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One of Ours 421–22 with Cather’s earlier description in Willa Cather in Europe 93–100).

absolute and infinitely sweet,” “vested with a peace that passes understanding” (Willa Cather in Europe 100

New York: Knopf, 1956. 93–100.Cather, Willa. Letters to Dorothy Canfield Fisher.

New York: Knopf, 1956. 90–100.Lewis, Edith. Willa Cather Living.

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The circumstances leading to the discovery, restoration, and display of these tapestries (Cavallo 100

In The Professor’s House, Cather comments on this aspect of the Bayeux tapestry (100).

See Boudet 5–7.The Bayeux tapestry is mentioned in The Professor’s House (100).Relative to these virtues

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on the point of being brought together, on the eve of being arranged into mountain, plain, plateau” (100

the pagan/Judeo-Christian symbol of the spherical censer to the mesas and their “attendant clouds” (100

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Goethe, the Lyrist: 100 Poems in Translation. Introduction by Edwin H. Zeydel.

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Lincoln: U of Nebraska P, 1996. 100–114.Slote, Bernice, and Virginia Faulkner, ed.

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continual circling” and freedom to “go backward and forward” from one pole to its opposite (“Joseph” 100

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’s survival has to do with his final conscious transcendence of this conflict (Cather’s Imagination 100

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on him”; his mother, too, feels that circumstances have conspired to ensnare her son in “a net” (99–100

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seemed fluid to the eye under this constant change of accent, the ever varying distribution of light” (100

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the Pacific has now, literally, entered its twilight: "there was no West, in that sense, anymore" (100

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Bloom(81-89), and Grumbach.For representative nonbiographical interpretations, see Stouck(Imagination 100

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PMLA 100 (1985): 51–67.Smetanova, J. “Beloved Artist.” Art and Artists 13 (1978): 53.Stouck, David.

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discussions of the revisions and publishing history of The Renaissance, see Donoghue 65-69; Dowling 98-100