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Title: Index of the Project Gutenberg Works of John Ruskin

Author: John Ruskin

Editor: David Widger

Release date: April 29, 2019 [eBook #59392]

Most recently updated: February 25, 2021

Language: English

Credits: Produced by David Widger

*** START OF THE PROJECT GUTENBERG EBOOK INDEX OF THE PROJECT GUTENBERG WORKS OF JOHN RUSKIN ***

INDEX OF THE PROJECT GUTENBERG

WORKS OF

JOHN RUSKIN

Compiled by David Widger

CONTENTS

Click on the ## before many of the titles to view a linked

table of contents for that volume.

Click on the title itself to open the original online file.

##  THE KING OF THE GOLDEN RIVER

##  THE KING OF THE GOLDEN RIVER (Illustrated)

RUSKIN LILIES

##  THE ETHICS OF THE DUST

##  MORNINGS IN FLORENCE

##  THE TWO PATHS

##  VAL D'ARNO

##  THE QUEEN OF THE AIR

##  PROSERPINA, Vol. 1

PROSERPINA, Vol. 2

##  SELECTIONS FROM RUSKIN

##  THE PLEASURES OF ENGLAND

##  THE POETRY OF ARCHITECTURE

##  LOVE'S MEINIE

GIOTTO AND HIS WORKS IN PADUA

##  LECTURES ON ART

##  A JOY FOR EVER

##  LECTURES ON LANDSCAPE

##  THE STORM-CLOUD OF THE NINETEENTH CENTURY

##  ON THE OLD ROAD, VOL. 2 (of 2)

##  THE HARBOURS OF ENGLAND

##  HORTUS INCLUSUS

##  LECTURES ON ARCHITECTURE

##  BIBLE OF AMIENS

##  ARATRA PENTELICI, SEVEN LECTURES

##  THE CROWN OF WILD OLIVE

##  ARIADNE FLORENTINA

##  SAINT URSULA

##  THE ELEMENTS OF DRAWING

##  STONES OF VENICE [INTRODUCTIONS]

##  THE STONES OF VENICE, Vol. I (of III)

##  THE STONES OF VENICE, Vol. II

##  THE STONES OF VENICE, Vol. III (of III)

##  FRONDES AGRESTES

##  TIME AND TIDE BY WEARE AND TYNE

##  THE SEVEN LAMPS OF ARCHITECTURE

##  UNTO THIS LAST AND OTHER POLITICAL ESSAYS

##  THE EAGLE'S NEST

OF VULGARITY

##  RUSKIN RELICS

##  ARROWS OF THE CHACE, Vol. 1 (of 2)

##  ARROWS OF THE CHACE, Vol. 2 (of 2)

##  MODERN PAINTERS Vol. I (of V)

##  MODERN PAINTERS Vol. II (of V)

##  MODERN PAINTERS Vol. III (of V)

##  MODERN PAINTERS Vol. IV (of V)

##  MODERN PAINTERS Vol. V (of V)

TABLES OF CONTENTS OF VOLUMES

The King of the Golden River

By John Ruskin

CONTENTS

CHAPTER I

HOW THE AGRICULTURAL SYSTEM OF THE BLACK BROTHERS WAS INTERFERED WITH BY SOUTHWEST WIND, ESQUIRE

CHAPTER II

OF THE PROCEEDINGS OF THE THREE BROTHERS AFTER THE VISIT OF SOUTHWEST WIND, ESQUIRE; AND HOW LITTLE GLUCK HAD AN INTERVIEW WITH THE KING OF GOLDEN RIVER

CHAPTER III

HOW MR. HANS SET OFF ON AN EXPEDITION TO THE GOLDEN RIVER, AND HOW HE PROSPERED THEREIN

CHAPTER IV

HOW MR. SCHWARTZ SET OFF ON AN EXPEDITION TO THE GOLDEN RIVER, AND HOW HE PROSPERED THEREIN

CHAPTER V

HOW LITTLE GLUCK SET OFF ON AN EXPEDITION TO THE GOLDEN RIVER, AND HOW HE PROSPERED THEREIN, WITH OTHER MATTERS OF INTEREST

THE KING OF THE GOLDEN RIVER

OR THE BLACK BROTHERS

A Legend of Stiria

By John Ruskin

Illustrated by Richard Doyle

CONTENTS

CHAPTER I.

HOW THE AGRICULTURAL SYSTEM OF THE BLACK BROTHERS WAS INTERFERED WITH BY SOUTH-WEST WIND, ESQUIRE

9

CHAPTER II.

OF THE PROCEEDINGS OF THE THREE BROTHERS AFTER THE VISIT OF SOUTH-WEST WIND, ESQUIRE; AND HOW LITTLE GLUCK HAD AN INTERVIEW WITH THE KING OF THE GOLDEN RIVER

28

CHAPTER III.

HOW MR. HANS SET OFF ON AN EXPEDITION TO THE GOLDEN RIVER, AND HOW HE PROSPERED THEREIN

40

CHAPTER IV.

HOW MR. SCHWARTZ SET OFF ON AN EXPEDITION TO THE GOLDEN RIVER, AND HOW HE PROSPERED THEREIN

51

CHAPTER V.

HOW LITTLE GLUCK SET OFF ON AN EXPEDITION TO THE GOLDEN RIVER, AND HOW HE PROSPERED THEREIN; WITH OTHER MATTERS OF INTEREST

56

LIST OF ILLUSTRATIONS

Designed And Drawn On Wood By Richard Doyle

SUBJECTS.

ENGRAVERS.

PAGE

South-West Wind, Esq., knocking at the Black Brothers' door

C. Thurston Thompson

Frontispiece.

The Treasure Valley

C. Thurston Thompson

Title

Initial Letter, and Mountain Range

G. and E. Dalziel

9

South-West Wind, Esq., seated on the hob

G. and E. Dalziel

18

South-West Wind, Esq., bowing to the Black Brothers

H. Orrin Smith

21

Storm Scene

G. and E. Dalziel

25

Card of South-West Wind, Esq.

H. Orrin Smith

27

Initial Letter, and Cottage in the Treasure Valley

Isabel Thompson

28

The Black Brothers drinking and Gluck working

C. S. Cheltnam

30

Gluck looking out at the Golden River

H. D. Linton

32

The Golden Dwarf appearing to Gluck

G. and E. Dalziel

36

Gluck looking up the Chimney

H. Orrin Smith

39

The Black Brothers beating Gluck

C. S. Cheltnam

40

Hans and Schwartz fighting

H. Orrin Smith

41

Schwartz before the Magistrate

C. S. Cheltnam

42

Hans and the Dog

H. Orrin Smith

47

The Black Stone

G. and E. Dalziel

50

Initial Letter—Gluck releasing Schwartz

G. and E. Dalziel

51

Schwartz ascending the Mountain

H. Orrin Smith

53

Initial Letter—Gluck ascending the Mountain

H. Orrin Smith

56

Priest giving Gluck Holy Water

G. and E. Dalziel

57

Gluck and the Child

C. S. Cheltnam

59

THE ETHICS OF THE DUST

Ten Lectures To Little Housewives

On The Elements Of Crystallization

By John Ruskin, LL.D.,

CONTENTS

DEDICATION.

PERSONAE

PREFACE TO THE SECOND EDITION.

PREFACE TO THE SECOND EDITION.

PREFACE.

LECTURE 1. — THE VALLEY OF DIAMONDS

LECTURE 2. — THE PYRAMID BUILDERS

LECTURE 3. — THE CRYSTAL LIFE

LECTURE 4. — THE CRYSTAL ORDERS

LECTURE 5. — CRYSTAL VIRTUES

LECTURE 6. — CRYSTAL QUARRELS

LECTURE 7. — HOME VIRTUES

LECTURE 8. — CRYSTAL CAPRICE

LECTURE 9. — CRYSTAL SORROWS

LECTURE 10.

NOTES.

NOTE I.

NOTE II.

NOTE III.

NOTE IV.

NOTE V.

NOTE VI.

NOTE TO SECOND EDITION

MORNINGS IN FLORENCE

By John Ruskin

CONTENTS

MORNINGS IN FLORENCE.

THE FIRST MORNING.

THE SECOND MORNING.

THE THIRD MORNING.

THE FOURTH MORNING.

THE FIFTH MORNING.

THE SIXTH MORNING.

THE TWO PATHS

By John Ruskin

CONTENTS

THE TWO PATHS.

PREFACE.

THE TWO PATHS

LECTURE I. — THE DETERIORATIVE POWER OF CONVENTIONAL ART OVER NATIONS.

LECTURE II. — THE UNITY OF ART.

LECTURE III. — MODERN MANUFACTURE AND DESIGN.

LECTURE IV. — INFLUENCE OF IMAGINATION IN ARCHITECTURE

LECTURE V. — THE WORK OF IRON, IN NATURE, ART, AND POLICY.

APPENDICES.

APPENDIX II.

APPENDIX III.

APPENDIX IV.

APPENDIX V.

VAL D'ARNO

By John Ruskin

CONTENTS

VAL D'ARNO

LECTURE I. NICHOLAS THE PISAN.

LECTURE II. JOHN THE PISAN.

LECTURE III. SHIELD AND APRON.

LECTURE IV. PARTED PER PALE.

LECTURE V. PAX VOBISCUM.

LECTURE VI. MARBLE COUCHANT.

LECTURE VII. MARBLE RAMPANT.

LECTURE VIII. FRANCHISE.

LECTURE IX. THE TYRRHENE SEA.

LECTURE X. FLEUR DE LYS.

THE QUEEN OF THE AIR

Being a Study of the Greek Myths of Cloud and Storm

By John Ruskin, LL.D.

CONTENTS

TABLE OF CONTENTS

PREFACE

THE QUEEN OF THE AIR.

I. — ATHENA CHALINITIS. (Athena in the Heavens.)

II. — ATHENA KERAMITIS. (Athena in the Earth.)

III. — ATHENA ERGANE. (Athena in the Heart.)

PROSERPINA.

VOLUME I.

Studies of Wayside Flowers

By John Ruskin,

CONTENTS OF VOL.

PAGE

INTRODUCTION

1

CHAPTER I. MOSS

12

CHAPTER II. THE ROOT

26

CHAPTER III. THE LEAF

40

CHAPTER IV. THE FLOWER

64

CHAPTER V. PAPAVER RHOEAS

86

CHAPTER VI. THE PARABLE OF JOASH

106

CHAPTER VII. THE PARABLE OF JOTHAM

117

CHAPTER VIII. THE STEM

127

CHAPTER IX. OUTSIDE AND IN

151

CHAPTER X. THE BARK

170

CHAPTER XI. GENEALOGY

176

CHAPTER XII. CORA AND KRONOS

205

CHAPTER XIII. THE SEED AND HUSK

219

CHAPTER XIV. THE FRUIT GIFT

227

INDEX I. DESCRIPTIVE NOMENCLATURE

239

INDEX II. ENGLISH NAMES

255

INDEX III. LATIN OR GREEK NAMES

258

SELECTIONS FROM THE WORKS OF JOHN RUSKIN

Edited With Introduction And Notes By Chauncey B. Tinker

CONTENTS

INTRODUCTION

The Life of Ruskin

The Unity of Ruskin's Writings

Ruskin's Style

SELECTIONS FROM MODERN PAINTERS

The Earth-Veil

The Mountain Glory

Sunrise on the Alps

The Grand Style

Of Realization

Of the Novelty of Landscape

Of the Pathetic Fallacy

Of Classical Landscape

Of Modern Landscape

The Two Boyhoods

SELECTIONS FROM THE STONES OF VENICE

The Throne

St. Mark's

Characteristics of Gothic Architecture

SELECTIONS FROM THE SEVEN LAMPS OF ARCHITECTURE

The Lamp of Memory

The Lamp of Obedience

SELECTIONS FROM LECTURES ON ART

Inaugural

The Relation of Art to Morals

The Relation of Art to Use

ART AND HISTORY

TRAFFIC

LIFE AND ITS ARTS

BIBLIOGRAPHICAL NOTE

THE PLEASURES OF ENGLAND.

Lectures given in Oxford.

By John Ruskin

CONTENTS

LECTURE I.

THE PLEASURES OF LEARNING. Bertha to Osburga 5

LECTURE II.

THE PLEASURES OF FAITH. Alfred to the Confessor 31

LECTURE III.

THE PLEASURES OF DEED. Alfred to Cour de Lion 61

LECTURE IV.

THE PLEASURES OF FANCY. Cour de Lion to Elizabeth 91

POETRY OF ARCHITECTURE

SEVEN LAMPS OF ARCHITECTURE

By John Ruskin

CONTENTS

INTRODUCTION

1

PART I.—THE COTTAGE.

I.

THE LOWLAND COTTAGE—ENGLAND AND FRANCE

7

II.

THE LOWLAND COTTAGE—ITALY

15

III.

THE MOUNTAIN COTTAGE—SWITZERLAND

25

IV.

THE MOUNTAIN COTTAGE—WESTMORELAND

35

V.

A CHAPTER ON CHIMNEYS

45

VI.

THE COTTAGE—CONCLUDING REMARKS

57

PART II.—THE VILLA.

I.

THE MOUNTAIN VILLA—LAGO DI COMO

67

II.

THE MOUNTAIN VILLA—LAGO DI COMO (CONTINUED)

80

III.

THE ITALIAN VILLA (CONCLUDED)

94

IV.

THE LOWLAND VILLA—ENGLAND

104

V.

THE ENGLISH VILLA—PRINCIPLES OF COMPOSITION

113

VI.

THE BRITISH VILLA.—PRINCIPLES OF COMPOSITION.

(THE CULTIVATED, OR BLUE COUNTRY, AND THE WOODED, OR GREEN COUNTRY)

126

VII.

THE BRITISH VILLA.—PRINCIPLES OF COMPOSITION.

(THE HILL, OR BROWN COUNTRY)

145

LIST OF PLATES

Facing Page

Fig.

1. Old Windows; from an early sketch by the Author

13

"

2. Italian Cottage Gallery, 1846

20

Cottage near la Cité, Val d'Aosta, 1838

21

"

3. Swiss Cottage, 1837. (Reproduced from the Architectural Magazine)

28

"

4. Cottage near Altorf, 1835

29

"

5. Swiss Châlet Balcony, 1842

32

"

6. The Highest House in England, at Malham

42

"

7. Chimneys. (Eighteen sketches redrawn from the Architectural Magazine)

48

"

8. Coniston Hall, from the Lake near Brantwood, 1837. (Reproduced from the Architectural Magazine)

50

"

9. Chimney at Neuchatel; Dent du Midi and Mont Blanc in the distance

20

"

10. Petrarch's Villa, Arquà, 1837. (Redrawn from the Architectural Magazine)

98

"

11. Broken Curves. (Three diagrams, redrawn from the Architectural Magazine)

101

"

12. Old English Mansion, 1837. (Reproduced from the Architectural Magazine)

116

"

13. Windows. (Three designs, reproduced from the Architectural Magazine)

122

"

14. Leading Lines of Villa-Composition. (Diagram redrawn from the Architectural Magazine)

164

LOVE'S MEINIE.

THREE LECTURES ON GREEK AND ENGLISH BIRDS.

By John Ruskin

CONTENTS.

PREFACEv
LECTURE I.

- THE ROBIN1

LECTURE II.

- THE SWALLOW25

LECTURE III.

- THE DABCHICKS52

- APPENDIX107

LECTURES ON ART.

Delivered Before The University Of Oxford In Hilary Term, 1870.

CONTENTS

LECTURE I.

INAUGURAL

1

LECTURE II.

THE RELATION OF ART TO RELIGION

24

LECTURE III.

THE RELATION OF ART TO MORALS

46

LECTURE IV.

THE RELATION OF ART TO USE

66

LECTURE V.

LINE

86

LECTURE VI.

LIGHT

102

LECTURE VII.

COLOUR

123

"A JOY FOR EVER"

(AND ITS PRICE IN THE MARKET)

Two Lectures On The Political Economy Of Art

By John Ruskin

CONTENTS.

LECTURE I.

PAGE

THE DISCOVERY AND APPLICATION OF ART

1

A Lecture delivered at Manchester, July 10th, 1857.

LECTURE II.

THE ACCUMULATION AND DISTRIBUTION OF ART

70

Continuation of the previous Lecture; delivered July 13th, 1857.

ADDENDA.

Note

1.—"FATHERLY AUTHORITY"

151

"

2.—"RIGHT TO PUBLIC SUPPORT"

159

"

3.—"TRIAL SCHOOLS"

169

"

4.—"PUBLIC FAVOUR"

180

"

5.—"INVENTION OF NEW WANTS"

183

"

6.—"ECONOMY OF LITERATURE"

187

"

7.—"PILOTS OF THE STATE"

189

"

8.—"SILK AND PURPLE"

193

———

SUPPLEMENTARY ADDITIONAL PAPERS.

EDUCATION IN ART

213

ART SCHOOL NOTES

229

SOCIAL POLICY

240

INDEX.

LECTURES ON LANDSCAPE

DELIVERED AT OXFORD IN LENT TERM, 1871.

By John Ruskin

CONTENTS.

LECTURE I.

Outline

1

LECTURE II.

Light and Shade

16

LECTURE III.

Color

32

LIST OF PLATES

Vesuvius in Eruption, by J.M.W. Turner

2

Near Blair Athol, by J.M.W. Turner

19

Dumblane Abbey, by J.M.W. Turner

20

Madonna and Child, by Filippo Lippi

33

The Lady with the Brooch, by Sir Joshua Reynolds

35

Æsacus and Hesperie, by J.M.W. Turner

45

Mill near Grande Chartreuse, by J.M.W. Turner

47

L'Aiguillette; Valley of Cluses, by J.M.W. Turner

48

THE STORM-CLOUD OF THE NINETEENTH CENTURY

TWO LECTURES DELIVERED AT THE LONDON INSTITUTION

CONTENTS.

Preface

iii

Lecture I. (February 4)

1

Lecture II. (February 11)

31

ON THE OLD ROAD

A Collection Of Miscellaneous Essays And Articles On Art And Literature.

Vol. II. (of II.)

CONTENTS

PICTURE GALLERIES.

Parliamentary Evidence:—

National Gallery Site Commission. 1857

3

Select Committee on Public Institutions. 1860

25

The Royal Academy Commission

50

A Museum or Picture Gallery

71

MINOR WRITINGS UPON ART.

