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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..6b20808 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #68657 (https://www.gutenberg.org/ebooks/68657) diff --git a/old/68657-0.txt b/old/68657-0.txt deleted file mode 100644 index 09af71b..0000000 --- a/old/68657-0.txt +++ /dev/null @@ -1,883 +0,0 @@ -The Project Gutenberg eBook of A book of images, by William Thomas -Horton - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: A book of images - -Illustrator: William Thomas Horton - -Contributor: William Butler Yeats - -Release Date: July 31, 2022 [eBook #68657] - -Language: English - -Produced by: Tim Lindell, Charlie Howard, and the Online Distributed - Proofreading Team at https://www.pgdp.net (This file was - produced from images generously made available by The - Internet Archive/American Libraries.) - -*** START OF THE PROJECT GUTENBERG EBOOK A BOOK OF IMAGES *** - - - - - -[Illustration: (cover)] - - - - - THE UNICORN QUARTOS, NUMBER TWO. A BOOK OF IMAGES. - DRAWN BY WILLIAM T. HORTON, INTRODUCED BY W. B. - YEATS, AND PUBLISHED AT THE UNICORN PRESS, VII. CECIL - COURT, ST. MARTIN’S LANE, LONDON. MDCCCXCVIII. - - -“=A Book of Images.=”--Page 14, Line 4. - - _The Publishers are asked to state that “The Brotherhood of the - New Life” claims to be practical rather than visionary, and that - the “waking dreams” referred to in the above passage are a purely - personal matter._ - - - - - A BOOK OF IMAGES - DRAWN BY W. T. - HORTON & INTRODUCED - BY W. B. YEATS - - - LONDON AT THE UNICORN - PRESS VII CECIL COURT ST. - MARTIN’S LANE MDCCCXCVIII - - - - -CONTENTS. - - - PAGE - - INTRODUCTION BY W. B. YEATS, 7 - - - “BY THE CANAL,” 17 - - “CHATEAU ULTIME,” 19 - - “THE OLD PIER,” 21 - - “NOTRE DAME DE PARIS,” 23 - - “TREES WALKING,” 25 - - “LA RUE DES PETITS-TOITS,” 27 - - “LONELINESS,” 29 - - “THE WAVE,” 31 - - “NOCTURNE,” 33 - - “THE GAP,” 35 - - “THE VIADUCT,” 37 - - “THE PATH TO THE MOON,” 39 - - “DIANA,” 41 - - “ALL THY WAVES ARE GONE OVER ME,” 43 - - “MAMMON,” 45 - - “ST. GEORGE,” 47 - - “TEMPTATION,” 49 - - “SANCTA DEI GENITRIX,” 51 - - “THE ANGEL OF DEATH,” 53 - - “ASCENDING INTO HEAVEN,” 55 - - “ROSA MYSTICA,” 57 - - “ASSUMPTIO,” 59 - - “BE STRONG,” 61 - - - - -INTRODUCTION. - - -In England, which has made great Symbolic Art, most people dislike -an art if they are told it is symbolic, for they confuse symbol and -allegory. Even Johnson’s Dictionary sees no great difference, for it -calls a Symbol “That which comprehends in its figure a representation -of something else;” and an Allegory, “A figurative discourse, in which -something other is intended than is contained in the words literally -taken.” It is only a very modern Dictionary that calls a Symbol “The -sign or representation of any moral thing by the images or properties -of natural things,” which, though an imperfect definition, is not -unlike “The things below are as the things above” of the Emerald Tablet -of Hermes! _The Faery Queen_ and _The Pilgrim’s Progress_ have been -so important in England that Allegory has overtopped Symbolism, and -for a time has overwhelmed it in its own downfall. William Blake was -perhaps the first modern to insist on a difference; and the other day, -when I sat for my portrait to a German Symbolist in Paris, whose talk -was all of his love for Symbolism and his hatred for Allegory, his -definitions were the same as William Blake’s, of whom he knew nothing. -William Blake has written, “Vision or imagination”--meaning symbolism -by these words--“is a representation of what actually exists, really or -unchangeably. Fable or Allegory is formed by the daughters of Memory.” -The German insisted in broken English, and with many gestures, that -Symbolism said things which could not be said so perfectly in any other -way, and needed but a right instinct for its understanding; while -Allegory said things which could be said as well, or better, in another -way, and needed a right knowledge for its understanding. The one gave -dumb things voices, and bodiless things bodies; while the other read a -meaning--which had never lacked its voice or its body--into something -heard or seen, and loved less for the meaning than for its own sake. -The only symbols he cared for were the shapes and motions of the body; -ears hidden by the hair, to make one think of a mind busy with inner -voices; and a head so bent that back and neck made the one curve, as in -Blake’s _Vision of Bloodthirstiness_, to call up an emotion of bodily -strength; and he would not put even a lily, or a rose, or a poppy into -a picture to express purity, or love, or sleep, because he thought -such emblems were allegorical, and had their meaning by a traditional -and not by a natural right. I said that the rose, and the lily, and -the poppy were so married, by their colour, and their odour, and their -use, to love and purity and sleep, or to other symbols of love and -purity and sleep, and had been so long a part of the imagination of the -world, that a symbolist might use them to help out his meaning without -becoming an allegorist. I think I quoted the lily in the hand of the -angel in Rossetti’s _Annunciation_, and the lily in the jar in his -_Childhood of Mary Virgin_, and thought they made the more important -symbols,--the women’s bodies, and the angels’ bodies, and the clear -morning light, take that place, in the great procession of Christian -symbols, where they can alone have all their meaning and all their -beauty. - -It is hard to say where Allegory and Symbolism melt into one another, -but it is not hard to say where either comes to its perfection; and -though one may doubt whether Allegory or Symbolism is the greater -in the horns of Michael Angelo’s _Moses_, one need not doubt that -its symbolism has helped to awaken the modern imagination; while -Tintoretto’s _Origin of the Milky Way_, which is Allegory without any -Symbolism, is, apart from its fine painting, but a moment’s amusement -for our fancy. A hundred generations might write out what seemed the -meaning of the one, and they would write different meanings, for no -symbol tells all its meaning to any generation; but when you have said, -“That woman there is Juno, and the milk out of her breast is making -the Milky Way,” you have told the meaning of the other, and the fine -painting, which has added so much unnecessary beauty, has not told it -better. - - * * * * * - -2. All Art that is not mere story-telling, or mere portraiture, is -symbolic, and has the purpose of those symbolic talismans which -mediæval magicians made with complex colours and forms, and