D.D. 2 vols. 12s. 6d. each.

Daniel, by the Rev. J. E. H. Thomson, B.D. Homilies by the Rev. Prof. W. F. Adeney, Rev. H. T. Robjohns, and Rev. J. D. Davies. 21s.

Hosea and Joel, by the Rev. Prof. J. J. Given, D.D. Homilies by the Rev. Prof. J. R. Thomson, Rev. A. Rowland, Rev. C. Jerdan, Rev. J. Orr, D.D., and Rev. D. Thomas, D.D. Second Edition. 15s.

Amos, Obadiah, Jonah, and Micah, by the Rev. W. J. Deane. Homilies by the Rev. J. Edgar Henry, Rev. Prof. J. R. Thomson, Rev. S. D. Hillman, Rev. A. Rowland, Rev. D. Thomas, Rev. A. C. Thiselton, Rev. E. S. Prout, Rev. G. T. Coster, and Rev. W. G. Blaikie. 15s.

Nahum, by the Rev. W. J. Deane. Homilies by the Rev. T. Whitelaw, Rev. S. D. Hillman, and Rev. D. Thomas. 15s.

Pulpit Commentary, The (New Testament Series). Edited by the Very Rev. H. D. M. Spence, D.D., and Rev. Joseph S. Exell.

St. Matthew, by the Rev. A. L. Williams. Homilies by the Rev. B. C. Caffin, Rev. Prof. W. F. Adeney, Rev. P. C. Barker, Rev. M. Dods, D.D., Rev. J. A. Macdonald, and Rev. R. Tuck. 2 vols. 21s. each.

St. Mark, by the Very Rev. Dean E. Bickersteth, D.D. Homilies by the Rev. Prof. J. R. Thomson, Rev. Prof. J. J. Given, D.D., Rev. Prof. E. Johnson, Rev. A. Rowland, Rev. A. F. Muir, and Rev. R. Green. Sixth Edition. 2 vols. 10s. 6d. each.

St. Luke, by the Very Rev. Dean H. D. M. Spence. Homilies by the Rev. J. Marshall Lang, D.D., Rev. W. Clarkson, and Rev. R. M. Edgar. Second Edition. 2 vols. 10s. 6d. each.

St. John, by the Rev. Prof. H. R. Reynolds, D.D. Homilies by the Rev. Prof. T. Croskery, D.D., Rev. Prof. J. R. Thomson, Rev. D. Young, Rev. B. Thomas, and Rev. G. Brown. Third Edition. 2 vols. 15s. each.

The Acts of the Apostles, by the Right Rev. Bishop of Bath and Wells. Homilies by the Rev. Prof. P. C. Barker, Rev. Prof. E. Johnson, Rev. Prof. R. A. Redford, Rev. R. Tuck, and Rev. W. Clarkson. Fifth Edition. 2 vols. 10s. 6d. each.

Romans, by the Rev. J. Barmby. Homilies by the Rev. Prof. J. R. Thomson, Rev. C. H. Irwin, Rev. T. F. Lockyer, Rev. S. R. Aldridge, and Rev. R. M. Edgar. 15s.

Corinthians and Galatians, by the Ven. Archdeacon Farrar, D.D., and Rev. Preb. E. Huxtable. Homilies by the Rev. Ex-Chancellor Lipscomb, Rev. David Thomas, D.D., Rev. Donald Fraser, D.D., Rev. R. Tuck, Rev. E. Hurndall, Rev. Prof. J. R. Thomson, Rev. R. Finlayson, Rev. W. F. Adeney, Rev. R. M. Edgar, and Rev. T. Croskery, D.D. 2 vols. Vol. I., containing 1 Corinthians, Fifth Edition, 15s. Vol. II., containing 2 Corinthians and Galatians, Second Edition, 21s.

Ephesians, Philippians, and Colossians, by the Rev. Prof. W. G. Blaikie, D.D., Rev. B. C. Caffin, and Rev. G. G. Findlay. Homilies by the Rev. D. Thomas, D.D., Rev. R. M. Edgar, Rev. R. Finlayson, Rev. W. F. Adeney, Rev. Prof. T. Croskery, D.D., Rev. E. S. Prout, Rev. Canon Vernon Hutton, and Rev. U. R. Thomas, D.D. Third Edition. 21s.

Thessalonians, Timothy, Titus, and Philemon, by the Right Rev. Bishop of Bath and Wells, Rev. Dr. Gloag, and Rev. Dr. Eales. Homilies by the Rev. B. C. Caffin, Rev. R. Finlayson, Rev. Prof. T. Croskery, D.D., Rev. W. F. Adeney, Rev. W. M. Statham, and Rev. D. Thomas, D.D. Second Edition. 15s.

Hebrews and James, by the Rev. J. Barmby, and Rev. Preb. E. C. S. Gibson. Homilies by the Rev. C. Jerdan, Rev. Preb. E. C. S. Gibson, Rev. W. Jones, Rev. C. New, Rev. D. Young, Rev. J. S. Bright, and Rev. T. F. Lockyer. Third Edition. 15s.

Peter, John, and Jude, by the Rev. B. C. Caffin, Rev. A. Plummer, D.D., and Rev. Prof. S. D. F. Salmond, D.D. Homilies by the Rev. A. Maclaren, D.D., Rev. C. Clemance, D.D., Rev. Prof. J. R. Thomson, Rev. C. New, Rev. U. R. Thomas, Rev. R. Finlayson, Rev. W. Jones, Rev. Prof. T. Croskery, D.D., and Rev. J. S. Bright, D.D. Second Edition. 15s.

Revelation. Introduction by the Rev. T. Randell, Principal of Bede College, Durham. Exposition by the Rev. A. Plummer, D.D., assisted by Rev. T. Randell and A. T. Bott. Homilies by the Rev. C. Clemance, D.D., Rev. S. Conway, Rev. R. Green, and Rev. D. Thomas, D.D. Second Edition. 15s.

PUSEY, Rev. E. B., D.D., Sermons for the Church's Seasons from Advent to Trinity. Crown 8vo, 5s.

RENAN, ERNEST, Life of Jesus. Crown 8vo, 1s. 6d.; paper covers, 1s.

The Apostles. Crown 8vo, 1s. 6d.; paper covers, 1s.

REYNOLDS, Rev. J. W., The Supernatural in Nature. A Verification by the Free Use of Science. Third Edition, revised and enlarged. 8vo, 14s.

Mystery of the Universe Our Common Faith. 8vo, 14s.

Mystery of Miracles. Third Edition, enlarged. Crown 8vo, 6s.

The World to Come. Immortality a Physical Fact. Crown 8vo, 6s.

RICHARDSON, AUSTIN, What are the Catholic Claims? Introduction by Rev. Luke Rivington. Crown 8vo, 3s. 6d.

RIVINGTON, Rev. LUKE, Authority; or, A Plain Reason for Joining the Church of Rome. Fifth Edition. Crown 8vo, 3s. 6d.

Dependence; or, The Insecurity of the Anglican Position. Crown 8vo, 5s.

ROBERTSON, Rev. F. W., Notes on Genesis. New and cheaper Edition. Small 8vo, 3s. 6d.

St. Paul's Epistle to the Corinthians. Expository Lectures. New Edition. Small 8vo, 5s.

Lectures and Addresses, with other Literary Remains. New Edition. Small 8vo, 5s.

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? Portrait of the late Rev. F. W. Robertson, mounted for framing, 2s. 6d.

ROWAN, FREDERICA, Meditations on Death and Eternity. Translated from the German by F. Rowan. Published by Her Majesty's gracious permission. Crown 8vo, 6s.

Meditations on Life and its Religious Duties. Translated from the German by F. Rowan. Published by Her Majesty's gracious permission. Crown 8vo, 6s.

SCANNELL, THOMAS B., and WILHELM, JOSEPH, D.D., Manual of Catholic Theology, based on Scheeben's 'Dogmatik.' Vol I. 15s.

SCHLEIERMACHER, F., On Religion. Speeches to its Cultured Despisers. Translated, with Introduction, by J. Oman. 8vo, 7s. 6d.

TAYLER, J. J., Retrospect of the Religious Life of England; or, Church, Puritanism, and Free Inquiry. Second Edition. Post 8vo, 7s. 6d.

TIELE, Prof. C. P., Outlines of the History of Religion to the Spread of the Universal Religions. From the Dutch, by J. Estlin Carpenter. Fifth Edition. Post 8vo, 7s. 6d. (Philosophical Library, and Trübner's Oriental Series.)

History of the Egyptian and Mesopotamian Religions. Translated by J. Ballingal. Post 8vo, 7s. 6d. (Trübner's Oriental Series.)

TRENCH, Archbishop, Notes on the Parables of our Lord. 8vo, 12s. Cheap Edition. Sixty-first Thousand. 7s. 6d.

Notes on the Miracles of our Lord. 8vo, 12s. Cheap Edition. Forty-eighth Thousand. 7s. 6d.

Brief Thoughts and Meditations on some Passages in Holy Scripture. Third Edition. Crown 8vo, 3s. 6d.

Apocalypse: Commentary on the Epistles to the Seven Churches of Asia. Fourth Edition, revised. 8vo, 8s. 6d.

On the Authorised Version of the New Testament. Second Edition. 8vo, 7s.

Proverbs and their Lessons. Eighth Edition, enlarged. Foolscap 8vo, 4s.

Studies in the Gospels. Fifth Edition, revised. 8vo, 10s. 6d.

Synonyms of the New Testament. Tenth Edition, enlarged. 8vo, 12s.

Sermons, New and Old. Crown 8vo, 6s.

Lectures on Medi?val Church History. Being the substance of Lectures delivered at Queen's College, London. Second Edition. 8vo, 12s.

Shipwrecks of Faith. Three Sermons preached before the University of Cambridge. Foolscap 8vo, 2s. 6d.

Westminster and other Sermons. Crown 8vo, 6s.

TRUMBULL, H. CLAY, The Blood-Covenant. A Primitive Rite, and its bearing on Scripture. Post 8vo, 7s. 6d.

TURTON, Major W. H., The Truth of Christianity. Crown 8vo, 6s.

WILSON, Archdeacon, Rochdale Sermons, 1891-4. Crown 8vo, 5s.

WYLD, Dr. GEORGE, Christo-Theosophy; or, Spiritual Dynamics. Crown 8vo, 3s. 6d. net.

RELIGIOUS PHILOSOPHY AND SPECULATIVE THEOLOGY.

(See also Philosophy.)

ARNOLD, Sir EDWIN, Death-and Afterwards. Reprinted from the Fortnightly Review of August, 1885, with a Supplement. Eleventh Edition. Crown 8vo, cloth, 1s. 6d.; paper covers, 1s.

FEUERBACH, L., Essence of Christianity. From the German, by Marian Evans. Second Edition. Post 8vo, 7s. 6d. (Philosophical Library.)

FITZARTHUR, T., The Worth of Human Testimony. Foolscap 8vo, 2s.

GRAHAM, WILLIAM, Creed of Science, Religious, Moral, and Social. Second Edition, revised. Crown 8vo, 6s.

GREG, W. R., The Creed of Christendom. Eighth Edition. 2 vols. post 8vo, 15s. (Philosophical Library.)

Enigmas of Life. Seventeenth Edition. Post 8vo, 10s. 6d. New Edition, with Prefatory Memoir, Edited by his Wife. 6s. (Philosophical Library.)

Miscellaneous Essays. Two Series. Crown 8vo, 7s. 6d. each.

HEGEL, G. W. F., Lectures on the Philosophy of Religion. Translated by the Rev. E. B. Spiers and J. Burdon Sanderson. 3 vols. 8vo, 12s. each.

(See also Philosophy.)

HEINE, H., Religion and Philosophy in Germany. Translated by J. Snodgrass. Post 8vo, 6s. (Philosophical Library.)

MORISON, J. COTTER, The Service of Man. An Essay towards the Religion of the Future. Crown 8vo, 5s.

NEWMAN, F. W., Miscellanies. Essays, Tracts, and Addresses, Moral and Religious. 8vo. Vol. I. 10s. 6d.

PHYSICUS, Candid Examination of Theism. Second Edition. Post 8vo, 7s. 6d. (Philosophical Library.)

READE, WINWOOD, The Martyrdom of Man. Fourteenth Edition. Crown 8vo. 7s. 6d.

WARD, W. G., Essays on the Philosophy of Theism. Edited, with an Introduction, by Wilfrid Ward. 2 vols. 8vo, 21s.

MYTHOLOGY, Etc.

BRINTON, D. G., Rig Veda Americanus. 8vo, 12s.

COX, Sir G. W., Bart., Mythology of the Aryan Nations. New Edition. 8vo, 16s.

Tales of Ancient Greece. New Edition. Small crown 8vo, 6s.

Tales of the Gods and Heroes. Small Crown 8vo, 3s. 6d.

Manual of Mythology in the Form of Question and Answer. New Edition. Foolscap 8vo, 3s.

Introduction to the Science of Comparative Mythology and Folk-Lore. Second Edition. Crown 8vo, 7s. 6d.

DOWSON, JOHN, Classical Dictionary of Hindu Mythology and History, Geography and Literature. Post 8vo, 16s. (Trübner's Oriental Series.)

GUBERNATIS, ANGELO DE, Zoological Mythology; or, The Legends of Animals. 2 vols. 8vo, ￡1 8s.

MUIR, JOHN, Cosmogony, Mythology, etc., of the Indians in the Vedic Age. Third Edition. ￡1 1s.

VIGNOLI, TITO, Myth and Science. An Essay. Third Edition. With Supplementary Note. Crown 8vo, 5s. (I.S.S.)

WAKE, C. S., Serpent Worship, and other Essays, with a Chapter on Totemism. 8vo, 10s. 6d.

WESTROPP, H. M., Primitive Symbolism as Illustrated in Phallic Worship; or, The Reproductive Principle. With Introduction by Major-Gen. Forlong. 8vo, 7s. 6d.

WILSON, H. H., Vishnu Puráná. A System of Hindu Mythology and Tradition. From the original Sanskrit. Illustrated by Notes derived chiefly from other Puránás. Translated by H. H. Wilson. Edited by Fitz Edward Hall. 5 vols, ￡3 4s. 6d.

FOLK-LORE.

BLEEK, W. H. I., Hottentot Folk-Lore.-Reynard the Fox in South Africa; or, Hottentot Fables and Tales. Post 8vo, 3s. 6d.

CATLIN, GEORGE, Mandan Customs.-O-Kee-Pa, a Religious Ceremony; and other customs of the Mandans. With 13 Coloured Illustrations. Small 4to, 14s.

COX, Sir G. W., and JONES, E. H., Popular Romances of the Middle Ages. Third Edition. Crown 8vo, 6s.

GASTER, M., Greeko-Slavonic Literature and its Relation to the Folk-Lore of Europe during the Middle Ages. Large post 8vo, 7s. 6d.

GOMME, G. LAURENCE, Ethnology in Folk-Lore. Crown 8vo, 2s. 6d. (Modern Science Series.)

Indian Folk-Lore. See class Oriental.

LONG, J., Eastern Proverbs and Emblems Illustrating Old Truths. Post 8vo, 6s. (Trübner's Oriental Series.)

MACRITCHIE, DAVID, Fians, Fairies, and Picts. With Illustrations. Large post 8vo, 7s. 6d.

NORTHALL, G. F., English Folk Rhymes. A Collection of Traditional Verses relating to Places and Persons, Customs, Superstitions, etc. Crown 8vo, 10s. 6d.

Turkish Tales.-The History of the Forty Vezirs; or, The Story of the Forty Morns and Eves. Translated from the Turkish by E. J. W. Gibb. Crown 8vo, 10s. 6d.

III. OCCULT SCIENCES.

BAUGHAN, ROSA, The Influence of the Stars. A Treatise on Astrology, Chiromancy, and Physiognomy. 8vo, 5s.

BINET, A., and FéRé, C., Animal Magnetism. Second Edition. Crown 8vo, 5s. (I.S.S.)

COLLINS, MABEL, Through the Gates of Gold. Mysticism. Small 8vo, 4s. 6d.

COOK, LOUISA S., Geometrical Psychology; or, The Science of Representation. An Abstract of the Theories and Diagrams of B. W. Betts. Sixteen Plates. 8vo, 7s. 6d.

COTTON, LOUISE, Palmistry and its Practical Uses. Twelve Plates. Crown 8vo, 2s. 6d.

D'ASSIER, ADOLPHE, Posthumous Humanity. A Study of Phantoms, from the French. By Colonel Olcott. With Appendix and Notes. Crown 8vo, 7s. 6d.

DEWEY, J. H., The Way, the Truth, and the Life. A Handbook of Christian Theosophy, Healing, and Psychic Culture. 10s. 6d.

HARTMANN, FRANZ, White and Black Magic; or, The Science of Finite and Infinite Life. Fourth Edition, revised. Crown 8vo, 6s.

Life of Paracelsus, and the Substance of his Teachings. New and Revised Edition. Post 8vo, 7s. 6d.

Life and Doctrines of Jacob Boehme. An Introduction to the Study of his Works. Post 8vo, 10s. 6d.

HEIDENHAIN, RUDOLPH, Hypnotism, or Animal Magnetism. With Preface by G. J. Romanes. Second Edition. Small 8vo, 2s. 6d.

HERMES, TRISMEGISTUS, Christian Neoplatonist, Theological and Philosophical Works of. Translated from the Greek by J. D. Chambers. 8vo, 7s. 6d.

The Virgin of the World. Translated and Edited by the Authors of 'The Perfect Way.' Illustrations. 4to, imitation parchment, 10s. 6d.

JENNINGS, HARGRAVE, The Indian Religions; or, Results of the Mysterious Buddhism. 8vo, 10s. 6d.

KINGSFORD, ANNA, and MAITLAND, EDWARD, The Perfect Way; or, The Finding of Christ. Third Edition, revised. Square 16mo, 7s. 6d.

KINGSFORD, ANNA, Spiritual Hermeneutics of Astrology and Holy Writ. With Illustrations. 4to, parchment, 10s. 6d.

MATHERS, S. L. M., The Key of Solomon the King. Translated from ancient MSS. in the British Museum. With Plates. Crown 4to, 25s.

The Kaballah Unveiled. Containing the Three Books of the Zohar, translated from the Chaldee and Hebrew Text. Post 8vo, 10s. 6d.

The Tarot. Its Occult Signification, use in Fortune-telling, and method of Play. With Pack of 78 Tarot Cards, 5s.; without the Cards, 1s. 6d.

OLCOTT, Colonel, Theosophy, Religion, and Occult Science. With Glossary of Eastern Words. Crown 8vo, 7s. 6d.

OWEN, ROBERT DALE, Footfalls on the Boundary of another World. With Narrative Illustrations. Post 8vo, 7s. 6d.

Debatable Land between this World and the Next. With Illustrative Narrations. Second Edition. Crown 8vo, 7s. 6d.

Threading My Way. Twenty-seven Years of Autobiography. Crown 8vo, 7s. 6d.

PREL, CARL DU, Philosophy of Mysticism. Translated from the German by C. C. Massey. 2 vols 8vo, cloth, 25s.

Psychical Research Society, Proceedings. Irregular.

SERJEANT, W. C. ELDON, The Astrologer's Guide (Anima Astrologi?). 8vo, 7s. 6d.

STREET, J. C., The Hidden Way across the Threshold; or, The Mystery which hath been hidden for Ages and from Generations. With Plates. Large 8vo, 15s.

VAUGHAN, THOMAS, Magical Writings. Edited, with Introduction and Notes, by A. E. Waite. Small 4to, 10s. 6d.

VINCENT, R. HARRY, The Elements of Hypnotism. Crown 8vo, 5s.

WAITE, A. E., Lives of Alchemystical Philosophers. 8vo, 10s. 6d.

Magical Writings of Thomas Vaughan. Small 4to, 10s. 6d.

Real History of the Rosicrucians. With Illustrations. Crown 8vo, 7s. 6d.

Mysteries of Magic. A Digest of the Writings of Eliphas Lévi. New and revised Edition. With Illustrations. 8vo, 10s. 6d.

The Occult Sciences. Crown 8vo, 6s.

IV. PHILOSOPHY.

(See also Religion.)

ACLAND, Sir THOMAS DYKE, Knowledge, Duty, and Faith. A Study of Principles Ancient and Modern. Crown 8vo, 3s. 6d.

ALEXANDER, S., Moral Order and Progress: An Analysis of Ethical Conceptions. Second Edition. Post 8vo, 14s. (Philosophical Library.)

ALLEN, GRANT, Colour Sense: Its Origin and Development. An Essay in Comparative Psychology. Second Edition. Post 8vo, 10s. 6d. (Philosophical Library.)

ARISTOTLE, The Nicomachean Ethics. Translated by F. H. Peters. Third Edition. Crown 8vo, 6s.

BAIN, ALEXANDER, Mind and Body: The Theories of their Relations. With Four Illustrations. Eighth Edition. Crown 8vo, 5s. (I. S. S.)