The Cavalli Monuments, Verona. 1872

89

Verona and its Rivers (with Catalogue). 1870

99

Christian Art and Symbolism. 1872

118

Art Schools of Mediæval Christendom. 1876

121

The Extension of Railways. 1876

125

The Study of Beauty. 1883

132

NOTES ON NATURAL SCIENCE.

The Color of the Rhine. 1834

141

The Strata of Mont Blanc. 1834

143

The Induration of Sandstone. 1836

145

The Temperature of Spring and River Water. 1836.

148

Meteorology. 1839

153

Tree Twigs. 1861

158

Stratified Alps of Savoy. 1863

162

Intellectual Conception and Animated Life. 1871

168

LITERATURE.

Fiction—fair and Foul. 1880-81

175

Fairy Stories. 1868

290

ECONOMY.

Home, and Its Economies. 1873

299

Usury. A Reply and a Rejoinder. 1880

314

Usury. A Preface. 1885

340

THEOLOGY.

Notes on the Construction of Sheepfolds. 1851

347

The Lord's Prayer and the Church. 1879-81. (Letters and Epilogue.)

382

The Nature and Authority of Miracle. 1873

418

AN OXFORD LECTURE. 1878

429

THE HARBORS OF ENGLAND.

CONTENTS

EDITOR'S PREFACE.v

AUTHOR'S ORIGINAL PREFACE. xi

THE HARBORS OF ENGLAND.1

Dover34

Ramsgate36

Plymouth38

Catwater40

Sheerness41

Margate43

Portsmouth46

Falmouth49

Sidmouth51

Whitby52

Deal54

Scarborough56

HORTUS INCLUSUS

MESSAGES FROM THE WOOD TO THE GARDEN,

SENT IN HAPPY DAYS TO THE SISTER LADIES OF THE THWAITE, CONISTON.

CONTENTS

PREFACE.

v

INTRODUCTION.

vii

PREFACE TO THE THIRD EDITION.

ix

HORTUS INCLUSUS.

1

THE SACRISTANS CELL.

2

THE LOST CHURCH IN THE CAMPAGNA.

7

REGRETS.

9

FRONDES AGRESTES.

10

HOW HE FELL AMONG THIEVES.

10

IN PARADISE.

12

FOAM OF TIBER.

13

WHARFE IN FLOOD.

18

FRONDES.

19

WASP STINGS.

20

BOLTON STRID.

21

ST. URSULA.

25

ST. MARK'S DOVES.

26

ST. MARK'S REST.

28

SAINTS AND FLOWERS.

29

TO MISS BEEVER.

39

TO MISS BEEVER.

53

MISCELLANEOUS.

61

TO MISS BEEVER.

67

SUSIE'S LETTERS.

93

ABOUT WRENS.

100

HISTORY OF A BLACKBIRD.

101

LECTURES ON ARCHITECTURE AND PAINTING

Delivered At Edinburgh In November, 1853.

CONTENTS.

PAGE

Prefacev

LECTURE I.

Architecture1

LECTURE II.

Architecture34

Addenda to Lectures I. and II.56

LECTURE III.

Turner and his Works75

LECTURE IV.

Pre-Raphaelitism100

Addenda to Lecture IV.123

LIST OF PLATES.

Plate

I.

Figs.

1. 3. and 5. Illustrative diagrams

3

"

II.

"

2. Windows in Oakham Castle

5

"

III.

"

4. and 6. Spray of ash-tree, and improvement of the same on Greek principles

10

"

IV.

"

7. Window in Dunblane Cathedral

15

"

V.

"

8. Mediæval turret

20

"

VI.

"

9. and 10. Lombardic towers

22

"

VII.

"

11. and 12. Spires at Coutances and Rouen

25

"

VIII.

"

13. and 14. Illustrative diagrams

39

"

IX.

"

15. Sculpture at Lyons

40

"

X.

"

16. Niche at Amiens

41

"

XI.

"

17. and 18. Tiger's head, and improvement of the same on Greek principles

44

"

XII.

"

19. Garret window in Hotel de Bourgtheroude

51

"

XIII.

"

20. and 21. Trees, as drawn in the 13th century

81

"

XIV.

"

22. Rocks, as drawn by the school of Leonardo da Vinci

83

"

XV.

"

23. Boughs of trees, after Titian

84

THE BIBLE OF AMIENS

CONTENTS

PREFACE.

iii

Chapter I.     —  By the Rivers of Waters

1

Chapter II.    —  Under the Drachenfels

26

Chapter III.   —  The Lion Tamer

58

Chapter IV.  — Interpretations

88

Appendix I.   —  Chronological List of Principal Events referred to in the 'Bible of Amiens'

143

Appendix II.  — References Explanatory of Photographs to Chapter IV

144

Appendix III.  —  General Plan of 'Our Fathers have told us'

153

INDEX

157

PLATES

Plate I.  — The Dynasties of France

9

Plate II.  —  The Bible of Amiens, Northern Porch before Restoration

27

Plate III.  —  Amiens, Jour Des Trépassés, 1880

58

St. Mary

131

Plan of the West Porches

140

ARATRA PENTELICI.

SEVEN LECTURES ON THE ELEMENTS OF SCULPTURE

Given Before The University Of Oxford In Michaelmas Term, 1870

CONTENTS

PAGE

Preface v

LECTURE I.

Of the Division of Arts 1

LECTURE II.

Idolatry 20

LECTURE III.

Imagination 39

LECTURE IV.

Likeness 67

LECTURE V.

Structure 90

LECTURE VI.

The School of Athens 114

LECTURE VII.

The Relation Between Michael Angelo and Tintoret 132

LIST OF PLATES

Facing Page

I. Porch of San Zenone, Verona 14

II. The Arethusa of Syracuse 15

III. The Warning to the Kings, San Zenone, Verona 15

IV. The Nativity of Athena 46

V. Tomb of the Doges Jacopo and Lorenzo Tiepolo 49

VI. Archaic Athena of Athens and Corinth 50

VII. Archaic, Central and Declining Art of Greece 72

VIII. The Apollo of Syracuse, and the Self-made Man 84

IX. Apollo Chrysocomes of Clazomenæ 85

X. Marble Masonry in the Duomo of Verona 100

XI. The First Elements of Sculpture. Incised outline and opened space 101

XII. Branch of Phillyrea 109

XIII. Greek Flat relief, and sculpture by edged incision 111

XIV. Apollo and the Python. Heracles and the Nemean Lion 119

XV. Hera of Argos. Zeus of Syracuse 120

XVI. Demeter of Messene. Hera of Cnossus 121

XVII. Athena of Thurium. Siren Ligeia of Terina 121

XVIII. Artemis of Syracuse. Hera of Lacinian Cape 122

XIX. Zeus of Messene. Ajax of Opus 124

XX. Greek and Barbarian Sculpture 127

XXI. The Beginnings of Chivalry 129

THE CROWN OF WILD OLIVE

Also, Munera Pulveris,

Pre-Raphaelitism-aratra Pentelici,

The Ethics Of The Dust,

Fiction, Fair And Foul,

The Elements Of Drawing

John Ruskin

CONTENTS.

THE CROWN OF WILD OLIVE.

PAGE

LECTURE I.

Work, 17

LECTURE II.

Traffic, 44

LECTURE III.

War, 66

MUNERA PULVERIS.

Preface, 97

CHAP.

I. Definitions, 111

II. Store-Keeping, 125

III. Coin-Keeping, 151

IV. Commerce, 170

V. Government, 181

VI. Mastership, 204

Appendices, 222

PRE-RAPHAELITISM.

Preface, 235

Pre-Raphaelitism, 237

ARATRA PENTELICI.

Preface, 283

LECTURE

I. Of the Division of Arts, 287

II. Idolatry, 304

III. Imagination, 322

IV. Likeness, 350

V. Structure, 372

VI. The School of Athens, 395

The Future of England, 415

Notes on Political Economy of Prussia, 435

LIST OF ILLUSTRATIONS.

PLATES FACING PAGE

I. Porch of San Zenone. Verona, 300

II. The Arethusa of Syracuse, 302

III. The Warning to the Kings, 302

IV. The Nativity of Athena, 308

V. Tomb of the Doges Jacopo and Lorenzo Tiepolo, 333

VI. Archaic Athena of Athens and Corinth, 334

VII. Archaic, Central and Declining Art of Greece, 355

VIII. The Apollo of Syracuse and the Self-made Man, 366

IX. Apollo Chrysocomes of Clazomenæ, 368

X. Marble Masonry in the Duomo of Verona, 381

XI. The First Elements of Sculpture, 382

XII. Branch of Phillyrea. Dark Purple, 390

XIII. Greek Flat Relief and Sculpture by Edged Incision, 392

XIV. Apollo and the Python. Heracles and the Nemean Lion, 400

XV. Hera of Argos. Zeus of Syracuse, 401

XVI. Demeter of Messene. Hera of Crossus, 402

XVII. Athena of Thurium. Sereie Ligeia of Terina, 402

XVIII. Artemis of Syracuse. Hera of Lacinian Cape, 404

XIX. Zeus of Messene. Ajax of Opus, 405

XX. Greek and Barbarian Sculpture, 407

XXI. The Beginnings of Chivalry, 409

FIGURE PAGE

1. Specimen of Plate, 293

2. Woodcut, 323

3. Figure on Greek Type of Vases, 326

4. Early Drawing of the Myth, 330

5. Cut, "Give It To Me," 332

6. Engraving on Coin, 335

7. Drawing of Fish. By Turner, 362

8. Iron Bar, 379

9. Diagram of Leaf, 391

ARIADNE FLORENTINA

SIX LECTURES ON WOOD AND METAL ENGRAVING

GIVEN BEFORE THE UNIVERSITY OF OXFORD,

IN MICHAELMAS TERM, 1872.

CONTENTS.

DEFINITION OF THE ART OF ENGRAVING

1

THE RELATION OF ENGRAVING TO OTHER ARTS IN FLORENCE

22

THE TECHNICS OF WOOD ENGRAVING

42

THE TECHNICS OF METAL ENGRAVING

61

DESIGN IN THE GERMAN SCHOOLS OF ENGRAVING (HOLBEIN AND DÜRER)

81

DESIGN IN THE FLORENTINE SCHOOLS OF ENGRAVING (SANDRO BOTTICELLI)

108

APPENDIX

ARTICLE

I.

NOTES ON THE PRESENT STATE OF ENGRAVING IN ENGLAND

143

II.

DETACHED NOTES

157

LIST OF PLATES

Diagram

27

The Last Furrow (Fig. 2). Facsimile from Holbein's woodcut

47

The Two Preachers (Fig. 3). Facsimile from Holbein's woodcut

48

I.

Things Celestial and Terrestrial, as apparent to the English mind

56

II.

Star of Florence

62

III.

"At evening from the top of Fésole"

72

IV.

"By the Springs of Parnassus"

77

V.

"Heat considered as a Mode of Motion." Florentine Natural Philosophy

92

VI.

Fairness of the Sea and Air. In Venice and Athens

95

The Child's Bedtime (Fig. 5). Facsimile from Holbein's woodcut

103

"He that hath ears to hear let him hear" (Fig. 6). Facsimile from Holbein's woodcut

105

VII.

For a time, and times

130

VIII.

The Nymph beloved of Apollo (Michael Angelo)

131

IX.

In the Woods of Ida

132

X.

Grass of the Desert

135

XI.

"Obediente Domino voci hominis"

145

XII.

The Coronation in the Garden

158

SAINT URSULA

By John Ruskin

Contents

PREFACE

THE STORY OF ST. URSULA

THE DREAM OF ST. URSULA

THE ELEMENTS OF DRAWING

IN THREE LETTERS TO BEGINNERS

CONTENTS.

page

Preface

ix

LETTER I.

On First Practice

1

LETTER II.

Sketching from Nature

65

LETTER III.

On Color and Composition

106

APPENDIX I.

Illustrative Notes

183

APPENDIX II.

Things to be Studied

188

STONES OF VENICE

By John Ruskin

CONTENTS

THE STONES OF VENICE

PREFACE.

THE STONES OF VENICE

CHAPTER I. — THE QUARRY.

CHAPTER II. — THE THRONE.

CHAPTER III. — TORCELLO.

CHAPTER IV. — ST. MARK'S.

CHAPTER V. — THE DUCAL PALACE.

NOTE.

THE STONES OF VENICE

VOLUME I. (of III)

THE FOUNDATIONS

CONTENTS.

page

Preface,

iii

CHAPTER I.

The Quarry,

1

CHAPTER II.

The Virtues of Architecture,

36

CHAPTER III.

The Six Divisions of Architecture,

47

CHAPTER IV.

The Wall Base,

52

CHAPTER V.

The Wall Veil,

58

CHAPTER VI.

The Wall Cornice,

63

CHAPTER VII.

The Pier Base,

71

CHAPTER VIII.

The Shaft,

84

CHAPTER IX.

The Capital,

105

CHAPTER X.

The Arch Line,

122

CHAPTER XI.

The Arch Masonry,

132

CHAPTER XII.

The Arch Load,

144

CHAPTER XIII.

The Roof,

148

CHAPTER XIV.

The Roof Cornice,

155

CHAPTER XV.

The Buttress,

166

CHAPTER XVI.

Form of Aperture,

174

CHAPTER XVII.

Filling of Aperture,

183

CHAPTER XVIII.

Protection of Aperture,

195

CHAPTER XIX.

Superimposition,

200

CHAPTER XX.

The Material of Ornament,

211

CHAPTER XXI.

Treatment of Ornament,

236

CHAPTER XXII.

The Angle,

259

CHAPTER XXII.

The Angle,

259

CHAPTER XXIII.

The Edge and Fillet,

267

CHAPTER XXIV.

The Roll and Recess,

276

CHAPTER XXV.

The Base,

281

CHAPTER XXVI.

The Wall Veil and Shaft,

294

CHAPTER XXVII.

The Cornice and Capital,

305

CHAPTER XXVIII.

The Archivolt and Aperture,

333

CHAPTER XXIX.

The Roof,

343

CHAPTER XXX.

The Vestibule,

349

APPENDIX.

1.

Foundation of Venice,

359

2.

Power of the Doges,

360

3.

Serrar del Consiglio,

360

4.

Pietro di Castello,

361

5.

Papal Power in Venice,

362

6.

Renaissance Ornament,

369

7.

Varieties of the Orders,

370

8.

The Northern Energy,

371

9.

Wooden Churches of the North,

381

10.

Church of Alexandria,

381

11.

Renaissance Landscape,

381

12.

Romanist Modern Art,

384

13.

Mr. Fergusson’s System,

388

14.

Divisions of Humanity,

394

15.

Instinctive Judgments,

399

16.

Strength of Shafts,

402

17.

Answer to Mr. Garbett,

403

18.

Early English Capitals,

411

19.

Tombs near St. Anastasia,

412

20.

Shafts of the Ducal Palace,

413

21.

Ancient Representations of Water,

417

22.

Arabian Ornamentation,

429

23.

Varieties of Chamfer,

429

24.

Renaissance Bases,

431

25.

Romanist Decoration of Bases,

432

LIST OF PLATES.

Facing Page

Plate

1.

Wall Veil Decoration, Ca’ Trevisan and Ca’ Dario,

13

"

2.

Plans of Piers,

100

"

3.

Arch Masonry,

134

"

4.

Arch Masonry,

137

"

5.

Arch Masonry, Bruletto of Como,

141

"

6.

Types of Towers,

207

"

7.

Abstracts Lines,

222

"

8.

Decorations by Disks, Ca’ Badoari,

241

"

9.

Edge Decoration,

268

"

10.

Profiles of Bases,

283

"

11.

Plans of Bases,

288

"

12.

Decorations of Bases,

289

"

13.

Wall Veil Decorations,

295

"

14.

Spandril Decorations, Ducal Palace,

298

"

15.

Cornice Profiles,

306

"

16.

Cornice Decorations,

311

"

17.

Capitals—Concave,

323

"

18.

Capitals—Convex,

327

"

19.

Archivolt Decoration, Verona,

333

"

20.

Wall Veil Decoration, Ca’ Trevisan,

369

"

21.

Wall Veil Decoration, San Michele, Lucca,

378

THE STONES OF VENICE

VOLUME II. (of III)

THE SEA STORIES

CONTENTS

FIRST, OR BYZANTINE, PERIOD.

CHAPTER I.

page

The Throne,

1

CHAPTER II.

Torcello,

11

CHAPTER III.

Murano,

27

CHAPTER IV.

St. Mark’s,

57

CHAPTER V.

Byzantine Palaces,

118

SECOND, OR GOTHIC, PERIOD.

CHAPTER VI.

The Nature of Gothic,

151

CHAPTER VII.

Gothic Palaces,

231

CHAPTER VIII.

The Ducal Palace,

281

APPENDIX.

1.

The Gondolier’s Cry,

375

2.

Our Lady of Salvation,

378

3.

Tides of Venice and Measures at Torcello,

378

4.

Date of the Duomo of Torcello,

380

5.

Modern Pulpits,

380

6.

Apse of Murano,

382

7.

Early Venetian Dress,

383

8.

Inscriptions at Murano,

384

9.

Shafts of St. Mark’s,

384

10.

Proper Sense of the Word Idolatry,

388

11.

Situations of Byzantine Palaces,

391

12.

Modern Paintings on Glass,

394

LIST OF PLATES.

Facing Page

Plate

1.

Plans of Torcello and Murano,

14

"

2.

The Acanthus of Torcello,

15

"

3.

Inlaid Bands of Murano,

40

"

4.

Sculptures of Murano,

42

"

5.

Archivolt in the Duomo of Murano,

45

"

6.

The Vine, Free and in Service,

96

"

7.

Byzantine Capitals—Convex Group,

131

"

8.

Byzantine Capitals—Concave Group,

132

"

9.

Lily Capital of St. Mark’s,

136

"

10.

The Four Venetian Flower Order,

137

"

11.

Byzantine Sculptures,

138

"

12.

Linear and Surface Gothic,

224

"

13.

Balconies,

247

"

14.

The Orders of Venetian Arches,

248

"

15.

Windows of the Second Order,

254

"

16.

Windows of the Fourth Order,

257

"

17.