bade -their patients ponder over daily, and guard with holy secrecy; for it -entangles, in complex colours and forms, a part of the Divine Essence. -A person or a landscape that is a part of a story or a portrait, evokes -but so much emotion as the story or the portrait can permit without -loosening the bonds that make it a story or a portrait; but if you -liberate a person or a landscape from the bonds of motives and their -actions, causes and their effects, and from all bonds but the bonds -of your love, it will change under your eyes, and become a symbol -of an infinite emotion, a perfected emotion, a part of the Divine -Essence; for we love nothing but the perfect, and our dreams make all -things perfect, that we may love them. Religious and visionary people, -monks and nuns, and medicine-men, and opium-eaters, see symbols in -their trances; for religious and visionary thought is thought about -perfection and the way to perfection; and symbols are the only things -free enough from all bonds to speak of perfection. - -Wagner’s dramas, Keats’ odes, Blake’s pictures and poems, Calvert’s -pictures, Rossetti’s pictures, Villiers de Lisle Adam’s plays, and -the black-and-white art of M. Herrmann, Mr. Beardsley, Mr. Ricketts, -and Mr. Horton, the lithographs of Mr. Shannon, and the pictures -of Mr. Whistler, and the plays of M. Maeterlinck, and the poetry of -Verlaine, in our own day, but differ from the religious art of Giotto -and his disciples in having accepted all symbolisms, the symbolism of -the ancient shepherds and star-gazers, that symbolism of bodily beauty -which seemed a wicked thing to Fra Angelico, the symbolism in day and -night, and winter and summer, spring and autumn, once so great a part -of an older religion than Christianity; and in having accepted all the -Divine Intellect, its anger and its pity, its waking and its sleep, its -love and its lust, for the substance of their art. A Keats or a Calvert -is as much a symbolist as a Blake or a Wagner; but he is a fragmentary -symbolist, for while he evokes in his persons and his landscapes an -infinite emotion, a perfected emotion, a part of the Divine Essence, he -does not set his symbols in the great procession as Blake would have -him, “in a certain order, suited to his ‘imaginative energy.’” If you -paint a beautiful woman and fill her face, as Rossetti filled so many -faces, with an infinite love, a perfected love, “one’s eyes meet no -mortal thing when they meet the light of her peaceful eyes,” as Michael -Angelo said of Vittoria Colonna; but one’s thoughts stray to mortal -things, and ask, maybe, “Has her love gone from her, or is he coming?” -or “What predestinated unhappiness has made the shadow in her eyes?” -If you paint the same face, and set a winged rose or a rose of gold -somewhere about her, one’s thoughts are of her immortal sisters, Pity -and Jealousy, and of her mother, Ancestral Beauty, and of her high -kinsmen, the Holy Orders, whose swords make a continual music before -her face. The systematic mystic is not the greatest of artists, because -his imagination is too great to be bounded by a picture or a song, and -because only imperfection in a mirror of perfection, or perfection -in a mirror of imperfection, delight our frailty. There is indeed a -systematic mystic in every poet or painter who, like Rossetti, delights -in a traditional Symbolism, or, like Wagner, delights in a personal -Symbolism; and such men often fall into trances, or have waking -dreams. Their thought wanders from the woman who is Love herself, to -her sisters and her forebears, and to all the great procession; and -so august a beauty moves before the mind, that they forget the things -which move before the eyes. William Blake, who was the chanticleer -of the new dawn, has written: “If the spectator could enter into one -of these images of his imagination, approaching them on the fiery -chariot of his contemplative thought, if ... he could make a friend and -companion of one of these images of wonder, which always entreat him -to leave mortal things (as he must know), then would he arise from the -grave, then would he meet the Lord in the air, and then he would be -happy.” And again, “The world of imagination is the world of Eternity. -It is the Divine bosom into which we shall all go after the death of -the vegetated body. The world of imagination is infinite and eternal, -whereas the world of generation or vegetation is finite and temporal. -There exist in that eternal world the eternal realities of everything -which we see reflected in the vegetable glass of nature.” - -Every visionary knows that the mind’s eye soon comes to see a -capricious and variable world, which the will cannot shape or change, -though it can call it up and banish it again. I closed my eyes a moment -ago, and a company of people in blue robes swept by me in a blinding -light, and had gone before I had done more than see little roses -embroidered on the hems of their robes, and confused, blossoming apple -boughs somewhere beyond them, and recognised one of the company by his -square, black, curling beard. I have often seen him; and one night a -year ago, I asked him questions which he answered by showing me flowers -and precious stones, of whose meaning I had no knowledge, and seemed -too perfected a soul for any knowledge that cannot be spoken in symbol -or metaphor. - -Are he and his blue-robed companions, and their like, “the Eternal -realities” of which we are the reflection “in the vegetable glass of -nature,” or a momentary dream? To answer is to take sides in the only -controversy in which it is greatly worth taking sides, and in the only -controversy which may never be decided. - - * * * * * - -3. Mr. Horton, who is a disciple of “The Brotherhood of the New Life,” -which finds the way to God in waking dreams, has his waking dreams, but -more detailed and vivid than mine; and copies them in his drawings as -if they were models posed for him by some unearthly master. A disciple -of perhaps the most mediæval movement in modern mysticism, he has -delighted in picturing the streets of mediæval German towns, and the -castles of mediæval romances; and, at moments, as in _All Thy waves -are gone over me_, the images of a kind of humorous piety like that -of the mediæval miracle-plays and moralities. Always interesting when -he pictures the principal symbols of his faith, the woman of _Rosa -Mystica_ and _Ascending into Heaven_, who is the Divine womanhood, -the man-at-arms of _St. George_ and _Be Strong_, who is the Divine -manhood, he is at his best in picturing the Magi, who are the wisdom -of the