This book was originally published prior to 1923, and represents a reproduction of an important historical work, maintaining the same format as the original work. While some publishers have opted to apply OCR (optical character recognition) technology to the process, we believe this leads to sub-optimal results (frequent typographical errors, strange characters and confusing formatting) and does not adequately preserve the historical character of the original artifact. We believe this work is culturally important in its original archival form. While we strive to adequately clean and digitally enhance the original work, there are occasionally instances where imperfections such as blurred or missing pages, poor pictures or errant marks may have been introduced due to either the quality of the original work or the scanning process itself. Despite these occasional imperfections, we have brought it back into print as part of our ongoing global book preservation commitment, providing customers with access to the best possible historical reprints. We appreciate your understanding of these occasional imperfections, and sincerely hope you enjoy seeing the book in a format as close as possible to that intended by the original publisher.
Estelle May Hurll (1863–1924), a student of aesthetics, wrote a series of popular aesthetic analyses of art in the early twentieth century.
Hurll was born 25 July 1863 in New Bedford, Massachusetts, daughter of Charles W. and Sarah Hurll. She attended Wellesley College, graduating in 1882. From 1884 to 1891 she taught ethics at Wellesley. Hurll received her A.M. from Wellesley in 1892. In earning her degree, Hurll wrote Wellesley's first master's thesis in philosophy under Mary Whiton Calkins; her thesis was titled "The Fundamental Reality of the Aesthetic." After earning her degree, Hurll engaged in a short career writing introductions and interpretations of art, but these activities ceased before she married John Chambers Hurll on 29 June 1908.