Windows of the Early Gothic Palaces,

259

"

18.

Windows of the Fifth Order,

266

"

19.

Leafage of the Vine Angle,

308

"

20.

Leafage of the Venetian Capitals,

368

THE STONES OF VENICE

VOLUME III. (of III)

THE FALL

CONTENTS.

THIRD, OR RENAISSANCE, PERIOD.

CHAPTER I.

page

Early Renaissance,

1

CHAPTER II.

Roman Renaissance,

32

CHAPTER III.

Grotesque Renaissance,

112

CHAPTER IV.

Conclusion,

166

APPENDIX.

1.

Architect of the Ducal Palace,

199

2.

Theology of Spenser,

205

3.

Austrian Government in Italy,

209

4.

Date of the Palaces of the Byzantine Renaissance,

211

5.

Renaissance Side of Ducal Palace,

212

6.

Character of the Doge Michele Morosini,

213

7.

Modern Education,

214

8.

Early Venetian Marriages,

222

9.

Character of the Venetian Aristocracy,

223

10.

Final Appendix,

224

INDICES.

I.

Personal Index,

263

II.

Local Index,

268

III.

Topical Index,

271

IV.

Venetian Index,

287

LIST OF PLATES.

Facing Page

Plate

1.

Temperance and Intemperance in Ornament,

6

"

2.

Gothic Capitals,

8

"

3.

Noble and Ignoble Grotesque,

125

"

4.

Mosaic of Olive Tree and Flowers,

179

"

5.

Byzantine Bases,

225

"

6.

Byzantine Jambs,

229

"

7.

Gothic Jambs,

230

"

8.

Byzantine Archivolts,

244

"

9.

Gothic Archivolts,

245

"

10.

Cornices,

248

"

11.

Tracery Bars,

252

"

12.

Capitals of Fondaco de Turchi,

304

FRONDES AGRESTES

READINGS IN 'MODERN PAINTERS

By John Ruskin

Chosen At Her Pleasure, By The Author's Friend, The Younger Lady Of The Thwaite, Coniston.

CONTENTS

PREFACE.

FRONDES AGRESTES.

SECTION I.

PRINCIPLES OF ART.

SECTION II.

POWER AND OFFICE OF IMAGINATION.

SECTION III.

ILLUSTRATIVE: THE SKY.

SECTION IV.

ILLUSTRATIVE: STREAMS AND SEA.

SECTION V.

ILLUSTRATIVE: MOUNTAINS.

SECTION VI.

ILLUSTRATIVE: STONES.

SECTION VII.

ILLUSTRATIVE: PLANTS AND FLOWERS.

SECTION VIII.

EDUCATION.

SECTION IX.

MORALITIES.

TIME AND TIDE

BY WEARE AND TYNE

TWENTY-FIVE LETTERS TO A WORKING MAN OF SUNDERLAND ON THE LAWS OF WORK

CONTENTS

PAGE

Preface

ix

LETTER

I.

Co-operation

1

The two kinds of Co-operation.—In its highest sense it is not yet thought of.

II.

Contentment

4

Co-operation, as hitherto understood, is perhaps not expedient.

III.

Legislation

7

Of True Legislation.—That every Man may be a Law to himself.

IV.

Expenditure

11

The Expenses for Art and for War.

V.

Entertainment

13

The Corruption of Modern Pleasure.—(Covent Garden Pantomime.)

VI.

Dexterity

18

The Corruption of Modern Pleasure.—(The Japanese Jugglers.)

VII.

Festivity

20

Of the Various Expressions of National Festivity.

VIII.

Things Written

22

The Four Possible Theories respecting the Authority of the Bible.

IX.

Thanksgiving

27

The Use of Music and Dancing under the Jewish Theocracy, compared with their Use by the Modern French.

X.

Wheat-Sifting

32

The Meaning, and Actual Operation, of Satanic or Demoniacal Influence.

XI.

The Golden Bough

38

The Satanic Power is mainly Twofold: the Power of causing Falsehood and the Power of causing Pain. The Resistance is by Law of Honor and Law of Delight.

XII.

Dictatorship

41

The Necessity of Imperative Law to the Prosperity of States.

XIII.

Episcopacy and Dukedom

45

The Proper Offices of the Bishop and Duke; or, "Overseer" and "Leader."

XIV.

Trade-Warrant

51

The First Group of Essential Laws.—Against Theft by False Work, and by Bankruptcy.—Necessary Publicity of Accounts.

XV.

Per-Centage

54

The Nature of Theft by Unjust Profits.—Crime can finally be arrested only by Education.

XVI.

Education

59

Of Public Education irrespective of Class distinction. It consists essentially in giving Habits of Mercy, and Habits of Truth. (Gentleness and Justice.)

XVII.

Difficulties

66

The Relations of Education to Position in Life.

XVIII.

Humility

68

The harmful Effects of Servile Employments. The possible Practice and Exhibition of sincere Humility by Religious Persons.

XIX.

Broken Reeds

73

The General Pressure of Excessive and Improper Work, in English Life.

XX.

Rose-gardens

78

Of Improvidence in Marriage in the Middle Classes; nd of the advisable Restrictions of it.

XXI.

Gentillesse

83

Of the Dignity of the Four Fine Arts; and of the Proper System of Retail Trade.

XXII.

The Master

88

Of the Normal Position and Duties of the Upper Classes. General Statement of the Land Question.

XXIII.

Landmarks

93

Of the Just Tenure of Lands; and the Proper Functions of high Public Officers.

XXIV.

The Rod and Honeycomb

101

The Office of the Soldier.

XXV.

Hyssop

108

Of inevitable Distinction of Rank, and necessary Submission to Authority. The Meaning of Pure-Heartedness. Conclusion.

APPENDICES.

APPENDIX

PAGE

I.

Expenditure on Science and Art

119

II.

Legislation of Frederick the Great

120

III.

Effect of Modern Entertainments on the Mind of Youth

124

IV.

Drunkenness as the Cause of Crime

124

V.

Abuse of Food

126

VI.

Regulations of Trade

128

VII.

Letter to the Editor of the Pall Mall Gazette

130

THE SEVEN LAMPS OF ARCHITECTURE

LECTURES ON ARCHITECTURE AND PAINTING

The Study of Architecture

By John Ruskin

CONTENTS.

SEVEN LAMPS OF ARCHITECTURE.

PAGE

Preface

5

Introduction

9

CHAPTER I.

The Lamp of Sacrifice

15

CHAPTER II.

The Lamp of Truth

34

CHAPTER III.

The Lamp of Power

69

CHAPTER IV.

The Lamp of Beauty

100

CHAPTER V.

The Lamp of Life

142

CHAPTER VI.

The Lamp of Memory

167

CHAPTER VII.

The Lamp of Obedience

188

Notes

203

LECTURES ON ARCHITECTURE AND PAINTING.

Preface

213

Lecture I.

217

Lecture II.

248

Addenda to Lectures I. and II.

270

Lecture III. Turner and his Works

287

Lecture IV. Pre-Raphaelitism

311

Addenda to Lecture IV.

334

THE STUDY OF ARCHITECTURE.

An Inquiry into the Study of Architecture

339

LIST OF ILLUSTRATIONS.

SEVEN LAMPS OF ARCHITECTURE

PLATE

PAGE

I.

Ornaments from Rouen, St. Lo, and Venice

33

II.

Part of the Cathedral of St. Lo, Normandy

55

III.

Traceries from Caen, Bayeux, Rouen and Beavais

60

IV.

Intersectional Mouldings

66

V.

Capital from the Lower Arcade of the Doge's Palace, Venice

88

VI.

Arch from the Facade of the Church of San Michele at Lucca

90

VII.

Pierced Ornaments from Lisieux, Bayeux, Verona, and Padua

93

VIII.

Window from the Ca' Foscari, Venice

95

IX.

Tracery from the Campanile of Giotto, at Florence.

Frontispiece.

X.

Traceries and Mouldings from Rouen and Salisbury

122

XI.

Balcony in the Campo, St. Benedetto, Venice

131

XII.

Fragments from Abbeville, Lucca, Venice and Pisa

149

XIII.

Portions of an Arcade on the South Side of the Cathedral of Ferrara

161

XIV.

Sculptures from the Cathedral of Rouen

165

UNTO THIS LAST AND OTHER ESSAYS ON POLITICAL ECONOMY

By John Ruskin

CONTENTS.

PART I.

PAGE

THE POLITICAL ECONOMY OF ART

7

Lecture I.

11

1. Discovery

23

2. Application

28

Lecture II.

46

3. Accumulation

46

4. Distribution

65

Addenda

86

Note 1.—"Fatherly Authority"

86

"  2.—"Right to Public Support"

90

"  3.—"Trial Schools"

95

"  4.—"Public Favour"

101

"  5.—"Invention of new wants"

102

"  6.—"Economy of Literature"

104

"  7.—"Pilots of the State"

106

"  8.—"Silk and Purple"

107

PART II.

PAGE

UNTO THIS LAST

117

Essay

I.—The Roots of Honour

127

II.—The Veins of Wealth

143

III.—"Qui Judicatis Terram"

156

IV.—Ad Valorem

173

PART III.

PAGE

ESSAYS ON POLITICAL ECONOMY[A]

I.—Maintenance of Life: Wealth, Money and Riches

207

Section 1. Wealth

214

"       2. Money

219

"       3. Riches

222

II.—Nature of Wealth, Variations of Value, The National Store, Nature of Labour, Value and Price, The Currency

225

III.—The Currency-holders and Store-holders, The Disease of Desire

252

IV.—Laws and Governments: Labour And Riches

278

[A] These Essays were afterwards revised and amplified, and published with others under the title "Munera Pulveris."

THE EAGLE'S NEST

TEN LECTURES ON THE RELATION OF NATURAL SCIENCE TO ART

GIVEN BEFORE THE UNIVERSITY OF OXFORD, IN LENT TERM, 1872

By John Ruskin

CONTENTS

LECTURE I.

February 8, 1872.

Page

THE FUNCTION IN ART OF THE FACULTY CALLED BY

THE GREEKS oio?a

1

LECTURE II.

February 10, 1872.

THE FUNCTION IN SCIENCE OF THE FACULTY CALLED BY

THE GREEKS oio?a

25

LECTURE III.

February 15, 1872.

THE RELATION OF WISE ART TO WISE SCIENCE

46

LECTURE IV.

February 17, 1872.

THE FUNCTION IN ART AND SCIENCE OF THE VIRTUE

CALLED BY THE GREEKS ouonio?ic

74

LECTURE V.

February 22, 1872.

THE FUNCTION IN ART AND SCIENCE OF THE VIRTUE

CALLED BY THE GREEKS a?oan?a?a

89

LECTURE VI.

February 24, 1872.

THE RELATION TO ART OF THE SCIENCE OF LIGHT

114

LECTURE VII.

February 29, 1872.

THE RELATION TO ART OF THE SCIENCES OF INORGANIC

FORM

138

LECTURE VIII.

March 2, 1872.

THE RELATION TO ART OF THE SCIENCES OF ORGANIC

FORM

161

LECTURE IX.

March 7, 1872.

INTRODUCTION TO ELEMENTARY EXERCISES IN PHYSIOLOGIC

ART. THE STORY OF THE HALCYON

188

LECTURE X.

March 9, 1872.

INTRODUCTION TO ELEMENTARY EXERCISES IN HISTORIC

ART. THE HERALDIC ORDINARIES

225

RUSKIN RELICS

By W. G. Collingwood

Author Of "The Life Of John Ruskin

With Fifty Illustrations By John Ruskin And Others

CONTENTS

CHAPTER

PAGE

I.

Ruskin's Chair

1

II.

Ruskin's "Jump"

13

III.

Ruskin's Gardening

29

IV.

Ruskin's Old Road

45

V.

Ruskin's "Cashbook"

63

VI.

Ruskin's Ilaria

83

VII.

Ruskin's Maps

105

VIII.

Ruskin's Drawings

119

IX.

Ruskin's Hand

133

X.

Ruskin's Music

149

XI.

Ruskin's Jewels

165

XII.

Ruskin's Library

179

XIII.

Ruskin's Bibles

193

XIV.

Ruskin's "Isola"

213

Index

299

ILLUSTRATIONS

Page

Ruskin's Study at Brantwood

5

Brantwood Harbour in the Seventies

17

Coniston Hall and Boathouse

18

Ruskin's "Jump" adrift off Brantwood

19

The Ruskin Museum, Coniston

22

Trial Model for the Jumping Jenny

25

The Waterfall at Brantwood Door

33

Ruskin's Reservoir, Brantwood

37

Ruskin's Moorland Garden

41

On Ruskin's Old Road, between Morez and Les Rousses, 1882

53

Lake of Geneva and Dent d'Oches under the Smoke-cloud

57

The Gorge of Monnetier and Buttresses of the SalÃ¨ve, 1882

61

Mont Blanc clearing; Sallenches, Sept. 1882

67

The Head of the Lake of Annecy

71

The Mont Cenis Tunnel in Snow, Nov. 11, 1882

75

A Savoy Town in Snow, Nov. 1882

79

The Palace of Paolo Guinigi, Lucca

87

Ilaria del Carretto; head of the Effigy

91

Thunderstorm clearing, Lucca

95

The Marble Mountains of Carrara from the Lucca Hills

99

Ruskin's first Map of Italy

108

Geology on the Old Road, by John Ruskin

109

Sketch of Spain, by John Ruskin

112

Physical Sketch of Savoy, by John Ruskin

113

The History of France, by John Ruskin

117

Early Journal at Coniston, by John Ruskin

137

Ruskin's Handwriting in 1836

139

Ruskin's Handwriting in 1837

141

Notes for "Stones of Venice," by John Ruskin

143

Ruskin's Handwriting in 1875

145

Ruskin's Piano in Brantwood Drawing-room

153

John Ruskin in the Seventies, by Prof. B. Creswick

157

At Marmion's Grave; air by John Ruskin (two pages of Music)

160

"Trust Thou Thy Love," facsimile of music by John Ruskin

163

Gold as it Grows

169

Native Silver, by John Ruskin

170

Page from an early Mineral Catalogue, by John Ruskin

171

Letter on Snow Crystals, by John Ruskin

174

Diamond Diagrams, by John Ruskin

175

Ruskin's Swiss Figure

185

His "Nuremberg Chronicle" and Pocket "Horace"

189

The Bible from which John Ruskin learnt in Childhood

197

Sermon-book written by Ruskin as a Boy

199

Greek Gospels with Annotations by Ruskin

201

King Hakon's Bible, owned by Ruskin

203

An Illuminated Page of King Hakon's Bible

207

Lady Mount Temple, portrait by Edward Clifford

217

Lady Mount Temple, chalk drawing by G. F. Watts, R.A

221

Lady Mount Temple, 1886

223

Lady Mount Temple, 1889

224

ARROWS OF THE CHACE

BEING A COLLECTION OF SCATTERED LETTERS

PUBLISHED CHIEFLY IN THE DAILY NEWSPAPERS

1840-1880

VOLUME I. LETTERS ON ART AND SCIENCE

CONTENTS OF VOLUME I.

PAGE

Author's Preface

ix

Editor's Preface

xviii

Chronological List of the Letters in Volume I

xviii

Letters on Art:

I. Art Criticism and Art Education.

"Modern Painters;" a Reply. 1843

3

Art Criticism. 1843

10

The Arts as a Branch of Education. 1857

24

Art-Teaching by Correspondence. 1860

32

II. Public Institutions and the National Gallery.

Danger to the National Gallery. 1847

37

The National Gallery. 1852

45

The British Museum. 1866

52

On the Purchase of Pictures. 1880

55

III. Pre-raphaelitism.

The Pre-Raphaelite Brethren. 1851 (May 13)

59

The Pre-Raphaelite Brethren. 1851 (May 30)

63

"The Light of the World," Holman Hunt. 1854

67

"The Awakening Conscience," Holman Hunt. 1854

71

Pre-Raphaelitism in Liverpool. 1858

73

Generalization and the Scotch Pre-Raphaelites. 1858

74

IV. Turner.

The Turner Bequest. 1856

81

[Turner's Sketch Book. 1858

86, note]

The Turner Bequest and the National Gallery. 1857

86

The Turner Sketches and Drawings. 1858

88

[The Liber Studiorum. 1858

97, note]

The Turner Gallery at Kensington. 1859

98

Turner's Drawings. 1876 (July 5)

100

Turner's Drawings. 1876 (July 19)

104

Copies of Turner's Drawings. 1876

105

[Copies of Turner's Drawings—Extract. 1857

105, note]

[Copy of Turner's Fluelen

ibid.]

"Turners," False and True. 1871.

106

The Character of Turner. 1857.

107

[Thornbury's Life of Turner. 1861.

108]

V. Pictures and Artists.

John Leech's Outlines. 1872.

111

Ernest George's Etchings. 1873.

113

The Frederick Walker Exhibition. 1876.

116

VI. Architecture and Restoration.

Gothic Architecture and the Oxford Museum. 1858.

125

Gothic Architecture and the Oxford Museum. 1859.

131

The Castle Rock (Edinburgh). 1857 (Sept. 14)

145

Edinburgh Castle. 1857 (Sept. 27)

147

Castles and Kennels. 1871 (Dec. 22)

151

Verona v. Warwick. 1871 (Dec. 24)

152

Notre Dame de Paris. 1871

153

Mr. Ruskin's Influence—A Defence. 1872 (March 15)

154

Mr. Ruskin's Influence—A Rejoinder. 1872 (March 21)

156

Modern Restorations. 1877

157

Ribbesford Church. 1877

158

Circular relating to St. Mark's, Venice. 1879.

159

[Letters relating to St. Mark's, Venice. 1879.

169, note.]

Letters on Science:

I. Geological.

The Conformation of the Alps, 1864

173

Concerning Glaciers. 1864.

175

English versus Alpine Geology. 1864

181

Concerning Hydrostatics. 1864

185

James David Forbes: His Real Greatness. 1874.

187

II. Miscellaneous.

On Reflections in Water. 1844

191

On the Reflection of Rainbows. 1861

201

A Landslip Near Giagnano. 1841

202

On the Gentian. 1857

204

On the Study of Natural History (undated)

204

CHRONOLOGICAL LIST OF THE LETTERS

CHRONOLOGICAL LIST OF THE LETTERS CONTAINED IN THE FIRST VOLUME.