world, uplifting their thuribles before the Christ, who is -the union of the Divine manhood and the Divine womanhood. The rays -of the halo, the great beams of the manger, the rich ornament of the -thuribles and of the cloaks, make up a pattern where the homeliness -come of his pity mixes with an elaborateness come of his adoration. -Even the phantastic landscapes, the entangled chimneys against a white -sky, the dark valley with its little points of light, the cloudy and -fragile towns and churches, are part of the history of a soul; for -Mr. Horton tells me that he has made them spectral, to make himself -feel all things but a waking dream; and whenever spiritual purpose -mixes with artistic purpose, and not to its injury, it gives it a new -sincerity, a new simplicity. He tried at first to copy his models in -colour, and with little mastery over colour when even great mastery -would not have helped him, and very literally: but soon found that -you could only represent a world where nothing is still for a moment, -and where colours have odours and odours musical notes, by formal and -conventional images, midway between the scenery and persons of common -life, and the geometrical emblems on mediæval talismans. His images are -still few, though they are becoming more plentiful, and will probably -be always but few; for he who is content to copy common life need never -repeat an image, because his eyes show him always changing scenes, and -none that cannot be copied; but there must always be a certain monotony -in the work of the Symbolist, who can only make symbols out of the -things that he loves. Rossetti and Botticelli have put the same face -into a number of pictures; M. Maeterlinck has put a mysterious comer, -and a lighthouse, and a well in a wood into several plays; and Mr. -Horton has repeated again and again the woman of _Rosa Mystica_, and -the man-at-arms of _Be Strong_; and has put the crooked way of _The -Path to the Moon_, “the straight and narrow way” into _St. George_, and -an old drawing in _The Savoy_; the abyss of _The Gap_, the abyss which -is always under all things, into drawings that are not in this book; -and the wave of _The Wave_, which is God’s overshadowing love, into -_All Thy waves are gone over me_. - -These formal and conventional images were at first but parts of his -waking dreams, taken away from the parts that could not be drawn; for -he forgot, as Blake often forgot, that you should no more draw the -things the mind has seen than the things the eyes have seen, without -considering what your scheme of colour and line, or your shape and kind -of paper can best say: but his later drawings, _Sancta Dei Genitrix_ -and _Ascending into Heaven_ for instance, show that he is beginning to -see his waking dreams over again in the magical mirror of his art. He -is beginning, too, to draw more accurately, and will doubtless draw as -accurately as the greater number of the more visionary Symbolists, who -have never, from the days when visionary Symbolists carved formal and -conventional images of stone in Assyria and Egypt, drawn as accurately -as men who are interested in things and not in the meaning of things. -His art is immature, but it is more interesting than the mature art -of our magazines, for it is the reverie of a lonely and profound -temperament. - - W. B. YEATS. - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - - - THIS BOOK WAS PRINTED BY MESSRS. MORRISON AND GIBB, TANFIELD, - EDINBURGH. - - THE BLOCKS WERE ENGRAVED BY THE ART REPRODUCTION COMPANY, LONDON. - - - - -At the Unicorn Press. - - -MM. RODIN, FANTIN-LATOUR, AND LEGROS. - - Three Lithographed Drawings by WILL ROTHENSTEIN. _In a Wrapper. - Price_ =£2, 2s.= _each set_. - -*⁎* These Portraits were made from sittings given in Paris in 1897. -Only fifty copies of each drawing were printed (by Mr. Way), and the -stones have been destroyed. Twenty-five sets (each drawing on hand-made -Van Guelder paper and signed by the Artist) now remain for sale. - - -MR. AUBREY BEARDSLEY. - - A Lithographed Drawing by WILL ROTHENSTEIN. _Price_ =£1, 1s.= - -*⁎* No later Portrait than this appears to have been made. After the -first few trial proofs only fifty copies were printed, and the stone -has been destroyed. The few copies now offered are all numbered and -signed Artist’s Proofs. - - -PIRANESI’S “CARCERI.” - - Sixteen Plates, each measuring 21 by 16 inches over all, with an - Introduction by E. J. OLDMEADOW. Two hundred copies only. - _Price_ =£2, 2s.= _net_. - - [_Nearly ready._ - - -A BOOK OF GIANTS. - - Drawn, engraved, and written by WILLIAM STRANG. _Fcap. 4to, in a - binding designed by the Author. Price_ =2s. 6d.= _net_. - -*⁎* “A Book of Giants” contains twelve original wood engravings, -accompanied by humorous verses. Admirers and collectors of Mr. Strang’s -etchings will hasten to acquire copies of this, his first published set -of woodcuts; but its interest for a wider public, and as a children’s -book, should be only a degree less great. - -Twenty-five copies, printed from the original blocks, will be -hand-coloured by Mr. Strang. Particulars of this edition may be -obtained from the Publishers. - - -A BOOK OF IMAGES. - - Drawn by W. T. HORTON, and Introduced by W. B. YEATS. _Fcap. 8vo, - boards. Price_ =2s. 6d.= _net_. - -*⁎* This book contains twenty-four drawings, including a set of -Imaginary Landscapes and a number of Mystical Pieces. - - -VERISIMILITUDES. - - A Volume of Stories by RUDOLF DIRCKS. _Imperial 16mo, cloth, - gilt._ =3s. 6d.= - -=The Manchester Courier=:--“Mr. Dircks is one of the cleverest writers -of the day.... Sure analysis of character, artistic use of incident.... -The volume will be highly valued by lovers of short stories.” - -=The Star=:--“Good work. Mr. Dircks has insight and the courage to -efface himself; he is uncompromisingly true to his subjects; and he -knows to a hair’s-breadth what a short story can and cannot do.... Well -worth reprinting in the exquisite form given them by the publishers.” - -=The Whitehall Review=:--“Great and nervous originality.... A masterly -observer.... A number of pictures of the emotions, drawn with a -fearless truth that is as delightful as it is rare, ... by a genuine -artist.” - - -SHADOWS AND FIREFLIES. - - By LOUIS BARSAC. _Imp. 16mo, bevelled and extra gilt. Price_ - =3s. 6d.