Page 326 {326} CHAPTER XXI THE CREST
— from A Complete Guide to Heraldry by Arthur Charles Fox-Davies

{244} CHAPTER XIV. TRUE COURTESY.
— from The Gentlemen's Book of Etiquette and Manual of Politeness Being a Complete Guide for a Gentleman's Conduct in All His Relations Towards Society by Cecil B. Hartley

When the Sun Went Down 284 XXIII Magic 292 XXIV " Let Them Laugh " 310 XXV The Curtain 328 XXVI "
— from The Secret Garden by Frances Hodgson Burnett

709 Chimæra was a volcano in Lycia, not far from the Xanthus; the circumstance of its summit emitting flame, while its sides were the resort of various savage animals, probably gave rise to the fabulous story of the Centaur of this name, a ferocious monster who was continually vomiting forth flame.
— from The Natural History of Pliny, Volume 1 (of 6) by the Elder Pliny

Pages 116 - 143 CHAPTER VIII PLASTIC REPRESENTATION Psychology of imitation.—Sustained sensation involves reproduction.—Imitative art repeats with intent to repeat, and in a new material.—Imitation leads to adaptation and to knowledge.—How the artist is inspired and irresponsible.—Need of knowing and loving the subject rendered.—Public interests determine the subject of art, and the subject the medium.—Reproduction by acting ephemeral.—demands of sculpture.—It is essentially obsolete.—When men see groups and backgrounds they are natural painters.—Evolution of painting.—Sensuous and dramatic adequacy approached.—Essence of landscape-painting.—Its threatened dissolution.—Reversion to pure decorative design.—Sensuous values are primordial and so indispensable Pages 144 - 165 CHAPTER IX JUSTIFICATION OF ART Art is subject to moral censorship.—Its initial or specific excellence is not enough.—All satisfactions, however hurtful, have an initial worth.—But, on the whole, artistic activity is innocent.—It is liberal, and typical of perfect activity.—The ideal, when incarnate, becomes subject to civil society.—Plato's strictures: he exaggerates the effect of myths.—His deeper moral objections.—Their lightness.—Importance of æsthetic alternatives.—The importance of æsthetic goods varies with temperaments.—The æsthetic temperament requires tutelage.—Aesthetic values everywhere interfused.—They are primordial.—To superpose them adventitiously is to destroy them.—They flow naturally from perfect function.—Even inhibited functions, when they fall into a new rhythm, yield new beauties.—He who loves beauty must chasten it Pages 166 - 190 CHAPTER X THE CRITERION OF TASTE Dogmatism is inevitable but may be enlightened.—Taste gains in authority as it is more and more widely based.—Different æsthetic endowments may be compared in quantity or force.—Authority of vital over verbal judgments.—Tastes differ also in purity or consistency.—They differ, finally, in pertinence, and in width of appeal.—Art may grow classic by idealising the familiar, or by reporting the ultimate.—Good taste demands that art should be rational, i.e. , harmonious with all other interests.—A mere "work of art" a baseless artifice.—Human uses give to works of art their highest expression and charm.—The sad values of appearance.—They need to be made prophetic of practical goods, which in turn would be suffused with beauty Pages 191 - 215 CHAPTER XI ART AND HAPPINESS Aesthetic harmonies are parodies of real ones, which in turn would be suffused with beauty, yet prototypes of true perfections.—Pros and cons of detached indulgences.—The happy imagination is one initially in line with things, and brought always closer to them by experience.—Reason is the principle of both art and happiness.—Only a rational society can have sure and perfect arts.—Why art is now empty and unstable.—Anomalous character of the irrational artist.—True art measures and completes happiness.
— from The Life of Reason: The Phases of Human Progress by George Santayana

Upon this one of the company said to Xantus, that certainly this varlet was very necessary to him, for he was more calculated than any one else to exercise the patience of a philosopher.
— from The Fables of La Fontaine Translated into English Verse by Walter Thornbury and Illustrated by Gustave Doré by Jean de La Fontaine

At first Thrasymachus is reluctant to argue; but at length, 338 with a promise of payment on the part of xx the company and of praise from Socrates, he is induced to open the game.
— from The Republic of Plato by Plato

