Regardless of the subject matter, our studies are always searching for a sense of the universal in the specific. Drawing, etchings and paintings are a way of communicating ideas and emotions. The key word here is to communicate. Whether the audience sees the work as laborious or poetic depends on the creative genius of the artist. Some painters use the play of light passing through a landscape or washing over a figure to create an evocative moment that will be both timeless and transitory. The essential role of art remains what is has always been, a way of human expression. This is the role that our participants concentrate on as they discuss art as the expression of the spirit, a creative act through which the artist makes manifest what is within him. Spirit suggests the unity of feeling and thought. Avoiding broad generalities, our participants address specific areas in orchestration with music, architecture, literature and phenomenology. Profs. Souiller, Scholz, Etlin, Sweetser, Josephs show us at what point art is an intimate, profound expression and the magic of a civilization as a whole, springing from its evolving thoughts and embodying ideals, such as the Renaissance, the Baroque, Modernism and at what point it reflects the trans­ formation of a particular society and its mode of life.

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Acknowledgements. The Theme. Section One: Music, Literature, History, Decoration, Staging, Painting. Within the Symphony of the Arts. Paradox and Metaphor: an Integrity of the Arts; L. Kimmel. Aesthetic Symbiosis and Spiritual Quest: Gruenewald's Isenheim Altarpiece in the Hindemith Opera Mathis der Maler'; S. Bruin. The Ambiguity of Baroque Enchantment: Operatic Mise en Abime; H. Josephs. The Musicalisation of Prose: Prolegomena in the Experience of Literature in Musical Form; W.E. Grim. Calderon's Dramatic Technique: The Orchestration of the Arts from Drama to Opera; D. Souiller. Baroque Splendor: Vierzehnheilige Church and Bach's B Minor Mass; S. Hoople. Section Two: Sharing in Creative and Cosmic Synergies. Orchestration of the Universe: Reflections on Tagore's Creativity; S. Ray. The Synergies of Mind and Muse: A Comparative Analysis of Dante Gabriel Rosetti's the Blessed Damozel and Claude Debussy's La Demoiselle Elue; S. Coelsch-Foisner. The Interdependence of Literature, Architecture, Theater and Music as an Expression of Baroque Absolutism at the Habsburg Court in Vienna; G. Scholz. Literature and Architecture as a Metaphor of Grandeur' and Decadence'; M.-O. Sweetser. Louis Sullivan: The Life Enhancing Symbiosis of Music, Language, Architecture and Ornament; R. Etlin. The Orchestration of the Arts in Wallace Stevens' Peter Quince at the Clavier'; S. Feshbach. Section Three: The Symbiosis and the Interaction of the Arts. The Harmonie Conceit: Music, Nature, and Mind in Wordsworth's Prelude; J. Smart. Artists' Interpretation of La Fontaine's Fables; W. Roberts. Histoire de l'Aveugle': Manierisme Critique of Vision; R. Perry. The Apocalypse Revised by Twentieth Century Artists; R. Hubert. Toward a Visual Aesthetic of Music; P. Herzog. Images of Water and the Sea in Tristan L'Hermit's La mer' and in Painting; C. Ruoff. Section Four: Arts Interacting with our Perception of Nature and Human Life. Fire and Ice: Le ver magique, le vrai magique; P. Trutty-Coohill. W.E.B. du Bois The Souls of the Black Folks'; R.G. Schafler. The Blending of Natures and the Perception of the Real; T. Raczka. The Symbiosis and the Interaction of the Arts: Cesario Verde; N. Campi de Castro. This is Mine and I can Hold it: Edna St. Vincent Millay and her Music; K. Karbiener. Section Five: The Poetic Inter-Reflection of the Arts. The Terpsichordian Poem; L.D. San. A Study in Nostalgia: The Orchestration of Life in Facade. The William Walton&endash;Edith Sitwell Musical Poetic Collaboration; G. Tibbetts. Interreflection of Complementary Expressive Means in Combined Media Art Performances; L. Voronina. The Orchestration of the Arts in Sheila Sebbar's Sheherazade; E. McCullough. Beauty as a Cipher of the Orchestration of the Arts in Gadamer; O. Rossi. Section Six: Arts Nurturing Human Culture. A Look at Modernism from the Keyboard: The Piano in the Parlor and Abstract Art; E.N. Van Liere. Pierre Puvis de Chavannes, Richard Wagner and Emil Bernard: Composition and Meaning in the Late Nineteenth Century; D. Trousdale. The Temporal Character of Catherine Schieve's Slide Opera; K.F. Volkmar. An Unfolding of Theory and Practice: From Ingarden to a Phenomenological Aesthetic for Opera; E.J. Burns. Emotion, Metaphor, Music, and Humor; W. Shibles. The Cultural Milieu of Francis Poulenc (1899-1963) and his Musique de tous les jours'; S. Weaver. Index of Names.