= _net_. SECOND EDITION. - -=The Outlook=:--“Mr. Barsac has a genuine gift of expression and a -refined sense of natural beauty.” - -“J. D.” in =The Star=:--“The sonnets attain a particularly high level. -_The Earth Ship_ ... is splendidly imagined and splendidly wrought.... -In all there is strong evidence of original poetical talent.” - -=The New Age=:--“One of the most promising efforts of the younger muse -since the early volumes of Mr. William Watson and Mr. John Davidson.” - - -THE LITTLE CHRISTIAN YEAR: - - A BOOK OF PRAYERS AND VERSES. _Medium 16mo, parchment, gilt - top. Price_ =2s. 6d.= _net_. - - [_Just ready._ - - -THE DOME. - - A Quarterly. _One Hundred pages, Pott 4to, boards. Price_ =1s.= - _net, or_ =5s.= _per annum, post free_. - -*⁎* Each number of _The Dome_ contains about twenty examples of Music, -Architecture, Literature, Drawing, Painting, and Engraving, including -several Coloured Plates. Among the Contributors to the first five -numbers are--Louis Barsac, Laurence Binyon, Vernon Blackburn, H. W. -Brewer, Ingeborg von Bronsart, L. Dougall, Olivier Destrée, Campbell -Dodgson, Edward Elgar, Charles Holmes, Laurence Housman, W. T. Horton, -Edgardo Levi, Liza Lehmann, Alice Meynell, J. Moorat, W. Nicholson, -Charles Pears, Stephen Phillips, Beresford Pite, J. F. Runciman, Byam -Shaw, Arthur Symons, Francis Thompson, F. Vielé-Griffin, Gleeson White, -J. E. Woodmeald, Paul Woodroffe, and W. B. Yeats. - - - - -Transcriber’s Notes - - -Italic text is enclosed in _underscores_. Boldface text is enclosed in -=equals signs=. - -Simple typographical errors were corrected. Punctuation, hyphenation, -and spelling were made consistent when a predominant preference was -found in the original book; otherwise they were not changed. - -The illustrations have no captions. - -*** END OF THE PROJECT GUTENBERG EBOOK A BOOK OF IMAGES *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. 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margin-right: -.03em;} -.wspace {word-spacing: .3em;} - -.pagenum br {display: none; visibility: hidden;} -.asterism {letter-spacing: -.1em;} - -div#ads {max-width: 90%; margin-left: auto; margin-right: auto;} -#ads p {font-size: .9em;} -#ads p.book { - text-indent: -1.5em; - margin: 1.5em auto .5em 1.5em; - font-size: 1.2em; - font-weight: bold; - word-spacing: .2em; -} -#ads p.hang { - font-size: 1em; - margin-left: 2.5em; - text-indent: -1.5em; -} - -p#block1 { - text-indent: 0; - max-width: 18em; - margin: 4em auto auto auto; - line-height: 1.3; - font-variant: small-caps; - text-transform: lowercase; -} -p#block2 { - text-indent: 0; - max-width: 25em; - margin: 1em auto auto auto; - line-height: 1.3; -} - - /* ]]> */ </style> -</head> - -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of A book of images, by William Thomas Horton</p> -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: A book of images</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Illustrator: William Thomas Horton</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Contributor: William Butler Yeats</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: July 31, 2022 [eBook #68657]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Tim Lindell, Charlie Howard, and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK A BOOK OF IMAGES ***</div> - -<div class="transnote"> -<p class="center larger">Transcriber’s Note</p> - -<p>Larger versions of most illustrations may be seen by right-clicking them -and selecting an option to view them separately, or by double-tapping and/or -stretching them.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<div id="coversmall" class="figcenter" style="max-width: 25em;"> - <img src="images/coversmall.jpg" width="1551" height="2138" alt="(cover)" /></div></div> - -<div class="chapter newpage"> - -<hr class="chap x-ebookmaker-drop" /> - -<p id="block1">THE UNICORN QUARTOS, NUMBER TWO. A -BOOK OF IMAGES. DRAWN BY WILLIAM T. -HORTON, INTRODUCED BY W. B. YEATS, -AND PUBLISHED AT THE UNICORN -PRESS, VII. CECIL COURT, ST. MARTIN’S -LANE, LONDON. MDCCCXCVIII.</p> - -<p class="p4 in0">“<b>A Book of Images.</b>”—Page 14, Line 4.</p> - -<p id="block2"><i>The Publishers are asked to state that “The Brotherhood -of the New Life” claims to be practical rather than -visionary, and that the “waking dreams” referred to in -the above passage are a purely personal matter.</i></p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter center wspace"> -<h1 class="gesperrt3">A BOOK OF IMAGES</h1> - -<p class="p0 xxlarge"><span class="gesperrt4">DRAWN BY W. T.</span><br /> -HORTON & INTRODUCED<br /> -<span class="gesperrt5">BY W. B. YEATS</span></p> - -<p class="p4 xlarge"><span class="gesperrt1">LONDON AT THE UNICORN</span><br /> -<span class="gesperrt2">PRESS VII CECIL COURT ST.</span><br /> -MARTIN’S LANE MDCCCXCVIII -</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="CONTENTS">CONTENTS.</h2> -</div> - -<table id="toc"> -<tr class="small"> - <td> </td> - <td class="tdr">PAGE</td> -</tr> -<tr class="bpad"> - <td class="tdl"><span class="smcap">Introduction by W. B. Yeats</span>,</td> - <td class="tdr"><a href="#Page_7">7</a></td> -</tr> -<tr> - <td class="tdl">“BY THE CANAL,”</td> - <td class="tdr"><a href="#Page_17">17</a></td> -</tr> -<tr> - <td class="tdl">“CHATEAU ULTIME,”</td> - <td class="tdr"><a href="#Page_19">19</a></td> -</tr> -<tr> - <td class="tdl">“THE OLD PIER,”</td> - <td class="tdr"><a href="#Page_21">21</a></td> -</tr> -<tr> - <td class="tdl">“NOTRE DAME DE PARIS,”</td> - <td class="tdr"><a href="#Page_23">23</a></td> -</tr> -<tr> - <td class="tdl">“TREES WALKING,”</td> - <td class="tdr"><a href="#Page_25">25</a></td> -</tr> -<tr> - <td class="tdl">“LA RUE DES PETITS-TOITS,”</td> - <td class="tdr"><a href="#Page_27">27</a></td> -</tr> -<tr> - <td class="tdl">“LONELINESS,”</td> - <td class="tdr"><a href="#Page_29">29</a></td> -</tr> -<tr> - <td class="tdl">“THE WAVE,”</td> - <td class="tdr"><a href="#Page_31">31</a></td> -</tr> -<tr> - <td class="tdl">“NOCTURNE,”</td> - <td class="tdr"><a href="#Page_33">33</a></td> -</tr> -<tr> - <td class="tdl">“THE GAP,”</td> - <td class="tdr"><a href="#Page_35">35</a></td> -</tr> -<tr> - <td class="tdl">“THE VIADUCT,”</td> - <td class="tdr"><a href="#Page_37">37</a></td> -</tr> -<tr> - <td class="tdl">“THE PATH TO THE MOON,”</td> - <td class="tdr"><a href="#Page_39">39</a></td> -</tr> -<tr> - <td class="tdl">“DIANA,”</td> - <td class="tdr"><a href="#Page_41">41</a></td> -</tr> -<tr> - <td class="tdl">“ALL THY WAVES ARE GONE OVER ME,”</td> - <td class="tdr"><a href="#Page_43">43</a></td> -</tr> -<tr> - <td class="tdl">“MAMMON,”</td> - <td class="tdr"><a href="#Page_45">45</a></td> -</tr> -<tr> - <td class="tdl">“ST. GEORGE,”</td> - <td class="tdr"><a href="#Page_47">47</a></td> -</tr> -<tr> - <td class="tdl">“TEMPTATION,”</td> - <td class="tdr"><a href="#Page_49">49</a></td> -</tr> -<tr> - <td class="tdl">“SANCTA DEI GENITRIX,”</td> - <td class="tdr"><a href="#Page_51">51</a></td> -</tr> -<tr> - <td class="tdl">“THE ANGEL OF DEATH,”</td> - <td class="tdr"><a href="#Page_53">53</a></td> -</tr> -<tr> - <td class="tdl">“ASCENDING INTO HEAVEN,”</td> - <td class="tdr"><a href="#Page_55">55</a></td> -</tr> -<tr> - <td class="tdl">“ROSA MYSTICA,”</td> - <td class="tdr"><a href="#Page_57">57</a></td> -</tr> -<tr> - <td class="tdl">“ASSUMPTIO,”</td> - <td class="tdr"><a href="#Page_59">59</a></td> -</tr> -<tr> - <td class="tdl">“BE STRONG,”</td> - <td class="tdr"><a href="#Page_61">61</a></td> -</tr> -</table> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_7">7</span></p> - -<h2 class="nobreak" id="INTRODUCTION">INTRODUCTION.