BALFOUR, A. J. Criticism and Beauty, 1910.
PATER, WALTER. The Renaissance, 1873.
SYMONDS, J. A. Essays, Speculative and Suggestive, 1890.
CAINE, T. HALL. Cobwebs of Criticism, 1883.
HENNEQUIN, E. La Critique scientifique, 1888.
SPINGARN, J. E. Creative Criticism, 1917.
_Chapter Eight.--Music._
RIEMANN, H. Elemente der musikalischen Aesthetik, 1900.
HANSLICK, E. Vom Musikalisch-Schoenen, 11th ed., 1910.
GEHRING, A. The Basis of Musical Pleasure, 1910.
COMBARIEU, J. Music: Its Laws and Evolution, 1910.
GURNEY, E. The Power of Sound, 1880.
BUSONI, F. Sketch of a New Athetic of Music, 1911.
LALO, C. Esquisse d"une estetique musicale scientifique, 1908.
AMBROS, W. A. Die Grenzen der Musik und Poesie, 1872.
WAGNER, R. Das Kunstwerk der Zukunft; Oper und Drama.
STUMPF, C. Tonpsychologie, 1883, 1890, and articles in _Zeitschrift fuer Psychologie._ HELMHOLTZ. Sensations of tone, 1895.
MEYER, MAX. Contributions to a Psychological Theory of Music, _University of Missouri Studies_, 1901,1. No. 1; The Psychology of Music, in _American Journal of Psychology_, 1903: 14.
BINGHAM, W. VAN d.y.k.e. Studies in Melody, 1910.
LIPPS. Zur Theorie der Melodie, in _Zeitschrift fuer Psychologie_, 1902:27.
REVESZ, GEZA. Tonpsychologie, 1913.
SPENCER, H. The Origin and Function of Music.
BOLTON. Rhythm, in _American Journal of Psychology_, Vol. 6.
MEUMANN, E. Untersuchungen zur Psy. u. Aest. d. Rhythmus, in _Philosophische Studien_, X.
STETSON, R. H. A Motor Theory of Rhythm and Discrete Succession, in _Psychological Review_, Vol. 12.
_Chapter Nine_.--_Poetry_.
ARISTOTLE. Poetics.
SIDNEY, SIR PHILIP. Defense of Poesy, 1581.
WORDSWORTH, WM. Preface to the Lyrical Ballads, 1800.
Sh.e.l.lEY, P. B. A Defense of Poetry, 1821.
BRADLEY, A. C. Oxford Lectures on Poetry, 1909.
SCOTT, F. N. The Most Fundamental Differentia of Poetry and Prose, _Modern Language a.s.sociation Publications_, V. 19, pp. 250-269, MILL, J. S. Thoughts on Poetry and Its Varieties, in _Dissertations and Discussions_, Vol. 1.
SANTAYANA, G. Elements of Poetry, in _Poetry and Religion_, 1900.
LANIER, S. Science of English Verse, 1880.
EASTMAN, MAX. The Enjoyment of Poetry.
SOURIAU, P. La Reverie esthetique, 1906.
LIDDELL, MARK H. An Introduction to the Study of Poetry, 1902.
WERNER, R. M. Lyrik und Lyriker, 1890.
LOWELL, AMY. Tendencies in Modern American Poetry, 1917.
GUMMERE, F. B. A Handbook of Poetics, 1895.
ROETTEKEN. Poetik, 1911.
BURKE, EDMUND. A Philosophical Enquiry into Our Ideas of the Sublime and Beautiful, Part 4, 1756.
MACKAIL, J. W. Lectures on Poetry, 1911.
POE, E. A. The Philosophy of Composition; The Poetic Principle.
OMOND, T. S. A Study of Meter, 1903.
VERRIER, P. Metrique anglaise, 1909.
DILTHEY, W. Das Erlebnis und Die Dichtung, 1907.
STETSON, R. H. Rhythm and Rhyme, in _Harvard Psychological Studies_, Vol. 1.
_Chapter Ten.--Prose Literature._
SCHOPENHAUER, A. The Art of Literature.
GOETHE AND SCHILLER. Correspondence, pa.s.sim.
GREEN, T. H. The Value and Influence of Works of Fiction, 1862.
LEWES, G. H. Principles of Success in Literature, 1892.
ARNOLD, M. Essays in Criticism, 1869.
ZOLA, E. The Experimental Novel and Other Essays, translated by B. M. Sherman, 1893.
BESANT, W., and JAMES, H. The Art of Fiction, 1885.
PATER, W. Appreciations, with an Essay on Style, 1889.
STEVENSON, R. L. On Style in Literature, in _Contemporary Review_, 47:548.
BOURGET, P. Etudes et Portraits, 1911.
FLAUBERT, G. Correspondance, published 1887.
ELSTER, E. Prinzipien der Literaturwissenschaft, 1897, 1911.
FREITAG, G. Technique of the Drama, English translation, 1895.
MATTHEWS, J. B. A Study of the Drama, 1910.
JONES, H. A. The Foundations of a National Drama, 1913.
WOODBRIDGE, E. The Drama: Its Laws and Its Technique, 1898.
DE MAUPa.s.sANT, GUY. Le Roman, in Pierre et Jean.
For additional references on Poetry and Prose, consult _An Introduction to the Methods and Materials of Literary Criticism_, by C. M. Gayley and F. N. Scott, 1899.
_Chapter Eleven.--Painting._
MEIER-GRAEFE, J. Modern Art, English translation, 1908.
ROSS, DENMON. A Theory of Pure Design, 1907; On Drawing and Painting, 1912.
BERENSON, B. Central Italian Painters of the Renaissance.
POORE, H. R. Pictorial Composition, 1903.
VAN d.y.k.e, J. C. Art for Art"s Sake, 1895.
Ut.i.tZ, E. Grundzuege der Aesthetischen Farbenlehre, 1908.
WAETZOLDT, WM. Die Kunst des Portraets, 1908.
WEIGHT, WM. H. Modern Painting, 1915.
LIPPS, T. Aesthetik, Bd. 1, 5ter Abschnitt, Bd. 2, 7tes Kapitel.
GOETHE. Farbenlehre.
SOURIATJ, P. L"Estetique du mouvement, 1889.
STRATTON, G. M. Eye Movement, and the Aesthetics of Visual Form, in Philosophische Studien, XX.
COHN, J. Experimented Untersuchungen ueber die Gefuehls-betonung der Farben, in Philosophische Studien, 10: 522.
BAKER and CHOWN. Experiments on Color, in the University of Toronto Studies.
LEE and THOMPSON. Beauty and Ugliness, in Contemporary Review, 1897.
CHEVREUL, M. E. The Principles of Harmony and Contrast of Colors, 1855.
_Chapter Twelve.--Sculpture._
HILDEBRAND, A. The Problem of Form in Painting and Sculpture, English translation, 1907.
RODIN, A. Art, English translation, 1912.
HERDER, J. G. Plastik, 1778.
LIPPS, T. Aesthetik, Bd. 2, 5tes u. etes Kapitel.