BASTIAN, H. CHARLTON, Brain as an Organ of Mind. With numerous Illustrations. Fourth Edition. Crown 8vo, 5s. (I. S. S.)

COMTE, AUGUSTE, Positive Philosophy. Translated and Condensed by Harriet Martineau. 2 vols. Third Edition. Large post 8vo, 15s.

Catechism of Positive Religion. From the French by R. Congreve. Third Edition. Crown 8vo, 2s. 6d.

FICHTE, J. GOTTLIEB, Characteristics of the Present Age. Translated by W. Smith. Post 8vo, 6s.

New Exposition of the Science of Knowledge. Translated by A. E. Kroeger. 8vo, 12s.

Science of Knowledge. Translated by A. E. Kroeger. With an Introduction by Prof. W. T. Harris. 10s. 6d. (Philosophical Library.)

Science of Rights. Translated by A. E. Kroeger. With an Introduction by Prof. W. T. Harris. 12s. 6d. (Philosophical Library.)

Science of Ethics. Translated by W. T. Harris. 7s. 6d.

Popular Works: The Nature of the Scholar, The Vocation of the Scholar, The Vocation of Man, The Doctrine of Religion, Characteristics of the Present Age, Outlines of the Doctrine of Knowledge. With a Memoir by W. Smith. 2 vols. 21s. (Philosophical Library.)

GUICCIARDINI, F., Counsels and Reflections. Translated by N. H. Thomson. Crown 8vo, 6s.

HARTMANN, E. von, Philosophy of the Unconscious. Translated by W. C. Coupland. 3 vols. post 8vo, 31s. 6d. (Philosophical Library.)

HEGEL, G. W. F., Lectures on the History of Philosophy. Translated by E. S. Haldane. 3 vols. post 8vo, each 12s.

HINTON, JAMES, The Law-Breaker, and The Coming of the Law. Edited by Margaret Hinton. Crown 8vo, 6s.

Mystery of Pain. New Edition. Foolscap 8vo, 1s.

Philosophy and Religion. Selections from the MSS. of the late James Hinton. Edited by Caroline Haddon. Second Edition. Crown 8vo, 5s.

The Larger Life. Studies in Hinton's Ethics. By Caroline Haddon. Crown 8vo, 5s.

HUGHES, H., Principles of Natural and Supernatural Morals. Vol. I. Natural Morals. 8vo, 12s.

The Theory of Inference. 8vo, 10s. 6d.

JORDAN, F., Character as seen in Body and Parentage. With Illustrations. Third Edition. Small crown 8vo, 2s. 6d. net.

LEWES, GEORGE HENRY, Problems of Life and Mind. 8vo.

Series I. Foundations of a Creed. 2 vols. 28s.

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LANGE, Prof. F. A., History of Materialism, and Criticism of its Present Importance. Authorised Translation by Ernest C. Thomas. 3 vols. post 8vo, 10s. 6d. each. (Philosophical Library.)

LESLEY, J. P., Man's Origin and Destiny. Sketched from the Platform of the Physical Sciences. Second Edition. Crown 8vo, 7s. 6d.

LUBBOCK, Sir John, Senses, Instincts, and Intelligence of Animals. With special reference to Insects. With 100 Illustrations. Third Edition. Crown 8vo, 5s. (I. S. S.)

LUYS, J., Brain and its Functions. With Illustrations. Third Edition. Crown 8vo, 5s. (I. S. S.)

MAUDSLEY, H., Body and Will. An Essay concerning Will, in its Metaphysical, Physiological, and Pathological Aspects. 8vo, 12s.

Responsibility in Mental Disease. Fourth Edition. Crown 8vo, 5s. (I. S. S.)

Supernaturalism.-Natural Causes and Supernatural Seemings. Second Edition. Crown 8vo, 6s.

MILL, JOHN STUART, Auguste Comte and Positivism. Third Edition. Post 8vo, 3s. 6d. (Philosophical Library.)

MIVART, ST. GEORGE, On Truth. 8vo, 16s.

Origin of Human Reason. 8vo, 10s. 6d.

MOORE, AUBREY L., Essays, Scientific and Philosophical. With Memoir of the Author. Crown 8vo, 6s.

MORSELLI, Prof. H., Suicide. An Essay on Comparative Moral Statistics. Second Edition. With Diagrams. Crown 8vo, 5s. (I. S. S.)

RIBOT, Prof. T., English Psychology. Crown 8vo, 7s. 6d.

Diseases of Memory. An Essay in the Positive Psychology. Third Edition. Crown 8vo, 5s. (I. S. S.)

RIEHL, Dr. A., Introduction to the Theory of Science and Metaphysics. Translated by Dr. Arthur Fairbanks. Post 8vo, 9s. (Philosophical Library.)

ROMANES, G. J., Mental Evolution in Man. Origin of the Human Faculty. 8vo, 14s.

Mental Evolution in Animals. With Posthumous Essay on Instinct by Charles Darwin. 8vo, 12s.

Animal Intelligence. Fourth Edition. Crown 8vo, 5s. (I. S. S.)

SCHOPENHAUER, ARTHUR, The World as Will and Idea. From the German. By R. R. Haldane and J. Kemp. Third Edition. 3 vols. post 8vo, 12s. each vol.

SIMCOX, EDITH, Natural Law. An Essay in Ethics. Second Edition. Post 8vo, 10s. 6d. (Philosophical Library.)

SULLY, JAMES, Illusions. A Psychological Study. Third Edition. Crown 8vo, 5s. (I. S. S.)

WEDGWOOD, JULIA, The Moral Ideal. An Historic Study. Second Edition. 8vo, 9s.

V. HISTORY.

BIOGRAPHY.

Alchemystical Philosophers, Lives of. With a Bibliography of Alchemy. By A. E. Waite. 8vo, 10s. 6d.

ANSELM, St., Archbishop of Canterbury, and Primate of the Britons, Life and Times of. By Martin Rule. 2 vols. 8vo, 32s.

APPLETON, Dr., His Life and Literary Relics. By J. H. Appleton and A. H. Sayce. Post 8vo, 10s. 6d. (Philosophical Library.)

BACON, FRANCIS, Life and Times of. By James Spedding. 2 vols. post 8vo, 21s.

BETTERTON, THOMAS. By R. W. Lowe. Crown 8vo, 2s. 6d. (Eminent Actors.)

BLAVATSKY, Madame, Incidents in the Life of. By A. P. Sinnett. With Portrait. 8vo, 10s. 6d.

BOEHME, JACOB, Life and Doctrines of. An Introduction to the Study of his Works. By Franz Hartmann. Post 8vo, 10s. 6d.

BRADSHAW, HENRY. A Memoir. By G. W. Prothero. With Portrait and Fac-simile. 8vo, 16s.

Brave Men's Footsteps. A Book of Example and Anecdote for Young People. By the Editor of 'Men who have Risen.' Illustrations by C. Doyle. Ninth Edition. Crown 8vo, 2s. 6d.

BRUNO, GIORDANO, the Nolan, Life of. By I. Frith. Revised by Professor Moriz Carriere. With Portrait. Post 8vo, 14s.

BURKE, the Very Rev. T. N., Life of. By W. J. Fitzpatrick. With Portrait. 2 vols. 8vo, 30s. New and cheaper Edition, 7s. 6d.

BURROWS, HENRY WILLIAM. Memorials. By E. Wordsworth. With Portrait. Crown 8vo, 6s.

CAXTON, WILLIAM, England's First Printer, Biography and Typography of. By W. Blades. 8vo, hand-made paper, imitation old bevelled binding, ￡1 1s. Cheap Edition, Crown 8vo, 5s.

DAWSON, GEORGE, Biographical Lectures. Edited by George St. Clair. Third Edition. Large crown 8vo, 7s. 6d.

DICKENS, CHARLES, and the Stage; or, A Record of his Connection with the Drama. By T. Edgar Pemberton. Crown 8vo, 6s.

DIGBY, Sir EVERARD, The Life of a Conspirator, a Biography of. By one of his Descendants. With Portrait. Demy 8vo, 9s.

DORA, Sister. A Biography. By Margaret Lonsdale. With Portrait. Thirtieth Edition. Small 8vo, 2s. 6d.

DRUMMOND, THOMAS, Life and Letters of, Under-Secretary in Ireland, 1835-40. By R. Barry O'Brien. 8vo, 14s.

DUNCAN, FRANCIS, C.B., R.A., M.P., Life of. By Rev. Henry Birdwood Blogg. With Introduction by the Bishop of Chester. Crown 8vo, 3s. 6d.

EDMUND, St., of Canterbury, Life. From Original Sources. By Wilfrid Wallace. With 5 Illustrations and Map. 8vo, 15s.

EMERSON, RALPH WALDO, Talks with. By C. J. Woodbury. Crown 8vo, 5s.

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FICHTE, JOHANN GOTTLIEB, Memoir of. By W. Smith. Second Edition. Post 8vo, 4s.

FORBES, Bishop. A Memoir. By Donald J. Mackay. With Portrait and Map. Crown 8vo, 7s. 6d.

FRANCIS, S., of Assisi, History of. By Abbé Léon Le Monnier. With a Preface by Cardinal Vaughan. 8vo, 16s.

FRANCIS XAVIER, the Apostle of the Indies. By Mary Hall McLean. Crown 8vo, 6s. net.

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GARRICK, DAVID. By Joseph Knight. With Portrait. Demy 8vo, 10s. 6d. net.

GILBERT, Mrs. Autobiography, and other Memorials. Edited by Josiah Gilbert. Fifth Edition. Crown 8vo, 7s. 6d.

GLADSTONE, WILLIAM EWART, Life of. Told by Himself in Speeches and Public Letters. By H. J. Leech. Crown 8vo, 3s. 6d.

GOOCH, Sir DANIEL, Bart., Diaries of. With an Introductory Notice by Sir Theodore Martin, K.C.B. With 2 Portraits and an Illustration. Crown 8vo, 6s.

GORDON, Major-General C. G., His journals at Khartoum. Printed from the Original MSS., with Introduction and Notes by A. Egmont Hake. Portrait, 2 Maps, and 30 Illustrations. 2 vols. 8vo, 21s. Cheap Edition, 6s.

Gordon's Last Journal: A Fac-simile of the Last Journal received in England from General Gordon. Reproduced by photo-lithography. Imperial 4to, ￡3 3s.

GOWER, Lord RONALD, My Reminiscences. New Edition. Post 8vo, 7s. 6d.

HAMILTON, ARTHUR, B.A., of Trinity College, Cambridge. Memoirs of. Crown 8vo, 6s.

HINTON, JAMES, Life and Letters of. With an Introduction by Sir W. W. Gull, and Portrait engraved on steel by C. H. Jeens. Sixth Edition. Crown 8vo, 8s. 6d.

JOHNSON, SAMUEL, Lives of the Most Eminent English Poets. Edited, with Notes and Introduction, by Arthur Waugh, and with 30 Portraits. 6 vols. foolscap 8vo, ￡1 16s.

KEMPIS, THOMAS à. Notes of a Visit to the Scenes in which the Life of Thomas à Kempis was spent. By F. R. Cruise. With numerous Illustrations. 8vo, 12s.

KHAMA. The Story of an African Chief. By Mrs. Wyndham Knight-Bruce. Fourth Edition. 16mo, 2s.

K?R?S, ALEXANDER COSMA DE, Life and Works of, between 1819 and 1842. With a short notice of all his Works and Essays, from original documents. By Theodore Duka. Post 8vo, 9s. (Trübner's Oriental Series.)

LAUD, WILLIAM, sometime Archbishop of Canterbury. By A. C. Benson. Crown 8vo, 6s.

Life of Archbishop Laud. By a Romish Recusant. 8vo, 15s.

LESLIE, FRED., Recollections of. By W. L. Vincent. With Illustrations. 2 vols. 8vo, 30s.

LESSING: His Life and Writings. By James Sime. New and cheaper Edition. 2 vols. With portraits. Post 8vo, 12s. (Philosophical Library.)

LONGFELLOW, HENRY WADSWORTH, Life of. By his Brother Samuel Longfellow. With Portraits and Illustrations. 3 vols. 8vo, 42s.

LOWDER, CHARLES. A Biography. By the Author of 'St. Teresa' Twelfth Edition. With Portrait. Crown 8vo, 3s. 6d.

LYTTON, Lord, Life, Letters, and Literary Remains of Edward Bulwer, Lord Lytton. By the Earl of Lytton. With Portraits, Illustrations, and Fac-similes. 8vo. Vols. I. and II., 32s.

MACKLIN, CHARLES. By Edward Abbott Parry. Crown 8vo, 2s. 6d. (Eminent Actors.)

MACKONOCHIE, ALEXANDER HERIOT. A Memoir. By E. A. T. Edited, with Preface, by E. F. Russell. With Portrait and Views. Large crown 8vo, 7s. 6d. Cheap Edition, crown 8vo, 3s. 6d.

MACREADY, WILLIAM CHARLES. By William Archer. Crown 8vo, 2s. 6d. (Eminent Actors.)

MARIE ANTOINETTE, Last Days of. An Historical Sketch. By Lord Ronald Gower. With Portrait and Fac-similes. Foolscap 4to, 10s. 6d.

Marie Antoinette and Her Children, the Dauphin and the Duchesse D'Angoulême, The Prison Life of. By M. C. Bishop. New and revised Edition. With Portrait. Crown 8vo, 6s.

MITCHEL, JOHN, Life of. By W. Dillon. With Portrait. 2 vols. 8vo, 21s.

MOHL, JULIUS and MARY, Letters and Recollections of. By M. C. M. Simpson. With Portraits and 2 Illustrations. 8vo, 15s.

MOLTKE (General von). Letters to His Wife and other Relatives. The only complete Edition in any language. With an Introduction by Sidney Whitman. Portraits, etc. 2 vols. 8vo, cloth, ￡1 10s. 1896.

"Of the most surpassing interest."

MORRIS, GOUVERNEUR, Minister of the United States to France, Diary and Letters of. By Anne C. Morris. With Portraits. 2 vols. 8vo, 30s.

MOTLEY, JOHN LOTHROP. A Memoir. By Oliver Wendell Holmes. Crown 8vo, 6s.

MUNRO, Major-General Sir THOMAS. A Memoir. By Sir A. J. Arbuthnot. Crown 8vo, 3s. 6d.

NEWMAN, JOHN HENRY, the Founder of Modern Anglicanism, and a Cardinal of the Roman Church. By Wilfrid Meynell. Crown 8vo, 2s. 6d.

NUN, A: Her Friends and Her Order. Being a Sketch of the Life of Mother Mary Xaveria Fallon. By Katherine Tynan. Crown 8vo, 5s.

O'CONNELL, Count, The Last Colonel of the Irish Brigade, and Old Irish Life at Home and Abroad, 1745-1833. By Mrs. Morgan J. O'Connell. 2 vols. 8vo, 25s.

OWEN, ROBERT DALE, Threading my Way. Twenty-seven Years of Autobiography. Crown 8vo, 7s. 6d.

PARACELSUS, Life of, and the Substance of His Teachings. By Franz Hartmann. New and Revised Edition. Post 8vo, 7s. 6d.

PLUTARCH. His Life, His Lives, and His Morals. By Archbishop Trench. Second Edition enlarged. Foolscap 8vo, 3s. 6d.

RAWLE, Bishop. A Memoir. By G. Mather and C. J. Blagg. Large crown 8vo, 7s. 6d.

ROBERTSON, F. W., Life and Letters of. Edited by Stopford Brooke.

I. Library Edition, with Portrait. 8vo, 12s.

II. With Portrait. 2 vols. crown 8vo, 7s. 6d.

III. Popular Edition. Crown 8vo, 6s.

RUPERT of the Rhine. A Biographical Sketch of the Life of Prince Rupert. By Lord Ronald Gower. With 3 Portraits. Crown 8vo, buckram, 6s.

SELWYN, Bishop, of New Zealand and of Lichfield. A Sketch of his Life and Work, with further Gleanings from his Letters, Sermons, and Speeches. By Canon Curteis. Large crown 8vo, 7s. 6d.

SHELLEY, PERCY BYSSHE, Life of. By Edward Dowden, LL.D. With Portrait. 12s. net.

SKINNER, JAMES. A Memoir. By the Author of 'Charles Lowder.' With Preface by the Rev. Canon Carter, and Portrait. Large crown 8vo, 7s. 6d. Cheap Edition, crown 8vo, 3s. 6d.

SPINOZA, BENEDICT DE, Life, Correspondence, and Ethics of. By R. Willis. 8vo, 21s.

TAYLOR, REYNELL, C.B., C.S.I. A Biography. By E. Gambier Parry. With Portrait and Map. 8vo, 14s.

TENNYSON, Poet, Philosopher, and Idealist. By J. C. Walters. With Portrait. 8vo, 12s.

TRENCH, Archbishop, Letters and Memorials of. By the Author of 'Charles Lowder.' With 2 Portraits. 2 vols. 8vo, 21s.

TRENCH, Mrs. RICHARD, Remains of the late. Being Selections from her Journals, Letters, and other Papers. Edited by her Son, Archbishop Trench. New and cheaper Edition. With Portraits. 8vo, 6s.

Wells Wills, arranged in Parishes and Annotated. By F. W. Weaver. 8vo, 10s. 6d.

WILBERFORCE, Bishop, of Oxford and Winchester, Life of. By his Son. Crown 8vo, 9s.

WOLSELEY, WILLIAM, Admiral of the Red Squadron, Memoir of. By Mary C. Innes. 8vo, 9s. net.

HERALDRY.

Heraldry, English and Foreign. By R. C. Jenkins. With a Dictionary of Heraldic Terms and 156 Illustrations. Small 8vo, 3s. 6d.

HISTORY.

BAIN, R. NISBET, Gustavus III. and His Contemporaries, 1746-1792. From original documents. 2 vols. post 8vo, 21s. net.

BAIRD, HENRY M., The Huguenots and the Revocation of the Edict of Nantes. With Maps. 2 vols, 8vo, 30s.

BANCROFT, K. H., Popular History of the Mexican People. 8vo, 15s.

BARING-GOULD, S., Germany, Present and Past. New and cheaper Edition. Large crown 8vo, 7s. 6d.

BRIDGETT, T. E., Blunders and Forgeries. Historical Essays. Crown 8vo, 6s.

BRYANT, SOPHIE, Celtic Ireland. With 3 Maps. Crown 8vo, 5s.

BRYCE, JAMES, Two Centuries of Irish History. With Introduction by Jas. Bryce, M.P. 8vo, 16s.

GREVILLE, The Hon. E., The Year-Book of Australia. Published Annually. 8vo, 10s. 6d. net.

DENVIR, JOHN, The Irish in Britain from the Earliest Times to the Fall and Death of Parnell. By John Denvir. Crown 8vo, 2s. 6d.

DJEMALEDDIN, BEY, Sultan Murad V. The Turkish Dynastic Mystery, 1876-95. With 6 Portraits. Crown 8vo, 9s. net.

DURUY, VICTOR, The History of Greece. With Introduction by Prof. J. P. Mahaffy. Maps and many Illustrations, some coloured. 8 vols. super royal 8vo, ￡8 8s.

Egypt. See Oriental.

FREEMAN, E. A., Lectures to American Audiences. I. The English People in its Three Homes. II. Practical Bearings of General European History. Post 8vo, 9s.

GARDINER, SAMUEL R., and MULLINGER, J. BASS, Introduction to the Study of English History. Third and enlarged Edition. Post 8vo, 7s. 6d. net.

HILLEBRAND, KARL, France and the French in the Second Half of the Nineteenth Century. Translated from the Third German Edition. Post 8vo, 10s. 6d.

HOLST, H. von, The French Revolution. 2 vols. crown 8vo, cloth, 18s.

HOPE, Mrs., The First Divorce of Henry VIII. As told in the State Papers. Crown 8vo, 6s.

India. See Oriental.

JANSSEN, JOHANNES, History of the German People at the Close of the Middle Ages. Translated by M. A. Mitchell and A. M. Christie. 2 vols. 8vo, 25s.

KINGSFORD, W., The History of Canada. By W. Kingsford. Vol. i. 1608-1682; vol. ii. 1679-1725; vol. iii. 1726-1756; vol. iv. 1756-1763; vol. v. 1763-1775; vol. vi. 1776-1779; vol. vii. 1779-1807; vol. viii. 1808-1815. With Maps. 8vo, 15s. each volume.

LELAND, C. G., The Gypsies. Crown 8vo, 10s. 6d.

LEONARD, Major ARTHUR G., How We Made Rhodesia. Second Edition. Crown 8vo, 6s.

LIVY. Discourses on the First Decade of Titus Livius. From the Italian of Niccolò Machiavelli. By N. Hill Thompson. Large crown 8vo, 12s.

MOORE, AUBREY L., Lectures and Papers on the History of the Reformation in England and on the Continent. 8vo, 16s.

O'CLERY, THE, The Making of Italy, 1856-1870. 8vo, 16s.