</h2> -</div> - -<p class="drop-cap"><span class="smcap1">In</span> England, which has made great Symbolic Art, most -people dislike an art if they are told it is symbolic, -for they confuse symbol and allegory. Even Johnson’s -Dictionary sees no great difference, for it calls a Symbol -“That which comprehends in its figure a representation of -something else;” and an Allegory, “A figurative discourse, -in which something other is intended than is contained in -the words literally taken.” It is only a very modern -Dictionary that calls a Symbol “The sign or representation -of any moral thing by the images or properties of natural -things,” which, though an imperfect definition, is not -unlike “The things below are as the things above” of -the Emerald Tablet of Hermes! <i>The Faery Queen</i> and -<i>The Pilgrim’s Progress</i> have been so important in England -that Allegory has overtopped Symbolism, and for a time -has overwhelmed it in its own downfall. William Blake -was perhaps the first modern to insist on a difference; -and the other day, when I sat for my portrait to a German -Symbolist in Paris, whose talk was all of his love for -Symbolism and his hatred for Allegory, his definitions<span class="pagenum" id="Page_8">8</span> -were the same as William Blake’s, of whom he knew -nothing. William Blake has written, “Vision or imagination”—meaning -symbolism by these words—“is a representation -of what actually exists, really or unchangeably. -Fable or Allegory is formed by the daughters of Memory.” -The German insisted in broken English, and with many -gestures, that Symbolism said things which could not be -said so perfectly in any other way, and needed but a right -instinct for its understanding; while Allegory said things -which could be said as well, or better, in another way, -and needed a right knowledge for its understanding. The -one gave dumb things voices, and bodiless things bodies; -while the other read a meaning—which had never lacked -its voice or its body—into something heard or seen, and -loved less for the meaning than for its own sake. The only -symbols he cared for were the shapes and motions of the -body; ears hidden by the hair, to make one think of a mind -busy with inner voices; and a head so bent that back and -neck made the one curve, as in Blake’s <i>Vision of Bloodthirstiness</i>, -to call up an emotion of bodily strength; and -he would not put even a lily, or a rose, or a poppy into a -picture to express purity, or love, or sleep, because he -thought such emblems were allegorical, and had their -meaning by a traditional and not by a natural right. I -said that the rose, and the lily, and the poppy were so -married, by their colour, and their odour, and their use, to -love and purity and sleep, or to other symbols of love<span class="pagenum" id="Page_9">9</span> -and purity and sleep, and had been so long a part of the -imagination of the world, that a symbolist might use them -to help out his meaning without becoming an allegorist. -I think I quoted the lily in the hand of the angel in -Rossetti’s <i>Annunciation</i>, and the lily in the jar in his -<i>Childhood of Mary Virgin</i>, and thought they made the -more important symbols,—the women’s bodies, and the -angels’ bodies, and the clear morning light, take that -place, in the great procession of Christian symbols, where -they can alone have all their meaning and all their beauty.</p> - -<p>It is hard to say where Allegory and Symbolism -melt into one another, but it is not hard to say where -either comes to its perfection; and though one may -doubt whether Allegory or Symbolism is the greater in -the horns of Michael Angelo’s <i>Moses</i>, one need not doubt -that its symbolism has helped to awaken the modern -imagination; while Tintoretto’s <i>Origin of the Milky Way</i>, -which is Allegory without any Symbolism, is, apart from -its fine painting, but a moment’s amusement for our -fancy. A hundred generations might write out what -seemed the meaning of the one, and they would write -different meanings, for no symbol tells all its meaning -to any generation; but when you have said, “That -woman there is Juno, and the milk out of her breast is -making the Milky Way,” you have told the meaning of -the other, and the fine painting, which has added so -much unnecessary beauty, has not told it better.</p> - -<p><span class="pagenum" id="Page_10">10</span></p> - -<div class="tb">* * * * *</div> - -<p>2. All Art that is not mere story-telling, or mere -portraiture, is symbolic, and has the purpose of those -symbolic talismans which mediæval magicians made with -complex colours and forms, and bade their patients -ponder over daily, and guard with holy secrecy; for it -entangles, in complex colours and forms, a part of -the Divine Essence. A person or a landscape that is -a part of a story or a portrait, evokes but so much -emotion as the story or the portrait can permit without -loosening the bonds that make it a story or a portrait; -but if you liberate a person or a landscape from the -bonds of motives and their actions, causes and their -effects, and from all bonds but the bonds of your love, -it will change under your eyes, and become a symbol -of an infinite emotion, a perfected emotion, a part of the -Divine Essence; for we love nothing but the perfect, -and our dreams make all things perfect, that we may -love them. Religious and visionary people, monks and -nuns, and medicine-men, and opium-eaters, see symbols in -their trances; for religious and visionary thought is thought -about perfection and the way to perfection; and symbols -are the only things free enough from all bonds to speak -of perfection.