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David Friedrich Strauss. Das Leben Jesu fur das deutsche Volk bearbeitet. (A Life of Jesus for the German People.) Leipzig, 1864. 631 pp.

Der Christus des Galubens und der Jesus der Geschichte. Eine Kritik des Schleiermacher'schen Lebens Jesu. (The Christ of Faith and the Jesus of History, a Criticism of Schleiermacher's Life of Jesus.) Berlin, 1865. 223 pp. Appendix, pp. 224-240.

Der Schenkel'sche Handel in Baden. (The Schenkel Affair in Baden.) A corrected reprint from No. 441 of the National-Zeitung, of the 21st September 1864.

Die Halben und die Ganzen. (The Half-way-ers and the Whole-way-ers.) 186S.

Daniel Schenkel. Das Charakterbild Jesu. (The Portrait of Jesus.) Wiesbaden, 1864 (ed. 1 and 2). 405 pp. Fourth edition, with a preface opposing Strauss's "Der alte und der neue Glaube" (The Old Faith and the New), 1873.

Karl Heinrich Weizsacker. Untersuchungen fiber die evangelische Geschichte, ihre Quellen und den Gang ihrer Entwicklung. (Studies in the Gospel History, its Sources and the Progress of its Development.) Gotha, 1864. 580 pp.

Heinrich Julius Holtzmann. Die synoptischen Evangelien. Ihr Ursprung und geschichtlicher Charakter. (The Synoptic Gospels. Their Origin and Historical Character.) Leipzig, 1863. 514 pp.

Theodor Keim. Die Geschichte Jesu von Nazara. (The History of Jesus of Nazara.) 3 vols., Zurich; vol. i., 1867, 446 pp.; vol. ii., 1871, 616 pp.; vol. iii., 1872, 667 pp.

Die Geschichte Jesu. Zurich, 1872. 398 pp.

Karl Hase. Geschichte Jesu. Nach akademischen Vorlesungen. (The History of Jesus. Academic Lectures, revised.) Leipzig, 1876. 612 pp.

Willibald Beyschlag. Das Leben Jesu. First Part: Prelimn:ary Investigations, 1885, 450 pp. Second Part: Narrative, 1886, 495 pp.; 2nd ed. 1887-1888.

Bernhard Weiss. Das Leben Jesu. 1st ed., 2 vols., 1882; 2nd ed., 1884. First vol., down to the Baptist's question, 556 pp. Second vol., 617 pp.

"MY HOPE IS," WRITES STRAUSS IN CONCLUDING THE PREFACE OF HIS NEW Life of Jesus, "that I have written a book as thoroughly well adapted for Germans as Renan's is for Frenchmen." He was mistaken; in spite

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of its title the book was not a book for the people. It had nothing new to offer, and what it did offer was not in a form calculated to become popular. It is true Strauss, like Renan, was an artist, but he did not write, like an imaginative novelist, with a constant eye to effect. His art was unpretentious,