Note.--In the second and third columns the bracketed words and figures are dating of more or less certainly conjectured; whilst those unbracketed give the actual the letter.

Title of Letter.

Where Written.

When Written.

Where and when First Published.

Page.

A Landslip near Giagnano

Naples

February 7, 1841

Proceedings of the Ashmolean Society

202

Modern Painters: a Reply

[Denmark Hill

About Sept. 17, 1843]

The Weekly Chronicle, Sept. 23, 1843

3

Art Criticism

[Denmark Hill

December, 1843]

The Artist and Amateur's Magazine, 1844

10

On Reflections in Water

[Denmark Hill

January, 1844]

The Artist and Amateur's Magazine, 1844

191

Danger to the National Gallery

[Denmark Hill]

January 6 [1847]

The Times, January 7, 1847

37

The Pre-Raphaelite Brethren, I.

Denmark Hill

May 9 [1851]

The Times, May 13, 1851

59

The Pre-Raphaelite Brethren, II.

Denmark Hill

May 26 [1851]

The Times, May 30, 1851

63

The National Gallery

Herne Hill, Dulwich

December 27 [1852]

The Times, December 29, 1852

45

"The Light of the World"

Denmark Hill

May 4 [1854]

The Times, May 15, 1854

67

"The Awakening Conscience"

[Denmark Hill

May 24 [1854]

The Times, May 25, 1854

71

The Turner Bequest

Denmark Hill

October 27 [1856]

The Times, October 28, 1856

81

On the Gentian

Denmark Hill

February 10 [1857]

The Athenæum, February 14, 1857

204

The Turner Bequest & National Gallery

[Denmark Hill

July 8, 1857]

The Times, July 9, 1857

86

The Castle Rock (Edinburgh)

Dunbar

14th September, 1857

The Witness (Edinburgh), Sept. 16, 1857

145

The Arts as a Branch of Education

Penrith

September 25, 1857

"New Oxford Examinations, etc.," 1858

24

Edinburgh Castle

Penrith

27th September [1857]

The Witness (Edinburgh), Sept. 30, 1857

147

The Character of Turner

[

1857]

Thornbury's Life of Turner. Preface, 1861

107

Pre-Raphaelitism in Liverpool

[

January, 1858]

The Liverpool Albion, January 11, 1858

73

Generalization & Scotch Pre-Raphaelites

[

March. 1858]

The Witness (Edinburgh), March 27, 1858

74

Gothic Architecture & Oxford Museum, I.

[

June, 1858]

"The Oxford Museum," 1859.

125

The Turner Sketches and Drawings

[

November, 1858]

The Literary Gazette, Nov. 13, 1858

88

Turner's Sketch Book (extract)

[

] 1858

List of Turner's Drawings, Boston, 1874

86 n.

The Liber Studiorum (extract)

[

] 1858

List of Turner's Drawings, Boston, 1874

97 n.

Gothic Architecture & Oxford Museum, II.

[

January 20, 1859

"The Oxford Museum," 1859

131

The Turner Gallery at Kensington

Denmark Hill

October 20 [1859]

The Times, October 21, 1859

98

Mr. Thornbury's "Life of Turner" (extract)

Lucerne

December 2, 1861

Thornbury's Life of Turner. Ed. 2, Pref.

108

Art Teaching by Correspondence

Denmark Hill

November, 1860

Nature and Art, December 1, 1866

32

On the Reflection of Rainbows

[     ]

7th May, 1861

The London Review, May 16, 1861

201

The Conformation of the Alps

Denmark Hill

10th November, 1864

The Reader, November 12, 1864

173

Concerning Glaciers

Denmark Hill

November 21 [1864]

The Reader, November 26, 1864

175

English versus Alpine Geology

Denmark Hill

29th November [1864]

The Reader, December 3, 1864

181

Concerning Hydrostatics

Norwich

5th December [1864]

The Reader, December 10, 1864

185

The British Museum

Denmark Hill

Jan. 26 [1866]

The Times, January 27, 1866

52

Copies of Turner's Drawings (extract)

[

] 1867

List of Turner's Drawings, Boston, 1874

105 n.

Notre Dame de Paris

[Denmark Hill

January 18, 1871]

The Daily Telegraph, January 19, 1871

153

"Turners" False and True

Denmark Hill

January 23 [1871]

The Times, January 24, 1871

106

Castles and Kennels

Denmark Hill

December 20 [1871]

The Daily Telegraph, December 22, 1871

151

Verona v. Warwick

Denmark Hill, S. E.

24th (for 25th) Dec. [1871]

The Daily Telegraph, December 25, 1871

152

Mr. Ruskin's Influence: a Defence

Denmark Hill

March 15 [1872]

The Pall Mall Gazette, March 16, 1872

154

Mr. Ruskin's Influence: a Rejoinder

Denmark Hill

March 21 [1872]

The Pall Mall Gazette, March 21, 1872

156

John Leech's Outlines

[

1872]

The Catalogue to the Exhibition, 1872

111

Ernest George's Etchings

[Denmark Hill

December, 1873]

The Architect, December 27, 1873

113

James David Forbes: his Real Greatness

[

1874]

"Rendu's Glaciers of Savoy," 1874

187

The Frederick Walker Exhibition

[

January, 1876]

The Times, January 20, 1876

116

Copies of Turner's Drawings

Peterborough

April 23 [1876]

The Times, April 25, 1876

105

Turner's Drawings, I.

Brantwood

July 3 [1876]

The Daily Telegraph, July 5, 1876

100

Turner's Drawings, II.

Brantwood, Coniston, Lancashire

July 16 [1876]

The Daily Telegraph, July 19, 1876

104

Modern Restoration

Venice

15th April, 1877

The Liverpool Daily Post, June 9, 1877

157

Ribbesford Church

Brantwood, Coniston, Lancashire

July 24, 1877

The Kidderminster Times, July 28, 1877

158

St. Mark's Venice--Circular relating to

[Brantwood

Winter 1879]

See the Circular

159

St. Mark's Venice--Letters

[Brantwood

Winter 1879]

Birmingham Daily Mail, Nov. 27, 1879

169

On the Purchase of Pictures

[Brantwood

January 1880]

Leicester Chronicle, January 31, 1880

55

Copy of Turner's "Fluelen"

London

20th March, 1880

Lithograph copy issued by Mr. Ward, 1880

105 n.

The Study of Natural History

[     ]

Undated

Letter to Adam White [unknown]

204

ARROWS OF THE CHACE

BEING A COLLECTION OF SCATTERED LETTERS

PUBLISHED CHIEFLY IN THE DAILY NEWSPAPERS

1840-1880

VOLUME II. LETTERS ON POLITICS, ECONOMY,

AND MISCELLANEOUS MATTERS

CONTENTS OF VOLUME II.

PAGE

Chronological List of the Letters contained in Vol. II.

x

Letters on Politics and War:

The Italian Question. 1859.

Three letters:

June 6

3

June 15

8

August 1

13

The Foreign Policy of England. 1863

15

The Position of Denmark. 1864

17

The Jamaica Insurrection. 1865

20

The Franco-Prussian War. 1870.

Two letters:

October 6

22

October 7

25

Modern Warfare. 1876

29

Letters on Political Economy:

The Depreciation of Gold. 1863

37

The Law of Supply and Demand. 1864.

Three letters:

October 26

39

October 29

40

November 2

43

Mr. Ruskin and Professor Hodgson. 1873.

Two letters:

November 8

44

November 15

46

Strikes v. Arbitration. 1865

48

Work and Wages. 1865.

Five letters:

April 20

50

April 22

52

April 29

54

May 4

59

May 20

62

The Standard of Wages. 1867

65

How the Rich spend their Money. 1873.

Three letters:

January 23

66

January 28

67

January 30

68

Commercial Morality. 1875

70

The Definition of Wealth. 1875

71

The Principles of Property. 1877

71

On Co-operation. 1879-80.

Two letters:

August, 1879

73

April 12, 1880

73

Miscellaneous Letters:

I.

The Management of Railways.

Is England Big Enough? 1868

79

The Ownership of Railways. 1868

81

Railway Economy. 1868

83

Our Railway System. 1865

88

Railway Safety. 1870

89

II.

Servants and Houses.

Domestic Servants—Mastership. 1865

93

Domestic Servants—Experience. 1865

95

Domestic Servants—Sonship and Slavery. 1865

96

Modern Houses. 1865

104

III.

Roman Inundations.

A King's First Duty. 1871

111

A Nation's Defences. 1871

113

The Waters of Comfort. 1871

115

The Streams of Italy. 1871

116

The Streets of London. 1871

119

IV.

Education for Rich and Poor.

True Education. 1868

123

The Value of Lectures. 1874

124

The Cradle of Art. 1876

125

St. George's Museum. 1875

126

The Morality of Field Sports. 1870

127

Drunkenness and Crime. 1871

129

Madness and Crime. 1872

130

Employment for the Destitute Poor and Criminal Classes. 1868

131

Notes on the General Principles of Employment for the Destitute and Criminal Classes (a Pamphlet). 1868

132

Blindness and Sight. 1879

139

The Eagle's Nest. 1879

140

Politics in Youth. 1879

141

"Act, Act in the Living Present." 1873

141

"Laborare est Orare." 1874

142

A Pagan Message. 1878

143

The Foundations of Chivalry. 1877-8.

Five letters:

February 8, 1877

143

February 10, 1877

145

February 11, 1877

146

February 12, 1877

147

July 3, 1878

148

V.

Women: Their Work and Their Dress

Woman's Work. 1873

153

Female Franchise. 1870

154

Proverbs on Right Dress. 1862

154

Sad-colored Costumes. 1870

156

Oak Silkworms. 1862

158

VI.

Literary Criticism.

The Publication of Books. 1875

163

A Mistaken Review. 1875

165

The Position of Critics. 1875

167

Coventry Patmore's "Faithful for Ever." 1860

168

"The Queen of the Air." 1871

171

The Animals of Scripture: a Review. 1856

172

"Limner" and Illumination. 1854

174

Notes on a Word in Shakespeare. 1878.

Two letters:

September

176

September 29

177

"The Merchant of Venice." 1880

179

Recitations. 1880

186

Appendix.

Letter to W. C. Bennett, LL.D. 1852

183

Letter to Thomas Guthrie, D.D. 1853

184

The Sale of Mr. Windus' Pictures. 1859

185

At the Play. 1867

185

An Object of Charity. 1868

186

Excuses from Correspondence. 1868

186

Letter to the Author of a Review. 1872

187

An Oxford Protest. 1874

188

Mr. Ruskin and Mr. Lowe. 1877

189

The Bibliography of Ruskin. 1878.

Two letters:

September 30

190

October 23

190

The Society of the Rose. 1879

191

Letter to W. H. Harrison. 1865

192

Dramatic Reform. 1880. (Two letters)

193

The Lord Rectorship of Glasgow University. 1880. (Five letters)

195

Epilogue

201

Chronological List of the Letters contained in Both Volumes

204

Index

213

CHRONOLOGICAL LIST OF THE LETTERS

CONTAINED IN THE SECOND VOLUME.

Note.—In the second and third columns the bracketed words and figures are more or less certainly conjectured; whilst those unbracketed give the actual dating of the letters.

Title of Letter.

Where Written.

When Written.

Where and When First Published.

Page.

Letter To W. C. Bennett, LL.D.

Herne Hill, Dulwich

December 28th, 1852

"Testimonials of W. C. Bennett," 1871

183

Letter To Dr. Guthrie

[Edinburgh]

Saturday, 26th [Nov. ?] 1853

"Memoir of Thomas Guthrie, D.D.," (1875)

184

Letter To W. H. Harrison

[Herne Hill

1853]

The Autographic Mirror, Dec. 23, 1865

192

"Limner" and Illumination

[Denmark Hill

December 3, 1854]

The Builder, Dec. 9, 1854

174

The Animals of Scripture: a Review

[Denmark Hill

January, 1855]

The Morning Chronicle, Jan. 20, 1855

172

The Sale of Mr. Windus' Pictures

Denmark Hill

March 28 [1859]

The Times, March 29, 1859

185

The Italian Question

Berlin

June 6, 1859

The Scotsman, July 20, 1859

3

" "

Berlin

June 15 [1859]

" July 23, 1859

8

" "

Schaffhausen

August 1, 1859

" Aug. 6, 1859

13

Coventry Patmore's "Faithful for Ever"

Denmark Hill

[October 21, 1860]

The Critic, Oct. 27, 1860

168

Proverbs on Right Dress

Geneva

October 20th, 1862

The Monthly Packet, Nov. 1863

154

Oak Silkworms

Geneva

October 20th [1862]

The Times, Oct. 24, 1862

158

The Depreciation of Gold

Chamounix

October 2 [1863]

The Times, Oct. 8, 1863

37

The Foreign Policy of England

Zurich

October 25th, 1863

The Liverpool Albion, Nov. 2, 1863

15

The Position of Denmark

Denmark Hill

July 6 [1864]

The Morning Post, July 7, 1864

17

The Law of Supply and Demand

Denmark Hill

October 26 [1864]

The Daily Telegraph, Oct. 28, 1864

39

" " "

Denmark Hill

October 29 [1864]

" " Oct. 31, 1864

40

" " "

Denmark Hill

November 2 [1864]

" " Nov. 3, 1864

43

Strikes v. Arbitration

[Denmark Hill]

Easter Monday, 1865

The Pall Mall Gazette, April 18, 1865

48

Work and Wages

Denmark Hill

Thursday, April 20 [1865]

" " April 21, 1865

50

" "

Denmark Hill

Saturday, April 22, 1865

" " April 25, 1865

52

" "

[Denmark Hill]

Saturday, 29th April, 1865

" " May 2, 1865

54

" "

Denmark Hill

May 4 [1865]

" " May 9, 1865

59

" "

[Denmark Hill]

May 20, 1865

" " May 22, 1865

62

Domestic Servants—Mastership

Denmark Hill

September 2 [1865]

The Daily Telegraph, September 5, 1865

93

" " Experience

Denmark Hill

September 6 [1865]

" " September 7, 1865

95

" " Sonship and Slavery

Denmark Hill

September 16, 1865]

" " September 18, 1865

96

Modern Houses

Denmark Hill

October 16 [1865]

" " October 17, 1865

104

Our Railway System

Denmark Hill

December 7 [1865]

" " December 8, 1865

88

The Jamaica Insurrection

Denmark Hill

December 19 [1865]

" " December 20, 1865

20

At the Play

Denmark Hill

February 28, 1867

The Pall Mall Gazette, March 1, 1867

185

The Standard of Wages

Denmark Hill

April 30, 1867

" " May 1, 1867

65

An Object of Charity

Denmark Hill, S.

January 21, 1868

The Daily Telegraph, January 22, 1868

186

True Education

Denmark Hill, S.

January 31, 1868

The Pall Mall Gazette, January 31, 1868

123

Excuse from Correspondence

Denmark Hill, S.

2d February, 1868

Circular printed by Mr. Ruskin, 1868

186

Is England Big Enough?

Denmark Hill

July 30 [1868]

The Daily Telegraph, July 31, 1868

79

The Ownership of Railways

Denmark Hill

August 5 [1868]

" " August 6, 1868

81

Railway Economy

Denmark Hill

August 9 [1868]

" " August 10, 1868

83

Employment for the Destitute Poor, etc.

Denmark Hill, S.E.

December 24 [1868]

" " December 26, 1868

131

Notes on the Destitute Classes, Etc.

[Denmark Hill]

Autumn, 1868]

Pamphlet for private circulation, 1868

132

The Morality of Field Sports

Denmark Hill

January 14 [1870]

The Daily Telegraph, January 15, 1870

127

Female Franchise

Venice

29th May, 1870

Date and place of publication unknown

154

The Franco-Prussian War

Denmark Hill, S.E.

October 6 [1870]

The Daily Telegraph, Oct. 7, 1870

22

" " "

[Denmark Hill, S.E.]

October 7 [1870]

" " Oct. 8, 1870

25

Sad-Colored Costumes

Denmark Hill, S.E.

14th October, 1870

Macmillan's Magazine, Nov. 1870

156

Railway Safety

Denmark Hill

November 29, 1870

The Daily Telegraph, Nov. 30, 1870

89

A King's First Duty

[Denmark Hill]

January 10 [1871]

" " January 12, 1871

111

A Nation's Defences

Denmark Hill

January 19, 1871

The Pall Mall Gazette, Jan. 19, 1871

113

The Waters of Comfort

Oxford

February 3 [1871]

The Daily Telegraph, Feb. 4, 1871

115

The Streams of Italy

Oxford

February 3 [1871]

" " Feb. 7, 1871

116

Woman's Sphere (extract)

[Oxford

February 19, 1871]

" " Feb. 21, 1871

154 n.

The "Queen of the Air"

[Denmark Hill]

May 18, 1871

The Asiatic, May 23, 1871

171

Drunkenness and Crime

Denmark Hill

December 9 [1871]

The Daily Telegraph, Dec. 11, 1871

129

The Streets of London

[Denmark Hill]

December 27, 1871

The Pall Mall Gazette, Dec. 28, 1871

119

Madness and Crime

Oxford

November 2 [1872]

" " Nov. 4, 1872

130

Letter to the Author of a Review

Oxford

Wednesday, Oct. 30 [1872]

Liverpool Weekly Albion, Nov. 9, 1872

187

"act, Act in the Living Present"

Oxford

Christmas Eve, '72

New Year's Address, etc., 1873

141

How the Rich spend their Money

Brantwood, Coniston

January 23 [1873]

The Pall Mall Gazette, Jan. 24, 1873

66

" " "

[Brantwood, Coniston]

January 28 [1873]

" " Jan. 29, 1873

67

" " "

Brantwood, Coniston

King Charles the Martyr, 1873

" " Jan. 31, 1873

68

Woman's Work

[ ]

[May, 1873]

L'Espérance Genève, May 8, 1873

153

Mr. Ruskin and Professor Hodgson

Oxford

November 8, 1873

The Scotsman, November 10, 1873

44

" " "

Oxford

November 15, 1873

" November 18, 1873

46

"Laborare est Orare"

Oxford

December, 1873

New Year's Address, etc., 1874

142

The Value of Lectures

Rome

26th May, 1874

The Glasgow Herald, June 5, 1874

124

An Oxford Protest

[Oxford

October 29, 1874

The Globe, Oct. 29, 1874

188

A Mistaken Review

Brantwood

January 10 [1875]

The Pall Mall Gazette, January 11, 1875

165

The Position of Critics

Brantwood

January 18 [1875]

" " January 19, 1875

167

Commercial Morality

[Herne Hill

February, 1875]

Date and place of publication unknown

70

The Publication of Books

Oxford

June 6, 1875

The World, June 9, 1875

163

St. George's Museum

Brantwood, Coniston

[September, 1875]

Sheffield Daily Telegraph, Sept. 6, 1875

126

The Definition of Wealth

Oxford

9th November, 1875

The Monetary Gazette, Nov. 13, 1875

71

The Cradle of Art!