Let p be the Center of Gravity of the Arch DE, and q , r , s , t , u , x , the Centers of Gravity of the Arches EF, FG, GA, AB, BC, and CD respectively, and about those Centers of Gravity let Circles proportional to the Number of Rays of each Colour in the given Mixture be describ'd: that is, the Circle p proportional to the Number of the red-making Rays in the Mixture, the Circle q proportional to the Number of the orange-making Rays in the Mixture, and so of the rest.
— from Opticks Or, A Treatise of the Reflections, Refractions, Inflections, and Colours of Light by Isaac Newton

XI THE CAPTAIN KNUCKLES
— from Kidnapped by Robert Louis Stevenson

CHAPTER XV TWISTED COILS "If you can finish, Juliet, without further assistance from me, I believe I will go and look for the Camp Fire girls.
— from The Camp Fire Girls by the Blue Lagoon by Margaret Vandercook

[173] CASE XI THE CHOKING GHOST OF "—— HOUSE," NEAR SANDYFORD PLACE, GLASGOW
— from Scottish Ghost Stories by Elliott O'Donnell

[Pg 284] CHAPTER XIV The Coin Sales—My Stealthy Accumulations from Some of Them—Comparative Advantages of Large and Small Sales—The Disappointment over One at Genoa—The Boyne Sale—Its Meagre Proportion of Fine Pieces—My Comfort, and what came to Me—Narrow Escape of the Collection from Sacrifice to a Foreign Combination—Trade Sales Abroad—A New Departure—Considerations on Poorly-Preserved Coins—I resign Them to the Learned—I have to Classify by Countries and Their Divisions—My Personal Appurtenances—Suggestions which may be Useful to Others—The Great Bactrian Discovery—Extent of Representative Collections of Ancient Money—Antony and Cleopatra—Adherence to My own Fixed and Deliberate Plan—The Argument to be used by Any One following in My Footsteps—Advice of an Old Collector to a New One.
— from The Confessions of a Collector by William Carew Hazlitt

Street Scene Page II The Shiawassee River Page III The James Oliver Curwood Castle Page IV The Boat Landing, Curwood Castle Page V Just James Oliver Curwood Page VI Mr. and Mrs. James Oliver Curwood Page VII Curwood, Camping in the Yukon Page VIII Curwood, the Writer, in a Corner of His Gun Room Page IX Curwood Before the Cabin Which He Built in the British Columbia Mountains Page X Curwood, the Woodsman Page XI An Unusual, Striking Picture of Curwood Page XII The Curwood Outfit Going down the Fraser River Page XIII The Cabin on the Au Sable Page XIV The Conservation Clubhouse Page XIV The Home of James Oliver Curwood Page XV Curwood Grave in Oakhill Cemetery Page XVI
— from James Oliver Curwood, Disciple of the Wilds by Hobart Donald Swiggett

It is a matter of common experience, however, that in the utterance of tones of low pitch, whether speech tones or musical, the voice seems to come from the chest rather than from the head; and, in the utterance of tones of high pitch, on the other hand, it seems to come from the head rather than from [xxi] the chest; so that all tones are said to belong either to the lower or chest register , or to the higher or head register .
— from The Ontario Readers: The High School Reader, 1886 by Ontario. Department of Education

[349] Calling x the concentration of the hydroxide-ion, required to saturate a 0.1 molar magnesium sulphate solution with magnesium hydroxide, we have 0.0373 × x 2 = 15E−12 and x
— from The Elements of Qualitative Chemical Analysis, vol. 1, parts 1 and 2. With Special Consideration of the Application of the Laws of Equilibrium and of the Modern Theories of Solution. by Julius Stieglitz

The first verse runs as follows: "Throttin' to the Fair, Me and Moll Moloney, Sittin', I declare, On a single pony——" By a singular coincidence, the faces of all those present turned towards me. X THE COMTE DE PRALINES
— from In Mr. Knox's Country by E. Oe. (Edith Oenone) Somerville

[168] CHAPTER X THE CALL TO PRAYER ii.
— from The Expositor's Bible: The Song of Solomon and the Lamentations of Jeremiah by Walter F. (Walter Frederic) Adeney

XV THE CUT—LOOKING TOWARD CULEBRA THIS is the most pictorial as well as the most profound part of the cut.
— from Joseph Pennell's pictures of the Panama Canal Reproductions of a series of lithographs made by him on the Isthmus of Panama, January—March 1912, together with impressions and notes by the artist by Joseph Pennell