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common stereotypes of circus dressing rooms as "a sort of 'vision of sin'" and a "torture chamber" (100

mentions widespread rumors of "the blows and kicks of brutal managers" and "iniquity and champagne" (100

confess I felt a little queer when the lady overseer of the ladies' dressing room asked me to walk in" (100

Lincoln: U of Nebraska P, 1970. 2: 100-102. Print.———. "The Way of the World."

Jean-François Millet, Peasants Bringing Home a Calf Born in the Fields, 1864, oil on canvas, 81.1 x 100

Chicago.Jean-François Millet, Peasants Bringing Home a Calf Born in the Fields, 1864, oil on canvas, 81.1 x 100

Jules Adolphe Breton, The Song of the Lark, 1884, oil on canvas, 81.1 x 100 cm, Henry Field Memorial

the Art Institute of Chicago.Jules Adolphe Breton, The Song of the Lark, 1884, oil on canvas, 81.1 x 100

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.

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

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

like the stealthy cadet, stalks the Forresters as they “come down in the world like the rest” (Lost 100

the fact that he is “just mean enough to like to shoot along” their creek more than anywhere else (100

negotiate the total image: “all the normal ways in which pigment, texture, and tone declare a likeness” (100

. identities the culture wished to keep still, pre-eminently those of the nude and the prostitute” (100

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

Moreover, he employs art (145), an artist (177), and a novelist (100) in other philosophical comparisons

lets itself live, when it refrains from separating its present state from its former states” (Time 100

by Joseph Urgo, who defines religion as a cultural response to "the non-material essence of life" (100

page of that edition reads: "The Inferno, by Henri Barbusse, Author of Under Fire; Translated from the 100

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

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

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

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

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

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

Peter, with the "playful pattern" of domestic life (100) and the "curious experience" of Tom Outland

discussions of Benjamin's philosophy of the city include Buck-Morss; Gilloch; Caygill 118-48; and Cutler 100

as noted, was Pyle’s second medieval book, Otto of the Silver Hand, published in 1888 (fig. 4.2, p. 100

tapestry than in “the big pattern of dramatic action” enacted by its knights and heroes (Professor’s House 100

is generally uninterested in and largely uninvolved in the “domestic drama” (The Professor’s House 100

It was indeed a feast of modern art: 170 paintings plus 100 drawings and watercolors that collectively

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

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

leaves, red California grapes, and two shapely, long-necked russet pears,” served with linen napkins (100

the seamstress Augusta to clarify the difference between the Magnificat and the litany of Loreto (99–100

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

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

” (written 1916), whom managers chose less for her artistry than for her conscientious reliability (100

language as a "mare's nest created by grammarians to keep the lower classes ignorant and in place" (Kelly 100

PMLA 100 (1985): 51-67.Stout, Janis P. Willa Cather: The Writer and Her World.

Merrill Skaggs likewise stresses Nellie's limited vision (99-100), as do those who see Nellie as an unreliable