Chapter XXII: Part III (2)

305 Besides the _Trauer-Ode,_ three or four of the church Cantatas and
certainly three of the Motets were written for funerals. See Terry,
op. cit., pp. 24, 44.

306 Among the church Cantatas there are at least five for use at
weddings. Bach wrote also three secular wedding Cantatas: _Weichet
nur, betrübte Schatten_ (c. 1730); _O holder Tag_ (11749); the third
(1728) has disappeared.

307 Two Italian Cantatas—_Amore traditore_ and _Non sa che sia
dolore_—have come down to us. A third, _Andro dall colle al prato,_
is lost. See B.G. XI. (ii.), XXIX.

308 Only six are genuine. See infra, p. 141.

309 Of the Motets that have come down to us as his, only six are Bach’s.
Forkel mentions five of them in secs. 7 and 3 of the next paragraph;
he omits _Lobet den Herrn, alle Heiden._ In 1802-3 Breitkopf and
Haertel published six Motets—the five mentioned by Forkel and
another, _Ich lasse dich nicht,_ of which Bach made a copy, but
whose composer actually was Johann Christoph Bach. We know that
Bach composed at least one Latin Motet for double chorus, and
Friedemann’s share of his father’s autographs may have contained it
and others known to Forkel but no longer extant.

310 The Amalienbibliothek of the Joachimsthal Gymnasium, Berlin,
contains one of the most important Bach collections, but it has long
been superseded by the Royal Library there as the chief repository
of Bach’s Autographs.

311 The Amalienbibliothek has only one Autograph, namely, Cantata 34, _O
ewiges Feuer._ The rest are early copies.

312 Cantata 53. No Autograph of this Cantata exists, and the copies
from which the B.G. edition was printed are in the
Amalienbibliothek.

313 On the contrary, the Cantata belongs to the Leipzig period, 1723-34.

314 None of the four “short” Masses is in five parts. All have
instrumental accompaniments. The autograph scores of the Masses in
A major and G major are in Messrs. Breitkopf and Haertel’s
possession. Copies of the other two scores, in Altnikol’s
handwriting, are in the Berlin Royal Library. See Introduction to
B.G. VIII.

315 An eight-part Mass in G was performed at a Leipzig Gewandhaus
Concert on March 7, 1805, and was published later in the year by
Breitkopf and Haertel. The score is admittedly, for the greater
part of the work, in Bach’s hand and is in the Berlin Royal Library.
The publication of the work was under consideration by the
Bachgesellschaft in 1858. That it is not by Bach is generally held.
It has been attributed to Johann Ludwig Bach (d. 1741). See
Genealogical Table II.

316 The _St. Matthew Passion._

317 A nom de plume for Christian Friedrich Henrici (1700-64), who wrote
a large number of Bach’s Leipzig texts.

318 Perhaps Forkel indicates the short _Sanctus_ in Richter’s edition of
the _Choralgesänge_, No. 123, or that in B.G. XLI. p. 177.

319 This is the first Chorus of Cantata No. 38. It is printed as a
separate Motet in Erk, No. 150.

320 Forkel’s list is complete except for _Lobet den Herrn, alle Heiden._

321 The opening Chorus of Cantata 144.

322 Forkel refers to the _Peasant Cantata,_ or _Mer hahn en neue
Oberkeet,_ performed on August 30, 1742. Forkel clearly was not
familiar with Bach’s other secular Cantatas. See B.G. XI. (ii.),
XX. (ii.), XXIX. The Autograph score of the Peasant Cantata is in
the Berlin Royal Library.

323 Forkel’s suggestion was carried out, with varying thoroughness, in
the Bachgesellschaft edition.

324 Forkel’s judgment is at fault. See Schweitzer, i. 336.

325 Also in Wilhelm Friedemann’s _Clavierbüchlein._ See Schweitzer, i.
279; Spitta, ii. 166.

326 “Since you cannot please everybody by your actions and work, strive
at least to satisfy a few; popular appreciation encourages bad
art.”—Schiller’s _ Votiftafeln_

327 The Cantatas are classified under Appendix II.

328 The references are to Peters’ edition. Excepting bk. 1959, which
contains pieces of doubtful authenticity, every number printed by
Peters is entered in the Chronological Catalogue.