O'HAGAN, JOHN, Joan of Arc. An Historical Essay. Crown 8vo, 3s. 6d.

PARAVICINI, FRANCES DE, The Early History of Balliol College. 8vo, 12s.

PASTOR, Dr. LUDWIG, The History of the Popes. Translated from the German by Frederick J. Antrobus. Vols. III. and IV. 8vo, 24s. net.

PEET, Rev. STEPHEN D., Prehistoric America. Vol. I., The Mound Builders. Illustrated. Crown 8vo, 21s. net.

REINDORF, Rev. CARL CHRISTIAN, History of the Gold Coast and Asante. Demy 8vo, 9s. net.

SARJENT, Lt. HERBERT H., Napoleon Bonaparte's First Campaign. Crown 8vo, 6s.

TRENCH, Archbishop, Gustavus Adolphus in Germany, and other Lectures on the Thirty Years' War. Third Edition, enlarged. Foolscap 8vo, 4s.

WALPOLE, C. G., Short History of Ireland. With 5 Maps and Appendices. Third Edition. Crown 8vo, 6s.

WRIGHT, THOMAS, Early Britain-The Celt, the Roman, and the Saxon. A History of the Early Inhabitants of Britain down to the Conversion of the Anglo-Saxons to Christianity. Corrected and Enlarged Edition. With nearly 300 Engravings. Crown 8vo, 9s.

TRAVELS, VOYAGES, GUIDE-BOOKS, Etc.

AUBERTIN, J. J., Wanderings and Wonderings. With Portrait, Map, and 7 Illustrations. Crown 8vo, 8s. 6d.

By Order of the Sun to Chili. With Illustrations. Crown 8vo, 5s.

BEVAN, THEODORE F., Toil, Travel, and Discovery in British New Guinea. With 5 Maps. Large crown 8vo, 7s. 6d.

BRADSHAW'S Guide. Dictionary of Mineral Waters, Climatic Health Resorts, Sea Baths, and Hydropathic Establishments. With a Map, 3s. 6d.; without Map, 2s. 6d.

BROWN, HORATIO F., Venetian Studies. Crown 8vo, 7s. 6d.

BURGESS, W. W., Bits of Old Chelsea. 40 splendid Etchings. With Letterpress Descriptions by Lionel Johnson and Richard Le Gallienne. Only 100 copies printed. Folio, ￡10 10s. net.

CORNEY, P., Early Northern Pacific Voyages (1813-1818). With Preface by Prof. W. D. Alexander. Crown 8vo, 7s. 6d.

CROKER T. CROFTON, A Walk from London to Fulham. Enlarged and Re-written by Beatrice E. Horne. With Illustrations. 7s. 6d. net.

GRIMBLE, AUGUSTUS, The Deer Forests of Scotland. Illustrated by A. Thorburn. 4to, ￡2 10s. net.

HAECKEL, Prof. ERNST, A Visit to Ceylon. Post 8vo, 7s. 6d.

HEILPRIN, A., Bermuda Islands. 8vo, 18s.

HENDRIKS, DOM LAURENCE, The London Charterhouse: Its Monks and its Martyrs. Illustrated. 8vo, 15s.

HORNADAY, W. T., Two Years in a Jungle. With Illustrations. 8vo, 21s.

IM THURN, EVERARD F., Among the Indians of Guiana. Sketches, chiefly Anthropologic, from the Interior of British Guiana. With 53 Illustrations and a Map. 8vo, 18s.

JOHNSTON, H. H., The Kilima-Njaro Expedition. A Record of Scientific Exploration in Eastern Equatorial Africa. With 6 Maps and 80 Illustrations. 8vo, 21s.

History of a Slave. With 47 Illustrations. Square 8vo, 6s.

KRAUS, J., Carlsbad and its Natural Healing Agents. With Notes by John T. Wallers. Third Edition. Crown 8vo, 6s. 6d.

LELAND, C. G., Fu-Sang; or, The Discovery of America by Chinese Buddhist Priests in the Fifth Century. Crown 8vo, 7s. 6d.

MARKHAM, Captain ALBERT HASTINGS, The Great Frozen Sea. A Personal Narrative of the Voyage of the Alert during the Arctic Expedition of 1875-76. With Illustrations and Map. Sixth and cheaper Edition. Crown 8vo, 6s.

MITCHELL, E. H., Forty Days in the Holy Land. With 6 Illustrations. Crown 8vo, 6s.

MULHALL, M. G. and E. T., Handbook of the River Plate, comprising the Argentine Republic, Uruguay, and Paraguay. With Railway Map. Sixth Edition. Crown 8vo, 6s.

OATES, FRANK, Matabele Land and the Victoria Falls: A Naturalist's wanderings in the interior of South Africa. Edited by C. G. Oates. With numerous Illustrations and 4 Maps. 8vo, 21s.

PIDGEON, DAVID, Venice. With Frontispiece after Turner. Small crown 8vo, 3s. 6d. net.

RENDELL, J. M., Handbook of the Island of Madeira. With Plan and Map. Second Edition. Foolscap 8vo, 1s. 6d.

REYNOLDS-BALL, E. A., Mediterranean Winter Resorts. With Maps and Diagrams. Third Edition. Foolscap 8vo, 5s.

ROLFE, E. N., and INGLEBY, H., Naples in 1888. With Illustrations. Crown 8vo, 6s.

ROUTLEDGE, Canon C. F., History of St. Martin's Church, Canterbury. Crown 8vo, 5s.

ST. CLAIR, GEORGE, Buried Cities and Bible Countries. Large crown 8vo, 7s. 6d.

SAMUELSON, JAMES, Bulgaria, Past and Present: Historical, Political, and Descriptive. With Map and numerous Illustrations. 8vo, 10s. 6d.

STODDARD, CHARLES AUGUSTUS, Cruising among the Caribbees. Summer Days in Winter Months. With Illustrations. 8vo, 9s.

STRACHEY, Sir JOHN, India. With Map. New Edition. Crown 8vo, 6s.

TAYLOR, Canon ISAAC, Egypt. Leaves from an Egyptian Note-Book. Crown 8vo, 5s.

VINCENT, FRANK, Around and About South America: Twenty Months of Quest and Query. With Maps, Plans, and 54 Illustrations. Medium 8vo, 21s.

Wales.-Through North Wales with a Knapsack. By Four Schoolmistresses. With a Sketch Map. Small 8vo, 2s. 6d.

WARD, BERNARD, History of St. Edmund's College, Old Hall (Ware). With Illustrations. 8vo, 10s. 6d.

WRIGHT, G. F., and APHAM, W., Greenland Icefields, and Life in the North Atlantic. With Maps and Illustrations. Crown 8vo, 7s. 6d.

YOUNG, ROSALIND AMELIA, Mutiny of the 'Bounty,' and Story of Pitcairn Island: 1790-1894. By a Native Daughter. Third Edition, Illustrated. Crown 8vo, 5s.

VI.-SOCIOLOGY.

EDUCATION.

BAIN, ALEXANDER, Education as a Science. Seventh Edition. Crown 8vo, 5s. (I. S. S.)

BROWNING, OSCAR, Introduction to the History of Educational Theories. Second Edition. 3s. 6d. (Education Library.)

GALLOWAY, R., Scientific and Technical Education; or, How the Inductive Sciences are taught, and how they ought to be taught. 8vo, 10s. 6d.

HAECKEL, Prof. E., Freedom in Science and Teaching. With a Prefatory Note by Prof. T. H. Huxley. Crown 8vo, 5s.

HAWTREY, MABEL, The Co-Education of the Sexes. Crown 8vo, 2s. 6d. net.

LESSING, G. E., Education of the Human Race. From the German. By F. W. Robertson. Fourth Edition, revised. Foolscap 8vo, 2s. 6d.

LANDON, JOSEPH, School Management. Including a General View of the Work of Education, Organisation, and Discipline. Eighth Edition. Crown 8vo, 6s. (Education Library.)

MAGNUS, Sir PHILIP, Industrial Education. 6s. (Education Library.)

MAHAFFY, Prof., Old Greek Education. Second Edition. 3s. 6d. (Education Library.)

MASON, CHARLOTTE M., Home Education. A course of Lectures to Ladies. New Edition. 8vo, 6s.

Parents and Children. 8vo. 6s.

Our Public Schools: Eton, Harrow, Winchester, Rugby, Westminster, Marlborough, and the Charterhouse. Crown 8vo, 6s.

Parents' Review. Monthly. 6d.

PLUMPTRE, C. J., Lectures on Elocution. Delivered at King's College. Fifth Edition. Illustrated. Post 8vo, 15s.

LAW.

AMOS, Prof. SHELDON, History and Principles of the Civil Law of Rome. An Aid to the Study of Scientific and Comparative Jurisprudence. 8vo, 16s.

Science of Law. Seventh Edition. Crown 8vo, 5s. (I. S. S.)

BENTHAM, JEREMY, Theory of Legislation as Enunciated by Bentham. Translated from the French of Etienne Dumont by R. Hildreth. Seventh Edition. Post 8vo, 7s. 6d. New and cheaper Edition. Crown 8vo, 3s. 6d. (Paternoster Library.)

BERTILLON, ALPHONSE, Signaletic Instructions, including the Theory and Practice of Anthropometrical Identification. Translated under the Supervision of Major R. W. McClaughty. Illustrated. Large 8vo, half morocco, ￡1 10s.

FIELD, D. D., Outlines of an International Code. Second Edition. Royal 8vo, ￡2 2s.

FOSTER, ROGER, Commentaries on the Constitution of the United States, Historical, and Juridical. Vol. 1, royal 8vo, ￡1 4s. net.

HALLECK'S International Law; or, Rules Regulating the Intercourse of States in Peace and War. Third Edition, thoroughly revised by Sir Sherston Baker, Bart. 2 vols. 8vo, 38s.

HOLST, H. von, The Constitutional Law of the United States of America. Translated by Alfred Bishop Mason. Royal 8vo, cloth, 10s. 6d.

The Constitutional History of the United States. Translated by Lalor. 8 vols., 8vo, cloth. Vols. 1, 2, 3, 4, 5, and 7, 18s. each; vols. 6 and 8, 12s. 6d. each.

JENKINS, E., and RAYMOND, J., Architect's Legal Handbook. Fourth Edition, revised. Crown 8vo, 6s.

LEVI, Prof. LEONE, International Law, with Materials for a Code of International Law. Crown 8vo, 5s. (I. S. S.)

SALAMAN, J. S., Trade Marks: their Registration and Protection. Crown 8vo, 5s.

POLITICS, LABOUR, SOCIALISM, FINANCE, Etc.

AMOS, Prof. SHELDON, Science of Politics. Third Edition. Crown 8vo, 5s. (I. S. S.)

BAGEHOT, WALTER, Physics and Politics; or, The Application of the Principles of 'Natural Selection' and 'Inheritance' to Political Society. New Edition. Crown 8vo, 3s. 6d. (PaternosterLibrary.)

The English Constitution. New Edition. Crown 8vo, 3s. 6d. (Paternoster Library.)

Lombard Street. A Description of the Money Market. New Edition. With Notes, bringing the work up to the present time, by E. Johnstone. Crown 8vo, 3s. 6d. (Paternoster Library.)

Essays on Parliamentary Reform. New Edition. Crown 8vo, 3s. 6d. (Paternoster Library.)

BESANT, Sir WALTER, and Others, The Poor in Great Cities. With Illustrations by Hugh Thompson, etc. 8vo, 12s.

BRENTANO, LUJO, History and Development of Guilds, and the Origin of Trade Unions. 8vo, 3s. 6d.

BRYCE, J., Handbook of Home Rule. Being Articles on the Irish Question. Second Edition. Crown 8vo, 1s. 6d.; paper covers, 1s.

CLAPPERTON, JANE H., Scientific Meliorism, and the Evolution of Happiness. Large crown 8vo, 8s. 6d.

DAVITT, MICHAEL, Speech before the Special Commission. Crown 8vo, 5s.

FAIRBANKS, ARTHUR, Introduction to Sociology. Post 8vo, 7s. 6d. (Philosophical Library.)

GEORGE, HENRY, Progress and Poverty. An Inquiry into the Causes of Industrial Depressions, and of Increase of Want with Increase of Wealth; the Remedy. Fifth Edition. Post 8vo, 7s. 6d. Cabinet Edition, crown 8vo, 2s. 6d. Cheap Edition, limp cloth, 1s. 6d.; paper covers, 1s.

Protection or Free Trade. An Examination of the Tariff Question, with especial regard to the interests of Labour. Second Edition. Crown 8vo, 5s. Cheap Edition, limp cloth, 1s. 6d.; paper covers, 1s.

Social Problems. Fourth Thousand. Crown 8vo, 5s. Cheap Edition, limp cloth, 1s. 6d.; paper covers, 1s.

A Perplexed Philosopher. Being an Examination of Mr. Herbert Spencer's various utterances on the Land Question, etc. Crown 8vo, 5s. Cheap Edition, limp cloth, 1s. 6d.; paper covers, 1s.

GRAHAM, WILLIAM, Socialism New and Old. Crown 8vo, 5s. (I. S. S.)

The Social Problem, in its Economic, Moral and Political Aspects. 8vo, 14s.

GREG, W. R., Political Problems for our Age and Country. 8vo, 10s. 6d.

HAGGARD, H. RIDER, Cetewayo and His White Neighbours. Crown 8vo, 3s. 6d. (Paternoster Library.)

HOPKINS, ELLICE, Work amongst Working Men. Sixth Edition. Crown 8vo, 3s. 6d.

HUMBOLDT, Baron W. von, The Sphere and Duties of Government. From the German, by J. Coulthard. Post 8vo, 5s.

JEVONS, W. STANLEY, Money and the Mechanism of Exchange. Ninth Edition. Crown 8vo, 5s. (I. S. S.)

KAUFMANN, M., Christian Socialism. Crown 8vo, 4s. 6d.

Utopias; or, Schemes of Social Improvement, from Sir Thomas More to Karl Marx. Crown 8vo, 5s.

LEFEVRE, Right Hon. G. SHAW, Peel and O'Connell. 8vo, 10s. 6d.

Incidents of Coercion. A Journal of Visits to Ireland. Third Edition. Crown 8vo, limp cloth, 1s. 6d.; paper covers, 1s.

Irish Members and English Gaolers. Crown 8vo, limp cloth, 1s. 6d.; paper covers, 1s.

Combination and Coercion in Ireland. Sequel to 'Incidents of Coercion.' Crown 8vo, cloth, 1s. 6d.; paper covers, 1s.

LYNCH, E. M., Killboylan Bank; or, Every Man His Own Banker. Foolscap 8vo, 3s. 6d. (Village Library.)

MINTON, FRANCIS, Welfare of the Millions. Crown 8vo, limp cloth, 1s. 6d.; paper covers, 1s.

O'BRIEN, R. BARRY, Home Ruler's Manual. Crown 8vo, cloth, 1s. 6d.; paper covers, 1s.

Irish Wrongs and English Remedies, with other Essays. Crown 8vo, 5s.

PERRY, ARTHUR LATHAM, Principles of Political Economy. Large post 8vo, 9s.

PLIMSOLL, SAMUEL, Cattle Ships. Being the Fifth Chapter of 'An Appeal for our Seamen.' With 46 Illustrations. Cheap Edition, 1s.

SPENCER, HERBERT, Study of Sociology. Fifteenth Edition. Crown 8vo, 5s. (I. S. S.)

SUMNER, W. G., What Social Classes Owe to each Other. 18mo, 3s. 6d.

TAYLOR, Sir H., The Statesman. Foolscap 8vo, 3s. 6d.

TAYLOR, R. WHATELEY COOKE, The Modern Factory System. 8vo, 14s.

THOMPSON, Sir H., Modern Cremation. Second Edition, revised and enlarged. Crown 8vo, 1s.; cloth, 2s.

VII.-NATURAL SCIENCE.

ANTHROPOLOGY AND ETHNOLOGY.

Anthropological Institute of Great Britain and Ireland, Journal of. Quarterly. 5s.

BALKWILL, F. H., The Testimony of the Teeth to Man's Place in Nature. With Illustrations. Crown 8vo, 6s.

CARPENTER, W. B., Nature and Man. With a Memorial Sketch by J. Estlin Carpenter. Portrait. Large crown 8vo, 8s. 6d.

CLODD, EDWARD, Childhood of the World: A Simple Account of Man in Early Times. Eighth Edition. Crown 8vo, 3s. Special Edition for Schools, 1s.

CURR, EDWARD M., The Australian Race. Its Origin, Languages, Customs, etc. With Map and Illustrations. 3 vols. 8vo, 1 vol. 4to, ￡2 2s.

FORNANDER, A., Account of the Polynesian Race. Its Origin and Migrations, and the Ancient History of the Hawaiian people. Post 8vo. Vol. I. 7s. 6d.; Vol. II. 10s. 6d.; Vol. III. 9s. (Philosophical Library.)

GEIGER, LAZARUS, Development of the Human Race. Translated from the German by D. Asher. Post 8vo, 6s. (Philosophical Library.)

HAECKEL, Prof. ERNST, History of the Evolution of Man. With numerous Illustrations. 2 vols. post 8vo, 32s.

JOLY, N., Man before Metals. With 148 Illustrations. Fourth Edition. Crown 8vo, 5s. (I. S. S.)

QUATREFAGES, Prof. A. DE, The Human Species. Fifth Edition. Crown 8vo, 5s. (I. S. S.)

SMITH, R. BROUGH, The Aborigines of Victoria. Compiled for the Government. With Maps, Plates, and Woodcuts. 2 vols. royal 8vo, ￡3 3s.

STARCKE, C. N., The Primitive Family in its Origin and Development. Crown 8vo, 5s. (I. S. S.)

WRIGHT, G. FREDERICK, The Ice Age in North America, and its Bearing upon the Antiquity of Man. With Maps and Illustrations. 8vo, 21s.

Man and the Glacial Period. With 111 Illustrations and Map. Crown 8vo, 5s. (I. S. S.)

ASTRONOMY.

DRAYSON, Major-General, Untrodden Ground in Astronomy and Geology. With Numerous Figures. 8vo, 14s.

LOOMIS, E., A Treatise on Astronomy. 8vo, sheep, 7s. 6d.

Introduction to Practical Astronomy. 8vo, sheep, 7s. 6d.

STANLEY, W. F., Notes on the Nebular Theory. 8vo, 9s.

YOUNG, Professor, The Sun, with Illustrations. Crown 8vo, 5s. (I. S. S.)

BOTANY.

CANDOLLE, ALPHONSE DE, Origin of Cultivated Plants. Second Edition. Crown 8vo, 5s. (I. S. S.)

COOKE, M. C., British Edible Fungi: How to Distinguish and how to Cook them. With Coloured Figures of upwards of Forty Species. Crown 8vo, 7s. 6d.

Fungi: their Nature, Influences, Uses, &c. Edited by Rev. M. J. Berkeley. With numerous Illustrations. Fourth Edition. Crown 8vo, 5s. (I. S. S.)

Introduction to Fresh-Water Alg?. With an Enumeration of all the British Species. With 13 plates. Crown 8vo, 5s. (I. S. S.)

DAVIES, G. CHRISTOPHER, Rambles and Adventures of Our School Field Club. With 4 Illustrations. New and cheaper Edition. Crown 8vo, 3s. 6d.

HENSLOW, Prof. G., Origin of Floral Structures through Insect and other Agencies. With 88 Illustrations. Crown 8vo, 5s. (I. S. S.)

The Origin of Plant Structures. Crown 8vo, 5s. (I. S. S.)

HICKSON, S. J., The Fauna of the Deep Sea. Crown 8vo, 2s. 6d. (Modern Science Series.)

LENDENFELD, R. von, Monograph of the Horny Sponges. With 50 Plates. Issued by direction of the Royal Society. 4to, ￡3.

LUBBOCK, Sir JOHN, Contribution to Our Knowledge of Seedlings. With nearly 700 figures in text. 2 vols., 8vo, 36s. net. Also Popular Edition. Crown 8vo, 5s. (I. S. S.)

PHILLIPS, W., Manual of British Discomycetes. With Descriptions of all the Species of Fungi hitherto found in Britain, included in the Family, and Illustrations of the Genera. Crown 8vo, 5s. (I. S. S.)

SEDDING, JOHN D., Gardencraft, Old and New. With Memorial Notice by the Rev. E. F. Russell. 16 Illustrations. Second Edition. 8vo, 12s.

Tropical Agriculturist. Monthly. Annual Subscription, ￡1 6s.

TROUESSART, E. L., Microbes, Ferments, and Moulds. With 107 Illustrations. Second Edition. Crown 8vo, 5s. (I. S. S.)

WARD, H. MARSHALL, The Oak: a Popular Introduction to Forest Botany. Crown 8vo, 2s. 6d. (Modern Science Series.)

WEED, C. M., Fungi and Fungicides. A Practical Manual. Crown 8vo, 5s.

YOUMANS, ELIZA A., First Book of Botany. Designed to Cultivate the Observing Powers of Children. With 300 Engravings. New and Cheaper Edition. Crown 8vo, 2s. 6d.