[Oxford]

18th February, 1876

Date and place of publication unknown

125

Modern Warfare

[Brantwood]

June, 1876

Fraser's Magazine, July, 1876

29

The Foundations of Chivalry

Venice

February 8th, 1877

"The Science of Life" (second edit.), 1878

143

" " "

Venice

February 10th [1877]

" " (first edition), 1877

145

" " "

Venice

11th February [1877]

" " " " 1877

146

" " "

Venice

12th February, '77]

" " " " 1877

147

Mr. Ruskin and Mr. Lowe

Brantwood, Coniston

August 24 [1877]

The Standard, August 28, 1877

189

The Principles of Property

[Brantwood]

10th October, 1877

The Socialist, November, 1887

71

A Pagan Message

Herne Hill, London, S. E.

19th December, 1877

New Year's Address, etc., 1878

143

Despair (extract)

[Oxford

February, 1878]

The Times, February 12, 1878

124 n.

The Foundations of Chivalry

Malham

July 3d, 1878

"The Science of Life" (second edit.), 1878

148

Notes on a Word in Shakespeare

Brantwood

[September, 1878]

New Shakspere Soc. Trans. 1878-9

176

" " "

Edinburgh

29th September, 1878

" " " "

177

The Bibliography of Ruskin

Brantwood, Coniston

September 30, 1878

"Bibliography of Dickens" (advt.), 1880

190

" " "

Brantwood, Coniston

October 23, 1878

" " " "

190

The Society of the Rose

[Brantwood

Early in 1879]

Report of Ruskin Soc., Manchester, 1880

191

Blindness and Sight

Brantwood, Coniston

18th July, 1879

The Y. M. A. Magazine, Sept., 1879

139

"The Eagle's Nest"

Brantwood, Coniston

August 17th, 1879

" " October, 1879

140

On Coöperation. I.

Brantwood, Coniston

[August, 1879]

The Christian Life, December 20, 1879

73

Politics in Youth

Sheffield

October 19th, 1879

The Y. M. A. Magazine, Nov., 1879

141

The Merchant of Venice (extract)

[Herne Hill, S. E.]

6th February, 1880

The Theatre, March, 1880

179

Recitations

Sheffield

16th February, 1880

Circular printed by Mr. R. T. Webling

180

Excuse from Correspondence

[Brantwood]

March, 1880

List of Mr. Ruskin's Writings, Mar., 1880

186 n.

On Coöperation. II.

Brantwood, Coniston

April 12th, 1880

The Daily News, June 19, 1880

73

The Glasgow Lord Rectorship

Brantwood, Coniston

10th June, 1880

The Glasgow Herald, Oct. 7, 1880

195

" " "

[Brantwood]

10th June, 1880

" " Oct. 7, 1880

195

" " "

[Brantwood]

24th June, 1880

" " Oct. 7, 1880

196

" " "

Brantwood, Coniston

[July, 1880]

" " Oct. 12, 1880

196

Dramatic Reform. I.

Brantwood

July 30th, 1880

Journal of Dramatic Reform, Nov., 1880

193

The Glasgow Lord Rectorship

Rouen

28th September, 1880

The Glasgow Herald, Oct. 7, 1880

197

Dramatic Reform. II.

Amiens

October 12th, 1880

Journal of Dramatic Reform, Nov., 1880

193

MODERN PAINTERS

VOLUME I.

PART I-II.

SYNOPSIS OF CONTENTS.

PART I.

OF GENERAL PRINCIPLES.

SECTION I.

OF THE NATURE OF THE IDEAS CONVEYABLE BY ART.

Chapter I., Introductory

§  1.

Public opinion no criterion of excellence, except after long periods of time.

1

§  2.

And therefore obstinate when once formed.

4

§  3.

The author's reasons for opposing it in particular instances.

5

§  4.

But only on points capable of demonstration.

5

§  5.

The author's partiality to modern works excusable.

6

Chapter II., Definition of Greatness in Art

§  1.

Distinction between the painter's intellectual power and technical knowledge.

8

§  2.

Painting, as such, is nothing more than language.

8

§  3.

"Painter," a term corresponding to "versifier."

9

§  4.

Example in a painting of E. Landseer's.

9

§  5.

Difficulty of fixing an exact limit between language and thought.

9

§  6.

Distinction between decorative and expressive language.

10

§  7.

Instance in the Dutch and early Italian schools.

10

§  8.

Yet there are certain ideas belonging to language itself.

11

§  9.

The definition.

12

Chapter III.Of Ideas of Power

§  1.

What classes of ideas are conveyable by art.

13

§  2.

Ideas of power vary much in relative dignity.

13

§  3.

But are received from whatever has been the subject of power. The meaning of the word "excellence."

14

§  4.

What is necessary to the distinguishing of excellence.

15

§  5.

The pleasure attendant on conquering difficulties is right.

16

Chapter IV. Of Ideas of Imitation

§  1.

False use of the term "imitation" by many writers on art.

17

§  2.

Real meaning of the term.

18

§  3.

What is requisite to the sense of imitation.

18

§  4.

The pleasure resulting from imitation the most contemptible that can be derived from art.

19

§  5.

Imitation is only of contemptible subjects.

19

§  6.

Imitation is contemptible because it is easy.

20

§  7.

Recapitulation.

20

Chapter V., Of Ideas of Truth

§  1.

Meaning of the word "truth" as applied to art.

21

§  2.

First difference between truth and imitation.

21

§  3.

Second difference.

21

§  4.

Third difference.

22

§  5.

No accurate truths necessary to imitation.

22

§  6.

Ideas of truth are inconsistent with ideas of imitation.

24

Chapter VI., Of Ideas of Beauty

§  1.

Definition of the term "beautiful."

26

§  2.

Definition of the term "taste."

26

§  3.

Distinction between taste and judgment.

27

§  4.

How far beauty may become intellectual.

27

§  5.

The high rank and function of ideas of beauty.

28

§  6.

Meaning of the term "ideal beauty."

28

Chapter VII., Of Ideas of Relation

§  1.

General meaning of the term.

29

§  2.

ideas are to be comprehended under it.

29

§  3.

The exceeding nobility of these ideas.

30

§  4.

Why no subdivision of so extensive a class is necessary.

31

SECTION II., OF POWER.

Chapter I., General Principles respecting Ideas of Power

§  1.

No necessity for detailed study of ideas of imitation.

32

§  2.

Nor for separate study of ideas of power.

32

§  3.

Except under one particular form.

33

§  4.

There are two modes of receiving ideas of power, commonly inconsistent.

33

§  5.

First reason of the inconsistency.

33

§  6.

Second reason for the inconsistency.

34

§  7.

The sensation of power ought not to be sought in imperfect art.

34

§  8.

Instances in pictures of modern artists.

35

§  9.

Connection between ideas of power and modes of execution.

35

Chapter II., Of Ideas of Power, as they are dependent upon Execution

§  1.

Meaning of the term "execution."

36

§  2.

The first quality of execution is truth.

36

§  3.

The second, simplicity.

36

§  4.

The third, mystery.

37

§  5.

The fourth, inadequacy; and the fifth, decision.

37

§  6.

The sixth, velocity.

37

§  7.

Strangeness an illegitimate source of pleasure in execution.

37

§  8.

Yet even the legitimate sources of pleasure in execution are inconsistent with each other.

38

§  9.

And fondness for ideas of power leads to the adoption of the lowest.

39

§ 10.

Therefore perilous.

40

§ 11.

Recapitulation.

40

Chapter III., Of the Sublime

§  1.

Sublimity is the effect upon the mind of anything above it.

41

§  2.

Burke's theory of the nature of the sublime incorrect, and why.

41

§  3.

Danger is sublime, but not the fear of it.

42

§  4.

The highest beauty is sublime.

42

§  5.

And generally whatever elevates the mind.

42

§  6.

The former division of the subject is therefore sufficient.

42

PART II. OF TRUTH.

SECTION I.

GENERAL PRINCIPLES RESPECTING IDEAS OF TRUTH.

Chapter I., Of Ideas of Truth in their connection with those of Beauty and Relation

§  1.

The two great ends of landscape painting are the representation of facts and thoughts.

44

§  2.

They induce a different choice of material subjects.

45

§  3.

The first mode of selection apt to produce sameness and repetition.

45

§  4.

The second necessitating variety.

45

§  5.

Yet the first is delightful to all.

46

§  6.

The second only to a few.

46

§  7.

The first necessary to the second.

47

§  8.

The exceeding importance of truth.

48

§  9.

Coldness or want of beauty no sign of truth.

48

§ 10.

How truth may be considered a just criterion of all art.

48

Chapter II., That the Truth of Nature is not to be discerned by the Uneducated Senses

§  1.

The common self-deception of men with respect to their power of discerning truth.

50

§  2.

Men usually see little of what is before their eyes.

51

§  3.

But more or less in proportion to their natural sensibility to what is beautiful.

52

§  4.

Connected with a perfect state of moral feeling.

52

§  5.

And of the intellectual powers.

53

§  6.

How sight depends upon previous knowledge.

54

§  7.

The difficulty increased by the variety of truths in nature.

55

§  8.

We recognize objects by their least important attributes. Compare Part I. Sect. I. Chap. 4.

55

Chapter III., Of the Relative Importance of Truths:—First, that Particular Truths are more important than General Ones.

§  1.

Necessity of determining the relative importance of truths.

58

§  2.

Misapplication of the aphorism: "General truths are more important than particular ones."

58

§  3.

Falseness of this maxim, taken without explanation.

59

§  4.

Generality important in the subject, particularity in the predicate.

59

§  5.

The importance of truths of species is not owing to their generality.

60

§  6.

All truths valuable as they are characteristic.

61

§  7.

Otherwise truths of species are valuable, because beautiful.

61

§  8.

And many truths, valuable if separate, may be objectionable in connection with others.

62

§  9.

Recapitulation.

63

Chapter IV., Of the Relative Importance of Truths:—Secondly, that Rare Truths are more important than Frequent Ones

§  1.

No accidental violation of nature's principles should be represented.

64

§  2.

But the cases in which those principles have been strikingly exemplified.

65

§  3.

Which are comparatively rare.

65

§  4.

All repetition is blamable.

65

§  5.

The duty of the painter is the same as that of a preacher.

66

Chapter V., Of the Relative Importance of Truths:—Thirdly, that Truths of Color are the least important of all Truths

§  1.

Difference between primary and secondary qualities in bodies.

67

§  2.

The first are fully characteristic, the second imperfectly so.

67

§  3.

Color is a secondary quality, therefore less important than form.

68

§  4.

Color no distinction between objects of the same species.

68

§  5.

And different in association from what it is alone.

69

§  6.

It is not certain whether any two people see the same colors in things.

69

§  7.

Form, considered as an element of landscape, includes light and shade.

69

§  8.

Importance of light and shade in expressing the character of bodies, and unimportance of color.

70

§  9.

Recapitulation.

71

Chapter VI. Recapitulation

§  1.

The importance of historical truths.

72

§  2.

Form, as explained by light and shade, the first of all truths. Tone, light, and color, are secondary.

72

§  3.

And deceptive chiaroscuro the lowest of all.

73

Chapter VII., General Application of the Foregoing Principle

§  1.

The different selection of facts consequent on the several aims at imitation or at truth.

74

§  2.

The old masters, as a body, aim only at imitation.

74

§  3.

What truths they gave.

75

§  4.

The principles of selection adopted by modern artists.

76

§  5.

General feeling of Claude, Salvator, and G. Poussin, contrasted with the freedom and vastness of nature.

77

§  6.

Inadequacy of the landscape of Titian and Tintoret.

78

§  7.

Causes of its want of influence on subsequent schools.

79

§  8.

The value of inferior works of art, how to be estimated.

80

§  9.

Religious landscape of Italy. The admirableness of its completion.

81

§ 10.

Finish, and the want of it, how right—and how wrong.

82

§ 11.

The open skies of the religious schools, how valuable. Mountain drawing of Masaccio. Landscape of the Bellinis and Giorgione.

84

§ 12.

Landscape of Titian and Tintoret.

86

§ 13.

Schools of Florence, Milan, and Bologna.

88

§ 14.

Claude, Salvator, and the Poussins.

89

§ 15.

German and Flemish landscape.

90

§ 16.

The lower Dutch schools.

92

§ 17.

English school, Wilson and Gainsborough.

93

§ 18.

Constable, Callcott.

94

§ 19.

Peculiar tendency of recent landscape.

95

§ 20.

G. Robson, D. Cox. False use of the term "style."

95

§ 21.

Copley Fielding. Phenomena of distant color.

97

§ 22.

Beauty of mountain foreground.

99

§ 23.

De Wint.

101

§ 24.

Influence of Engraving. J. D. Harding.

101

§ 25.

Samuel Prout. Early painting of architecture, how deficient.

103

§ 26.

Effects of age upon buildings, how far desirable.

104

§ 27.

Effects of light, how necessary to the understanding of detail.

106

§ 28.

Architectural painting of Gentile Bellini and Vittor Carpaccio.

107

§ 29.

And of the Venetians generally.

109

§ 30.

Fresco painting of the Venetian exteriors. Canaletto.

110

§ 31.

Expression of the effects of age on Architecture by S. Prout.

112

§ 32.

His excellent composition and color.

114

§ 33.

Modern architectural painting generally. G. Cattermole.

115

§ 34.

The evil in an archæological point of view of misapplied invention, in architectural subject.

117

§ 35.

Works of David Roberts: their fidelity and grace.

118

§ 36.

Clarkson Stanfield.

121

§ 37.

J. M. W. Turner. Force of national feeling in all great painters.

123

§ 38.

Influence of this feeling on the choice of Landscape subject.

125

§ 39.

Its peculiar manifestation in Turner.

125

§ 40.

The domestic subjects of the Liber Studiorum.

127

§ 41.

Turner's painting of French and Swiss landscape. The latter deficient.

129

§ 42.

His rendering of Italian character still less successful. His large compositions how failing.

130

§ 43.

His views of Italy destroyed by brilliancy and redundant quantity.

133

§ 44.

Changes introduced by him in the received system of art.

133

§ 45.

Difficulties of his later manner. Resultant deficiencies.

134

§ 46.

Reflection of his very recent works.

137

§ 47.

Difficulty of demonstration in such subjects.

139

SECTION II.

OF GENERAL TRUTHS.

Chapter I., Of Truth of Tone

§  1.

Meanings of the word "tone:"—First, the right relation of objects in shadow to the principal light.

140

§  2.

Secondly, the quality of color by which it is felt to owe part of its brightness to the hue of light upon it.

140

§  3.

Difference between tone in its first sense and aerial perspective.

141

§  4.

The pictures of the old masters perfect in relation of middle tints to light.

141

§  5.

And consequently totally false in relation of middle tints to darkness.

141

§  6.

General falsehood of such a system.

143

§  7.

The principle of Turner in this respect.

143

§  8.

Comparison of N. Poussin's "Phocion."

144

§  9.

With Turner's "Mercury and Argus."

145

§ 10.

And with the "Datur Hora Quieti."

145

§ 11.

The second sense of the word "tone."

146

§ 12.

Remarkable difference in this respect between the paintings and drawings of Turner.

146

§ 13.

Not owing to want of power over the material.

146

§ 14.

The two distinct qualities of light to be considered.

147

§ 15.

Falsehoods by which Titian attains the appearance of quality in light.

148

§ 16.

Turner will not use such means.

148

§ 17.

But gains in essential truth by the sacrifice.

148

§ 18.

The second quality of light.

148

§ 19.

The perfection of Cuyp in this respect interfered with by numerous solecisms.

150

§ 20.

Turner is not so perfect in parts—far more so in the whole.

151

§ 21.

The power in Turner of uniting a number of tones.

152

§ 22.

Recapitulation.

153

Chapter II., Of Truth of Color

§  1.

Observations on the color of G. Poussin's La Riccia.

155

§  2.

As compared with the actual scene.

155

§  3.

Turner himself is inferior in brilliancy to nature.

157

§  4.

Impossible colors of Salvator, Titian.

157

§  5.

Poussin, and Claude.

158

§  6.

Turner's translation of colors.

160

§  7.

Notice of effects in which no brilliancy of art can even approach that of reality.

161

§  8.

Reasons for the usual incredulity of the observer with respect to their representation.

162

§  9.

Color of the Napoleon.

163

§ 10.

Necessary discrepancy between the attainable brilliancy of color and light.

164

§ 11.

This discrepancy less in Turner than in other colorists.

165

§ 12.

Its great extent in a landscape attributed to Rubens.

165

§ 13.

Turner scarcely ever uses pure or vivid color.

166

§ 14.

The basis of gray, under all his vivid hues.

167

§ 15.

The variety and fulness even of his most simple tones.

168

§ 16.

Following the infinite and unapproachable variety of nature.

168

§ 17.

His dislike of purple, and fondness for the opposition of yellow and black. The principles of nature in this respect.

169

§ 18.

His early works are false in color.

170

§ 19.

His drawings invariably perfect.

171

§ 20.

The subjection of his system of color to that of chiaroscuro.

171

Chapter III., Of Truth of Chiaroscuro

§  1.

We are not at present to examine particular effects of light.

174

§  2.

And therefore the distinctness of shadows is the chief means of expressing vividness of light.

175

§  3.

Total absence of such distinctness in the works of the Italian school.

175

§  4.

And partial absence in the Dutch.

176

§  5.

The perfection of Turner's works in this respect.

177

§  6.

The effect of his shadows upon the light.