329 There are three other Sonatas, in A minor, C major, D minor, none of
which is an original composition. They are printed in P. bk. 213.
The first and second are adaptations of material in Reinken’s
_Hortus Musicus._ The third is a transcription of the second Solo
Sonata for Violin.

330 The references are to Novello’s twelve Books of Bach’s Organ Works,
edited by J. F. Bridge and J. Higgs. The edition is complete, and
contains every movement included in Alfred Dorffel’s “Thematisohos
Verzeichniss” (second edition, 1882) except his No. 24 on p. 72;
Nos. 6 and 8 on page 85; the “Kleines harmonisches Labyrinth”
(Dörffel, p. 88, tigs. 131-33), the genuineness of which is
questioned by Spitta (ii. 43); and figs. 136-37 on p. 88. The
Novello edition also follows Rust, against Spitta’s judgment, in
printing the “Fantasia con Imitazione” (bk. 12 p. 71) as an Organ
instead of as a Clavier piece. Books 15-19 print the Choral
Preludes. See the Peters and Novello editions collated in Appendix
V.

331 Printed as a “Toccata” in E major in B.G. XV. p. 276.

332 Spitta (ii. 620, 718) mentions a Birthday Cantata written in
1717-1721(?), the title of which is lost.

333 The references are to Peters’ edition.

334 The D minor contains the famous Chaconne.

335 The references are to Peters’ edition. In the B.G. edition the
Orchestral music is included in the Chamber Music volumes.

336 Pirro, p. 228, holds that the first two (C major and B minor) were
written at Cöthen and the last two (D major and D major) at Leipzig.
Schweitzer (i. 402) regards it as not clear in which period the
Overtures were written.

337 In A minor, E major, G major. The G major figures as the fourth
Brandenburg (bk. 264) and as the Clavier Concerto in F major (bk.
248). The A minor and E major were also converted into Clavier
Concerti (G minor and D major) (bks. 249, 251). The D minor Clavier
Concerto (bk. 264) preserves a lost Violin Concerto in the same key,
and the one in F minor (bk. 250) corresponds with a lost Violin
Concerto in G minor (bks. 3068, 3069).

338 Also arranged as a Concerto for two Claviers (C minor) in P. bk.
257b.

339 Bach wrote another Magnificat, the music of which is lost. See
Spitta, ii. 374.

340 All except the Sanctus in D major are of doubtful authenticity. See
Schweitzer, ii. 328 and Spitta, iii. 41 n.

341 The Concerto in C minor (P. bk. 257) is an arrangement of one for
two Violins now lost. The third, also in C minor, is identical with
the D minor Concerto for two Violins and is published in that key in
the Peters edition. The remaining Concerto, in C major, is the only
one originally written for the Clavier. See Schweitzer, i. 413.

342 The work is an amplification of the Prelude and Fugue in A minor,
already catalogued among the Clavier works of the Cöthen period.
Schweitzer (i. 340) concludes that it was rearranged as an
orchestral Concerto early in the thirties, when Bach needed
Concertos for the Telemann Society’s Concerts.

343 The scheme of the G major and C major Preludes and Fugues dates back
to the Weimar period. See Spitta, iii. 208; Parry, p. 67.

344 These so-called “Organ” Sonatas were written for the Pedal
Clavicembalo.

345 The Clavier Suites in E minor, E major, and C minor are arrangements
of these, otherwise lost, Lute Partitas. See Schweitzer, i. 344.