CHEMISTRY.

COOKE, Prof. J. P., Laboratory Practice. A Series of Experiments on the Fundamental Principles of Chemistry. Crown 8vo, 5s.

New Chemistry. With 31 Illustrations. Ninth Edition. Crown 8vo, 5s. (I. S. S.)

RICHTER, Prof. V. von, Chemistry of the Carbon Compounds: or Organic Chemistry. Authorised Translation by Edgar F. Smith. Second American Edition from Sixth German Edition. Crown 8vo, 20s.

Text-Book of Inorganic Chemistry. Authorised Translation by Edgar F. Smith. Third American Edition from Fifth German Edition. Crown 8vo, 8s. 6d.

SMITH, EDGAR F., Electro-Chemical Analysis. With 25 Illustrations. Square 16mo, 5s.

STRECKER, ADOLPH, Text-Book of Organic Chemistry. Edited by Professor Wislicenus. Translated and Edited, with extensive Additions, by W. R. Hodgkinson and A. J. Greenaway. Second and cheaper Edition. 8vo, 12s. 6d.

VOGEL, Dr. HERMANN, Chemistry of Light and Photography. With 100 Illustrations. Fifth Edition. Crown 8vo, 5s. (I. S. S.)

GEOLOGY, MINERALOGY, Etc.

ABERCROMBY, Hon. RALPH, Weather. A popular Exposition of the Nature of Weather Changes from day to day. With 96 Figures. Second Edition. Crown 8vo, 5s. (I. S. S.)

BALL, Sir ROBERT, The Cause of an Ice Age. Crown 8vo, 2s. 6d. (Modern Science Series.)

BONNEY, Prof. T. G., Ice Work, Present and Past. Crown 8vo, 5s. (I. S. S.)

CATLIN, GEORGE, The Lifted and Subsided Rocks of America. With their Influence on the Oceanic, Atmospheric, and Land Currents, and the Distribution of Races. With 2 Maps, Crown 8vo, 6s. 6d.

DANA, E. S., Text-Book of Mineralogy. With Treatise on Crystallography and Physical Mineralogy. Third Edition. With 800 Woodcuts and Plates. 8vo, 15s.

DANA, J. D., Text-Book of Geology, for Schools. Illustrated. Crown 8vo, 10s.

Manual of Geology. Illustrated by a Chart of the World, and 1000 Figures. Fourth Edition. 8vo, 28s.

The Geological Story Briefly Told. Illustrated. 12mo, 7s. 6d.

DANA, J. D., and BRUSH, J. G., System of Mineralogy. Sixth Edition, entirely re-written and enlarged. Royal 8vo, ￡2 12s. 6d.

Manual of Mineralogy and Petrography. Fourth Edition. Numerous Woodcuts. Crown 8vo, 6s. net.

DAWSON, Sir J. W., Geological History of Plants. With 80 Illustrations. Crown 8vo, 5s. (I. S. S.)

GEOLOGICAL SURVEY OF INDIA IN CALCUTTA:

Pal?ontologia Indica. Folio. 1863-95. Published at various prices.

? Index to the Genera and species described in the Pal?ontologia Indica up to the year 1891. By W. Theobald. 186 pp. folio. 1892. 4s.

Memoirs of the Geological Survey. Vols. I.-XXIV. Royal 8vo. 1859-91. 10s. each.

? Contents and Index to the first 20 volumes. By W. Theobald. Royal 8vo. 1892. 4s.

Records of the Geological Survey. Vols. I.-XXVIII. Royal 8vo. 1868-95. 4s. each.

? Contents and Index to the first 20 volumes (1868-87). Royal 8vo. 1891. 4s.

HAECKEL, Prof. ERNST, The History of Creation. New Edition. Translation revised by Prof. E. Ray Lankester. With 20 Plates and numerous Figures. Fourth Edition. 2 vols. large post 8vo, 32s.

JUDD, Prof. J. W., Volcanoes: What they Are, and What they Teach. With 96 Illustrations on wood. Fourth Edition. Crown 8vo, 5s. (I. S. S.)

KINAHAN, G. H., Valleys, and their Relations to Fissures, Fractures, and Faults. Crown 8vo, 7s. 6d.

LOOMIS, E., A Treatise on Meteorology. 8vo. sheep, 7s. 6d.

MALLET, F. R., Manual of the Geology of India. Part 4.-Mineralogy (mainly non-economic). 175 pp. royal 8vo. 1887. 4s.

MILNE, J., Earthquakes and other Earth Movements. With 38 Figures. Third and revised Edition. Crown 8vo, 5s. (I. S. S.)

MOSES, A. J., and PARSONS, C. L., Elements of Mineralogy, Crystallography, and Blow-pipe Analysis. 8vo, 10s.

OLDHAM, R. D., Manual of the Geology of India. Second Edition, revised and largely re-written. Royal 8vo, half calf. 1893. 16s.

SCOTT, ROBERT H., Elementary Meteorology. Fifth Edition. With numerous Illustrations. Crown 8vo, 5s. (I. S. S.)

SYMONS, G. J., The Eruption of Krakatoa, and Subsequent Phenomena. Report of the Krakatoa Committee of the Royal Society. With 6 Chromo-lithographs, and 40 Maps and Diagrams. 4to, ￡1 10s.

TYNDALL, J., Forms of Water in Clouds and Rivers, Ice and Glaciers. With 25 Illustrations. Tenth Edition. Crown 8vo, 5s. (I. S. S.)

WRIGHT, G. F., The Ice Age in North America, and its Bearing upon the Antiquity of Man. With Maps and Illustrations. 8vo, 21s.

MATHEMATICS.

CLIFFORD, W. KINGDON, Common Sense of the Exact Sciences. Second Edition. With 100 Figures. Crown 8vo, 5s. (I. S. S.)

KLEIN, FELIX, Lectures on the Ikosahedron, and the Solution of Equations of the Fifth Degree. Translated by G. G. Morrice. 8vo, 10s. 6d.

PHYSICS.

BABBITT, E. D., The Principles of Light and Colour. With over 200 Engravings and 4 Coloured Plates. Royal 8vo, 21s. net.

Electricity in Daily Life. A Popular Account of its Application to Everyday Uses. With 125 Illustrations. Square 8vo, 9s.

GLAZEBROOK, R. T., Laws and Properties of Matter. Crown 8vo, 2s. 6d. (Modern Science Series.)

HOSPITALIER, E., The Modern Applications of Electricity. Translated and Enlarged by Julius Maier. Second Edition, revised, with many Additions and Numerous Illustrations. 2 vols. 8vo, 25s.

LE CONTE, JOSEPH, Sight. An Exposition of the Principles of Monocular and Binocular Vision. Second Edition. With 132 Illustrations. Crown 8vo, 5s. (I. S. S.)

LOMMEL, Dr. EUGENE, Nature of Light. With a General Account of Physical Optics. With 188 Illustrations and a Table of Spectra in Chromo-lithography. Fifth Edition. Crown 8vo, 5s. (I. S. S.)

ROOD, OGDEN N., Colour. A Text-Book of Modern Chromatics. With Applications to Art and Industry. With 130 Original Illustrations. Third Edition. Crown 8vo, 5s. (I. S. S.)

STALLO, J. B., Concepts and Theories of Modern Physics. Third Edition. Crown 8vo, 5s. (I. S. S.)

STEWART, BALFOUR, Conservation of Energy. With 14 Illustrations. Seventh Edition. Crown 8vo, 5s. (I. S. S.)

WURTZ, Prof., The Atomic Theory. Translated by E. Cleminshaw. Fifth Edition. Crown 8vo, 5s. (I. S. S.)

ZOOLOGY.

BENEDEN, J. P., van, Animal Parasites and Messmates. With 83 Illustrations. Fourth Edition. Crown 8vo, 5s. (I. S. S.)

BERNSTEIN, Prof., The Five Senses of Man. With 91 Illustrations. Fifth Edition. Crown 8vo, 5s. (I. S. S.)

COMSTOCK, JOHN HENRY and ANNA B., A Manual for the Study of Insects. Royal 8vo, 25s. net.

FLOWER, W. H., The Horse: A Study in Natural History. Crown 8vo, 2s. 6d. (Modern Science Series.)

HARTMANN, R., Anthropoid Apes. With 63 Illustrations. Second Edition. Crown 8vo, 5s. (I. S. S.)

HEILPRIN, Prof. A., Geographical and Geological Distribution of Animals. With Frontispiece. Crown 8vo, 5s. (I. S. S.)

HORNADAY, W. T., Taxidermy and Zoological Collecting. With Chapters on Collecting and Preserving Insects, by W. J. Holland, D.D. With 24 Plates and 85 Illustrations. 8vo, 10s. 6d.

HUXLEY, Prof. T. H., The Crayfish: An Introduction to the Study of Zoology. With 82 Illustrations. Fifth Edition. Crown 8vo, 5s. (I. S. S.)

KEW, H. W., Dispersal of Shells. Crown 8vo, 5s. (I. S. S.)

LUBBOCK, Sir JOHN, Ants, Bees, and Wasps. A Record of Observations on the Habits of the Social Hymenoptera. With 5 Chromo-lithographic Plates. Tenth Edition. Crown 8vo, 5s. (I. S. S.)

On the Senses, Instincts, and Intelligence of Animals. With Special Reference to Insects. With 118 Illustrations. Third Edition. Crown 8vo. (I. S. S.)

MAREY, Prof. E. J., Animal Mechanism, A Treatise on Terrestrial and A?rial Locomotion. With 117 Illustrations. Third Edition. Crown 8vo, 5s. (I. S. S.)

MEYER, G. HERMANN von, Organs of Speech and their Application in the Formation of Articulate Sounds. With 47 Illustrations. Crown 8vo, 5s. (I. S. S.)

PETTIGREW, J. B., Animal Locomotion; or, Walking, Swimming, and Flying. With 130 Illustrations. Third Edition. Crown 8vo, 5s. (I. S. S.)

POULTON, E. B., Colours of Animals: their Meaning and Use, especially considered in the case of Insects. With Coloured Frontispiece and 66 Illustrations in text. Crown 8vo, 5s. (I. S. S.)

RODD, E. H., Birds of Cornwall and the Scilly Islands. Edited by J. E. Harting. With Portrait and Map. 8vo, 14s.

ROMANES, G. J., Jelly-Fish, Star-Fish, and Sea-Urchins. Being a Research on Primitive Nervous Systems. With Illustrations. Second Edition. Crown 8vo, 5s. (I. S. S.)

(See also Philosophy.)

SCHMIDT, Prof. O., Doctrine of Descent and Darwinism. With 26 Illustrations. Seventh Edition. Crown 8vo, 5s. (I. S. S.)

Mammalia in their Relation to Primeval Times. With 51 Woodcuts. Crown 8vo, 5s. (I. S. S.)

SEMPER, KARL, Natural Conditions of Existence as they affect Animal Life. With 2 Maps and 106 Woodcuts. Fourth Edition. Crown 8vo, 5s. (I. S. S.)

STEBBING, T. R. R., A History of Crustacea. Recent Malacostraca. With numerous Illustrations. Crown 8vo, 5s. (I. S. S.)

TRIMEN, ROLAND, South African Butterflies. A Monograph of the Extra-tropical Species. With 12 Coloured Plates. 3 vols., 8vo, ￡2 12s. 6d.

WARNER, Prof. F., Physical Expression: Its Modes and Principles. With 50 Illustrations. Second Edition. Crown 8vo, 5s. (I. S. S.)

WEED, C. M., Insects and Insecticides. Illustrated. Crown 8vo, 7s. 6d.

WITHERBY, HARRY, Forest Birds, their Haunts and Habits. With Illustrations. Crown 8vo, 2s. 6d.

VIII.-USEFUL ARTS AND SCIENCES AND FINE ARTS.

CHESS.

British Chess Magazine. Monthly, d.

EUCLID'S Analysis of the Chess Ending, King and Queen against King and Rook. Edited by E. Freeborough. 8vo, 6s. net.

FREEBOROUGH, E., Chess Endings. A Companion to Chess Openings, Ancient and Modern. Edited and arranged by E. Freeborough. Large post 8vo, 7s. 6d.

Select Chess End Games. Edited and arranged. Crown 8vo, 1s. 6d. net.

FREEBOROUGH, E., and RANKEN, C. E., Chess Openings, Ancient and Modern. Revised and Corrected up to the Present Time from the best Authorities. Large post 8vo, 8s.

GOSSIP, G. H. D., The Chess Player's Text-Book. An Elementary Treatise on the Game of Chess. Numerous Diagrams. 16mo, 2s.

GREENWELL, W. J., Chess Exemplified in One Hundred and Thirty-two Games of the Most Celebrated Players. By W. J. Greenwell, 8vo, 5s.

WALKER'S Chess Studies. New Edition. With Preface by E. Freeborough. Large post 8vo, 7s. 6d.

GASTRONOMY AND DIET.

ALLEN, MARY L., Luncheon Dishes. Comprising Menus in French and English, as well as Suggestions for Arrangement and Decoration of Table. Foolscap 8vo, cloth 1s. 6d.; paper, 1s.

Five O'clock Tea. Containing Receipts for Cakes, Savoury Sandwiches, etc. Eighth Thousand. Foolscap 8vo, 1s. 6d.; paper covers, 1s.

CAMERON, Miss, Soups and Stews, and Choice Ragouts. 1s. 6d.; paper covers, 1s.

DE JONCOURT, MARIE, Wholesome Cookery. Fifth Edition. Crown 8vo, 1s. 6d.; paper covers, 1s.

HOOPER, MARY, Cookery for Invalids, Persons of Delicate Digestion, and Children. Fifth Edition. Crown 8vo, 2s. 6d.

Every-Day Meals. Being Economical and Wholesome Recipes for Breakfast, Luncheon, and Supper. Seventh Edition. Crown 8vo, 2s. 6d.

Little Dinners. How to Serve them with Elegance and Economy. Twenty-first Edition. Crown 8vo, 2s. 6d.

KINGSFORD, ANNA, The Perfect Way in Diet. A Treatise advocating a return to the Natural and Ancient Food of our race. Third Edition. Small 8vo, 2s.

NEWMAN, FRANCIS WILLIAM, Essays on Diet. Small 8vo, cloth limp, 2s.

SANTIAGO, D., Curry Cook's Assistant. Foolscap 8vo, 1s. 6d.; paper covers, 1s.

SMITH, E., Foods. With numerous Illustrations. Ninth Edition. Crown 8vo, 5s. (I. S. S.)

THOMPSON, Sir H., Diet in Relation to Age and Activity. Foolscap 8vo, 1s. 6d.; paper covers, 1s.

MEDICINE AND PHYSIOLOGY.

BROTHERS, A., Infantile Mortality during Child-Birth, and Its Prevention. 8vo, 7s. 6d. net.

BROWNE, EDGAR A., How to use the Ophthalmoscope. Third Edition. Crown 8vo, 3s. 6d.

BUNGE, Prof. G., Text-Book of Physiological and Pathological Chemistry, for Physicians and Students. Translated from the German by L. C. Wooldridge. 8vo, 16s.

BYFORD, H. J., Manual of Gynecology. With 234 Illustrations. Crown 8vo, 10s. 6d. net.

CARPENTER, W. B., Principles of Mental Physiology. With their Applications to the Training and Discipline of the Mind and the Study of its Morbid Conditions. Illustrated. Sixth Edition, 8vo, 12s.

CATLIN, GEORGE, Shut Your Mouth and Save Your Life. With 29 Illustrations. Eighth Edition. Crown 8vo, 2s. 6d.

DUNN, H. P., Infant Health. The Physiology and Hygiene of Early Life. Small crown 8vo, 3s. 6d.

DYMOCK, W., WARDEN, C. J. H., and HOOPER, D., Pharmacographia Indica. The principal Drugs of Vegetable Origin met with in British India. Six Parts and an Index. 8vo. 1889-93 ￡3 10s.

GREEN, F. W. EDRIDGE, Colour Blindness and Colour Perception. With 3 Coloured Plates. Crown 8vo, 5s.

HAMMERSTON, OLOF, A Text-Book of Physiological Chemistry. 8vo, ￡1.

HARLINGEN, A. van, Handbook on the Diagnosis and Treatment of Skin Disease. With 60 Illustrations. 8vo, 12s. net.

Index Medicus. A Monthly Classified Record of the Current Medical Literature of the World. Annual Subscription, ￡5 5s.

JACKSON, EDWARD, Skiascopy and Its Practical Application to the Study of Refraction. 5s.

KRAUS, Dr. J., The Etiology, Symptoms and Treatment of Gall-Stones. With Remarks on Operative Treatment by H. Morris. Crown 8vo, 5s.

KRAUS, Dr. J.. Senr., Pathology and Therapy of Gall-Stones. Crown 8vo. 5s.

Carlsbad: Its Thermal Springs and Baths, and How to Use them. Fourth Edition, revised and enlarged. Crown 8vo, 6s. 6d.

LAGRANGE, F., Physiology of Bodily Exercise. Second Edition. Crown 8vo, 5s. (I. S. S.)

LEHMANN, K. B., Methods of Practical Hygiene. Translated by W. Crookes. 2 vols., 8vo, ￡1 11s. 6d.

LüCKES, EVA C. E., Lectures on General Nursing. Delivered to the Probationers of the London Hospital Training School for Nurses. Fourth Edition. Crown 8vo, 2s. 6d.

METCHNIKOFF, ELIAS, Lectures on the Comparative Pathology of Inflammation. Translated from the French by F. A. and E. H. Starling. 8vo, 12s.

NUNN, T. W., Growing Children and Awkward Walking. Crown 8vo, 2s.

PILCHER, J. E., First Aid in Illness and Injury. With 174 Illustrations. Crown 8vo, 6s.

PURITZ, LUDWIG, Code-Book of Gymnastic Exercises. 32mo, 1s. 6d. net.

PYE, W., Surgical Handicraft. A Manual of Surgical Manipulations, &c. With 235 Illustrations. Third Edition. Revised and Edited by T. H. R. Crowle. Crown 8vo, 10s. 6d.

Elementary Bandaging and Surgical Dressing, for the use of Dressers and Nurses. Twelfth Thousand. 18mo, 2s.

RIBOT, Prof. T., Heredity: A Psychological Study of its Phenomena, Laws, Causes, and Consequences. Second Edition. Large crown 8vo, 9s.

ROSENTHAL, Prof. J., General Physiology of Muscles and Nerves. Third Edition. With 75 Illustrations. Crown 8vo, 5s. (I. S. S.)

Sanitarian. Devoted to the Preservation of Health, Mental and Physical Culture. Monthly. Annual Subscription, 18s.

SCOVILLE, W. L., The Art of Compounding Drugs. For Students and Pharmacists at the Prescription Counter. 8vo, 12s.

STRAHAN, S. A. K., Marriage and Disease. A Study of Heredity and the more important Family Degenerations. Crown 8vo, 6s.

TAYLOR, CHARLES BELL, Lectures on Diseases of the Eye. Third Edition. 8vo, 10s.

TYRRELL, WALTER, Nervous Exhaustion: its Causes, Outcomes, and Treatment. Crown 8vo, 3s.

WAKE, C. STANILAND, Development of Marriage and Kinship. 8vo, 18s.

WALLIS, J. WHITE, Manual of Hygiene. Crown 8vo, 2s. 6d.

WOOLDRIDGE, L. C., On the Chemistry of the Blood, and other Scientific Papers. Arranged by Victor Horsley and Ernest Starling. With Introduction by Victor Horsley. With Illustrations. 8vo, 16s.

MILITARY SCIENCE.

BAKER, Lt-Col. EDEN, R.A., Preliminary Tactics. An Introduction to the Study of War. For the use of Junior Officers. Crown 8vo, 6s.

BRACKENBURY, Major-General, Field Works. Their Technical Construction and Tactical Application. 2 vols. small crown 8vo, 12s.

BUXTON, Major, Elements of Military Administration. First Part: Permanent System of Administration. Small crown 8vo, 7s. 6d.

Cavalry Tactics, Organisation, etc., Notes on. By a Cavalry Officer. With Diagrams. 8vo, 12s.

CLERY, Gen. C. FRANCIS, Minor Tactics. 13th Edition Revised, with 26 Maps and Plans. Crown 8vo, 9s.

FOSTER, C. W., Modern War. Translated by C. W. Foster. Part I.: Strategy, and Atlas of 64 Plates. 8vo, ￡1 16s. Part II.: Grand Tactics, 15s.

GALL, Captain H. R., Solutions of the Tactical Problems Examinations for Captains, May, 1896. Crown 8vo, 2s. 6d.

HARRISON, Col. R., Officer's Memorandum Book for Peace and War. Fourth Edition, revised. Oblong 32mo, red basil, with pencil, 3s. 6d.

HUTCHINSON, Col., and MACGREGOR, Major, Military Sketching and Reconnaissance. Fifth Edition. With 16 Plates. Small crown 8vo, 4s.