178

§  7.

The distinction holds good between almost all the works of the ancient and modern schools.

179

§  8.

Second great principle of chiaroscuro. Both high light and deep shadow are used in equal quantity, and only in points.

180

§  9.

Neglect or contradiction of this principle by writers on art.

180

§ 10.

And consequent misguiding of the student.

181

§ 11.

The great value of a simple chiaroscuro.

182

§ 12.

The sharp separation of nature's lights from her middle tint.

182

§ 13.

The truth of Turner.

183

Chapter IV., Of Truth of Space:—First, as Dependent on the Focus of the Eye

§  1.

Space is more clearly indicated by the drawing of objects than by their hue.

185

§  2.

It is impossible to see objects at unequal distances distinctly at one moment.

186

§  3.

Especially such as are both comparatively near.

186

§  4.

In painting, therefore, either the foreground or distance must be partially sacrificed.

187

§  5.

Which not being done by the old masters, they could not express space.

187

§  6.

But modern artists have succeeded in fully carrying out this principle.

188

§  7.

Especially of Turner.

189

§  8.

Justification of the want of drawing in Turner's figures.

189

Chapter V., Of Truth of Space:—Secondly, as its Appearance is dependent on the Power of the Eye

§  1.

The peculiar indistinctness dependent on the retirement of objects from the eye.

191

§  2.

Causes confusion, but not annihilation of details.

191

§  3.

Instances in various objects.

192

§  4.

Two great resultant truths; that nature is never distinct, and never vacant.

193

§  5.

Complete violation of both these principles by the old masters. They are either distinct or vacant.

193

§  6.

Instances from Nicholas Poussin.

194

§  7.

From Claude.

194

§  8.

And G. Poussin.

195

§  9.

The imperative necessity, in landscape painting, of fulness and finish.

196

§ 10.

Breadth is not vacancy.

197

§ 11.

The fulness and mystery of Turner's distances.

198

§ 12.

Farther illustrations in architectural drawing.

199

§ 13.

In near objects as well as distances.

199

§ 14.

Vacancy and falsehood of Canaletto.

200

§ 15.

Still greater fulness and finish in landscape foregrounds.

200

§ 16.

Space and size are destroyed alike by distinctness and by vacancy.

202

§ 17.

Swift execution best secures perfection of details.

202

§ 18.

Finish is far more necessary in landscape than in historical subjects.

202

§ 19.

Recapitulation of the section.

203

SECTION III., OF TRUTH OF SKIES

Chapter I., Of the Open Sky.

§  1.

The peculiar adaptation of the sky to the pleasing and teaching of man.

204

§  2.

The carelessness with which its lessons are received.

205

§  3.

The most essential of these lessons are the gentlest.

205

§  4.

Many of our ideas of sky altogether conventional.

205

§  5.

Nature, and essential qualities of the open blue.

206

§  6.

Its connection with clouds.

207

§  7.

Its exceeding depth.

207

§  8.

These qualities are especially given by modern masters.

207

§  9.

And by Claude.

208

§ 10.

Total absence of them in Poussin. Physical errors in his general treatment of open sky.

208

§ 11.

Errors of Cuyp in graduation of color.

209

§ 12.

The exceeding value of the skies of the early Italian and Dutch schools. Their qualities are unattainable in modern times.

210

§ 13.

Phenomena of visible sunbeams. Their nature and cause.

211

§ 14.

They are only illuminated mist, and cannot appear when the sky is free from vapor, nor when it is without clouds.

211

§ 15.

Erroneous tendency in the representation of such phenomena by the old masters.

212

§ 16.

The ray which appears in the dazzled eye should not be represented.

213

§ 17.

The practice of Turner. His keen perception of the more delicate phenomena of rays.

213

§ 18.

The total absence of any evidence of such perception in the works of the old masters.

213

§ 19.

Truth of the skies of modern drawings.

214

§ 20.

Recapitulation. The best skies of the ancients are, in quality, inimitable, but in rendering of various truth, childish.

215

Chapter II., Of Truth of Clouds:—First, of the Region of the Cirrus.

§  1.

Difficulty of ascertaining wherein the truth of clouds consists.

216

§  2.

Variation of their character at different elevations. The three regions to which they may conveniently be considered as belonging.

216

§  3.

Extent of the upper region.

217

§  4.

The symmetrical arrangement of its clouds.

217

§  5.

Their exceeding delicacy.

218

§  6.

Their number.

218

§  7.

Causes of their peculiarly delicate coloring.

219

§  8.

Their variety of form.

219

§  9.

Total absence of even the slightest effort at their representation, in ancient landscape.

220

§ 10.

The intense and constant study of them by Turner.

221

§ 11.

His vignette, Sunrise on the Sea.

222

§ 12.

His use of the cirrus in expressing mist.

223

§ 13.

His consistency in every minor feature.

224

§ 14.

The color of the upper clouds.

224

§ 15.

Recapitulation.

225

Chapter III., Of Truth of Clouds:—Secondly, of the Central Cloud Region

§  1.

Extent and typical character of the central cloud region.

226

§  2.

Its characteristic clouds, requiring no attention nor thought for their representation, are therefore favorite subjects with the old masters.

226

§  3.

The clouds of Salvator and Poussin.

227

§  4.

Their essential characters.

227

§  5.

Their angular forms and general decision of outline.

228

§  6.

The composition of their minor curves.

229

§  7.

Their characters, as given by S. Rosa.

230

§  8.

Monotony and falsehood of the clouds of the Italian school generally.

230

§  9.

Vast size of congregated masses of cloud.

231

§ 10.

Demonstrable by comparison with mountain ranges.

231

§ 11.

And consequent divisions and varieties of feature.

232

§ 12.

Not lightly to be omitted.

232

§ 13.

Imperfect conceptions of this size and extent in ancient landscape.

233

§ 14.

Total want of transparency and evanescence in the clouds of ancient landscape.

234

§ 15.

Farther proof of their deficiency in space.

235

§ 16.

Instance of perfect truth in the sky of Turner's Babylon.

236

§ 17.

And in his Pools of Solomon.

237

§ 18.

Truths of outline and character in his Como.

237

§ 19.

Association of the cirrostratus with the cumulus.

238

§ 20.

The deep-based knowledge of the Alps in Turner's Lake of Geneva.

238

§ 21.

Farther principles of cloud form exemplified in his Amalfi.

239

§ 22.

Reasons for insisting on the infinity of Turner's works. Infinity is almost an unerring test of all truth

239

§ 23.

Instances of the total want of it in the works of Salvator.

240

§ 24.

And of the universal presence of it in those of Turner. The conclusions which may be arrived at from it.

240

§ 25.

The multiplication of objects, or increase of their size, will not give the impression of infinity, but is the resource of novices.

241

§ 26.

Farther instances of infinity in the gray skies of Turner.

242

§ 27.

The excellence of the cloud-drawing of Stanfield.

242

§ 28.

The average standing of the English school.

243

Chapter IV.,Of Truth of Clouds:—Thirdly, of the Region of the Rain-Cloud.

§  1.

The apparent difference in character between the lower and central clouds is dependent chiefly on proximity.

244

§  2.

Their marked differences in color.

244

§  3.

And in definiteness of form.

245

§  4.

They are subject to precisely the same great laws.

245

§  5.

Value, to the painter, of the rain-cloud.

246

§  6.

The old masters have not left a single instance of the painting of the rain-cloud, and very few efforts at it. Gaspar Poussin's storms.

247

§  7.

The great power of the moderns in this respect.

248

§  8.

Works of Copley Fielding.

248

§  9.

His peculiar truth.

248

§ 10.

His weakness, and its probable cause.

249

§ 11.

Impossibility of reasoning on the rain-clouds of Turner from engravings.

250

§ 12.

His rendering of Fielding's particular moment in the Jumieges.

250

§ 13.

Illustration of the nature of clouds in the opposed forms of smoke and steam.

250

§ 14.

Moment of retiring rain in the Llanthony.

251

§ 15.

And of commencing, chosen with peculiar meaning for Loch Coriskin.

252

§ 16.

The drawing of transparent vapor in the Land's End.

253

§ 17.

The individual character of its parts.

253

§ 18.

Deep-studied form of swift rain-cloud in the Coventry.

254

§ 19.

Compared with forms given by Salvator.

254

§ 20.

Entire expression of tempest by minute touches and circumstances in the Coventry.

255

§ 21.

Especially by contrast with a passage of extreme repose.

255

§ 22.

The truth of this particular passage. Perfectly pure blue sky only seen after rain, and how seen.

256

§ 23.

Absence of this effect in the works of the old masters.

256

§ 24.

Success of our water-color artists in its rendering. Use of it by Turner.

257

§ 25.

Expression of near rain-cloud in the Gosport, and other works.

257

§ 26.

Contrasted with Gaspar Poussin's rain-cloud in the Dido and Æneas.

258

§ 27.

Turner's power of rendering mist.

258

§ 28.

His effects of mist so perfect, that if not at once understood, they can no more be explained or reasoned on than nature herself.

259

§ 29.

Various instances.

259

§ 30.

Turner's more violent effects of tempest are never rendered by engravers.

260

§ 31.

General system of landscape engraving.

260

§ 32.

The storm in the Stonehenge.

260

§ 33.

General character of such effects as given by Turner. His expression of falling rain.

261

§ 34.

Recapitulation of the section.

261

§ 35.

Sketch of a few of the skies of nature, taken as a whole, compared with the works of Turner and of the old masters. Morning on the plains.

262

§ 36.

Noon with gathering storms.

263

§ 37.

Sunset in tempest. Serene midnight.

264

§ 38.

And sunrise on the Alps.

264

Chapter V., Effects of Light rendered by Modern Art.

§  1.

Reasons for merely, at present, naming, without examining the particular effects of light rendered by Turner.

266

§  2.

Hopes of the author for assistance in the future investigation of them.

266

SECTION IV.

OF TRUTH OF EARTH.

Chapter I., Of General Structure

§  1.

First laws of the organization of the earth, and their importance in art.

270

§  2.

The slight attention ordinarily paid to them. Their careful study by modern artists.

271

§  3.

General structure of the earth. The hills are its action, the plains its rest.

271

§  4.

Mountains come out from underneath the plains, and are their support.

272

§  5.

Structure of the plains themselves. Their perfect level, when deposited by quiet water.

273

§  6.

Illustrated by Turner's Marengo.

273

§  7.

General divisions of formation resulting from this arrangement. Plan of investigation.

274

Chapter II., Of the Central Mountains

§  1.

Similar character of the central peaks in all parts of the world.

275

§  2.

Their arrangements in pyramids or wedges, divided by vertical fissures.

275

§  3.

Causing groups of rock resembling an artichoke or rose.

276

§  4.

The faithful statement of these facts by Turner in his Alps at Daybreak.

276

§  5.

Vignette of the Andes and others.

277

§  6.

Necessary distance, and consequent aerial effect on all such mountains.

277

§  7.

Total want of any rendering of their phenomena in ancient art.

278

§  8.

Character of the representations of Alps in the distances of Claude.

278

§  9.

Their total want of magnitude and aerial distance.

279

§ 10.

And violation of specific form.

280

§ 11.

Even in his best works.

280

§ 12.

Farther illustration of the distant character of mountain chains.

281

§ 13.

Their excessive appearance of transparency.

281

§ 14.

Illustrated from the works of Turner and Stanfield. The Borromean Islands of the latter.

282

§ 15.

Turner's Arona.

283

§ 16.

Extreme distance of large objects always characterized by very sharp outline.

283

§ 17.

Want of this decision in Claude.

284

§ 18.

The perpetual rendering of it by Turner.

285

§ 19.

Effects of snow, how imperfectly studied.

285

§ 20.

General principles of its forms on the Alps.

287

§ 21.

Average paintings of Switzerland. Its real spirit has scarcely yet been caught.

289

Chapter III., Of the Inferior Mountains

§  1.

The inferior mountains are distinguished from the central, by being divided into beds.

290

§  2.

Farther division of these beds by joints.

290

§  3.

And by lines of lamination.

291

§  4.

Variety and seeming uncertainty under which these laws are manifested.

291

§  5.

The perfect expression of them in Turner's Loch Coriskin.

292

§  6.

Glencoe and other works.

293

§  7.

Especially the Mount Lebanon.

293

§  8.

Compared with the work of Salvator.

294

§  9.

And of Poussin.

295

§ 10.

Effects of external influence on mountain form.

296

§ 11.

The gentle convexity caused by aqueous erosion.

297

§ 12.

And the effect of the action of torrents.

297

§ 13.

The exceeding simplicity of contour caused by these influences.

298

§ 14.

And multiplicity of feature.

299

§ 15.

Both utterly neglected in ancient art.

299

§ 16.

The fidelity of treatment in Turner's Daphne and Leucippus.

300

§ 17.

And in the Avalanche and Inundation.

300

§ 18.

The rarity among secondary hills of steep slopes or high precipices.

301

§ 19.

And consequent expression of horizontal distance in their ascent.

302

§ 20.

Full statement of all these facts in various works of Turner.—Caudebec, etc.

302

§ 21.

The use of considering geological truths.

303

§ 22.

Expression of retiring surface by Turner contrasted with the work of Claude.

304

§ 23.

The same moderation of slope in the contours of his higher hills.

304

§ 24.

The peculiar difficulty of investigating the more essential truths of hill outline.

305

§ 25.

Works of other modern artists.—Clarkson Stanfield.

305

§ 26.

Importance of particular and individual truth in hill drawing.

306

§ 27.

Works of Copley Fielding. His high feeling.

307

§ 28.

Works of J. D. Harding and others.

308

Chapter IV., Of the Foreground

§  1.

What rocks were the chief components of ancient landscape foreground.

309

§  2.

Salvator's limestones. The real characters of the rock. Its fractures, and obtuseness of angles.

309

§  3.

Salvator's acute angles caused by the meeting of concave curves.

310

§  4.

Peculiar distinctness of light and shade in the rocks of nature.

311

§  5.

Peculiar confusion of both in the rocks of Salvator.

311

§  6.

And total want of any expression of hardness or brittleness.

311

§  7.

Instances in particular pictures.

312

§  8.

Compared with the works of Stanfield.

312

§  9.

Their absolute opposition in every particular.

313

§ 10.

The rocks of J. D. Harding.

313

§ 11.

Characters of loose earth and soil.

314

§ 12.

Its exceeding grace and fulness of feature.

315

§ 13.

The ground of Teniers.

315

§ 14.

Importance of these minor parts and points.

316

§ 15.

The observance of them is the real distinction between the master and the novice.

316

§ 16.

Ground of Cuyp.

317

§ 17.

And of Claude.

317

§ 18.

The entire weakness and childishness of the latter.

318

§ 19.

Compared with the work of Turner.

318

§ 20.

General features of Turner's foreground.

319

§ 21.

Geological structure of his rocks in the Fall of the Tees.

319

§ 22.

Their convex surfaces and fractured edges.

319

§ 23.

And perfect unity.

320

§ 24.

Various parts whose history is told us by the details of the drawing.

321

§ 25.

Beautiful instance of an exception to general rules in the Llanthony.

321

§ 26.

Turner's drawing of detached blocks of weathered stone.

322

§ 27.

And of complicated foreground.

323

§ 28.

And of loose soil.

323

§ 29.

The unison of all in the ideal foregrounds of the Academy pictures.

324

§ 30.

And the great lesson to be received from all.

324

SECTION V.

OF TRUTH OF WATER.

Chapter I., Of Water, as Painted by the Ancients

§  1.

Sketch of the functions and infinite agency of water.

325

§  2.

The ease with which a common representation of it may be given. The impossibility of a faithful one.

325

§  3.

Difficulty of properly dividing the subject.

326

§  4.

Inaccuracy of study of water-effect among all painters.

326

§  5.

Difficulty of treating this part of the subject.

328

§  6.

General laws which regulate the phenomena of water. First, The imperfection of its reflective surface.

329

§  7.

The inherent hue of water modifies dark reflections, and does not affect right ones.

330

§  8.

Water takes no shadow.

331

§  9.

Modification of dark reflections by shadow.

332

§ 10.

Examples on the waters of the Rhone.

333

§ 11.

Effect of ripple on distant water.

335

§ 12.

Elongation of reflections by moving water.

335

§ 13.

Effect of rippled water on horizontal and inclined images.

336

§ 14.

To what extent reflection is visible from above.

336

§ 15.

Deflection of images on agitated water.

337

§ 16.

Necessity of watchfulness as well as of science. Licenses, how taken by great men.

337

§ 17.

Various licenses or errors in water painting of Claude, Cuyp, Vandevelde.

339

§ 18.

And Canaletto.

341

§ 19.

Why unpardonable.

342

§ 20.

The Dutch painters of sea.

343

§ 21.

Ruysdael, Claude, and Salvator.

344

§ 22.

Nicolo Poussin.

345

§ 23.

Venetians and Florentines. Conclusion.

346

Chapter II., Of Water, as Painted by the Moderns

§  1.

General power of the moderns in painting quiet water. The lakes of Fielding.

348

§  2.

The calm rivers of De Wint, J. Holland, &c.

348

§  3.

The character of bright and violent falling water.

349

§  4.

As given by Nesfield.

349

§  5.

The admirable water-drawing of J. D. Harding.

350

§  6.

His color; and painting of sea.

350

§  7.

The sea of Copley Fielding. Its exceeding grace and rapidity.

351

§  8.

Its high aim at character.

351

§  9.

But deficiency in the requisite quality of grays.

352

§ 10.

Variety of the grays of nature.

352

§ 11.

Works of Stanfield. His perfect knowledge and power.

353

§ 12.

But want of feeling. General sum of truth presented by modern art.

353

Chapter III., Of Water, as Painted by Turner

§  1.

The difficulty of giving surface to smooth water.

355

§  2.

Is dependent on the structure of the eye, and the focus by which the reflected rays are perceived.

355

§  3.

Morbid clearness occasioned in painting of water by distinctness of reflections.

356

§  4.

How avoided by Turner.

357

§  5.

All reflections on distant water are distinct.

357

§  6.

The error of Vandevelde.

358

§  7.

Difference in arrangement of parts between the reflected object and its image.

359

§  8.

Illustrated from the works of Turner.

359

§  9.

The boldness and judgment shown in the observance of it.