346 In Mizler’s _Nekrolog._

347 Supra, p. 138.

348 See the present writer’s _Bach’s Chorals,_ Part II. p. 1.

349 Ibid., p. 4. Four more Cantatas, of doubtful authenticity, are
published by the Bachgesellschaft, Jahrgang XLI.

350 See the Table of Cantatas set out in chronological order.

351 Nos. 18, 24, 28, 59, 61, 142, 160.

352 Nos. 31, 70, 72, 80, 132, 147, 152, 155, 161, 162, 163, 164, 166,
168, 185, 186 (part).

353 Nos. 145, 148 (part), 156, 157, 159, 171, 174, 188, 190 (one
version), _Ehre sei Gott_ (incomplete).

354 Nos. 68, 74, 87, 103, 108, 128, 175, 176, 183.

355 Nos. 47, 141.

356 Nos. 50, 191, 196.

357 Nos. 4, 97, 100, 107, 112, 117, 118, 129, 137, 177, 192.

358 No. 15: _Denn du wirst meine Seele nichfc in der Hölle lassen._

359 The intimate personal note of the opening words of the
Recitative—“Mein Jesus ware tot”—reveals him.

360 Spitta, i. 231.

361 Schweitzer, i. 103.

362 No. 131: _Aus der Tiefe rufe ich, Herr, zu dir._

363 No. 71: _Gott ist mein Küonig._

364 No. 196: _Dorr Herr denket an uns._

365 See Spitta, i. 359 ff.

366 Ibid., i. 374. On the other hand, Baoh’s art was visibly affected
by Pietistic influences, as Schweitzer, i. 169, shows.

367 Eilmar died in 1715 (Spitta, i. 361).

368 No. 189: _Meine Seele rühmt und preist._

369 No. 150: _Nach dir, Herr, verlanget mich._

370 Vol. i. 456.

_ 371 J.S. Bach,_ p. 87.

372 The conclusion is based on letters printed by Spitta, i. 517.

373 Nos. 18, 61, 142, 160, and 69. See Table.

374 He was born May 12, 1671 (Spitta, i. 470).

375 The volume is entitled _Erdmann Neumeisters Geistliche Cantaten
statt einer Kirchen-Musik. Die zweyte Auflage._

376 Entitled _Herrn Erdmann Neumeisters Fünffache Kirchen-Andachten,_
Leipzig, 1716.

377 Spitta, i. 474.

378 Vol. i. 466 ff.

379 See the Aria (Duetto) of Cantata No. 28.

380 See particularly the Litanei in Cantata No. 18.

381 Telemann was Carl Philipp Emmanuel Bach’s godfather (Spitta, i.
486).

382 Nos. 24, 28, 69, 61.

383 No. 18.

384 Nos. 142, 160.

385 See Spitta, i. 630.

386 His influence is also detected in Nos. 27, 56, 199.

387 Telemann also set the libretti of Bach’s Nos. 18 and 142. See
Spitta, i. 487.

388 Vol. i. 530.

389 Wustmann, _Joh. Seb. Bach’s Kantaten-Texte_ (1913), p. xxii n. The
cycle is entitled _Evangelisches Andachts-Opffer._

390 Only Nos. 70, 147, and 186 are taken from it.

391 Entitled _Evangelische Sonn- und Fest-Tages Andachten._

392 Vol. ii. 131.

393 For instance, the Aria in Cantata No. 168, beginning:

Kapital und Interessen Meiner Schulden gross und klein,
Mussen einst verrechnet sein.

394 Spitta, ii. 5; Schweitzer, i. 106.

395 Spitta, ii. 3.

396 The two Cantatas are Nos. 47 and 141.

397 Wustmann, p. xxiii.

398 Spitta, ii. 12 n.

399 The Choral is absent from No. 141. It should be “Christe, du Lamm
Gotten.”

400 Schweitzer, ii. 147. The Cantata is No. 47, _Wer sich selbst
erhöhet._

401 Vol. ii. 13.

402 Vol. ii. 147.

403 No. 141: _Das ist je gewisslich wahr._

404 Vol. ii. 15.

405 Vol. ii. 148.

_ 406 Johann Sebastian Bach,_ p. 108.

407 Op. cit., Note 195.

408 Spitta, ii. 147.

409 Nos. 134 and 173.

410 No. 134: _Ein Herz, das seinen Jesum lebend weiss._

411 No. 173: _Erhötes Fleisch und Blut._

412 No. 75: _Die Elenden sollen essen,_ sung on May 30, the day
preceding Bach’s formal induction.

413 For instance, Nos. 67 and 102.

414 Wustmann, by implication, only associates eight libretti (Cantatas
Nos. 37, 44, 75, 76, 86, 104, 166, 179) with Weiss. All of them
belong to the early years, 1723-27.