</p> - -<p>Wagner’s dramas, Keats’ odes, Blake’s pictures and -poems, Calvert’s pictures, Rossetti’s pictures, Villiers -de Lisle Adam’s plays, and the black-and-white art -of M. Herrmann, Mr. Beardsley, Mr. Ricketts, and<span class="pagenum" id="Page_11">11</span> -Mr. Horton, the lithographs of Mr. Shannon, and -the pictures of Mr. Whistler, and the plays of M. -Maeterlinck, and the poetry of Verlaine, in our own -day, but differ from the religious art of Giotto and -his disciples in having accepted all symbolisms, the -symbolism of the ancient shepherds and star-gazers, -that symbolism of bodily beauty which seemed a wicked -thing to Fra Angelico, the symbolism in day and night, and -winter and summer, spring and autumn, once so great -a part of an older religion than Christianity; and in -having accepted all the Divine Intellect, its anger and -its pity, its waking and its sleep, its love and its lust, -for the substance of their art. A Keats or a Calvert is -as much a symbolist as a Blake or a Wagner; but -he is a fragmentary symbolist, for while he evokes in -his persons and his landscapes an infinite emotion, a -perfected emotion, a part of the Divine Essence, he -does not set his symbols in the great procession as -Blake would have him, “in a certain order, suited to -his ‘imaginative energy.’” If you paint a beautiful woman -and fill her face, as Rossetti filled so many faces, with -an infinite love, a perfected love, “one’s eyes meet no -mortal thing when they meet the light of her peaceful -eyes,” as Michael Angelo said of Vittoria Colonna; -but one’s thoughts stray to mortal things, and ask, maybe, -“Has her love gone from her, or is he coming?” or “What -predestinated unhappiness has made the shadow in her<span class="pagenum" id="Page_12">12</span> -eyes?” If you paint the same face, and set a winged -rose or a rose of gold somewhere about her, one’s thoughts -are of her immortal sisters, Pity and Jealousy, and of her -mother, Ancestral Beauty, and of her high kinsmen, -the Holy Orders, whose swords make a continual music -before her face. The systematic mystic is not the -greatest of artists, because his imagination is too -great to be bounded by a picture or a song, and -because only imperfection in a mirror of perfection, -or perfection in a mirror of imperfection, delight our -frailty. There is indeed a systematic mystic in every -poet or painter who, like Rossetti, delights in a -traditional Symbolism, or, like Wagner, delights in a -personal Symbolism; and such men often fall into trances, -or have waking dreams. Their thought wanders from -the woman who is Love herself, to her sisters and her -forebears, and to all the great procession; and so august -a beauty moves before the mind, that they forget the -things which move before the eyes. William Blake, who -was the chanticleer of the new dawn, has written: “If -the spectator could enter into one of these images of his -imagination, approaching them on the fiery chariot of -his contemplative thought, if ... he could make a -friend and companion of one of these images of wonder, -which always entreat him to leave mortal things (as he -must know), then would he arise from the grave, then -would he meet the Lord in the air, and then he would be<span class="pagenum" id="Page_13">13</span> -happy.” And again, “The world of imagination is the -world of Eternity. It is the Divine bosom into which -we shall all go after the death of the vegetated body. -The world of imagination is infinite and eternal, whereas -the world of generation or vegetation is finite and -temporal. There exist in that eternal world the eternal -realities of everything which we see reflected in the -vegetable glass of nature.”</p> - -<p>Every visionary knows that the mind’s eye soon comes -to see a capricious and variable world, which the will -cannot shape or change, though it can call it up and banish -it again. I closed my eyes a moment ago, and a company -of people in blue robes swept by me in a blinding light, -and had gone before I had done more than see little roses -embroidered on the hems of their robes, and confused, -blossoming apple boughs somewhere beyond them, and -recognised one of the company by his square, black, -curling beard. I have often seen him; and one night a -year ago, I asked him questions which he answered by -showing me flowers and precious stones, of whose meaning -I had no knowledge, and seemed too perfected a soul -for any knowledge that cannot be spoken in symbol or -metaphor.</p> - -<p>Are he and his blue-robed companions, and their like, -“the Eternal realities” of which we are the reflection “in -the vegetable glass of nature,” or a momentary dream? -To answer is to take sides in the only controversy in<span class="pagenum" id="Page_14">14</span> -which it is greatly worth taking sides, and in the only controversy -which may never be decided.</p> - -<div class="tb">* * * * *</div> - -<p>3. Mr. Horton, who is a disciple of “The Brotherhood -of the New Life,” which finds the way to God in waking -dreams, has his waking dreams, but more detailed and -vivid than mine; and copies them in his drawings as if -they were models posed for him by some unearthly master. -A disciple of perhaps the most mediæval movement in -modern mysticism, he has delighted in picturing the streets -of mediæval German towns, and the castles of mediæval -romances; and, at moments, as in <i>All Thy waves are gone -over me</i>, the images of a kind of humorous piety like that -of the mediæval miracle-plays and moralities. Always -interesting when he pictures the principal symbols of his -faith, the woman of <i>Rosa Mystica</i> and <i>Ascending into -Heaven</i>, who is the Divine womanhood, the man-at-arms of -<i>St. George</i> and <i>Be Strong</i>, who is the Divine manhood, he -is at his best in picturing the Magi, who are the wisdom of -the world, uplifting their thuribles before the Christ, who is -the union of the Divine manhood and the Divine womanhood. -The rays of the halo, the great beams of the -manger, the rich ornament of the thuribles and of the cloaks, -make up a pattern where the homeliness come of his pity -mixes with an elaborateness come of his adoration. Even -the phantastic landscapes, the entangled chimneys against<span class="pagenum" id="Page_15">15</span> -a white sky, the dark valley with its little points of light, -the cloudy and fragile towns and churches, are part of the -history of a soul; for Mr. Horton tells me that he has -made them spectral, to make himself feel all things but a -waking dream; and whenever spiritual purpose mixes with -artistic purpose, and not to its injury, it gives it a new -sincerity, a new simplicity. He tried at first to copy his -models in colour, and with little mastery over colour when -even great mastery would not have helped him, and very -literally: but soon found that you could