360

§ 10.

The texture of surface in Turner's painting of calm water.

361

§ 11.

Its united qualities.

361

§ 12.

Relation of various circumstances of past agitation, &c., by the most trifling incidents, as in the Cowes.

363

§ 13.

In scenes on the Loire and Seine.

363

§ 14.

Expression of contrary waves caused by recoil from shore.

364

§ 15.

Various other instances.

364

§ 16.

Turner's painting of distant expanses of water.—Calm, interrupted by ripple.

365

§ 17.

And rippled, crossed by sunshine.

365

§ 18.

His drawing of distant rivers.

366

§ 19.

And of surface associated with mist.

367

§ 20.

His drawing of falling water, with peculiar expression of weight.

367

§ 21.

The abandonment and plunge of great cataracts. How given by him.

368

§ 22.

Difference in the action of water, when continuous and when interrupted. The interrupted stream fills the hollows of its bed.

369

§ 23.

But the continuous stream takes the shape of its bed.

370

§ 24.

Its exquisite curved lines.

370

§ 25.

Turner's careful choice of the historical truth.

370

§ 26.

His exquisite drawing of the continuous torrent in the Llanthony Abbey.

371

§ 27.

And of the interrupted torrent in the Mercury and Argus.

372

§ 28.

Various cases.

372

§ 29.

Sea painting. Impossibility of truly representing foam.

373

§ 30.

Character of shore-breakers, also inexpressible.

374

§ 31.

Their effect how injured when seen from the shore.

375

§ 32.

Turner's expression of heavy rolling sea.

376

§ 33.

With peculiar expression of weight.

376

§ 34.

Peculiar action of recoiling waves.

377

§ 35.

And of the stroke of a breaker on the shore.

377

§ 36.

General character of sea on a rocky coast given by Turner in the Land's End.

378

§ 37.

Open seas of Turner's earlier time.

379

§ 38.

Effect of sea after prolonged storm.

380

§ 39.

Turner's noblest work, the painting of the deep open sea in the Slave Ship.

382

§ 40.

Its united excellences and perfection as a whole.

383

SECTION VI.

OF TRUTH OF VEGETATION.—CONCLUSION.

Chapter I., Of Truth of Vegetation

§  1.

Frequent occurrence of foliage in the works of the old masters.

384

§  2.

Laws common to all forest trees. Their branches do not taper, but only divide.

385

§  3.

Appearance of tapering caused by frequent buds.

385

§  4.

And care of nature to conceal the parallelism.

386

§  5.

The degree of tapering which may be represented as continuous.

386

§  6.

The trees of Gaspar Poussin.

386

§  7.

And of the Italian school generally, defy this law.

387

§  8.

The truth, as it is given by J. D. Harding.

387

§  9.

Boughs, in consequence of this law, must diminish where they divide. Those of the old masters often do not.

388

§ 10.

Boughs must multiply as they diminish. Those of the old masters do not.

389

§ 11.

Bough-drawing of Salvator.

390

§ 12.

All these errors especially shown in Claude's sketches, and concentrated in a work of G. Poussin's.

391

§ 13.

Impossibility of the angles of boughs being taken out of them by wind.

392

§ 14.

Bough-drawing of Titian.

392

§ 15.

Bough-drawing of Turner.

394

§ 16.

Leafage. Its variety and symmetry.

394

§ 17.

Perfect regularity of Poussin.

395

§ 18.

Exceeding intricacy of nature's foliage.

396

§ 19.

How contradicted by the tree-patterns of G. Poussin.

396

§ 20.

How followed by Creswick.

397

§ 21.

Perfect unity in nature's foliage.

398

§ 22.

Total want of it in Both and Hobbima.

398

§ 23.

How rendered by Turner.

399

§ 24.

The near leafage of Claude. His middle distances are good.

399

§ 25.

Universal termination of trees in symmetrical curves.

400

§ 26.

Altogether unobserved by the old masters. Always given by Turner.

401

§ 27.

Foliage painting on the Continent.

401

§ 28.

Foliage of J. D. Harding. Its deficiencies.

402

§ 29.

His brilliancy of execution too manifest.

403

§ 30.

His bough-drawing, and choice of form.

404

§ 31.

Local color, how far expressible in black and white, and with what advantage.

404

§ 32.

Opposition between great manner and great knowledge.

406

§ 33.

Foliage of Cox, Fielding, and Cattermole.

406

§ 34.

Hunt and Creswick. Green, how to be rendered expressive of light, and offensive if otherwise.

407

§ 35.

Conclusion. Works of J. Linnel and S. Palmer.

407

Chapter II., General remarks respecting the Truth of Turner

§  1.

No necessity of entering into discussion of architectural truth.

409

§  2.

Extreme difficulty of illustrating or explaining the highest truth.

410

§  3.

The positive rank of Turner is in no degree shown in the foregoing pages, but only his relative rank.

410

§  4.

The exceeding refinement of his truth.

411

§  5.

There is nothing in his works which can be enjoyed without knowledge.

411

§  6.

And nothing which knowledge will not enable us to enjoy.

412

§  7.

His former rank and progress.

412

§  8.

Standing of his present works. Their mystery is the consequence of their fulness.

413

Chapter III., Conclusion.-Modern Art and Modern Criticism

§  1.

The entire prominence hitherto given to the works of one artist caused only by our not being able to take cognizance of character.

414

§  2.

The feelings of different artists are incapable of full comparison.

415

§  3.

But the fidelity and truth of each are capable of real comparison.

415

§  4.

Especially because they are equally manifested in the treatment of all subjects.

415

§  5.

No man draws one thing well, if he can draw nothing else.

416

§  6.

General conclusions to be derived from our past investigation.

417

§  7.

Truth, a standard of all excellence.

417

§  8.

Modern criticism. Changefulness of public taste.

418

§  9.

Yet associated with a certain degree of judgment.

418

§ 10.

Duty of the press.

418

§ 11.

Qualifications necessary for discharging it.

418

§ 12.

General incapability of modern critics.

419

§ 13.

And inconsistency with themselves.

419

§ 14.

How the press may really advance the cause of art.

420

§ 15.

Morbid fondness at the present day for unfinished works.

420

§ 16.

By which the public defraud themselves.

421

§ 17.

And in pandering to which, artists ruin themselves.

421

§ 18.

Necessity of finishing works of art perfectly.

421

§ 19.

Sketches not sufficiently encouraged.

422

§ 20.

Brilliancy of execution or efforts at invention not to be tolerated in young artists.

422

§ 21.

The duty and after privileges of all students.

423

§ 22.

Necessity among our greater artists of more singleness of aim.

423

§ 23.

What should be their general aim.

425

§ 24.

Duty of the press with respect to the works of Turner.

427

LIST OF PLATES TO VOLUME I.

Page.

Casa Contarini Fasan, Venice

111

From a drawing by Ruskin.

The Dogana, and Santa Maria della Salute, Venice

136

From a painting by Turner.

Okehampton Castle

258

From a painting by Turner.

Port Ruysdael

377

From a painting by Turner.

MODERN PAINTERS

VOLUME II.

CONTAINING PART III., SECTIONS I. AND II. OF THE IMAGINATIVE AND THEORETIC FACULTIES.

SYNOPSIS OF CONTENTS.

PART III.

OF IDEAS OF BEAUTY.

SECTION I.

OF THE THEORETIC FACULTY.

Chapter I.-Of the Rank and Relations of the Theoretic Faculty.

page

§  1.

With what care the subject is to be approached.

1

§  2.

And of what importance considered.

2

§  3.

The doubtful force of the term "utility".

3

§  4.

Its proper sense.

4

§  5.

How falsely applied in these times.

4

§  6.

The evil consequences of such interpretation. How connected with national power.

5

§  7.

How to be averted.

6

§  8.

Division of the pursuits of men into subservient and objective.

8

§  9.

Their relative dignities.

10

§ 10.

How reversed through erring notions of the contemplative and imaginative faculties.

10

§ 11.

Object of the present section.

11

Chapter II.-Of the Theoretic Faculty as concerned with Pleasures of Sense.

§  1.

Explanation of the term "theoretic".

12

§  2.

Of the differences of rank in pleasures of sense.

12

§  3.

Use of the terms Temperate and Intemperate.

13

§  4.

Right use of the term "intemperate".

13

§  5.

Grounds of inferiority in the pleasures which are subjects of intemperance.

14

§  6.

Evidence of higher rank in pleasures of sight and hearing.

15

§  7.

How the lower pleasures may be elevated in rank.

16

§  8.

Ideas of beauty how essentially moral.

17

§  9.

How degraded by heartless reception.

17

§ 10.

How exalted by affection.

18

Chapter III.-Of Accuracy and Inaccuracy in Impressions of Sense.

§  1.

By what test is the health of the perceptive faculty to be determined?

19

§  2.

And in what sense may the terms Right and Wrong be attached to its conclusions?

20

§  3.

What power we have over impressions of sense.

21

§  4.

Depends on acuteness of attention.

21

§  5.

Ultimate conclusions universal.

22

§  6.

What duty is attached to this power over impressions of sense.

22

§  7.

How rewarded.

23

§  8.

Especially with respect to ideas of beauty.

23

§  9.

Errors induced by the power of habit.

24

§ 10.

The necessity of submission in early stages of judgment.

24

§ 11.

The large scope of matured judgment.

25

§ 12.

How distinguishable from false taste.

25

§ 13.

The danger of a spirit of choice.

26

§ 14.

And criminality.

27

§ 15.

How certain conclusions respecting beauty are by reason demonstrable.

27

§ 16.

With what liabilities to error.

28

§ 17.

The term "beauty" how limitable in the outset. Divided into typical and vital.

28

Chapter IV.-Of False Opinions held concerning Beauty.

§  1.

Of the false opinion that truth is beauty, and vice versa.

30

§  2.

Of the false opinion that beauty is usefulness. Compare Chap. xii. § 5.

31

§  3.

Of the false opinion that beauty results from custom. Compare Chap. vi. § 1.

31

§  4.

The twofold operation of custom. It deadens sensation, but confirms affection.

31

§  5.

But never either creates or destroys the essence of beauty.

32

§  6.

Instances.

32

§  7.

Of the false opinion that beauty depends on the association of ideas.

33

§  8.

Association. Is, 1st, rational. It is of no efficiency as a cause of beauty.

33

§  9.

Association accidental. The extent of its influence.

34

§ 10.

The dignity of its function.

35

§ 11.

How it is connected with impressions of beauty.

36

§ 12.

And what caution it renders necessary in the examination of them.

36

Chapter V.-Of Typical Beauty:-First, of Infinity, or the Type of Divine Incomprehensibility.

§  1.

Impossibility of adequately treating the subject.

38

§  2.

With what simplicity of feeling to be approached.

38

§  3.

The child instinct respecting space.

39

§  4.

Continued in after life.

40

§  5.

Whereto this instinct is traceable.

40

§  6.

Infinity how necessary in art.

41

§  7.

Conditions of its necessity.

42

§  8.

And connected analogies.

42

§  9.

How the dignity of treatment is proportioned to the expression of infinity.

43

§ 10.

Examples among the Southern schools.

44

§ 11.

Among the Venetians.

44

§ 12.

Among the painters of landscape.

45

§ 13.

Other modes in which the power of infinity is felt.

45

§ 14.

The beauty of curvature.

46

§ 15.

How constant in external nature.

46

§ 16.

The beauty of gradation.

47

§ 17.

How found in nature.

47

§ 18.

How necessary in Art.

48

§ 19.

Infinity not rightly implied by vastness.

49

Chapter VI.-Of Unity, or the Type of the Divine Comprehensiveness.

§  1.

The general conception of divine Unity.

50

§  2.

The glory of all things is their Unity.

50

§  3.

The several kinds of unity. Subjectional. Original. Of sequence, and of membership.

51

§  4

Unity of membership. How secured.

52

§  5.

Variety. Why required.

53

§  6.

Change, and its influence on beauty.

54

§  7.

The love of change. How morbid and evil.

55

§  8.

The conducing of variety towards unity of subjection.

55

§  9.

And towards unity of sequence.

57

§ 10.

The nature of proportion. 1st, of apparent proportion.

57

§ 11.

The value of apparent proportion in curvature.

60

§ 12.

How by nature obtained.

61

§ 13.

Apparent proportion in melodies of line.

61

§ 14.

Error of Burke in this matter.

62

§ 15.

Constructive proportion. Its influence in plants.

63

§ 16.

And animals.

64

§ 17.

Summary.

64

Chapter VII.-Of Repose, or the Type of Divine Permanence.

§  1.

Universal feeling respecting the necessity of repose in art. Its sources.

65

§  2.

Repose how expressed in matter.

66

§  3.

The necessity to repose of an implied energy.

66

§  4.

Mental repose, how noble.

67

§  5.

Its universal value as a test of art.

68

§  6.

Instances in the Laocoon and Theseus.

69

§  7.

And in altar tombs.

70

Chapter VIII.-Of Symmetry, or the Type of Divine Justice.

§  1.

Symmetry, what and how found in organic nature.

72

§  2.

How necessary in art.

72

§  3.

To what its agreeableness is referable. Various instances.

73

§  4.

Especially in religious art.

73

Chapter IX.-Of Purity, or the Type of Divine Energy.

§  1.

The influence of light as a sacred symbol.

75

§  2.

The idea of purity connected with it.

75

§  3.

Originally derived from conditions of matter.

76

§  4.

Associated ideas adding to the power of the impression. Influence of clearness.

76

§  5.

Perfect beauty of surface, in what consisting.

77

§  6.

Purity only metaphorically a type of sinlessness.

78

§  7.

Energy, how expressed by purity of matter.

79

§  8.

And of color.

79

§  9.

Spirituality, how so expressed.

79

Chapter X.-Of Moderation, or the Type of Government by Law.

§  1.

Meaning of the terms Chasteness and Refinement.

81

§  2.

How referable to temporary fashions.

81

§  3.

How to the perception of completion.

81

§  4.

Finish, by great masters esteemed essential.

82

§  5.

Moderation, its nature and value.

84

§  6.

It is the girdle of beauty.

84

§  7.

How found in natural curves and colors.

84

§  8.

How difficult of attainment, yet essential to all good.

85

Chapter XI.-General Inferences respecting Typical Beauty.

§  1.

The subject incompletely treated, yet admitting of general conclusions.

86

§  2.

Typical beauty not created for man's sake.

87

§  3.

But degrees of it for his sake admitted.

87

§  4.

What encouragement hence to be received.

87

Chapter XII.-Of Vital Beauty:-First, as Relative.

§  1.

Transition from typical to vital Beauty.

89

§  2.

The perfection of the theoretic faculty as concerned with vital beauty, is charity.

90

§  3.

Only with respect to plants, less affection than sympathy.

91

§  4.

Which is proportioned to the appearance of energy in the plants.

92

§  5.

This sympathy is unselfish, and does not regard utility.

93

§  6.

Especially with respect to animals.

94

§  7.

And it is destroyed by evidences of mechanism.

95

§  8.

The second perfection of the theoretic faculty as concerned with life is justice of moral judgment.

96

§  9.

How impeded.

97

§ 10.

The influence of moral signs in expression.

97

§ 11.

As also in plants.

99

§ 12.

Recapitulation.

100

Chapter XIII.-Of Vital Beauty:-Secondly, as Generic.

§  1.

The beauty of fulfilment of appointed function in every animal.

101

§  2.

The two senses of the word "ideal." Either it refers to action of the imagination.

102

§  3.

Or to perfection of type.

103

§  4.

This last sense how inaccurate, yet to be retained.

103

§  5.

Of Ideal form. First, in the lower animals.

104

§  6.

In what consistent.

104

§  7.

Ideal form in vegetables.

105

§  8.

The difference of position between plants and animals.

105

§  9.

Admits of variety in the ideal of the former.

106

§ 10.

Ideal form in vegetables destroyed by cultivation.

107

§ 11.

Instance in the Soldanella and Ranunculus.

108

§ 12.

The beauty of repose and felicity, how consistent with such ideal.

108

§ 13.

The ideality of Art.

109

§ 14.

How connected with the imaginative faculties.

109

§ 15.

Ideality, how belonging to ages and conditions.

110

Chapter XIV.-Of Vital Beauty:-Thirdly, in Man.

§  1.

Condition of the human creature entirely different from that of the lower animals.

111

§  2.

What room here for idealization.

111

§  3.

How the conception of the bodily ideal is reached.

112

§  4.

Modifications of the bodily ideal owing to influence of mind. First, of intellect.

113

§  5.

Secondly, of the moral feelings.

113

§  6.

What beauty is bestowed by them.

115

§  7.

How the soul culture interferes harmfully with the bodily ideal.

115

§  8.

The inconsistency among the effects of the mental virtues on the form.

116

§  9.

Is a sign of God's kind purpose towards the race.

116

§ 10.

Consequent separation and difference of ideals.

117

§ 11.

The effects of the Adamite curse are to be distinguished from signs of its immediate activity.

118

§ 12.

Which latter only are to be banished from ideal form.

118

§ 13.

Ideal form is only to be obtained by portraiture.

119

§ 14.

Instances among the greater of the ideal Masters.

119

§ 15.

Evil results of opposite practice in modern times.

120

§ 16.

The right use of the model.

121

§ 17.

Ideal form to be reached only by love.

121

§ 18.

Practical principles deducible.

122

§ 19.

Expressions chiefly destructive of ideal character. 1st, Pride.

122

§ 20.

Portraiture ancient and modern.

123

§ 21.

Secondly, Sensuality.

123

§ 22.

How connected with impurity of color.

124

§ 23.

And prevented by its splendor.

124

§ 24.

Or by severity of drawing.

125

§ 25.

Degrees of descent in this respect: Rubens, Correggio, and Guido.

125

§ 26.

And modern art.

126

§ 27.

Thirdly, ferocity and fear. The latter how to be distinguished from awe.

126

§ 28.

Holy fear, how distinct from human terror.

127

§ 29.

Ferocity is joined always with fear. Its unpardonableness.

127

§ 30.

Such expressions how sought by painters powerless and impious.

128

§ 31.

Of passion generally.

129

§ 32.

It is never to be for itself exhibited—at least on the face.

130

§ 33.

Recapitulation.

131

Chapter XV.-General Conclusions respecting the Theoretic Faculty.