PRATT, Lieut.-Col. S. C., Field Artillery. Its Equipment, Organisation, and Tactics. Sixth Edition. Revised by Lieut.-Col. Eden Baker. Small crown 8vo, 6s. (Military Handbooks.)

Military Law. Its Procedure and Practice. Eleventh revised Edition. Small crown 8vo, 4s. 6d. net. (Military Handbooks.)

SCHAW, Col. H., Defence and Attack of Positions and Localities. Fourth Edition. Crown 8vo, 3s. 6d.

SHAW, Lieut.-Col. WILKINSON, Elements of Modern Tactics practically applied to English Formations. Eighth Edition. With 31 Plates and Maps. Small crown 8vo, 9s. net. (Military Handbooks.)

TRENCH, Major-General, Cavalry in Modern War. Small crown 8vo, 6s. (Military Handbooks.)

WINDHAM, Sir C. A., The Crimean Diary of the late General Sir Charles A. Windham, K.C.B. With an Introduction by Sir W. H. Russell. Edited by Major Hugh Pearce. With an added Chapter on The Defence of Cawnpore, by Lieut.-Col. John Adye, C.B. 8vo.

MUSIC.

BLASERNA, Prof. P., Theory of Sound in its Relation to Music. With Numerous Illustrations. Fourth Edition. Crown 8vo, 5s. (I.S.S.)

LOCHER, CARL, Explanation of Organ Stops. With Hints for Effective Combinations. 8vo, 5s.

PARRY, C. HUBERT H., The Evolution of the Art of Music. Crown 8vo, 5s. Also cloth, gilt top, 6s. (I.S.S.)

POLE, W., Philosophy of Music. Lectures delivered at the Royal Institution. Fourth Edition. Post 8vo, 7s. 6d. (Philosophical Library.)

WAGNER, RICHARD, Prose Works. Translated by W. Ashton Ellis.

Vol. I. The Art Work of the Future, &c. 8vo, 12s. 6d. net.

Vol. II. The Drama. 8vo, 12s. 6d. net.

Vol. III. The Theatre. 8vo, 12s. 6d. net.

Vol. IV. Art and Politics. 8vo, 12s. 6d. net.

NUMISMATICS.

Numismata Orientalia. Royal 4to, in paper wrapper. Part I.-Ancient Indian Weights. By E. Thomas. With a plate and Map, 9s. 6d. Part II.-Coins of the Urtuki Turkumáns. By S. Lane Poole. With 6 Plates, 9s. Part III.-Coinage of Lydia and Persia. By Barclay V. Head. With 3 Plates, 10s. 6d. Part IV.-Coins of the Tuluni Dynasty. By E. T. Rogers. With 1 Plate, 5s. Part V.-Parthian Coinage. By Percy Gardner. With 8 Plates, 18s. Part VI.-Ancient Coins and Measures of Ceylon. By T. W. Rhys Davids. With 1 Plate, 10s.

Vol. I. Containing the first six parts as specified above. Royal 4to, half bound, ￡3 13s. 6d.

Vol. II. Coins of the Jews. Being a History of the Jewish Coinage in the Old and New Testaments. By F. W. Madden. With 279 Woodcuts and Plate. Royal 4to, ￡2.

Vol. III. Part I.-The Coins of Arakan, of Pegu, and of Burma. By Lieut.-General Sir Arthur Phayre. Also contains the Indian Balhara and the Arabian Intercourse with India in the ninth and following centuries. By Edward Thomas. With 5 Illustrations. Royal 4to, 8s. 6d.

Vol. III. Part II.-The Coins of Southern India. By Sir W. Elliott. With Map and Plates. Royal 4to, 25s.

Numismata Orientalia. Illustrated. Fifty-seven Plates of Oriental Coins, Ancient and Modern, from the collection of the late William Marsden, F.R.S. Engraved from drawings made under his directions. 4to, 31s. 6d.

PAINTING, SCULPTURE, Etc.

BLAKE, WILLIAM, Selections from the Writings of. Edited, with Introduction, by Laurence Housman. With Frontispiece. Elzevir 8vo, Parchment or cloth, 6s.; vellum, 7s. 6d. (Parchment Library.)

CLEMENT C. E., and HUTTON, L., Artists of the Nineteenth Century and their Works. 2050 Biographical Sketches. Third Edition, revised. Crown 8vo, 15s.

GOWER, Lord RONALD, Bric-à-Brac. Being some Photo-prints illustrating Art Objects at Gower Lodge, Windsor. With Letterpress Descriptions. Super-royal 8vo, 15s.; extra binding, 21s.

HOLMES, FORBES A. W., The Science of Beauty. An Analytical Inquiry into the Laws of Aesthetics. Second Edition. Post 8vo, 3s. 6d.

HOUSMAN, LAURENCE, Arthur Boyd Houghton. Selections from his Work in Black and White. With Introductory Essay. 4to, 15s. net.

HOWELLS, W. D., A Little Girl among the Old Masters. With 54 Plates. Oblong crown 8vo, 10s.

LEIGHTON, Lord, P.R.A., Addresses to the Students of the Royal Academy. With Portrait. 8vo, 7s. 6d.

MITCHELL, LUCY M., History of Ancient Sculpture. With numerous Illustrations. Super-royal 8vo, 42s.

REYNOLDS, Sir JOSHUA, Discourses. Edited by E. Gosse. Elzevir 8vo (Parchment Library.) Vellum, 7s. 6d.; parchment or cloth, 6s.

THACKERAY, W. M., Essay on the Genius of George Cruikshank. Reprinted verbatim from the Westminster Review. With 40 Illustrations. Royal 8vo, 7s. 6d.

THOMPSON, Sir E. MAUNDE. English Illuminated Manuscripts. With 21 Plates in chromo-lithography. Imp. 8vo, 18s.

WOLTMANN, ALFRED, and WOERMANN, KARL, History of Painting. With numerous Illustrations. Med. 8vo, Vol. I.: Painting in Antiquity and the Middle Ages, 28s. Vol. II.: The Painting of the Renasence, 42s. The two volumes may be had bound in cloth with bevelled boards and gilt leaves, price 30s. and 45s. respectively.

TECHNOLOGY, Etc.

Amateur Mechanic's Workshop. Plain and Concise Directions for the Manipulation of Wood and Metals. By the Author of 'The Lathe and its Uses.' Sixth Edition. Illustrated. 8vo, 6s.

ANDERSON, WILLIAM, Practical Mercantile Correspondence. A Collection of Modern Letters of Business. With Notes. Thirtieth Edition, Revised. Crown 8vo, 3s. 6d.

AXON, W. E. A., The Mechanic's Friend. A Collection of Receipts and Practical Suggestions relating to Aquaria, Bronzing, Cements, Drawing, Dyes, Electricity, Gilding, Glass-working, &c. Second Edition. Numerous Woodcuts. Crown 8vo, 3s. 6d.

BELLOWS, W., The Ocean Liners of the World Illustrated. Second Edition. Small oblong 4to, 1s.

DU MONCEL, Count, The Telephone, the Microphone, and the Phonograph. With 74 Illustrations. Third Edition. Small 8vo, 5s.

EGER, GUSTAV, Technological Dictionary. In the English and German Languages. 2 vols. royal 8vo, ￡1 7s.

FULTON, J., A Treatise on the Manufacture of Coke, and the Saving of By-Products. 8vo, 21s.

GALLOWAY, ROBERT, Treatise on Fuel. Scientific and Practical. With Illustrations. Post 8vo, 6s.

HULME, F. EDWARD, Mathematical Drawing Instruments, and How to Use them. With Illustrations. Third Edition. Imperial 16mo, 3s. 6d.

HUSMANN, G., American Grape Growing and Wine Making. New and entirely Revised Edition. Crown 8vo, 7s. 6d.

INMAN, JAMES, Nautical Tables. Designed for the use of British Seamen. New Edition, Revised and Enlarged. 8vo, 16s.

JAPP, A. H., Days with Industrials. Adventures and Experiences among Curious Industries. With Illustrations. Crown 8vo, 6s.

KAMARSCH, KARL, Technological Dictionary of the Terms Employed in the Arts and Sciences (Architecture, Engineering, Mechanics, Shipbuilding and Navigation, Metallurgy, Mathematics, &c.). Fourth Revised Edition. 3 vols. imperial 8vo.

Vol. I. German-English-French. 12s.

Vol. II. English-German-French. 12s.

Vol. III. French-German-English. 15s.

KROHNKE, G. H. A., Handbook for Laying out Curves on Railways and Tramways. Crown 8vo, 5s.

Lathe, The, and its Uses; or, Instruction in the Art of Turning Wood and Metal. Sixth Edition. Illustrated. 8vo, 10s. 6d.

LAWLOR, J. J., Practical Hot Water Heating, Steam and Gas Fitting. Crown 8vo, 8s. 6d.

LEFFMANN, HENRY, and BEAM, W., Examination of Water for Sanitary and Technical Purposes. Second Edition, Revised and Enlarged. With Illustrations. Crown 8vo, 5s.

Analysis of Milk and Milk Products. Crown 8vo, 5s.

LUKIN, J., Amongst Machines. A Description of Various Mechanical Appliances used in the Manufacture of Wood, Metal, etc. A book for boys. Third Edition. With 64 Engravings. Crown 8vo, 3s. 6d.

The Boy Engineers. What They Did, and How They Did It. A book for boys. With 30 Engravings. Third Edition. Crown 8vo, 3s. 6d.

The Young Mechanic. A Book for Boys, containing Directions for the Use of all kinds of Tools, and for the Construction of Steam Engines and Mechanical Models. Seventh Edition. With 70 Engravings. Crown 8vo, 3s. 6d.

MAGUIRE, W. R., Domestic Sanitary Drainage and Plumbing. Second Edition. Revised. 8vo, 12s.

MALDEN, W. J., Pig Keeping for Profit. Crown 8vo, 2s. 6d. (Village Library.)

MOORE, CUNNINGHAM WILSON, A Practical Guide for Prospectors, Explorers, and Miners. 8vo, 12s. net.

MORFIT, CAMPBELL, Pure Fertilisers, and the Chemical Conversion of Rock Guanos, etc., into various valuable products. 8vo, ￡4 4s.

Manufacture of Soaps. With Illustrations. 8vo, ￡2 12s. 6d.

OSTERBERG, MAX, Synopsis of Current Electrical Literature. 8vo, 5s. net.

RICHARDSON, M. T., Practical Blacksmithing. With 400 Illustrations. 4 vols. Crown 8vo, 5s. each.

Practical Carriage Building. 2 vols. 10s.

Practical Horse-shoer. With 170 Illustrations. Crown 8vo, 5s.

ROSS, Lieut.-Col. W. A., Pyrology; or, Fire Chemistry. Small 4to, 36s.

SCHEIDEL, Dr. A., The Cyanide Process; its Practical Applications and Economical Results. 8vo, 6s.

SCHOOLING, J. HOLT, Handwriting and Expression. A Study of Written Gesture, with 150 Fac-simile Reproductions of the Handwritings of Men and Women of various Nationalities. Translated. 8vo, 6s.

SCHüTZENBERGER, Prof., Fermentation. With 28 Illustrations. Fourth Edition. Crown 8vo, 5s. (I. S. S.)

Science. Weekly. ￡1 2s.

Scientific American. Weekly. 18s.

Scientific American. Export Edition. Monthly. ￡1 5s.

Scientific American. Building Edition. Monthly. 14s.

Do. Supplement. Weekly. ￡1 5s.

SEDDING, J. D., Art and Handicraft. Six Essays. 8vo, 7s. 6d.

SMITH, HAMILTON, Hydraulics. The Flow of Water through Orifices, over Weirs, and through Open Conduits and Pipes. With 17 Plates. Royal 4to, 30s.

THURSTON, Prof. R. H., History of the Growth of the Steam Engine. With Numerous Illustrations. Fourth Edition. Crown 8vo, 5s. (I. S. S.)

Manual of the Steam Engine. For Engineers and Technical Schools. Parts I. and II. Royal 8vo. 31s. 6d. each Part.

WANKLYN, J. A., Milk Analysis. A Practical Treatise on the Examination of Milk and its Derivatives, Cream, Butter and Cheese. Second Edition. Crown 8vo, 5s.

WANKLYN, J. A., and CHAPMAN, E. T., Water Analysis. A Treatise on the Examination of Potable Water. Tenth Edition. thoroughly Revised. Crown 8vo, 5s.

WANKLYN, J. A., and COOPER, W. J., Bread Analysis. A Practical Treatise on the Examination of Flour and Bread. Crown 8vo, 5s.

Air Analysis. A Practical Treatise. With Appendix on Illuminating Gas. Crown 8vo, 5s.

WATERHOUSE, Col. J., Preparation of Drawings for Photographic Reproduction. With Plates. Crown 8vo, 5s.

WEISBACH, JULIUS, Theoretical Mechanics. A Manual of the Mechanics of Engineering. Designed as a Text Book for Technical Schools, and for the use of Engineers. From the German, by E. B. Coxe. With 902 Woodcuts. Second Edition. 8vo, 31s. 6d.

WIECHMANN, G. F., Sugar Analysis. For Refineries, Sugar-Houses, Experimental Stations, &c. 8vo, 12s. 6d.

WILCOX, LUTE, Irrigation Farming. Crown 8vo, 10s.

WYLDE, W., Inspection of Meat. A Guide and Instruction Book to Officers supervising Contract Meat, and to all Sanitary Inspectors. With 32 Coloured Plates. 8vo, 10s. 6d.

SPORTS.

GOULD, A. C., Modern American Pistols and Revolvers. 8vo, cloth, 7s. 6d.

Modern American Rifles. 8vo, cloth, 10s. 6d.

HILLIER, G. LACY, All About Bicycling. 12mo, 1s.

MONEY, Captain ALBERT ("Blue Rock,") Pigeon Shooting. Foolscap 8vo, 5s. net.

NEWHOUSE. The Trapper's Guide. A Manual of Instruction. Crown 8vo, 5s.

Practical Hints on Shooting. By "20-Bore." 8vo, 12s.

WHEELDON, J. P., Angling Resorts near London. The Thames and the Lea. Crown 8vo, paper, 1s. 6d.

IX.-PHILOLOGY.

COMPARATIVE PHILOLOGY.

ABEL, CARL, Linguistic Essays. Post 8vo, 9s. (Trübner's Oriental Series.)

Slavic and Latin. Lectures on Comparative Lexicography. Post 8vo, 5s.

BRUGMANN, K., Elements of the Comparative Grammar of the Indo-Germanic Languages. A Concise Exposition of the History of Sanscrit, Old Iranian, Old Armenian, Old Greek, Latin, Umbrian, Samnitic, Old Irish, Gothic, Old High German, Lithuanian, and Old Bulgarian. In 5 vols. 8vo, cloth.

Vol. I. Introduction and Phonology. By J. Wright. 582 pp. 1888. 18s.

Vol. II. Part I.-Morphology. Stem Formation and Inflection. By S. Conway and W. D. Rouse. 500 pp. 1891. 16s.

Vol. III. Part II.-Morphology. Numerals, Nouns, and Pronouns. By S. Conway and W. D. Rouse. 412 pp. 1892. 12s. 6d.

Vol. IV. Part III.-Morphology. Verbs: Formation of the Stem, and Inflection or Conjugation. By S. Conway and W. D. Rouse. 630 pp. 1895. ￡1.

Vol. V. Index of Words, Matters, and Authors mentioned in Vols. I.-IV. 250 pp. 1895. 9s.

BYRNE, Dean JAMES, General Principles of the Structure of Language. 2 vols. Second and Revised Edition. 8vo, 36s.

Origin of Greek, Latin, and Gothic Roots. Second and Revised Edition. 8vo, 18s.

CUST, R., Linguistic and Oriental Essays. Post 8vo. First Series, 10s. 6d. Second Series, with 6 Maps, 21s. Third Series, 21s. (Trübner's Oriental Series.)

DELBRUCK, B., Introduction to the Study of Language. The History and Methods of Comparative Philology of the Indo-European Languages. 8vo, 5s.

GARLANDA, FEDERICO, The Fortunes of Words. Crown 8vo, 5s.

The Philosophy of Words. A Popular Introduction to the Science of Language. Crown 8vo, 5s.

GREG, R. P., Comparative Philology of the Old and New Worlds in Relation to Archaic Speech. With Copious Vocabularies. Super royal 8vo. ￡1 11s. 6d.

LEFEVRE, ANDRé, Race and Language. Crown 8vo, 5s. (I.S.S.)

Philological Society, Transactions and Proceedings of. Irregular.

SAYCE, A. H., Introduction to the Science of Language. New and Cheaper Edition. 2 vols. Crown 8vo, 9s.

The Principles of Comparative Philology. Fourth Edition, revised and enlarged. Crown 8vo, 10s. 6d.

SCHLEICHER, AUGUST, Comparative Grammar of the Indo-European, Sanskrit, Greek, and Latin Languages. Translated from the Third German Edition by H. Bendall. 8vo, 13s. 6d.

TAYLOR, Canon ISAAC, The Alphabet. An Account of the Origin and Development of Letters. With numerous Tables and Fac-similes. 2 vols. 8vo, 36s.

WHITNEY, Prof. W. D., Life and Growth of Language. Sixth Edition. Crown 8vo, 5s. (I.S.S.)

Language and the Study of Language. Fourth Edition. Crown 8vo, 10s. 6d.

Language and its Study. With especial Reference to the Indo-European Family of Languages. Edited by R. Morris. Second Edition. Crown 8vo, 5s.

AFRICAN.

CUST, R. N. A Sketch of the Modern Languages of Africa. 2 vols. With 31 autotype portraits, 1883. Post 8vo, 18s. (T.O.S.)

ALBANIAN.

Grammaire Albanaise, à l'usage de ceux qui désirent apprendre cette langue sans l'aide d'un ma?tre. Par P. W. Crown 8vo, 7s. 6d.

ANGLO-SAXON.

RASK, ERASMUS, Grammar of the Anglo-Saxon Tongue. From the Danish, by B. Thorpe. Third Edition. Post 8vo, 5s. 6d.

ARABIC.

COTTON, General Sir A., Arabic Primer. Consisting of 180 short sentences, containing 30 primary words prepared according to the vocal system of studying language. 38 pp., crown 8vo, cloth. 1876. 2s.

Diwans, The, of the six ancient Arabic Poets-Ennābiga, 'Antara, Tharafa, Zuhair, 'Alqama, and Imruulqais, and a collection of their fragments, with a list of the various readings of the text edited by W. Ahlwardt. 8vo, wrapper. 1870. 12s.

HIRSCHFELD, H., Arabic Chrestomathy in Hebrew characters, with a Glossary. viii. and 174 pp., 8vo, cloth. 1892. 7s.. 6d.

MEAKIN, J. E. BUDGETT, Introduction to the Arabic of Morocco. English-Arabic Vocabulary, Grammar, Notes, etc. Foolscap 8vo, 6s. net.

NEWMAN, F. W., Dictionary of Modern Arabic. (Anglo-Arabic and Arabo-English.) 2 vols. Crown 8vo, ￡1 1s.

Handbook of Modern Arabic. Post 8vo, 6s.

PENRICE, J., Dictionary and Glossary of the Koran, with copious Grammatical References and Explanations. 1873. Small 4to, ￡1 1s.

SALMONé, H. A., Arabic-English Dictionary. Comprising about 120,000 Arabic words with English Index of about 50,000 words. 2 vols. Post 8vo, 36s.

BANTU.

KOLBE, F. W., A Language Study based on Bantu. An Inquiry into the Laws of Root Formation. 8vo, 6s.

TORREND, J., Comparative Grammar of the South African Bantu Languages. Comprising those of Zanzibar, Mozambique, the Zambezi, Kafirland, Benguela, Angola, the Congo, the Ogowe, the Cameroons, the Lake Region, &c. Super-royal 8vo, 25s.

BASQUE.

VAN EYS, W., Outlines of Basque Grammar. Crown 8vo, 3s. 6d..

BENGALI.

YATES and WENGER, Bengali Grammar. New and Revised Edition. 136 pp. small 8vo, cloth. 1885. 4s.

CHINESE.

BALL, J. D., How to Write Chinese. Part I. Royal 8vo, boards. 1888. 10s. 6d.

EITEL, E. J., Chinese Dictionary in the Cantonese Dialect. With Supplement. Royal 8vo, half calf. ￡2 12s. 6d.

HIRTH, F., Text Book of Documentary Chinese. With a Vocabulary. 2 vols, demy 4to, ￡1 1s.

Notes on the Chinese Documentary Style. 1888. 8vo, 3s. 6d.

LOBSCHEID, Rev. W., Chinese and English Dictionary. Arranged according to the Radicals. 1871. Royal 4to, cloth, ￡2 8s.

English-Chinese Dictionary. With the Punti and Mandarin Pronunciation. 1866-69. 4 vols., folio, ￡4 4s.