415 See Nos. 75 and 105.

416 See Nos. 25, 42, 77. As an extreme illustration, the first
Recitative of No. 25 begins with the words, _Die ganze Welt ist nur
ein Hospital._

417 Vol. ii. 388.

418 Cantata No. 65: _Sie werden aus Saba Alle kommen._

419 Vol. i. 361.

420 Wustmann, p. xxiv.

421 Ibid.

422 See the Table.

423 They ore Nos. 6, 17, 22, 43, 48, 57, 144, 148, 157, 159,171,
190,195, and the incomplete Cantata, _Ehre sei Gott in der Höhe._

424 Nos. 16, 23, 63, 81, 83, 153, 154, 184, 194. See the Table.

425 No. 4: _Christ lag in Todesbanden._

426 Vol. ii. 393.

427 See the Table: No. 112, _Derr herr ist mein getreuer Hirt._

428 Nos. 8, 20, 93.

429 No. 148: _Bringet dem Herrn Ehre seines Namens._

430 No. 8: _Liebster Gott, wann werd’ ich sterben._

431 No. 181: _Leichtgesinnte Flattergeister._

432 Vol. ii. 340 ff.

433 The volume is entitled _Sammlung Erbaulicher Gedancken, Bey und über
gewohnlichen Sonn- und Festtags-Evangelien,_ Leipzig.

_ 434 Cantaten auf die Sonn- und Fest-Tage durch das gantze Jahr,_
Leipzig, 1728. He reprinted them in 1732 in his _Satyrische
Gedichte._

435 But see Cantata No. 148 and Spitta, ii. 693. Also No. 19.

436 Cantatas Nos. 145, 156, 159, 171, 174, 188, 190 (one version), and
the Cantata _Ehre sei Gott._

437 No. 157.

438 Nos. 19, 30, 36, 84, 148, 197.

439 Vol. ii. 346.

440 Nos. 32, 48, 67, 90, 144, 181.

441 Nos. 16, 22, 23, 27, 35, 51, 56, 58, 63, 66, 81, 82, 83, 153, 154,
194, 195. No. 184 is an adaptation. See also Nos. 19, 36, 84, 144,
145, 148, for Bach’s collaboration with Picander.

442 Besides No. 80, a Choral Cantata.

443 Schweitzer, ii. 332 ff.

444 Entitled _Versuch in gebundener Schreibart._

445 Vol. iii. 71.

446 Vol. ii. 331 n.

447 No. 85: _Ich bin ein guter Hirt._

448 Note 60.

449 Vol. ii. 331 n.

450 No. 33: _Gott färet auf mit Jauchzen._

451 See Table.

452 No. 74.

453 Op. cit., p. 377.

454 See Table.

455 Nos. 100 and 107, both of them c. 1735.

456 No. 8, for the Sixteenth Sunday after Trinity.

457 No. 93, for the Fifth Sunday after Trinity (1728).

458 Nos. 9 (? 1731), 99 (c. 1733).

459 No. 122.

460 No. 80.

461 Nos. 1, 2, 5, 8, 20, 26, 62, 78, 91, 92, 93, 96, 115, 121, 124, 127,
138, 140.

462 Nos. 7, 9, 10, 14, 33, 41, 94, 99, 101, 111, 113, 114, 116, 125,
126, 130, 139, 178, 180.

463 Nos. 4, 97, 100, 107, 112, 117, 129, 137, 177, 192.

464 Nos. 3, 38, 123, 133, 135.

465 P. xxiv.

466 Nos. 3, 123, 133, 135.

467 See supra, p. 180.

468 Nos. 17, 34, 43, 151, 197, and _Herr Gott, Beherrsoher aller Dinge._

469 Nos. 30, 32, 48, 57, 90.

470 Nos. 45, 79, 110, 143.

471 No. 28.

472 No. 50.

473 No. 118.

474 Nos. 6, 11, 13, 146, 193.

475 See _Bach’s Chorals,_ Part II., Introduction.

476 The above article and the Table that follows were communicated
originally to the Musical Association on March 28, 1918.

477 General mourning for the Queen lasted from Sept. 7, 1727, to Jan. 6,
1728. No Cantatas were sung in the period.

478 The Church Cantatas are published by Peters and also by Breitkopf
and Haertel. A prefixed asterisk indicates that an English edition
of the Cantata or Oratorio is published by Novello or Breitkopf and
Haertel.

The Organ music is published by Novello, to whose edition references
are given (N.), Peters, and Breitkopf and Haertel. collation of
the Peters and Novello editions is given in Appendix V.

The Clavier and Instrumental music is published by Peters, to whose
edition references are given (P.).

479 A Variant of the first Invention is on p. 342 of the volume. A
Variant of Sinfonia ix. is on p. vi. of the Nachtrag.

480 A Variant is in B.G. XI.

481 A Variant is in P. bk. 244 p. 109.

482 “If genuine, the Sonata is a youthful work,” remarks Schweitzer, i.
401 n.