only represent a -world where nothing is still for a moment, and where -colours have odours and odours musical notes, by formal -and conventional images, midway between the scenery and -persons of common life, and the geometrical emblems on -mediæval talismans. His images are still few, though they -are becoming more plentiful, and will probably be always -but few; for he who is content to copy common life need -never repeat an image, because his eyes show him always -changing scenes, and none that cannot be copied; but there -must always be a certain monotony in the work of the Symbolist, -who can only make symbols out of the things that -he loves. Rossetti and Botticelli have put the same face -into a number of pictures; M. Maeterlinck has put a -mysterious comer, and a lighthouse, and a well in a wood -into several plays; and Mr. Horton has repeated again -and again the woman of <i>Rosa Mystica</i>, and the man-at-arms -of <i>Be Strong</i>; and has put the crooked way of <i>The<span class="pagenum" id="Page_16">16</span> -Path to the Moon</i>, “the straight and narrow way” into <i>St. -George</i>, and an old drawing in <i>The Savoy</i>; the abyss of -<i>The Gap</i>, the abyss which is always under all things, into -drawings that are not in this book; and the wave of <i>The -Wave</i>, which is God’s overshadowing love, into <i>All Thy -waves are gone over me</i>.</p> - -<p>These formal and conventional images were at first but -parts of his waking dreams, taken away from the parts that -could not be drawn; for he forgot, as Blake often forgot, -that you should no more draw the things the mind has seen -than the things the eyes have seen, without considering -what your scheme of colour and line, or your shape and -kind of paper can best say: but his later drawings, <i>Sancta -Dei Genitrix</i> and <i>Ascending into Heaven</i> for instance, show -that he is beginning to see his waking dreams over again -in the magical mirror of his art. He is beginning, too, to -draw more accurately, and will doubtless draw as accurately -as the greater number of the more visionary Symbolists, -who have never, from the days when visionary Symbolists -carved formal and conventional images of stone in Assyria -and Egypt, drawn as accurately as men who are interested -in things and not in the meaning of things. His art is -immature, but it is more interesting than the mature art of -our magazines, for it is the reverie of a lonely and profound -temperament.</p> - -<p class="sigright"> -W. B. YEATS. -</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div id="pictures" class="chapter newpage p4"> -<p><span class="pagenum" id="Page_17">17</span></p> - -<div id="ip_17" class="figcenter" style="max-width: 37em;"> - <img src="images/i_017.jpg" width="2361" height="3129" alt="" /></div> - -<p><span class="pagenum" id="Page_19">19</span></p> - -<div id="ip_19" class="figcenter" style="max-width: 32em;"> - <img src="images/i_019.jpg" width="2031" height="2660" alt="" /></div> - -<p><span class="pagenum" id="Page_21">21</span></p> - -<div id="ip_21" class="figcenter" style="max-width: 36em;"> - <img src="images/i_021.jpg" width="2279" height="3014" alt="" /></div> - -<p><span class="pagenum" id="Page_23">23</span></p> - -<div id="ip_23" class="figcenter" style="max-width: 36em;"> - <img src="images/i_023.jpg" width="2296" height="3015" alt="" /></div> - -<p><span class="pagenum" id="Page_25">25</span></p> - -<div id="ip_25" class="figcenter" style="max-width: 38em;"> - <img src="images/i_025.jpg" width="2399" height="3123" alt="" /></div> - -<p><span class="pagenum" id="Page_27">27</span></p> - -<div id="ip_27" class="figcenter" style="max-width: 33em;"> - <img src="images/i_027.jpg" width="2062" height="2607" alt="" /></div> - -<p><span class="pagenum" id="Page_29">29</span></p> - -<div id="ip_29" class="figcenter" style="max-width: 36em;"> - <img src="images/i_029.jpg" width="2302" height="3153" alt="" /></div> - -<p><span class="pagenum" id="Page_31">31</span></p> - -<div id="ip_31" class="figcenter" style="max-width: 36em;"> - <img src="images/i_031.jpg" width="2272" height="2998" alt="" /></div> - -<p><span class="pagenum" id="Page_33">33</span></p> - -<div id="ip_33" class="figcenter" style="max-width: 37em;"> - <img src="images/i_033.jpg" width="2349" height="1523" alt="" /></div> - -<p><span class="pagenum" id="Page_35">35</span></p> - -<div id="ip_35" class="figcenter" style="max-width: 38em;"> - <img src="images/i_035.jpg" width="2424" height="3161" alt="" /></div> - -<p><span class="pagenum" id="Page_37">37</span></p> - -<div id="ip_37" class="figcenter" style="max-width: 38em;"> - <img src="images/i_037.jpg" width="2402" height="1882" alt="" /></div> - -<p><span class="pagenum" id="Page_39">39</span></p> - -<div id="ip_39" class="figcenter" style="max-width: 38em;"> - <img src="images/i_039.jpg" width="2422" height="2980" alt="" /></div> - -<p><span class="pagenum" id="Page_41">41</span></p> - -<div id="ip_41" class="figcenter" style="max-width: 33em;"> - <img src="images/i_041.jpg" width="2056" height="2643" alt="" /></div> - -<p><span class="pagenum" id="Page_43">43</span></p> - -<div id="ip_43" class="figcenter" style="max-width: 37em;"> - <img src="images/i_043.jpg" width="2357" height="3008" alt="" /></div> - -<p><span class="pagenum" id="Page_45">45</span></p> - -<div id="ip_45" class="figcenter" style="max-width: 33em;"> - <img src="images/i_045.jpg" width="2109" height="2643" alt="" /></div> - -<p><span class="pagenum" id="Page_47">47</span></p> - -<div id="ip_47" class="figcenter" style="max-width: 38em;"> - <img src="images/i_047.jpg" width="2420" height="3207" alt="" /></div> - -<p><span class="pagenum" id="Page_49">49</span></p> - -<div id="ip_49" class="figcenter" style="max-width: 33em;"> - <img src="images/i_049.jpg" width="2102" height="2842" alt="" /></div> - -<p><span class="pagenum" id="Page_51">51</span></p> - -<div id="ip_51" class="figcenter" style="max-width: 33em;"> - <img src="images/i_051.jpg" width="2049" height="2693" alt="" /></div> - -<p><span class="pagenum" id="Page_53">53</span></p> - -<div id="ip_53" class="figcenter" style="max-width: 33em;"> - <img src="images/i_053.jpg" width="2067" height="2632" alt="" /></div> - -<p><span class="pagenum" id="Page_55">55</span></p> - -<div id="ip_55" class="figcenter" style="max-width: 33em;"> - <img src="images/i_055.jpg" width="2066" height="2680" alt="" /></div> - -<p><span class="pagenum" id="Page_57">57</span></p> - -<div id="ip_57" class="figcenter" style="max-width: 32em;"> - <img src="images/i_057.jpg" width="2018" height="2660" alt="" /></div> - -<p><span class="pagenum" id="Page_59">59</span></p> - -<div id="ip_59" class="figcenter" style="max-width: 33em;"> - <img src="images/i_059.jpg" width="2056" height="3188" alt="" /></div> - -<p><span class="pagenum" id="Page_61">61</span></p> - -<div id="ip_61" class="figcenter" style="max-width: 32em;"> - <img src="images/i_061.jpg" width="2047" height="2720" alt="" /></div> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p class="newpage p4 center smaller vspace"> -THIS BOOK WAS PRINTED BY MESSRS. MORRISON AND GIBB, TANFIELD, EDINBURGH.