WILLIAMS, S. WELLS, Syllabic Dictionary of the Chinese Language. Arranged according to the Wu-Fang Yuen Yin, with the Pronunciation of the Characters as heard in Pekin, Canton, Amoy, and Shanghai. Third Edition. 4to, half calf, ￡3 15s. Also Index to same, arranged according to Sir Thomas Wade's system of orthography, by Acheson. 8vo, cloth, 12s. 6d.

CUNEIFORM.

BERTIN, GEORGE, Abridged Grammar of the Languages of the Cuneiform Inscriptions. Crown 8vo, 5s.

DANISH.

BOJESEN, MARIA, Guide to the Danish Language. 12mo, 5s.

OTTé, E. C., Dano-Norwegian Grammar. A Manual for Students of Danish, based on the Ollendorffian System. Third Edition. Crown 8vo, 7s. 6d. Key, 3s.

Simplified Grammar of the Danish Language. Crown 8vo, 2s. 6d.

ROSING, S., Danish Dictionary. Crown 8vo, 8s. 6d.

DUTCH.

AHN, F., Grammar of the Dutch Language. 12mo, 3s. 6d.

HALDEMAN, S. S., Pennsylvania Dutch. A Dialect of South Germany, with an Infusion of English. 8vo, 3s. 6d.

EAST INDIAN.

BEAMES, J., Outlines of Indian Philology. With language Map. Second Edition, enlarged and revised. 1868. Crown 8vo, 5s.

Comparative Grammar of the Modern Aryan Languages of India. Hindi, Panjabi, Sindi, Gujarati, Marathi, Oriya, and Bengali. In 3 vols. 8vo, 16s. each vol.

Vol. I.-On Sounds, xvi. and 360 pp. 1872.

Vol. II.-The Noun and Pronoun, xii. and 348 pp. 1875.

Vol. III.-The Verb, viii. and 316 pp. 1879.

CAMPBELL, G., Specimens of Languages of India. Including those of the aboriginal tribes of Bengal, the Central Provinces, and the Eastern Frontier. Royal 4to, boards. 1874. ￡1 11s. 6d.

WHITWORTH, G. E., Anglo-Indian Dictionary. A Glossary of Indian terms used in English, and of such English or other non-Indian terms as have obtained special meanings in India. 8vo, 12s.

EGYPTIAN.

BUDGE, E. A. WALLIS, First Steps in Egyptian. Large post 8vo, 9s. net.

An Egyptian Reading Book for Beginners, with a Vocabulary. 8vo, 15s. net.

ENGLISH.

BARTLETT, J. R., Dictionary of Americanisms. A Glossary of Words and Phrases colloquially used in the United States. Fourth Edition. 8vo, 21s.

BOWEN, H. C., Studies in English. For the use of Modern Schools. Tenth Thousand. Small crown 8vo, 1s. 6d.

English Grammar for Beginners. Foolscap 8vo, 1s.

CARRE?O, Metodo para aprender a Leer, escribir y hablar el Ingles segun el sistema de Ollendorff. 8vo, 4s. 6d. Key, 3s.

JENKINS, JABEZ, Vest-Pocket Lexicon. An English Dictionary of all except Familiar Words, including the principal Scientific and Technical Terms. 64mo, roan, 1s. 6d.; cloth, 1s.

SMITH, H. PERCY, Glossary of Terms and Phrases. Cheap Edition. Medium 8vo, 3s. 6d.

TRENCH, Archbishop, English Past and Present. Fourteenth Edition, Revised and Improved. Foolscap 8vo, 5s.

On the Study of Words. Twenty-third Edition, Revised. Foolscap 8vo, 5s.

Select Glossary of English Words used formerly in Senses Different from the Present. Seventh Edition, Revised and Enlarged. Foolscap 8vo, 5s.

WEDGWOOD, H., Dictionary of English Etymology. Fourth Edition, Revised and Enlarged. 8vo, ￡1 1s.

Contested Etymology in the Dictionary of the Rev. W. W. Skeat. Crown 8vo, 5s.

WHITNEY, Prof. W. D., Essentials of English Grammar. Second Edition. Crown 8vo, 3s. 6d.

FRENCH.

AHN, F., Method of Learning French. First and Second Courses. 12mo, 3s. Separately, 1s. 6d. each.

Method of Learning French. Third Course. 12mo, 1s. 6d.

BELLOWS, JOHN, French and English Dictionary for the Pocket. Containing the French-English and English-French Divisions on the same page, Conjugating all the Verbs, Distinguishing the Genders by Different Types, giving Numerous Aids to Pronunciation, &c. Fifty-third Thousand of the Second Edition. 32mo, morocco tuck, 12s. 6d.; roan, 10s. 6d.

BRETTE, P. H., and THOMAS, F., French Examination Papers set at the University of London. Part I.-Matriculation and the General Examination for Women. Crown 8vo, 3s. 6d. Key, 5s. Part II.-First B.A. Examinations for Honours and D. Litt. Examinations. Crown 8vo, 7s.

CASSAL, CHARLES, Glossary of Idioms, Gallicisms, and other Difficulties contained in the Senior Course of the 'Modern French Reader.' Crown 8vo, 2s. 6d.

CASSAL, CHARLES, and KARCHER, THEODORE, Modern French Reader. Junior Course. Nineteenth Edition. Crown 8vo, 2s. 6d. Senior Course. Crown 8vo, 4s. Senior Course and Glossary in 1 vol. Crown 8vo, 6s.

Little French Reader. Extracted from the 'Modern French Reader.' Third Edition. Crown 8vo, 2s.

KARCHER, THEODORE, Questionnaire Fran?ais. Questions on French Grammar, Idiomatic Difficulties, and Military Expressions. Fourth Edition. Crown 8vo, 4s. 6d.; interleaved with writing paper, 5s. 6d.

LARMOYER, M. DE, Practical French Grammar. Crown 8vo. New Edition, in one vol., 3s. 6d. Two Parts, 2s. 6d. each.

LE-BRUN, L., Materials for Translating English into French. Seventh Edition. Post 8vo, 4s. 6d.

NUGENT, French-English and English-French Pocket Dictionary. 24mo, 3s.

ROCHE, A., French Grammar. Adopted by the Imperial Council of Public Instruction. Crown 8vo, 3s.

French Translation. Prose and Poetry, from English Authors, for reading, composition, and translation. Second Edition. Foolscap 8vo, 2s. 6d.

SIMONNé, Metodo para aprender a Leer Escribir y hablar el Frances, segun el verdadero sistema de Ollendorff. Crown 8vo, 6s. Key, 3s. 6d.

VAN LAUN, H., Grammar of the French Language. Crown 8vo. Accidence and Syntax, 4s.; Exercises, 3s. 6d.

WELLER, E., Improved Dictionary. English-French and French-English. Royal 8vo, 7s. 6d.

GERMAN.

AHN, F., Grammar of the German Language. New Edition. Crown 8vo, 3s. 6d.

Method of Learning German. 12mo, 3s. Key, 8d.

Manual of German Conversation; or, Vade Mecum for English Travellers. Second Edition. 12mo, 1s. 6d.

FR[OE]MBLING, F. OTTO, Graduated German Reader. A Selection from the most popular writers. With a Vocabulary. Twelfth Edition. 12mo, 3s. 6d.

Graduated Exercises for Translation into German. Extracts from the best English Authors, with Idiomatic Notes. Crown 8vo, 4s. 6d.; without Notes, 4s.

GREEK.

CONTOPOULOS, N., Lexicon of Modern Greek-English and English-Modern Greek. 2 vols., 8vo, 27s.

Modern-Greek and English Dialogues and Correspondence. Foolscap 8vo, 2s. 6d.

GELDART, E. M., Guide to Modern Greek. Post 8vo, 7s. 6d. Key, 2s. 6d.

Simplified Grammar of Modern Greek. Crown 8vo, 2s. 6d.

PAUL, C. KEGAN, and STONE, E. D., Philological Introduction to Greek and Latin for Students. Translated and adapted from the German. Third Edition. Crown 8vo, 6s.

THOMPSON, E. MAUNDE, Handbook of Greek and Latin Pal?ography. Second Edition. Revised. With numerous fac-similes. Crown 8vo, 5s. (I. S. S.)

GUJARATI.

TISDALL, Rev. W. ST. CLAIR, A Simplified Grammar of the Gujarati Language. Together with a short Reading Book and Vocabulary. Crown 8vo, 10s. 6d.

HEBREW.

BALLIN, ADA S. and F. L., Hebrew Grammar. With Exercises selected from the Bible. Crown 8vo, 7s. 6d.

BICKELL, G., Outlines of Hebrew Grammar. 8vo, cloth, 4s.

HINDI.

BALLANTYNE, J. R., Elements of Hindi and Braj Bhakha Grammar. Compiled for the East India College at Haileybury. Second Edition. Crown 8vo, 5s.

BATE, J. D., Hindi-English Dictionary. Royal 8vo, cloth. 1875. ￡1 11s. 6d.

KELLOGG, S. H., Grammar of the Hindi Language. With copious Philological Notes and Tables. Second Edition, Revised and Enlarged. 1893. 8vo, cloth, 18s.

HINDUSTANI.

CRAVEN, T., English-Hindustani and Hindustani-English Dictionary. New Edition. 18mo, 4s. 6d.

DOWSON, J., Grammar of the Urdū or Hindūstānī Language. Second Edition. Crown 8vo, 10s. 6d.

Hindūstānī Exercise Book. Passages and Extracts for Translation into Hindūstānī. Crown 8vo, 2s. 6d.

FALLON, S. W., A New English-Hindustani Dictionary. With Illustrations from English Literature and Colloquial English. iv. and 674 pp. royal 8vo, cloth. 1883. (Published at Rs. 22.) Reduced to ￡1.

? Printed in Roman characters only.

A New Hindustani-English Dictionary. With Illustrations from Hindustani Literature and Folk-lore. xxiv. ix. and 1216 pp. royal 8vo, cloth. 1879. (Published at Rs. 52.) Reduced to ￡2.

? All Hindustani words are printed in the Persian and Roman

character; those of Hindi origin also in the Devanagari.

PALMER, E. H., Simplified Grammar of Hindustani, Persian, and Arabic. Second Edition. Crown 8vo, 5s.

PHILLIPS, Col. A. N., Hindustani Idioms. With Vocabulary and Explanatory Notes. Crown 8vo, 5s.

HUNGARIAN.

SINGER, J., Simplified Grammar of the Hungarian Language. Crown 8vo, 4s. 6d.

IRISH.

STOKES, WHITLEY, Goidelica. Old and Early-Middle Irish Glosses, Prose and Verse. Second Edition. Medium 8vo, 18s.

ITALIAN.

AHN, F., Method of Learning Italian. 12mo, 3s. 6d.

CAMERINI, E., L'Eco Italiano. A Guide to Italian Conversation. With Vocabulary. 12mo, 4s. 6d.

MILLHOUSE, J., English and Italian Dictionary. 2 vols. 8vo, 12s.

Manual of Italian Conversation. 18mo, 2s.

JAPANESE.

BABA, TATUI, Elementary Grammar of the Japanese Language. With easy Progressive Exercises. Second Edition. 5s.

CHAMBERLAIN, Prof. B. H., Simplified Japanese Grammar. Crown 8vo, 5s.

Romanised Japanese Reader. Consisting of Japanese Anecdotes and Maxims, with English Translations and Notes. 12mo, 6s.

Handbook of Colloquial Japanese. Second Edition. 8vo, 12s. 6d.

Handbook of the Japanese Language. For Tourists and Residents. In the Colloquial style. 24mo, 4s.

HEPBURN, J. C., Japanese and English Dictionary. Second Edition. Imp. 8vo, half roan, 18s.

Japanese-English and English-Japanese Dictionary. Third Edition. Royal 8vo, half morocco, 30s. Pocket Edition, square 16mo, 14s. Index of Chinese characters in the royal 8vo. Edition, arranged according to their radicals by W. H. Whitney. 1888. Cloth, 4s. 6d.

IMBRIE, W., Handbook of English-Japanese Etymology. Second Edition, 1889. 8vo, 6s.

MUTSU, H., Japanese Conversation Course. 1894. Small 8vo, 2s. 6d.

KHASSI.

ROBERTS, H., Grammar of the Khassi Language. Crown 8vo, 10s. 6d.

LATIN.

AHN, F., Latin Grammar for Beginners. Thirteenth Edition. 12mo, 3s.

IHNE, W., Latin Grammar for Beginners, on Ahn's System. 12mo, 3s.

MALAGASY.

PARKER, G. W., Concise Grammar of the Malagasy Language. Crown 8vo, 5s.

NORWEGIAN.

SMITH, M., and HORNEMAN, H., Norwegian Grammar. With a Glossary for Tourists. Post 8vo, 2s.

PALI.

CHILDERS, R. C., Pali-English Dictionary. With Sanskrit Equivalents. Imperial 8vo, ￡3 3s.

MüLLER, E., Simplified Grammar of the Pali Language. Crown 8vo, 7s. 6d.

PANJABI.

TISDALL, W. ST. CLAIR, Simplified Grammar and Reading Book of the Panjabi Language. Crown 8vo, 7s. 6d.

PERSIAN.

FINN, A., Persian for Travellers. Oblong 32mo, 5s.

PALMER, E. H., English-Persian Dictionary. With Simplified Grammar of the Persian Language. Royal 16mo, 10s. 6d.

Persian-English Dictionary. Second Edition. Royal 16mo, 10s. 6d.

Simplified Grammar of Hindustani, Persian, and Arabic. Second Edition. Crown 8vo, 5s.

POLISH.

MORFILL, W. R., Simplified Grammar of the Polish Language. Crown 8vo. 3s. 6d.

PORTUGUESE.

D'ORSEY, A. J. D., Colloquial Portuguese; or, The Words and Phrases of Every-day Life. Fourth Edition. Crown 8vo, 3s. 6d.

Grammar of Portuguese and English. Adapted to Ollendorff's System. Fourth Edition. 12mo, 7s.

VIEYRA'S Pocket Dictionary of the Portuguese and English Languages. 2 vols. Post 8vo, 10s.

PUSHTO (or Afghan).

TRUMPP, E., Grammar of the Pas'tō; or, Language of the Afghāns, compared with the Trānian and North Indian Idioms. Cloth, 1873. 21s.

ROMANY.

LELAND, C. G., English Gipsies and their Language. New and Cheaper Edition. Crown 8vo, 3s. 6d.

ROUMANIAN.

TORCEANU, R., Simplified Grammar of the Roumanian Language. Crown 8vo, 5s.

RUSSIAN.

RIOLA, HENRY, How to Learn Russian. A Manual for Students. Based upon the Ollendorffian System. Fourth Edition. Crown 8vo, 12s. Key, 5s.

Russian Reader. With Vocabulary. Crown 8vo, 10s. 6d.

SANSKRIT.

BALLANTYNE, J. R., First Lessons in Sanscrit Grammar. Fifth Edition. 8vo, 3s. 6d.

BENFEY, THEODOR, Grammar of the Sanskrit Language. For the use of Early Students. Second Edition. Royal 8vo, 10s. 6d.

COWELL, E. B., Short Introduction to the Ordinary Prakrit of the Sanskrit Dramas. Crown 8vo, 3s. 6d.

Prakrita-Prakasa, or the Prakrit Grammar of Vararuchi. With the Commentary (Manorama) of Bhamaha. 8vo, 14s.

WHITNEY, Prof. W. D., Sanskrit Grammar. Including both the Classical Language and the Older Dialects of Veda and Brahmana. Second Edition. 8vo, 12s.

SERBIAN.

MORFILL, W. R., Simplified Serbian Grammar. Crown 8vo, 4s. 6d.

SOMALI.

Somali-English Dictionary. Post 8vo. In the Press. Orders booked.

SINHALESE.

MENDIS, GUNASEKARA A., A Comprehensive Grammar of the Sinhalese Language. 8vo, 12s. 6d.

Sinhalese Made Easy; or, Phrase-Book of Colloquial Sinhalese. Revised and enlarged Edition. 12mo, 3s. 6d.

SPANISH.

BEALE, ALFRED A., Excelsior English-Spanish and Spanish-English Dictionary. Commercial and Technical. Foolscap 8vo, roan, 10s. 6d.

BUTLER, F., Spanish Teacher, and Colloquial Phrase-Book. 18mo, half roan, 2s. 6d.

VELASQUEZ, M. de la CADENA, Dictionary of the Spanish and English Languages. For the use of Young Learners and Travellers. Crown 8vo, 6s.

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VELASQUEZ and SIMONNé, New Method of Learning the Spanish Language. Adapted to Ollendorff's system. Revised and corrected by Senor Vivar. Post 8vo, 6s.; Key, 4s.

SUAHILI.

KRAPF, L., Dictionary of the Suahili Language. 8vo, ￡1 10s.

SWEDISH.

OTTE, E. C., Simplified Grammar of the Swedish Language. Crown 8vo, 2s. 6d.

TAMIL.

ARDEN, A. H., A Progressive Grammar of Common Tamil. 8vo, 5s.

A Companion Reader to Arden's Progressive Tamil Grammar. 2 vols. 8vo, 5s. each. Vol. I.: Companion Exercises and Easy Stories. Vol. II.: The Panchatranta in Tamil.

TIBETAN.

J?SCHKE, H. A., Tibetan Grammar. Prepared by Dr. H. Wenzell. Second Edition. Crown 8vo, 5s.

Tibetan-English Dictionary. With special reference to the prevailing dialects, to which is added an English-Tibetan Vocabulary. Royal 8vo, cloth. (Published ￡1 10s.) ￡1 1s.

TURKISH.

ARNOLD, Sir EDWIN, Grammar of the Turkish Language. With Dialogues and Vocabulary. Post 8vo, 2s. 6d.

REDHOUSE, J. W., Simplified Grammar of the Ottoman-Turkish Language. Crown 8vo, 10s. 6d.

Turkish Vade-Mecum of Ottoman Colloquial Language. English-Turkish and Turkish-English, the whole in English Characters, the Pronunciation being fully indicated. Third Edition. 32mo, 6s.

VOLAPUK.

SPRAGUE, C. E., Handbook of Volapuk. The International Language. Second Edition. Crown 8vo, 5s.

ZULU.

ROBERTS, C., An English-Zulu Dictionary. Crown 8vo, 5s. net.

The Zulu-Kafir Language. Crown 8vo, 6s. net.

X.-ORIENTAL.

BRITISH INDIA.

ALBêRUNI'S India: The Religion, Philosophy, Literature, &c., of India about A.D. 1030. Arabic Text, edited by Prof. E. Sachau, 1887. 4to, ￡3 3s.

ARNOLD, Sir EDWIN, India Revisited. With 32 full-page Illustrations. Crown 8vo, 6s.

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BALDWIN, Capt. J. H., Large and Small Game of Bengal and the North-Western Provinces of India. With Illustrations. Second Edition. Small 4to, 10s. 6d.

BALL, V., Diamonds, Coal, and Gold of India. Foolscap 8vo. 1881. 5s.

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BARTH, A., Religions of India. Translated by the Rev. J. Wood. Third Edition. Post 8vo, 16s. (Trübner's Oriental Series.)

Bhagavad-Gita; or, The Song Celestial. From the Sanskrit by Sir E. Arnold. Fifth Edition. 1894. Crown 8vo, 5s.

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BOSE, P. NATH., A History of Hindu Civilization during British Rule. Vols. I. and II. together, 15s. net. Vol. III., 7s. 6d. net. Crown 8vo. To be completed in 4 volumes.

BOYD, P., Nagananda; or, the Joy of the Snake World. From the Sanskrit of Sri-Harsha-Deva. 1872. Crown 8vo, 4s. 6d.

BRITISH MUSEUM CATALOGUES OF INDIAN LITERATURE.

Special List Sent on Application.

BURNELL, A. C., South Indian Pal?ography, from the 4th to the 17th Century. Enlarged Edition, with Map and Plates. 4to, ￡2 12s. 6d.

Ordinances of Manu. Translated from the Sanskrit, with introduction. Completed and edited by E. W. Hopkins. 1884. Post 8vo, 12s. (Trübner's Oriental Series.)

CHRISTIAN, J., Behar Proverbs. Classified and arranged according to subject-matter, with notes. 1890. Post 8vo, 10s. 6d. (Trübner's Oriental Series.)

COTTON, H. J. S., New India; or, India in Transition. Third Edition. Crown 8vo, 4s. 6d.

COWELL, Prof. E. B., Short Introduction to the Ordinary Prakrit of the Sanskrit Dramas. 1875. Crown 8vo, 3s. 6d.

Prakrita-Prakasa; or, The Prakrit Grammar of Vararuchi. With the Commentary (Manorama) of Bhamaha. 1868. 8vo, 14s.

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CUNNINGHAM, Major-Genl. ALEX., Ancient Geography of India. Vol. I.: The Buddhist Period. With 13 Maps. 1870. 8vo, ￡1 8s.

DAVIES, J., Sānkhya Kārikā of Iswara Krishna. An Exposition of the System of Kapila. 1881. Post 8vo, 6s. (Trübner's Oriental Series.)