483 Additional movements of the second, third, and fourth Suites are in
Appendix II. of B.G. XXXVI.

484 The volume contains an Appendix of Variants, etc. See also B.G. XLV.
(1) Appendix. Variants of Nos. 1, 3, 6 of Part II. are in Appendix
I. of B.G. XXXVI.

485 See publications of the N.B.G. xiv. (2) no. 5.

486 See publications of the N.B.G. vii. (3) no. 3.

487 For this work, in its original form as a Violin Concerto, see N.B.G.
XVIII. (1 and 2).

488 The D major (No. 3) and G minor (No. 7) Concertos are identical with
the Violin Concertos in E major and A minor. See B.G. XXI. (1). No.
6 (F. major) is the fourth Brandenburg Concerto (in G.). See B.G.
XIX. no. 4.

489 In a shortened form this work appears also as a Sinfonia in F major.
See B.G. XXXI. (1) no. 5, and N.B.G. X. (2).

490 Identical with the G minor Clavier Concerto. See B.G. XVII. no. 7,
and also B.G. XLV. (1), Appendix, p. 233.

491 Identical with the D major Clavier Concerto. See B.G. XVII. no. 3,
and N.B.G. VIII. (1)

492 Identical with the Concerto for two Claviers in C minor. See B.G.
XXI. (2) no. 3.

493 The movement is described as being from “einer unbekannten
Kirchencantate” for four voices and Orchestra. The Autograph is
incomplete. The movement is not published elsewhere than in the B.G.
edition.

494 Identical with the Concerto for 2 Violins, in D minor. See B.G. XXI.
(1) no. 3. Also pp. 131, 158, 160, supra.

495 Also in N.B.G. XVII. (1 and 2).

496 For an exposition of Bach’s design in the “Orgelbüchlein,” see the
present writer’s articles in “The Musical Times” for January_March
1917, and “Bach’s Chorals,” Part III. See N.B.G. II. (1) for an
arrangement of the Preludes for two pianofortes.

497 See B.G. XLII. for a Clavier version.

498 See B.G. XLII. for a Clavier version.

499 Boosey and Co. also publish an English edition.

500 This is a shortened form of the first Brandenberg Concerto (see B.G.
XIX. no. 1). It consists of the Allegro, Adagio, Minuet, Trio I.
and Trio II. of the latter, and omits its second Allegro and
Polacca.

501 The Appendix contains Joh. Philipp Kernberger’s solutions of the
Canons and his expansion of the figured bass of the Clavier part of
the Sonata.

502 See publications of the N.B.G. XIV. (2) no. 2.

503 See publications of the N.B.G. XIV. (2) no. 2.

504 Text and music are identical with the version in B.G. XX. (2).

505 Another Allemande to the Suite is in B.G. XXXVI. 217 (also in P.).

506 The subject of the Fughetta is the same as that of Fugue No. 17 in
the second part of the “Well-tempered Clavier.”

507 The Prelude is No. 11 in Peters (B.G. xxxvi. 220). The Fughetta is
his No. 10. It is the same subject an that of Fugue 16 in the second
part of the “Well-tempered Clavier.” An alternative Prelude (P. 214
p. 78) is in the Appendix (p. 220).

508 They are described as “zur vierten französischen Suite.” The Prelude
is in P. bk. 1959 p. 67.

509 Written respectively for the second and third French Suites (not in
P.).

510 A fingered exercise.

511 The Appendices of the volume contain variant readings of movements
elsewhere contained in it, and of the first, third, and sixth
Preludes and Fugues in the second part of the “Well-tempered
Clavier.”

512 See B.G. XLV. (1) Appendix.

513 Only nos. 2 and 3 are derived from Vivaldi.

514 A variant text is in B.G. XLII. 282.

515 Vivaldi’s text of the first movement is in the Appendix (p. 229).

516 See B.G. XLIII. (2) sec. 1 no. 2.

517 The fugal subject is taken from the Allabreve.

518 Bach’s instrumental accompaniments are in the Appendix (p. 143).

519 C. P. E. Bach’s collection of his father’s Choral settings was
published by Immanuel Breitkopf in four volumes between the years
1784-87. They are all inoluded in Breitkopf and Haertel’s edition
(1898) of Bach s “Choralgesänge”; the numerals in brackets in the
above list indicate the position of each Choral in that collection.
The latter includes also the simple four-part Chorals from the
Oratorios and Cantatas; hence the numeration of that volume and B.G.
XXXIX. is not uniform.

