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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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