<br /> -<span class="gesperrt6">THE BLOCKS WERE ENGRAVED BY THE ART REPRODUCTION COMPANY, LONDON.</span> -</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div id="ads" class="chapter"> -<h2 class="nobreak" id="At_the_Unicorn_Press"><span class="larger">At the Unicorn Press.</span></h2> - -<p class="book">MM. RODIN, FANTIN-LATOUR, AND -LEGROS.</p> - -<p class="hang">Three Lithographed Drawings by <span class="smcap">Will Rothenstein</span>. <i>In a -Wrapper. Price</i> <b>£2, 2s.</b> <i>each set</i>.</p> - -<p><span class="asterism">*⁎*</span> These Portraits were made from sittings given in Paris in 1897. Only fifty -copies of each drawing were printed (by Mr. Way), and the stones have been destroyed. -Twenty-five sets (each drawing on hand-made Van Guelder paper and signed by the -Artist) now remain for sale.</p> - -<p class="book">MR. AUBREY BEARDSLEY.</p> - -<p class="hang">A Lithographed Drawing by <span class="smcap">Will Rothenstein</span>. <i>Price</i> <b>£1, 1s.</b></p> - -<p><span class="asterism">*⁎*</span> No later Portrait than this appears to have been made. After the first few -trial proofs only fifty copies were printed, and the stone has been destroyed. The -few copies now offered are all numbered and signed Artist’s Proofs.</p> - -<p class="book">PIRANESI’S “CARCERI.”</p> - -<p class="hang">Sixteen Plates, each measuring 21 by 16 inches over all, with an -Introduction by <span class="smcap">E. J. Oldmeadow</span>. Two hundred copies -only. <i>Price</i> <b>£2, 2s.</b> <i>net</i>.</p> - -<p class="p0 right"> -[<i>Nearly ready.</i> -</p> - -<p class="book">A BOOK OF GIANTS.</p> - -<p class="hang">Drawn, engraved, and written by <span class="smcap">William Strang</span>. <i>Fcap. 4to, -in a binding designed by the Author. Price</i> <b>2s. 6d.</b> <i>net</i>.</p> - -<p><span class="asterism">*⁎*</span> “A Book of Giants” contains twelve original wood engravings, accompanied -by humorous verses. Admirers and collectors of Mr. Strang’s etchings will hasten to -acquire copies of this, his first published set of woodcuts; but its interest for a wider -public, and as a children’s book, should be only a degree less great.</p> - -<p>Twenty-five copies, printed from the original blocks, will be hand-coloured by -Mr. Strang. Particulars of this edition may be obtained from the Publishers.</p> - -<p class="book">A BOOK OF IMAGES.</p> - -<p class="hang">Drawn by <span class="smcap">W. T. Horton</span>, and Introduced by <span class="smcap">W. B. Yeats</span>. -<i>Fcap. 8vo, boards. Price</i> <b>2s. 6d.</b> <i>net</i>.</p> - -<p><span class="asterism">*⁎*</span> This book contains twenty-four drawings, including a set of Imaginary Landscapes -and a number of Mystical Pieces.</p> - -<p class="book">VERISIMILITUDES.</p> - -<p class="hang">A Volume of Stories by <span class="smcap">Rudolf Dircks</span>. <i>Imperial 16mo, cloth, -gilt.</i> <b>3s. 6d.</b></p> - -<p><b>The Manchester Courier</b>:—“Mr. Dircks is one of the cleverest writers of the -day.... Sure analysis of character, artistic use of incident.... The volume will be -highly valued by lovers of short stories.”</p> - -<p><b>The Star</b>:—“Good work. Mr. Dircks has insight and the courage to efface -himself; he is uncompromisingly true to his subjects; and he knows to a hair’s-breadth -what a short story can and cannot do.... Well worth reprinting in the -exquisite form given them by the publishers.”</p> - -<p><b>The Whitehall Review</b>:—“Great and nervous originality.... A masterly -observer.... A number of pictures of the emotions, drawn with a fearless truth that -is as delightful as it is rare, ... by a genuine artist.”</p> - -<p class="book">SHADOWS AND FIREFLIES.</p> - -<p class="hang">By <span class="smcap">Louis Barsac</span>. <i>Imp. 16mo, bevelled and extra gilt. Price</i> -<b>3s. 6d.</b> <i>net</i>. <span class="smcap">Second Edition.</span></p> - -<p><b>The Outlook</b>:—“Mr. Barsac has a genuine gift of expression and a refined -sense of natural beauty.”</p> - -<p>“J. D.” in <b>The Star</b>:—“The sonnets attain a particularly high level. <i>The Earth -Ship</i> ... is splendidly imagined and splendidly wrought.... In all there is strong -evidence of original poetical talent.”</p> - -<p><b>The New Age</b>:—“One of the most promising efforts of the younger muse since -the early volumes of Mr. William Watson and Mr. John Davidson.”</p> - -<p class="book">THE LITTLE CHRISTIAN YEAR:</p> - -<p class="hang"><span class="smcap">A Book of Prayers and Verses.</span> <i>Medium 16mo, parchment, gilt -top. Price</i> <b>2s. 6d.</b> <i>net</i>.</p> - -<p class="p0 right"> -[<i>Just ready.</i> -</p> - -<p class="book">THE DOME.</p> - -<p class="hang">A Quarterly. <i>One Hundred pages, Pott 4to, boards. Price</i> <b>1s.</b> -<i>net, or</i> <b>5s.</b> <i>per annum, post free</i>.</p> - -<p><span class="asterism">*⁎*</span> Each number of <i>The Dome</i> contains about twenty examples of Music, -Architecture, Literature, Drawing, Painting, and Engraving, including several Coloured -Plates. Among the Contributors to the first five numbers are—Louis Barsac, -Laurence Binyon, Vernon Blackburn, H. W. Brewer, Ingeborg von Bronsart, L. -Dougall, Olivier Destrée, Campbell Dodgson, Edward Elgar, Charles Holmes, -Laurence Housman, W. T. Horton, Edgardo Levi, Liza Lehmann, Alice Meynell, -J. Moorat, W. Nicholson, Charles Pears, Stephen Phillips, Beresford Pite, J. F. -Runciman, Byam Shaw, Arthur Symons, Francis Thompson, F. Vielé-Griffin, Gleeson -White, J. E. Woodmeald, Paul Woodroffe, and W. B. Yeats.</p> -</div> - -<div class="chapter"><div class="transnote"> -<h2 class="nobreak" id="Transcribers_Notes">Transcriber’s Notes</h2> - -<p>Simple typographical errors were corrected. -Punctuation, hyphenation, and spelling were made -consistent when a predominant preference was found -in the original book; otherwise they were not changed.</p> - -<p>The illustrations have no captions.</p> -</div></div> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK A BOOK OF IMAGES ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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