520 The bracket states the title by which the tune is better known.

521 The Chorals are taken from two sources, Anna Magdalena Bach’s
“Notenbuch” (1726; see B.G. XLIII. (2)), and Schemelli’s
“Musicalisches Gesang-Buch” (1736), of which Bach was the musical
editor. The latter contains sixty-nine melodies (with figured
bass), the former seven: one melody (No. 14) is in both collections.
The Schemelli tunes are indicated by an S within a bracket after the
numeral. One melody (No. 71) is indubitably by Bach himself. It,
and others, which may be attributed to him on good evidence, are
marked by an asterisk. The seventy-five settings are published in
practicable form by the N.B.G. I. (1) and I. (2).

522 Nos. 22 and 23 are the same tune.

523 For a discussion of Bach’s original hymn-tunes see the present
writer’s “Bach’s Chorals,” Part II. Introduction, pp. 67 ff. Six
more of Bach’s original hymn-tunes are printed there.

524 The first three Arias are published by Novello, and also by the
N.B.G. I. (1).

525 In the Royal Library, Berlin. Kirnberger was a pupil of Bach. See
section on Variants infra.

526 Novello omits the concluding four-part Choral.

527 The Prelude is also attributed to J. L. Krebs, a pupil of Bach.

528 See section on Variants infra.:

529 Variant, P. bk. 245 p. 106.

530 Ernst Naumann remarks, “Das Stück kann recht gut von Seb. Baoh
herrühren.” The text is complete, and the omission of the Prelude
from the Novello edition is to be regretted.

531 A transcription of the second Sonata for Solo Violin, in A minor,
See B.G. XXVII. (1).

532 A transcription of the third Partita, in E major, for Solo Violin.
See ibid.

533 From the third Sonata for Solo Violin, in C major. See ibid.

534 Both Sonatas are arrangements of instrumental Sonatas in J. A.
Reinken’s “Hortus Musicus.” See Spitta, i. 430.

535 Both Sonatas are arrangements of instrumental Sonatas in J. A.
Reinken’s “Hortus Musicus.” See Spitta, i. 430.

536 After a Sonata movement by J. A. Reinken.

537 After a Fugue by J. C. Erselius. The original is given in Anhang II.
of the volume.

538 Only Nos. 1, 2, 4, 5, 7, 9, 14 are derived from Vivaldi. The others
are founded on Benedetto Marcello (No. 3), Duke Johann Ernst of
Weimar (Nos. 11, 16, and perhaps 13).

539 The Toccata is by Henry Purcell. See Grove, vol. iii. p. 857.

540 The volume also contains a Variant of the first Organ Concerto (B.G.
XXXVIII.).

541 The Concerto is an arrangement of one by Antonio Vivaldi for four
Violins, the original of which (in B minor) is given in the Appendix
to the volume.

542 Omitting the vocal numbers, movements printed elsewhere, and the
“Menuet fait par Mons. Böhm,” Peters’ Bk. 1959 contains the
remaining twenty numbers of the Notebook. They are indicated in the
above index by a P in a bracket.

543 A separate Preface to the reprinted Suites is by Ernst Naumann. It
is dated 1895.

544 Perhaps an arrangement of an orchestral piece. See Schweitzer, i.
342 n.

545 The Appendix to the volume contains addenda to the Violin Concerto
in A minor (see B.G. XXL. (1)) and Cantata 188 (see B.G. XXXVII.).
Also the Zurich and London texts of the “Welltempered Clavier” (B.G.
XIV.), with critical notes.

546 The Preface is dated 1899. The volume was issued in 1900.

547 The original words are “Die Schätzbarkeit der weiten Erden.”

548 The title-page is dated 1913 and the Preface “Im Advent auf 1914.”

549 The Aria is no. 20 of A. M. Bach’s “Notenbuch” for 1725. See E.G.
XLII. (2) no. 20.

550 This publication, announced for 1916, appears under a different
title as the third issue for 1917. See infra, XVII. (3).

<pre id="pg-footer">