“Logic aims to instruct the human mind as to its own nature and processes; it will lay bare the interior working of our mind for our guidance. The object of the study of logic is thought, its nature, and its proper classification.”

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 5

"On the Conservation of Force" (1862), p. 279
Popular Lectures on Scientific Subjects (1881)

Internet Encyclopedia of Philosophy

Source: A Funeral for the Eyes of Fire (1975), Chapter 4, “Enlightenment: Down on the Edgegleam Plains” (p. 83)

Nano Reid (1950)
Context: Each work of art is a complete entity existing in its own right and by its own particular logic. It has its own reality and is independent of any particular creed or theory as a justification for its existence. This is not to say that artistic development may be considered as a self-sufficient process unrelated to social reality, because art is always concerned with the deeper and fundamentally human things; and any consideration of art is a consideration of humanity. But it does mean that we cannot apply the principles and logic of the past to a new work of art and hope to understand it. The eternal verities with which the artist is concerned do not change, but our conception of art does, as does our conception of form, and these must be extended if we are to understand fully and basically the meaning of a new work. It is a complex matter, but the elemental principles are always simple. The mass of modern art theory that developed around the fantastic changes of this century's painting can be largely ignored; only one or two fundamental principles are important. Probably most important in the new aesthetics from the painter's point of view was the statement of Degas, seventy years ago, in his unheeded advice to the Impressionists. He spoke then of a "Transformation in which imagination collaborates with memory... It is very well to copy what one sees; it is much better to draw what one has retained in one's memory”…This attitude, and all it implies, underlines the work of practically every painter of importance since 1900. Ultimately, it meant that the day of stage props and models was gone, and that imagination was recognised as the most important quality in an artist.

Source: Hegel's Idealism: The Satisfactions of Self-Consciousness (1989), p. 20

Pt 1, Ch. 4 http://www.resologist.net/lo104.htm
Lo! (1931)
Context: If human thought is a growth, like all other growths, its logic is without foundation of its own, and is only the adjusting constructiveness of all other growing things. A tree can not find out, as it were, how to blossom, until comes blossom-time. A social growth cannot find out the use of steam engines, until comes steam-engine-time. For whatever is supposed to be meant by progress, there is no need in human minds for standards of their own: this is in the sense that no part of a growing plant needs guidance of its own devising, nor special knowledge of its own as to how to become a leaf or a root. It needs no base of its own, because the relative wholeness of the plant is relative baseness to its parts. At the same time, in the midst of this theory of submergence, I do not accept that human minds are absolute nonentities, just as I do not accept that a leaf, or a root, of a plant, though so dependent upon a main body, and so clearly only a part, is absolutely without something of an individualizing touch of its own.
It is the problem of continuity-discontinuity, which perhaps I shall have to take up sometime.

Lectures on the History of History Vol 1 p. 17 John Sibree translation (1857), 1914
Lectures on the Philosophy of History (1832), Volume 1
Context: The enquiry into the essential destiny of Reason as far as it is considered in reference to the World is identical with the question, what is the ultimate design of the World? And the expression implies that that design is destined to be realised! Two points of consideration suggest themselves: first, the import of this design its abstract definition; and secondly, its realization. It must be observed at the outset, that the phenomenon we investigate Universal History belongs to the realm of Spirit. The term “World" includes both physical and psychical Nature. Physical Nature also plays its part in the World's History, and attention will have to be paid to the fundamental natural relations thus involved. But Spirit, and the course of its development, is our substantial object. Our task does not require us to contemplate Nature as a Rational System in itself though in its own proper domain it proves itself such but simply in its relation to Spirit. On the stage on which we are observing it, Universal History Spirit displays itself in its most concrete reality. Notwithstanding this (or rather for the very purpose of comprehending the general principles which this, its form of concrete reality, embodies) we must premise some abstract characteristics of the nature of Spirit. Such an explanation, however, cannot be given here under any other form than that of bare assertion. The present is not the occasion for unfolding the idea of Spirit speculatively; for whatever has a place in an Introduction, must, as already observed, be taken as simply historical; something assumed as having been explained and proved elsewhere; or whose demonstration awaits the sequel of the Science of History itself.

Source: Gardens of the Moon (1999), Chapter 16 (p. 457)