DOWSON, J., Classical Dictionary of Hindu Mythology and History, Geography and Literature. 1879. Post 8vo, 16s. (Trübner's Oriental Series.)

DUTT, ROMESH CHUNDER, History of Civilisation in Ancient India, based on Sanskrit Literature. Revised Edition in 2 vols. 1894. 8vo, 21s.

Lays of Ancient India. Selections from Indian Poetry rendered into English verse. 1894. Post 8vo, 7s. 6d.

DUTT, TORU, Ancient Ballads and Legends of Hindustan. With an Introductory Memoir by Edmund Gosse. 18mo, cloth extra, gilt top, 5s.

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ELLIOT, Sir H. M., History of India, as told by its own Historians. The Muhammadan Period. Revised and continued by Professor John Dowson. 8vols. 1871-77. 8vo, ￡8 8s.

History, Folk-lore, and Distribution of the Races of the North-Western Provinces of India. Edited by J. Beames. With three coloured Maps. 2 vols. 1869. 8vo, ￡1 16s.

FERGUSSON, J., Arch?ology in India. vii. and 115 pp. text, with numerous Cuts. 1884. 8vo, 5s.

FERGUSSON, J., and BURGESS, J., The Cave Temples of India. 536 pp. text, with one hundred Plates. 1880. 4to, half calf (Pub. at ￡2 2s.) ￡1 11s. 6d.

GOUGH, A. E., Philosophy of the Upanishads. 1882. Post 8vo, 9s. (Trübner's Oriental Series.)

GOVER, C. E., Folk Songs of Southern India. Containing Canarese, Badaga, Coorg, Tamil, Malayalam, and Telugu Songs. 8vo, 10s. 6d.

GRAY, J., Ancient Proverbs and Maxims from Burmese Sources; or, The Niti Literature of Burmah. Post 8vo, 6s. (Trübner's Oriental Series.)

GRIFFIN, Sir LEPEL, The Rajas of the Punjab. History of the principal States in the Punjab, and their political relations with the British Government. 1870. Royal 8vo, 21s.

HAIG, Maj.-Gen., The Indus Delta Country. With 3 Maps. 1895. Royal 8vo, 5s. net.

HAUG, M., Essays on the Sacred Language, Writings, and Religion of the Parsis. Third Edition. Edited and enlarged by E. W. West. 1884. Post 8vo, 16s. (Trübner's Oriental Series.)

HODGSON, B. H., Essays on the Languages, Literature, and Religion of Nepal and Tibet. 1874. 8vo, 14s.

Miscellaneous Essays relating to Indian Subjects. 2 vols. 1880. Post 8vo, 28s. (Trübner's Oriental Series.)

HUNTER, Sir W. W., Imperial Gazetteer of India. Second Edition, enlarged and revised. 14 vols. 1885-87. 8vo, half calf. (Pub. at ￡3 3s.) ￡2 2s.

Imperial Series of the Reports of the Arch?ological Survey of India. List Sent on Application.

JACOB, G. A., Manual of Hindu Pantheism. The Vedantasara. Translated, with Annotations, &c. Third Edition. 1891. Post 8vo, 6s. (Trübner's Oriental Series.)

JOHNSON, S., Oriental Religions, and their Relation to Universal Religion: India. 2 vols. 1879. 402 and 408 pp. 8vo, ￡1 1s. (Trübner's Philosophical Library.)

KNOWLES, J. H., Folk Tales of Kashmir. 1888. Post 8vo, 16s. (Trübner's Oriental Series.)

Koran. Selections from it, with a commentary. Translated by E. W. Lane. New Revised Edition, with Introduction by S. Lane-Poole. 1879. Post 8vo, 9s. (Trübner's Oriental Series.)

Mahabharata. Translated literally from the original Sanskrit text into English prose by M. N. Dutt, M.A. To be complete in 30 parts, of which the first three are out. Subscription price to the whole work, ￡1 5s.

Mahabharata. Translated into English prose by the late Protap Chundra Rōy. Price of the whole work, bound in 10 vols. 8vo, ￡10 10s.

MAISEY, Gen. F. C., Sanchi and its Remains. With Introductory Note by the late Maj.-Gen. Sir Alex. Cunningham. With 40 plates. 1892. Royal 4to, ￡2 10s.

Manava-Dharma-Castra, the Code of Manu. Original Sanskrit text. Edited, with critical Notes, by Julius Jolly. 1887. Post 8vo, 10s. 6d. (Trübner's Oriental Series.)

MASON, F., Burma, its People, and Productions. Being Notes on the Fauna, Flora, and Minerals of Tenasserim, Pegu, and Burma. New Edition, re-written and enlarged by W. Theobald. 2 vols. 1884. 4to. (Pub. at ￡3 3s.) ￡1 11s. 6d.

MUIR, J., Original Sanskrit Texts, on the Origin and History of the People of India, their Religion and Institutions. Collected, Translated, and Illustrated by John Muir. 5 vols. 8vo. Price of a complete set, ￡5 5s. Sold only in sets.

MüLLER, MAX, Sacred Hymns of the Bramins, as preserved in the Rig-Veda-Sanhita. Translated from the Sanskrit. Vol. I.: Hymns to the Maruts, or the Storm-Gods. 1869. 8vo, 12s. 6d.

Hymns of the Rig-Veda. In the Sanhita and Pada texts. Reprinted from the Edition Princeps. 2 vols. Second Edition. 1877. 8vo. (Pub. at ￡1 12s.) 16s.

Naradiya Dharma-Sastra; or, The Institutes of Narada. Translated from the Sanskrit by Julius Jolly. 1876. Crown 8vo, 10s. 6d.

PICKFORD, J., Maha-vira-Charita; or, The Adventures of the Great Hero Rama. From the Sanskrit of Bhavabhüti. 1871. Crown 8vo, 5s.

ROUTLEDGE, J., English Rule and Native Opinion in India. From notes taken in 1870-74. 1878. 8vo, 10s. 6d.

SCOTT, J. G., Burma as it Was, as it Is, and as it Will Be. Cheap Edition. 1886. Crown 8vo, 2s. 6d.

STRACHEY, Sir J., India., with map. New Edition. 1894. Crown 8vo, 6s.

WATT, G., A Dictionary of the Economic Products of India. 6 volumes, bound in 9. 1889-1893. Royal 8vo, half calf, ￡3 3s.

WEBER, A., History of Indian Literature. Translated from the German. Third Edition. 1890. Post 8vo, 10s. 6d. (Trübner's Oriental Series.)

WHEELER, J. TALBOYS, History of India. From the Earliest Ages down to the time of the Mughul Empire. 5 vols. 1867-1881. 8vo, ￡6 6s. net. Or separate, except vol. I.

Early Records of British India. A History of the English Settlements in India. 1878. Royal 8vo, 15s.

WILLIAMS, Sir M. MONIER, Modern India and the Indians. Fifth Edition. Post 8vo, 14s. (Trübner's Oriental Series.)

WILSON, H. H., Complete Works. 12 vols., bound in 13. 1862-77. 8vo, ￡10 10s. net.

Rig-Veda-Sanhita. A Collection of Ancient Hindu Hymns. From the Sanskrit. Edited by E. B. Cowell and W. F. Webster, 6 vols. 1854-1888. 8vo, ￡6 6s. net.

The Megha-Duta (Cloud Messenger). Translated into English verse with the Sanskrit text of Kalidasa. Third Edition. 1867. 4to, 10s. 6d.

CENTRAL AND WESTERN ASIA.

BRETSCHNEIDER, E., Medi?val Researches from Eastern Asiatic Sources. Fragments towards the Knowledge of the Geography and History of Central and Western Asia, from the 13th to the 17th Century. 2 vols. With two Maps. 1888. Post 8vo, 21s. (Trübner's Oriental Series.)

Papers Relating to Indo-China. Reprinted from Dalrymple's "Oriental Repertory," "Asiatic Researches," and the "Journal" of the Asiatic Society of Bengal. 2 vols. 1886. Post 8vo, 21s.

--Second Series. Edited by the late R. Rost. With Plates, and a Map. 2 vols. 1887. 25s. (Trübner's Oriental Series.)

RALSTON, W. R. S., Tibetan Tales. Derived from Indian sources. Done into English from the German of F. Anton von Schiefner. 1882. Post 8vo, 14s. (Trübner's Oriental Series.)

CHINA.

ALEXANDER, Maj.-Gen. G. G., Confucius, the Great Teacher. Crown 8vo, 6s.

Lao-tsze, the Great Thinker. Crown 8vo, 5s.

ALLEN, C. F. ROMILLY, Book of Chinese Poetry. Being the Collection of Ballads, Sagas, Hymns, and other Pieces known as the Shih Ching, metrically translated. 8vo, 16s.

BALFOUR, F. H., Leaves from my Chinese Scrap-Book. Post 8vo, 7s. 6d.

DENNYS, N. B., Folk-Lore of China, and its Affinities with that of the Aryan and Semitic Races. 8vo, 10s. 6d.

DOUGLAS, Prof. R. K., Catalogue of Chinese Printed Books, Manuscripts, and Drawings in the Library of the British Museum. 4to, 20s.

Chinese Language and Literature. Crown 8vo, 5s.

Life of Jenghiz Khan. Translated from the Chinese. Crown 8vo, 5s.

EDKINS, J., D.D., Religion in China. Containing a Brief Account of the Three Religions of the Chinese. Third Edition. Post 8vo, 7s. 6d. (Trübner's Oriental Series.)

FABER, E., The Mind of Mencius; or, Political Economy Founded upon Moral Philosophy. A Systematic Digest of the Doctrines of the Chinese Philosopher Mencius. Translated from the German, with Additional Notes, by A. B. Hutchinson. Post 8vo, 10s. 6d. (Trübner's Oriental Series.)

FERGUSSON, T., Chinese Researches, Chinese Chronology and Cycles. Crown 8vo, 10s. 6d.

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SMITH, ARTHUR H., Chinese Characteristics. Second Edition. Revised, with Illustrations. 8vo, 10s. 6d.

EGYPT AND ASSYRIA.

BRITISH MUSEUM PUBLICATIONS:

TYLOR, J. J., Wall Drawings and Monuments of El Kab. Part I.: Paheri. 18 Plates. With Notes by Somers Clarke. ￡2 2s. [Other Parts in preparation.]

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Archaic Classics, Assyrian Texts. Being Extracts from the Annals of Shalmaneser II., Sennacherib, and Assur-Bani-Pal, with Philological Notes. Small 4to, 7s. 6d.

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EGYPT EXPLORATION FUND:

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Vol. I.-The Store City of Pithom, and the Route of the Exodus. By E. Naville. Third Edition. 1887. Out of print.

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" IX.-Two Hieroglyphic Papyri from Tanis. 1891. 5s.

I. The Sign Papyrus. By F. L. Griffith.

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" X.-The Festival Hall of Osorkon II. (Bubastis). By E. Naville. 1892. ￡1 5s.

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Atlas of Ancient Egypt. Second Edition. Revised. Small 4to, 3s. 6d.

LE PLONGEON, AUGUSTUS, Queen Moo and the Sphinx. Royal 8vo, ￡1 10s. net.

MARIETTE, ALPHONSE, The Monuments of Upper Egypt. Crown 8vo, 7s. 6d.

PATON, A. A., History of the Egyptian Revolution. From the Period of the Mamelukes to the death of Mohammed Ali. Second Edition. 2 vols. 8vo, 7s. 6d.

PUBLICATIONS OF THE ARCH?OLOGICAL SURVEY

OF EGYPT:

First Memoir.-Beni Hasan. Part I. By P. E. Newberry. 1890-91. ￡1 5s.

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SANDWITH, F. M., Egypt as a Winter Resort. Crown 8vo, 3s. 6d.

ISLAM.

BLUNT, W. S., The Future of Islam. Crown 8vo, 6s.

BROWN, J. P., The Dervishes. With Illustrations. 1868. Crown 8vo, 14s.

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REDHOUSE, J. W., History, System, and Varieties of Turkish Poetry. Illustrated by Specimens in the Original English Paraphrase. 8vo, 2s. 6d.

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Tentative Chronological Synopsis of the History of Arabia and its Neighbours, from B.C. 500,000 (?) to A.D. 679. 8vo, paper, 1s.

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WRIGHT, W., Book of Kalilah and Dimnah. Translated from Arabic into Syriac, with Preface and Glossary in English. 8vo, 21s.

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CHAMBERLAIN, BASIL, Classical Poetry of the Japanese. Post 8vo, 7s. 6d. (Trübner's Oriental Series.)

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Chushingura, or the Loyal Retainers of Akao. Translated by Jukichi Inouye, with numerous Illustrations by Eisen Tomioka. 8vo, 3s. 6d.

GOWER, Lord RONALD, Notes of a Tour from Brindisi to Yokohama, 1883-84. Foolscap 8vo, 2s. 6d.

GRIFFIS, W. E., The Mikado's Empire. Book I.-History of Japan from B.C. 660 to A.D. 1872. Book II.-Personal Experiences, Observations, and Studies in Japan, 1870-74. Second Edition. Illustrated. 8vo, 20s.

History of the Empire of Japan. Compiled and Translated under the direction of the Department of Education, Tokyo. With numerous Illustrations, of which some are in Colours and Collotype, and a Map. vi. and 428 pp. of text. 1893. 8vo, boards, 12s. 6d.

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Nihongi; or, Chronicles of Japan from the Earliest Times to A.D. 697. Translated from the original Chinese and Japanese, by W. G. Aston. Vol. I. 1896. 8vo. Price, complete in 2 vols., 21s.

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TAYUI, R., The Commercial Guide and Trade Directory of Japan. Royal 8vo, cloth, ￡1 1s.

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ORIENTAL BUDDHISM.

BEAL, S., The Romantic Legend of Sakya Buddha. From the Chinese Sanskrit. 1875. Crown 8vo, 12s.

Life of Hiuen-Tsiang. By the Shamans Hwui Li and Yen-Tsung, with an Account of the Works of I-Tsing. Post 8vo, 10s. (Trübner's Oriental Series.)

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BIKSHU, SUBHADRA, Buddhist Catechism. 12mo, 2s.

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FAUSBOLL, V., The Jataka. Together with its Commentary, being tales of the anterior birth of Gotama Buddha. Now first published in Pali. Vols. I.-VI. 8vo, 28s. each.

JENNINGS, H., The Indian Religions; or, Results of the Mysterious Buddhism. 1890. 8vo, 10s. 6d.

KISTNER, O., Buddha and his Doctrines. A Bibliographical Essay. 4to, 2s. 6d.

LILLIE, A., Popular Life of Buddha. Containing an answer to the Hibbert Lectures of 1881. With Illustrations. 1883. Crown 8vo, 6s.

Buddhism in Christendom; or, Jesus the Essene. With Illustrations. 1887. 8vo, 15s.

RHYS-DAVIDS, T. W., Buddhist Birth-Stories; or, Jataka Tales. The Oldest Collection of Folk-Lore extant. Being the Jātakatthavannanā, translated from the Pali Text of V. Fausboll. Vol. I. Post 8vo, 18s. (Trübner's Oriental Series.)

ROCKHILL, W. W., Life of the Buddha and the Early History of his Order. Derived from Tibetan works in the Bkah-Hgyur and the Bstan-Hgyur. 1884. Post 8vo, 10s. 6d. (Trübner's Oriental Series.)

Udanavarga. A collection of Verses from the Buddhist Canon. Compiled by Dharmatrata, and translated from the Tibetan. 1883. Post 8vo, 9s. (Trübner's Oriental Series.)

SWAMY, Sir M. C., Sutta Nipata; or, Dialogues and Discourses of Gotama Buddha. Translated from the Original Pali. Crown 8vo, 6s.

The Dathavansa; or, the History of the Tooth Relic of Gotama Buddha., Pali Text with Translation. 8vo, 10s. 6d. English Translation only, 6s.

(See also under China.)

PERSIAN.

HAFIZ, The Divan. By Khwaja Shamsu-d-Din Muhammad-i-Hafiz-i-Shirazi. Translated into English Prose, with Remarks, etc., by Lieut.-Col. H. Wilberforce Clarke. Vols. I. and II. 1891. 4to, cloth, ￡2 12s. 6d. Vol. III., 4to, cloth, ￡1 11s.

HAFIZ, of Shiraz, Selections from His Poems. Translated from the Persian by H. Bicknell. 1875. 4to, cloth, ￡2 2s.

JOHNSON, S., Oriental Religions and their Relation to Universal Religion. Persia. 8vo, 18s.

OMAR KHAYYAM, The Quatrains. Persian Text with an English Verse Translation by E. H. Whinfield. 1883. Post 8vo, cloth, 10s. 6d. (Trübner's Oriental Series.)

The Quatrains. New Translation into English Verse by E. H. Whinfield. 1881. Post 8vo, cloth, 5s. (Trübner's Oriental Series.)

RIEU, C., Catalogue of Persian Manuscripts in the British Museum. 3 vols. 1879-83. 4to, cloth, 25s. each volume.

SA'D UD DIN MAHMUD SHABISTARI. Gulshan i Raz (the Mystic Rose Garden). Persian Text with an English Translation, Notes, and a Commentary, by E. H. Whinfield. 1880. 4to, cloth, 10s. 6d.

The Gulistan, or Rose Garden of Shekh Mushliu'd-Din Sadi of Shiraz. Translated from the Atish Kadah, by E. B. Eastwick. Second Edition. Post 8vo, 10s. 6d. (Trübner's Oriental Series.)

Vazir of Lankuran. A Persian Play, with a Grammatical Introduction, Translation, Notes, and Vocabulary, by W. H. Haggard and G. Le Strange. Crown 8vo, 10s. 6d.

XI.-BIBLIOGRAPHY, PERIODICALS, AND PUBLICATIONS OF SOCIETIES.

BIBLIOGRAPHY.

ALLIBONE, S. A., Dictionary of English Literature and British and American Authors. From the Earliest Accounts to the Latter Half of the 19th Century. 3 vols. Royal 8vo, ￡5 8s. Supplement, 1891, 2 vols. royal 8vo, ￡3 3s.

Bibliographica-3 Volumes. Containing the 12 parts. Bound in half morocco (Roxburgh style). Large Imperial 8vo, ￡2 2s. net. each.

British Museum Publications. List on application.

DUFF, E. GORDON, Early Printed Books. With Frontispiece and Ten Plates. Post 8vo, 6s. net. (Books about Books.)

ELTON, CHARLES and MARY, The Great Book Collectors. With 10 Illustrations. Post 8vo, 6s. net. (Books about Books.)

FLETCHER, W. YOUNGER, English Bookbindings in the British Museum. With 66 plates. Printed in fac-simile by W. Griggs. Folio, limited to 500 copies, ￡3 3s. net.

HARDY, W. J., Book Plates. With Frontispiece and 36 Illustrations of Book Plates. Post 8vo, 6s. net. (Books about Books.)

HORNE, H. P., The Binding of Books. With 12 Plates. Post 8vo, 6s. net. (Books about Books.)

IBRAHIM, HIMLY, Prince, The Literature of Egypt and the Soudan. A Bibliography, comprising Printed Books, Periodical Writings, and Papers of Learned Societies, Maps and Charts, Ancient Papyri Manuscripts, Drawings, etc. 2 vols. Demy 4to, ￡3 3s.

Japan, Bibliography of. (See Oriental.)

MADAN, FALCONER, Books in Manuscript. With 8 Plates. Post 8vo, 6s. net. (Books about Books.)

POLLARD, A. W., Early Illustrated Books. With Plates. Post 8vo, 6s. net. (Books about Books.)

POOLE, W. F., Index to Periodical Literature. Revised Edition. Royal 8vo, ￡3 13s. 6d. net. First Supplement, 1882 to 1887. Royal 8vo, ￡2 net. Second Supplement, 1887 to 1892. Royal 8vo, ￡2 net.

SLATER, J. H., Early Editions. A Bibliographical Survey of the Works of some Popular Authors. 8vo, 21s. net. Interleaved with Writing Paper, 26s. net.

SWINBURNE, Bibliography of Algernon Charles Swinburne from 1857 to 1887. Crown 8vo, vellum, gilt, 6s.

THACKERAY, Bibliography of. Sultan Stork, and other Stories and Sketches, 1829-44, now first collected. To which is added the Bibliography of Thackeray. Large 8vo, 10s. 6d.

THOMPSON, Sir E. MAUNDE, English Illuminated Manuscripts. With 21 Plates in Chromo-Lithography. Imperial 8vo, 18s. net.

TRüBNER'S Bibliographical Guide to American Literature from 1817 to 1887. 8vo, half bound, 18s.

Catalogue of Dictionaries and Grammars of the Principal Languages and Dialects of the World. Second Edition. 8vo, 5s.

PERIODICALS AND SOCIETIES.

Anthropological Institute of Great Britain and Ireland, Journal of. Quarterly. 5s.

