Solches durch seine subtilne Kunst hat gethan, Und des Teufels Lohn empfangen davon. 1525.

[Footnote 8: Kunst und Alterthum.

One woman is placed between two men, unexpected friendships are developed, the lute and the zither are played in the moonlight, love and longing abound, nature is made a confidant, der Zaubern der Kunst is overdone, familiar storiesLeda and the Swan, Actaeon and Danaeare interwoven, there are manifest reminiscences of Emilia Galotti and Ofterdingen, and the prose is uncommonly fluent.

Some excellent suggestions on this subject are offered by Hans Rohl in his Die ältere Romantik und die Kunst des jungen Goethe, Berlin, 1909, pp. 70-72.

(SCULPTOR, EBERLEIN) Presented to the City of Rome by the German Emperor (From Seidel's Der Kaiser and die Kunst)]

Two new numbers of Ueber Kunst und Alterthum and Zur Naturwissenschaft are about to appearthe fruits of my winter's labors.

STEINER, RUDOLF. Die Kunst der rezitation und deklamation.

(Kunst im lichte der mysterienweisheit, 7. hft.)

(Kunst im Lichte der mysterienweisheit, 7. Heft) © 24Dec29; AF9337.

(Die Schöpferische Welt der Farbe, 3) (Kunst

FLEISSNER, E. MENTZ. Die Kunst der Prosa.

SEE Fleissner, Otto S. <pb id='429.png' /> FLEISSNER, OTTO S. Die Kunst der Prosa; Sammlung auagewahlter Dichtungen und ihre Interpretation, by O. S. Fleissner & E. Mentz Fleissner © 19May41; A154075.

Sprachgestaltung und dramatische Kunst.

Sprachgestaltung und dramatische Kunst; Vorträge.

(Kunst im lichte der mysterienweisheit, 7. hft.)

(Kunst im Lichte der mysterienweisheit, 7. Heft) © 24Dec29; AF9337.

(Die Schöpferische Welt der Farbe, 3) (Kunst

FLEISSNER, E. MENTZ. Die Kunst der Prosa.

SEE Fleissner, Otto S. <pb id='429.png' /> FLEISSNER, OTTO S. Die Kunst der Prosa; Sammlung auagewahlter Dichtungen und ihre Interpretation, by O. S. Fleissner & E. Mentz Fleissner © 19May41; A154075.

A writer in "Moderne Kunst" says, in general, that she shows us real human beings under the "précieuses ridicules," the languishing gallants and the pedant, and often succeeds in individualizing all these with the sharpness of a Chodowiecki, though at times she is merely good-natured, and therefore weak.

The monogram on the picture was called that of Frans Hals, but as reproduced and explained by C. Hofstede de Groot in the "Jahrbuch für Königlich-preussischen Kunst-Sammlungen" for 1893, it seems evident that the signature is J. L. and not F. H. Similar initials are on the "Flute Player," in the gallery at Stockholm; the "Seamstress," in The Hague Gallery, and on a picture in the Six collection at Amsterdam.

Since that time he has been more particularly noticed by Herder in the Blätter von deutscher Art und Kunst; Goethe, in Wilhelm Meister; and Tieck, in "Letters on Shakespeare" (Poetisches Journal, 1800), which break off, however, almost at the commencement.

This occurs, according to Mr. Perkins, the American translator of Dr. Falke's German book "Kunst im Hause," in the "Wasps of Aristophanes," written B.C. 422.

" (The Illustration is taken from Dr. Jacob von Falke's "Kunst im Hause.")]

There is a passage quoted by Mr. C. Perkins, the American translator of Dr. Falke's German work "Kunst im Hause," which gives us the keynote to the great change which took place in the fashion of furniture about the time of the Revolution.