Antiquarian Magazine and Bibliographer, The. Edited by Edward Walford and G. W. Redway. Complete in 12 vols. 8vo, ￡3 net.

Asiatic Society of Bengal, Journal. 8vo, 3s. per number. Proceedings, 1s. per number.

Asiatic Society, Royal. Bombay Branch. Journal. Irregular.

Asiatic Society, Royal. Ceylon Branch. Journal. Irregular.

Asiatic Society, Royal. China Branch. Journal. Irregular.

Asiatic Society, Royal. Straits Branch. Journal. Irregular.

Asiatic Society. Japan Branch. Transactions. Irregular.

Bibliotheca Sacra. Quarterly, 3s. 6d. Annual Subscription, 14s.

British Chess Magazine. Monthly, 9d.

Calcutta Review. Quarterly, 6s.

Imperial Institute Year Book. 10s. net.

Index Medicus. A Monthly Classified Record of the Current Medical Literature of the World. Annual Subscription, 50s.

Indian Antiquary. A Journal of Oriental Research in Arch?ology, History, Literature, Languages, Philosophy, Religion, Folk-lore, etc. Annual Subscription, ￡1 16s.

Indian Evangelical Review. Annual Subscription, 10s.

Psychical Research Society, Proceedings. Irregular.

Sanitarian. Devoted to the Preservation of Health, Mental and Physical Culture. Monthly. Annual Subscription, 18s.

Science. Weekly. Annual Subscription, ￡1 2s.

Scientific American. Weekly. Annual Subscription, 18s.

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----Supplement. Weekly. Annual Subscription, ￡1 5s.

Tropical Agriculturist. Monthly. Annual Subscription, ￡1 6s.

Parents' Review. Monthly, 6d.

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Messrs. KEGAN PAUL, TRENCH, TRüBNER & CO., Ltd, are also Publishers to the following Societies, etc., lists of publications of which may be had on application:

The Chaucer Society. The British Museum.

The Early English Text Society. The Geological Survey of India.

The New Shakspere Society. The India Office.

The Wagner Society. The Egypt Exploration Fund.

Plymouth: W. BRENDON and SON, Printers

FOOTNOTES:

[1] New York, Appleton and Co.

[2] Chicago, Griggs and Co., 1885.

[3] Edinburgh, Oliver and Boyd, 1886.

[4] Of these, Chapter III. is subdivided into two Parts, because of the disproportionate length of the division in the original to which it corresponds.

[5] Preface to "Sordello."

[6] "Endless duration makes good no better, nor white any whiter," is one of Aristotle's comments on Plato's "eternal" ideas, and is just, unless "eternal" conveys a difference of kind.

[7] Whewell, I think, misinterprets Plato's language about astronomy in this sense. Plato is not decrying observation, but demanding a theoretical treatment of the laws of motion,-a remarkable anticipation of modern ideas.

[8] "A Year with the Birds," by an Oxford Tutor.

[9] See note above, p. xii.

[10] The fusion of these meanings in the German "Geist" gives a force to his pleading which English cannot render. He appeals, e.g., triumphantly to "God is a Spirit," i.e. not "a ghost" but "mind."

[11] See Tennyson's "Higher Pantheism," especially the fine lines-

"Speak to Him thou, for He hears, and Spirit with Spirit can meet,

Closer is He than breathing, and nearer than hands and feet."

[12] In Baumgarten's "?sthetica," 1750. See Lotze's "?sthetik in Deutschland," p. 4, and Scherer's "Hist. of German Literature," Engl. Transl., ii. 25.

[13] Aus dem Geiste-allusion to "born of water and of the Spirit."

[14] Not in the sense of fancying what you please, but in the technical sense of having separate existence; detached, so to speak, from the general background of things, not a mere concurrence of other elements.

[15] Has no power of distinguishing itself from other things.

[16] "Das Sch?ne-in dem Scheine."

[17] "Gesetzm?ssigkeit."

[18] "Raisonnement"-a disparaging term in Hegel.

[19] "Particular"-different unconnected matters, considered as merely thrown together in an aggregate, or occurring in a series; opposed to parts or cases united by an essential principle.

[20] "Das G?ttliche."

[21] "Schiene und erschiene."

[22] The life in which we treat common circumstances and sensations as, in their degree, realities.

[23] "Das An-und Fürsichseyende."

[24] "Explication."

[25] "Material," e.g. colour, sound, heavy matter, etc.

[26] "Element:" perhaps more especially any mental function entering into art-sense, imagination, understanding, etc.

[27] "Philosophy," "Wissenschaft."

[28] "Haltpunkte:" ultimate points that the matter of art must not leave hold of, leading ideas that must somehow dominate it.

[29] "Gestaltung:" shaping, as if arrangement of shapes.

[30] "Kunstkenntniss."

[31] "Gelehrsamkeit."

[32] "Par?netischen Lehren."

[33] "Bildenden Künste." I am not sure if I have given the best rendering. It is wider than Plastik, because it includes painting and architecture.

[34] Die Horen-the monthly magazine whose establishment by Schiller, in 1795, first brought Schiller and Goethe into contact. It only existed for three years. See Scherer, Eng. Trans., ii. 173.

[35] That is, not a caprice of nature or art, but the perfection of the object after its kind.

[36] "Individualit?t."

[37] "Helldunkel."

[38] "Drama," Gr. δραμα = Handlung, "action."

[39] "Erscheinung."

[40] "Bestimmung."

[41] "Bestimmend."

[42] "Begeistet wird"-"Is spiritualized."

[43] I have no doubt he means Shakespeare, who was unpopular in Germany before Goethe's time. Vide "Wilhelm Meister."

[44] "Das Wahre sehen nicht die einzelnen," etc.

[45] The exhibition of particulars as contained in the principle, and of the principle as contained in particulars.

[46] "Machen."

[47] "Nach-machen."

[48] See Appendix to Eng. Trans. of Scherer, ii. 347. Goethe's "G?tz von Berlichingen" appeared in 1773; Schiller's "Raüber" in 1781.

[49] The "Iphigenie" was completed in Goethe's thirty-eighth year, fourteen years later than "G?tz." The bulk of his great works are of the same date as the "Iphigenie," or later. See Scherer, ii. 152, and Appendix, 1. c. Schiller's "Wallenstein" was completed after his thirty-fifth year.

[50] Free from irrelevancies.

[51] i.e. it requires a definite or determinate answer, depending on a number of ideas which cannot be explained in an introduction.

[52] i.e. considered generally, apart from the wishes and, perhaps, selfish aims of individual artists.

[53] "Fursichsein."

[54] Reality derivative from his own reality.

[55] He means as in attitude, bearing, gentle movement, etc.

[56] "Bildung."

[57] "Bedurfniss zur Kunst."

[58] i.e. you cannot describe it or picture it definitely, like a thing with attributes, although you feel it in yourself.

[59] i.e. you may be afraid of anything; the fact that you are afraid does not in itself indicate what you are afraid of.

[60] My private feeling is compared to a small circle, in which morality, justice, etc., may be, but have not room to show their nature. Feeling allows of no definition.

[61] All its positive aspects or relations, age, phase, artist's history, etc.

[62] Its sensuous aspect has no independent warrant or justification, as that, for example, of an animal has in its own separate life. So it must simply be such as is enough to appeal to man's mind, e.g. mere surface painting.

[63] i.e. person.

[64] Nothing can be tasted which is not dissolved in a liquid.

[65] "Anschauungen."

[66] Abstract forms, which are to reality as a diagram to a picture.

[67] Lit. "figure," Gestalt.

[68] "Handgriffen."

[69] "Eines geistreichen."

[70] General, abstract, as much applicable to one thing as to another.

[71] "Heuchelei," lit. "hypocrisy."

[72] "Kunststück."

[73] i.e. mere copying, devoting one's-self to the one-sided purpose of making a thing over again, without putting any life or meaning into it.

[74] Which says that the business of art is to imitate.

[75] Of imitation.

[76] "Phantastischen." "Fantastic" means "odd or wild." Hegel only means "original," "creative."

[77] Mechanical, without origination.

[78] "Nüancen." Context seems to forbid referring it to colour. I suspect it of meaning character of outline.

[79] "Erschüttern."

[80] "Raisonnirende;" a term of disparagement in Hegel, applied to proofs, pro and con, which do not rest on a thorough conception of the fundamental nature of what is being discussed.

[81] "Raisonnement."

[82] "Formal" means here as usual, empty, or general; i.e. not taking account of varieties in the matter to which it is applied.

[83] "Befangensein."

[84] "Theoretisch." I have no doubt that it has here the meaning of Θεωρειν without a trace of allusion to "theory." It is opposed to "destructive," or "appetitive."

[85] The moral.

[86] Person, i.e., here, audience or spectator.

[87] "Kernspruch."

[88] "Contingent" means, not so much "what may or may not exist," as the trivial, which makes no difference whether it exists or not.

[89] "In ihm selbst gebrochenes." I do not suppose there is an allusion to the words I use.

[90] "Sittlichkeit" almost = morality in the English sense. It means the habit of virtue, without the reflective aspiration after goodness as an ideal.

[91] "Moralit?t" almost = conscientiousness or scrupulosity. The above sentence is hardly true with the English word "moral."

[92] "Für sich," is often used where there is no notion of development, and seems very like "an sich."

[93] "Gemüth."

[94] As e.g. if we suppose that an act done at the bidding of natural affection cannot also be a fulfilment of the command of duty. The "reconciliation" would be in supposing the natural affection, e.g. for parents, to operate as a moral motive, being transformed by a recognition of its sacred or spiritual character.

[95] "An und für sich."

[96] "An und für sich Wahre."

[97] "Allgemeine Bildung."

[98] "Vorstellung."

[99] See Pref. Essay, p. xix.

[100] Or conscientiousness-what was above described as the moralistic view.

[101] "An sich."

[102] "An und für sich wahrem und wirklichem."

[103] See p. 68, supra.

[104] "Der mensch wie er geht und steht."

[105] "An und für sich."

[106] "Zweck-m?ssigkeit."

[107] i.e. in any means which we adopt in order to effect an end which we have distinctly before us as an idea. A knife does not include cutting, nor a spade digging, although their construction is relative to these ends. But a man does include living, i.e. he is not a man if he ceases to live.

[108] "Für sich."

[109] "An und für sich."

[110] By Kant.

[111] "Unbefangenheit."

[112] On Goethe's discoveries in morphology and errors in optics, see Helmholtz's "Popular Lectures," series i., lecture ii.; but compare Schopenhauer, "Werke," vol. i., "Ueber das Sehn und die Farben."

[113] Compare Browning's "Luria:"-

"A people is but the attempt of many

To rise to the completer life of one."

[114] Or "Of the moral, etc., man."

[115] "Ueber Anmuth und Würde," "Of Grace and Dignity," a work of Schiller that appeared in 1793.

[116] "Gesinnungen."

[117] The Baccalaureus' speech in Faust (Part 2) "Die Welt, sie war nicht, eh' ich sie erschuf," etc., appears to be a parody of Fichte's ideas in this aspect.

[118] I think the order of the German must be a misprint. "So ist nichts an und für sich und in sich selbst werthvoll betrachtet."

[119] "An und für sich seyende."

[120] The three points are, (i.) The I is abstract. (ii.) Everything is a semblance for it. (iii.) Its own acts, even, are a semblance.

[121] Not literal. "Das alles an sich setzende und aufl?sende Ich."

[122] Formal freedom is detachment from everything, or the (apparent) capacity of alternatives; it is opposed to real freedom, which is identification of one's-self with something that is capable of satisfying one.

[123] "Genialit?t:" the character or state of mind in which genius is dominant-here, the mere self-enjoyment of genius.

[124] "Selbstgenuss." I do not think it means self-indulgence, but the above-described enjoyment of reposing in the superiority of the ego.

[125] "Eitelkeit," also = "conceit;" which is the other side of this attitude. Hegel uses it on purpose.

[126] "Eitle."

[127] "Sehnsuchtigkeit."

[128] "Krankhafte Sch?nseligkeit." Sch?nseligkeit seems to be really a word formed like Redselig, etc., but to be given an equivocating reference to "Sch?ne Seele," which I have rendered in the next sentence by "saintly soul."

[129] "Eitlen," "Eitelkeit."

[130] This recurring phrase may be used etymologically, as a reminiscence of the Platonic πληρουσθαι.

[131] Haltung: "bearing" in general, and more especially the bearing of one who bears himself nobly by reason of a principle.

[132] See Scherer, Eng. Transl., ii. 248.

[133] It is natural for a reader to ask in what person or subject God is conceived to have reality. On this see below, p. 165. It appears certain to me that Hegel, when he writes thus, is referring to the self-consciousness of individual human beings as constituting, and reflecting on, an ideal unity between them. This may seem to put a non-natural meaning on the term "person" or "subject," as if the common element of a number of intelligences could be a single person. It is obvious that the question hinges on the degree in which a unity that is not sensuous but ideal can be effective and actual. I can only say here, that the more we consider the nature of ideal unity the higher we shall rate its capabilities. See Prefatory Essay, p. xiv.

[134] Fackeldistel = "Torch thistle," a plant of the genus Cereus, Nat. Order Cactace?.

[135] Or "as spirit and in spirit."

[136] The idea of art.

[137] The two evolutions are, speaking roughly, (i.) that of the subject-matter; (ii.) that of the particular mode of art: (i.) e.g. you have Egyptian, Greek, Christian religion, etc., with the corresponding views and sentiments, each in its own relation to art; (ii.) you have, as a cross division to the former, the several arts-sculpture, music, poetry, etc., each having its special ground and warrant.

[138] He is asking himself why sound or paint, etc., should correspond to one type of art as theoretically defined-this being intellectual, not sensuous, at root-and answers that these media qua natural objects have, though more latent than in works of art, an import and purpose of their own, which reveals itself in their suitability to particular forms of art.

[139] "Gestaltungsformen." I use "plastic" all through in a pregnant sense, as one speaks of plastic fancy, etc.; meaning ideally determinate, and fit for translating into pictures, poetry, etc. These "plastic forms" are the various modifications of the subject-matter of art. See note, p. 139, above.

[140] See note, p. 139, above.

[141] See p. 134, above.

[142] "Gestaltung." I do not think this means the process of shaping, but the shapes taken collectively.

[143] i.e. not in a separate ideal shape devoted to it. He means that man takes a stock or stone as representation or symbol of the divine, and as there is no real connection between divinity and the stone, it may either be left untouched and unshaped, or be hewn into any bizarre or arbitrary shape that comes to hand: see next paragraph.

[144] This description is probably directed, in the first place, to the Indian representation of deities, and would apply to those of many barbaric religions. But its truth may be very simply verified in daily observation of the first attempts of the uneducated at plastic presentation of their ideas, where costliness, ingenuity, labour, or size take the place of beauty.

[145] "Sie als Inneres."

[146] i.e. an idea or purpose which gives these partial and defective representations all the meaning they have, although they are incapable of really expressing it.

[147] "G?hrung," lit. "fermentation."

[148] "Der ursprüngliche Begriff," lit. "the original notion."

[149] i.e. God or the Universe invented man to be the expression of mind; art finds him, and adapts his shape to the artistic embodiment of mind as concentrated in individual instances.

[150] Because it represents the soul as independent of an appropriate body-the human soul as capable of existing in a beast's body.

[151] "Geistigkeit." "The nature of thought, mind, or spirit." It cannot be here rendered by mind or spirit, because these words make us think of an isolated individual, a mind or soul, and neglect the common spiritual or intellectual nature, which is referred to by the author.

[152] It is the essence of mind or thought not to have its parts outside one another. The so-called terms of a judgment are a good instance of parts in thought which are inward to each other.

[153] Compare Browning's "Old Pictures in Florence."

[154] i.e. in the form of feeling and imagination-not reflected upon.

[155] Subject, i.e. conscious individual person.

[156] "Innerlichkeit," lit. "inwardness."

[157] Taken, considered as or determined to be negative.

[158] "Inward," again, does not mean merely inside our heads, but having the character of spirit in that its parts are not external to one another. A judgment is thus "inward."

[159] i.e. does not keep up a distinction between percipient and object, as between things in space. Goodness, nobleness, etc., are not felt to be other than or outside the mind.

[160] The romantic.

[161] i.e. species, modifications naturally arising out of a principle.

[162] Thus e.g. Sculpture is the art which corresponds par excellence to the general type called Classical Art; but there is a Symbolic kind of sculpture, and I suppose a Romantic or modern kind of sculpture, although neither of these types are exactly fitted to the capabilities of Sculpture.

[163] Architecture as relative to the purposes of life and of religion. See below, p. 162.

[164] "Die sch?ne Architectur."

[165] In the sense "self-complete," "not primarily regarded as explained by anything outside," like a machine or an animal contrasted with a wheel or a limb, which latter are finite, because they demand explanation and supplementation from without, i.e. necessarily draw attention to their own limit.

[166] i.e. shape taken simply as an object filling space.

[167] The terms used in the text explain themselves if we compare, e.g., a Teniers with a Greek statue, or again, say, a Turner with the same. "Subjectivity" means that the work of art appeals to our ordinary feelings, experiences, etc. Music and poetry are still stronger cases than painting, according to the theory. Poetry especially can deal with everything.

[168] The unity of the individuals forming a church or nation is not visible, but exists in common sentiments, purposes, etc., and in the recognition of their community.

[169] An expression constantly applied to consciousness, because it can look at itself. Cf.:-

"'Tell me, good Brutus, can you see your face?'

'No, Cassius; for the eye sees not itself

But by reflection, by some other things.'"

Julius C?sar.

[170] Posited or laid down to be ideal; almost = pronounced or made to be in the sense of not being; e.g. musical sound is "ideal" as existing, qua work of art, in memory only, the moment in which it is actually heard being fugitive; a picture, in respect of the third dimension, which has to be read into it; and poetry is almost wholly ideal, i.e. uses hardly any sensuous element, but appeals almost entirely to what exists in the mind. "Subdivided," "besondert," like "particularisirt" above; because of the variety and diversity present in the mere material of colours, musical sounds, and ideas.

[171] Again, the subject of a Turner or Teniers is not objectively universal, in the simplest sense; not something that is actually and literally the same everywhere and for every one. And both painting and music (immediately sensuous elements) are less completely amalgamated with the ideal, represent it less solidly and thoroughly than the statue, so far as the ideal is itself external or plastic.

[172] The greater affinity of Romantic art with the movement and variety of the modern spirit displays itself not only in the greater flexibility of painting, music, or poetry, as compared with architecture and sculpture, but in the fact that the Romantic type contains these three arts at least, while the Symbolic and Classical types had only one art each.

[173] This is drawn from Goethe's doctrine of colour, which Hegel unfortunately adopted in opposition to Newton's theory.

[174] He means landscape, principally.

[175] "Aufheben," used pregnantly by Hegel to mean both "cancel," "annul," and, "preserve," "fix in mind," "idealize." The use of this word is a cardinal point of his dialectic. See "Wiss. der Logik.," i. 104. I know of no equivalent but "put by," provincial Scotch "put past." The negation of space is an attribute of music. The parts of a chord are no more in space than are the parts of a judgment. Hegel expresses this by saying that music idealizes space and concentrates it into a point.

[176] The parts of space, though external to each other, are not distinguished by qualitative peculiarities.

[177] "Aufheben."

[178] "Ideality of matter:" the distinctively material attribute of a sonorous body, its extension, only appears in its sound indirectly, or inferentially, by modifying the nature of the sound. It is, therefore, "idealized."

[179] Succession in time is a degree more "ideal" than co-existence in space, because it exists solely in the medium of memory.

[180] "Seele:" mind on its individual side, as a particular feeling subject. "Geist" is rather mind as the common nature of intelligence. Thus in feeling and self-feeling, mind is said to concentrate itself into a soul.

[181] Hegel seems to accept this view. Was he insensible to sound in poetry? Some very grotesque verses of his, preserved in his biography, go to show that his ear was not sensitive. Yet his critical estimate of poetry is usually just. Shakespeare and Sophocles were probably his favourites. And, as a matter of proportion, what he here says is true. It must be remembered that the beauty of sound in poetry is to a great extent indirect, being supplied by the passion or emotion which the ideas symbolized by the sounds arouse. The beauty of poetical sound in itself is very likely less than often supposed. It must have the capacity for receiving passionate expression; but that is not the same as the sensuous beauty of a note or a colour. If the words used in a noble poem were divested of all meaning, they would lose much, though not all, of the beauty of their sound.

[182] "Stages or elements." "Momente," Hegel's technical phrase for the stages which form the essential parts or factors of any idea. They make their appearance successively, but the earlier are implied and retained in the later.

[183] Adequate, and so of permanent value.

Transcriber's Note

Obvious typographical errors have been corrected, but inconsistencies of spelling, hyphenation and accent have been retained.

The table of contents confuses Translator's Preface and Prefatory Essay by the Translator, omitting the second of these. This has been corrected.

The list of publications contains a number of asterisms shown as [asterism].

The page reference in the book catalogue index to Theosophy has been corrected.