§  1.

There are no sources of the emotion of beauty more than those found in things visible.

133

§  2.

What imperfection exists in visible things. How in a sort by imagination removable.

134

§  3.

Which however affects not our present conclusions.

134

§  4.

The four sources from which the pleasure of beauty is derived are all divine.

134

§  5.

What objections may be made to this conclusion.

135

§  6.

Typical beauty may be æsthetically pursued. Instances.

135

§  7.

How interrupted by false feeling.

136

§  8.

Greatness and truth are sometimes by the Deity sustained and spoken in and through evil men.

137

§  9.

The second objection arising from the coldness of Christian men to external beauty.

138

§ 10.

Reasons for this coldness in the anxieties of the world. These anxieties overwrought and criminal.

139

§ 11.

Evil consequences of such coldness.

140

§ 12.

Theoria the service of Heaven.

140

SECTION II.

OF THE IMAGINATIVE FACULTY.

Chapter I.-Of the Three Forms of Imagination.

§  1.

A partial examination only of the imagination is to be attempted.

142

§  2.

The works of the metaphysicians how nugatory with respect to this faculty.

143

§  3.

The definition of D. Stewart, how inadequate.

143

§  4.

This instance nugatory.

144

§  5.

Various instances.

145

§  6.

The three operations of the imagination. Penetrative, associative, contemplative.

146

Chapter II.-Of Imagination Associative.

§  1.

Of simple conception.

147

§  2.

How connected with verbal knowledge.

148

§  3.

How used in composition.

148

§  4.

Characteristics of composition.

149

§  5.

What powers are implied by it. The first of the three functions of fancy.

150

§  6.

Imagination not yet manifested.

150

§  7.

Imagination is the correlative conception of imperfect component parts.

151

§  8.

Material analogy with imagination.

151

§  9.

The grasp and dignity of imagination.

152

§ 10.

Its limits.

153

§ 11.

How manifested in treatment of uncertain relations. Its deficiency illustrated.

154

§ 12.

Laws of art, the safeguard of the unimaginative.

155

§ 13.

Are by the imaginative painter despised. Tests of imagination.

155

§ 14.

The monotony of unimaginative treatment.

156

§ 15.

Imagination never repeats itself.

157

§ 16.

Relation of the imaginative faculty to the theoretic.

157

§ 17.

Modification of its manifestation.

158

§ 18.

Instances of absence of imagination.—Claude, Gaspar Poussin.

158

§ 19.

Its presence.—Salvator, Nicolo Poussin, Titian, Tintoret.

159

§ 20.

And Turner.

160

§ 21.

The due function of Associative imagination with respect to nature.

161

§ 22.

The sign of imaginative work is its appearance of absolute truth.

161

Chapter III.-Of Imagination Penetrative.

§  1.

Imagination penetrative is concerned not with the combining but apprehending of things.

163

§  2.

Milton's and Dante's description of flame.

163

§  3.

The imagination seizes always by the innermost point.

164

§  4.

It acts intuitively and without reasoning.

165

§  5.

Signs of it in language.

165

§  6.

Absence of imagination, how shown.

166

§  7.

Distinction between imagination and fancy.

166

§  8.

Fancy how involved with imagination.

168

§  9.

Fancy is never serious.

169

§ 10.

Want of seriousness the bar to high art at the present time.

169

§ 11.

Imagination is quiet; fancy, restless.

170

§ 12.

The detailing operation of fancy.

170

§ 13.

And suggestive, of the imagination.

171

§ 14.

This suggestiveness how opposed to vacancy.

172

§ 15.

Imagination addresses itself to imagination.

173

Instances from the works of Tintoret.

173

§ 16.

The entombment.

174

§ 17.

The Annunciation.

174

§ 18.

The Baptism of Christ. Its treatment by various painters.

176

§ 19.

By Tintoret.

177

§ 20.

The Crucifixion.

178

§ 21.

The Massacre of innocents.

179

§ 22.

Various works in the Scuola di San Rocco.

181

§ 23.

The Last Judgment. How treated by various painters.

181

§ 24.

By Tintoret.

182

§ 25.

The imaginative verity, how distinguished from realism.

183

§ 26.

The imagination how manifested in sculpture.

184

§ 27.

Bandinelli, Canova, Mino da Fiesole.

184

§ 28.

Michael Angelo.

185

§ 29.

Recapitulation. The perfect function of the imagination is the intuitive perception of ultimate truth.

188

§ 30.

Imagination how vulgarly understood.

190

§ 31.

How its cultivation is dependent on the moral feelings.

190

§ 32.

On independence of mind.

191

§ 33.

And on habitual reference to nature.

191

Chapter IV.-Of Imagination Contemplative.

§  1.

Imagination contemplative is not part of the essence, but only a habit or mode of the faculty.

192

§  2.

The ambiguity of conception.

192

§  3.

Is not in itself capable of adding to the charm of fair things.

193

§  4.

But gives to the imagination its regardant power over them.

194

§  5.

The third office of fancy distinguished from imagination contemplative.

195

§  6.

Various instances.

197

§  7.

Morbid or nervous fancy.

200

§  8.

The action of contemplative imagination is not to be expressed by art.

201

§  9.

Except under narrow limits.—1st. Abstract rendering of form without color.

201

§ 10.

Of color without form.

202

§ 11.

Or of both without texture.

202

§ 12.

Abstraction or typical representation of animal form.

203

§ 13.

Either when it is symbolically used.

204

§ 14.

Or in architectural decoration.

205

§ 15.

Exception in delicate and superimposed ornament.

206

§ 16.

Abstraction necessary from imperfection of materials.

206

§ 17.

Abstractions of things capable of varied accident are not imaginative.

207

§ 18.

Yet sometimes valuable.

207

§ 19.

Exaggeration. Its laws and limits. First, in scale of representation.

208

§ 20.

Secondly, of things capable of variety of scale.

209

§ 21.

Thirdly, necessary in expression of characteristic features on diminished scale.

210

§ 22.

Recapitulation.

211

Chapter V.-Of the Superhuman Ideal.

§  1.

The subject is not to be here treated in detail.

212

§  2.

The conceivable modes of manifestation of Spiritual Beings are four.

212

§  3.

And these are in or through creature forms familiar to us.

213

§  4.

Supernatural character may be impressed on these either by phenomena inconsistent with their common nature (compare Chap. iv. § 16).

213

§  5.

Or by inherent Dignity.

213

§  6.

1st. Of the expression of inspiration.

214

§  7.

No representation of that which is more than creature is possible.

215

§  8.

Supernatural character expressed by modification of accessories.

216

§  9.

Landscape of the religious painters. Its character is eminently symmetrical.

217

§ 10.

Landscape of Benozzo Gozzoli.

217

§ 11.

Landscape of Perugino and Raffaelle.

218

§ 12.

Such Landscape is not to be imitated.

218

§ 13.

Color, and Decoration. Their use in representations of the Supernatural.

219

§ 14.

Decoration so used must be generic.

220

§ 15.

And color pure.

220

§ 16.

Ideal form of the body itself, of what variety susceptible.

221

§ 17.

Anatomical development how far admissible.

221

§ 18.

Symmetry. How valuable.

221

§ 19.

The influence of Greek art, how dangerous.

222

§ 20.

Its scope, how limited.

223

§ 21.

Conclusion.

224

ADDENDA.

225

LIST OF PLATES TO VOLUME II.

Page.

Court of the Ducal Palace, Venice

10

From a drawing by Ruskin.

Tomb of the Ilaria di Caretto, Lucca

72

From a photograph.

The Adoration of the Magi

158

From a painting by Ruskin, after Tintoret.

Study of Stone Pine, at Sestri

199

From a drawing by Ruskin.

MODERN PAINTERS

VOL. III.

CONTAINING PART IV., OF MANY THINGS.

TABLE OF CONTENTS.

PART IV., OF MANY THINGS

PAGE

Chapter

I.—

Of the received Opinions touching the "Grand Style"

1

"

II.—

Of Realization

16

"

III.—

Of the Real Nature of Greatness of Style

23

"

IV.—

Of the False Ideal:—First, Religious

44

"

V.—

Of the False Ideal:—Secondly, Profane

61

"

VI.—

Of the True Ideal:—First, Purist

70

"

VII.—

Of the True Ideal:—Secondly, Naturalist

77

"

VIII.—

Of the True Ideal:—Thirdly, Grotesque

92

"

IX.—

Of Finish

108

"

X.—

Of the Use of Pictures

124

"

XI.—

Of the Novelty of Landscape

144

"

XII.—

Of the Pathetic Fallacy

152

"

XIII.—

Of Classical Landscape

168

"

XIV.—

Of Mediæval Landscape:—First, the Fields

191

"

XV.—

Of Mediæval Landscape:—Secondly, the Rocks

229

"

XVI.—

Of Modern Landscape

248

"

XVII.—

The Moral of Landscape

280

"

XVIII.—

Of the Teachers of Turner

308

APPENDIX.

I.—

Claude's Tree-drawing

333

II.—

German Philosophy

336

III.—

Plagiarism

338

LIST OF PLATES TO VOL. III.

Drawn by

Engraved by

Frontispiece. Lake, Land, and Cloud.

The Author

J. C. Armytage.

Plate

Facing page

1.

True and False Griffins

The Author

R. P. Cuff

106

2.

Drawing of Tree-bark

Various

J. H. Le Keux

114

3.

Strength of old Pine

The Author

J. H. Le Keux

116

4.

Ramification according to Claude

Claude

J. H. Le Keux

117

5.

Good and Bad Tree-drawing

Turner and Constable

J. Cousen

118

6.

Foreground Leafage

The Author

J. C. Armytage

121

7.

Botany of the Thirteenth Century

Missal-Painters

Henry Shaw

203

8.

The Growth of Leaves

The Author

R. P. Cuff

204

9.

Botany of the Fourteenth Century

Missal-Painters

Cuff; H. Swan

207

10.

Geology of the Middle Ages

Leonardo, etc.

R. P. Cuff

238

11.

Latest Purism

Raphael

J. C. Armytage

313

12.

The Shores of Wharfe

J. W. M. Turner

The Author

314

13.

First Mountain-Naturalism

Masaccio

J. H. Le Keux

315

14.

The Lombard Apennine

The Author

Thos. Lupton

315

15.

St. George of the Seaweed

The Author

Thos. Lupton

315

16.

Early Naturalism

Titian

J. C. Armytage

316

17.

Advanced Naturalism

Tintoret

J. C. Armytage

316

MODERN PAINTERS

VOLUME IV., CONTAINING PART V., OF MOUNTAIN BEAUTY.

TABLE OF CONTENTS.

PART V.

OF MOUNTAIN BEAUTY.

page

Chapter

I.—

Of the Turnerian Picturesque

1

"

II.—

Of Turnerian Topography

16

"

III.—

Of Turnerian Light

34

"

IV.—

Of Turnerian Mystery: First, as Essential

56

"

V.—

Of Turnerian Mystery: Secondly, Wilful

68

"

VI.—

The Firmament

82

"

VII.—

The Dry Land

89

"

VIII.—

Of the Materials of Mountains: First, Compact Crystallines

99

"

IX.—

Of the Materials of Mountains: Secondly, Slaty Crystallines

113

"

X.—

Of the Materials of Mountains: Thirdly, Slaty Coherents

122

"

XI.—

Of the Materials of Mountains: Fourthly, Compact Coherents

127

"

XII.—

Of the Sculpture of Mountains: First, the Lateral Ranges

137

"

XIII.—

Of the Sculpture of Mountains: Secondly, the Central Peaks

157

"

XIV.—

Resulting Forms: First, Aiguilles

173

"

XV.—

Resulting Forms: Second, Crests

195

"

XVI.—

Resulting Forms: Third, Precipices

228

"

XVII.—

Resulting Forms: Fourthly, Banks

262

"

XVIII.—

Resulting Forms: Fifthly, Stones

301

"

XIX.—

The Mountain Gloom

317

"

XX.—

The Mountain Glory

344

APPENDIX.

I.

Modern Grotesque

385

II.

Rock Cleavage

391

III.

Logical Education

399

LIST OF PLATES TO VOL. IV.

Drawn by

Engraved by

Frontispiece. The Gates of the Hills

J. M. W. Turner

J. Cousen

Plate

Facing page

18.

The Transition from Ghirlandajo to Claude

Ghirlandajo and Claude

J. H. Le Keux

1

19.

The Picturesque of Windmills

Stanfield and Turner

J. H. Le Keux

7

20.

The Pass of Faïdo. 1. Simple Topography

The Author

The Author

22

21.

The Pass of Faïdo 2. Turnerian Topography

J. M. W. Turner

The Author

24

22.

Turner's Earliest Nottingham

J. M. W. Turner

T. Boys

29

23.

Turner's Latest Nottingham

J. M. W. Turner

T. Boys

30

24.

The Towers of Fribourg

The Author

J. C. Armytage

32

25.

Things in General

The Author

J. H. Le Keux

32

26.

The Law of Evanescence

The Author

R. P. Cuff

71

27.

The Aspen under Idealization

Turner, etc.

J. Cousen

76

28.

The Aspen Unidealized

The Author

J. C. Armytage

77

29.

Aiguille Structure

The Author

J. C. Armytage

160

30.

The Ideal of Aiguilles

The Author, etc.

R. P. Cuff

177

31.

The Aiguille Blaitière

The Author

J. C. Armytage

185

32.

Aiguille-drawing

Turner, etc.

J. H. Le Keux

191

33.

Contours of Aiguille Bouchard

The Author

R. P. Cuff

204

34.

Cleavage of Aiguille Bouchard

The Author

The Author

211

35.

Crests of La Côte and Taconay

The Author

The Author

212

36.

Crest of La Côte

The Author

T. Lupton

213

37.

Crests of the Slaty Crystallines

J. M. W. Turner

The Author

222

38.

The Cervin, from the East and North-east

The Author

J. C. Armytage

233

39.

The Cervin from the North-west

The Author

J. C. Armytage

238

40.

The Mountains of Villeneuve

The Author

J. H. Le Keux

246

12.

A. The Shores of Wharfe

J. M. W. Turner

Thos. Lupton

251

41.

The Rocks of Arona

The Author

J. H. Le Keux

255

42.

Leaf Curvature Magnolia and Laburnum

The Author

R. P. Cuff

269

43.

Leaf Curvature Dead Laurel

The Author

R. P. Cuff

269

44.

Leaf Curvature Young Ivy

The Author

R. P. Cuff

269

45.

Débris Curvature

The Author

R. P. Cuff

285

46.

The Buttresses of an Alp

The Author

J. H. Le Keux

286

47.

The Quarry of Carrara

The Author

J. H. Le Keux

299

48.

Bank of Slaty Crystallines

Daguerreotype

J. C. Armytage

304

49.

Truth and Untruth of Stones

Turner and Claude

Thos. Lupton

308

50.

Goldau

J. M. W. Turner

J. Cousen

312

MODERN PAINTERS

VOLUME V., COMPLETING THE WORK AND CONTAINING:

PARTS

VI. OF LEAF BEAUTY.

VII. OF CLOUD BEAUTY.

VIII. OF IDEAS OF RELATION.

1. OF INVENTION FORMAL.

IX. OF IDEAS OF RELATION.

2. OF INVENTION SPIRITUAL.

TABLE OF CONTENTS

PART VI.

ON LEAF BEAUTY.

PAGE

Preface

v

Chapter

I.

—The Earth-Veil

1

”

II.

—The Leaf Orders

6

”

III.

—The Bud

10

”

IV.

—The Leaf

21

”

V.

—Leaf Aspects

34

”

VI.

—The Branch

39

”

VII.

—The Stem

49

”

VIII.

—The Leaf Monuments

63

”

IX.

—The Leaf Shadows

77

”

X.

—Leaves Motionless

88

—————

PART VII.

OF CLOUD BEAUTY.

—————

Chapter

I.

—The Cloud Balancings

101

”

II.

—The Cloud-Flocks

108

”

III.

—The Cloud-Chariots

122

”

IV.

—The Angel of the Sea

133

—————

PART VIII.

OF IDEAS OF RELATION:—I. OF INVENTION FORMAL.

—————

Chapter

I.

—The Law of Help

153

”

II.

—The Task of the Least

164

”

III.

—The Rule of the Greatest

175

”

IV.

—The Law of Perfectness

180

—————

PART IX.

OF IDEAS OF RELATION:—II. OF INVENTION SPIRITUAL.

—————

Chapter

I.

—The Dark Mirror

193

”

II.

—The Lance of Pallas

202

”

III.

—The Wings of the Lion

214

”

IV.

—Durer and Salvator

230

”

V.

—Claude and Poussin

241

”

VI.

—Rubens and Cuyp

249

”

VII.

—Of Vulgarity

261

”

VIII.

—Wouvermans and Angelico

277

”

IX.

—The Two Boyhoods

286

”

X.

—The Nereid’s Guard

298

”

XI.

—The Hesperid Æglé

314

”

XII.

—Peace

339

—————

Local Index.

Index to Painters and Pictures.

Topical Index.

LIST OF PLATES TO VOL. V.

Drawn by

Engraved by

Frontispiece, Ancilla Domini

Fra Angelico

Wm. Hall

Plate

Facing page

51. The Dryad’s Toil

J. Ruskin

J. C. Armytage

12

52. Spirals of Thorn

R. Allen

R. P. Cuff

26

53. The Dryad’s Crown

J. Ruskin

J. C. Armytage

36

54. Dutch Leafage

Cuyp and Hobbima

J. Cousen

37

55. By the Way-side

J. M. W. Turner

J. C. Armytage

38

56. Sketch by a Clerk of the Works

J. Ruskin

J. Emslie

61

57. Leafage by Durer and Veronese

Durer and Veronese

R. P. Cuff

65

58. Branch Curvature

R. Allen

R. P. Cuff

69

59. The Dryad’s Waywardness

J. Ruskin

R. P. Cuff

71

60. The Rending of Leaves

J. Ruskin

J. Cousen

94

61. Richmond, from the Moors

J. M. W. Turner

J. C. Armytage

98

62. By the Brookside

J. M. W. Turner

J. C. Armytage

98

63. The Cloud Flocks

J. Ruskin

J. C. Armytage

109

64. Cloud Perspective (Rectilinear)

J. Ruskin

J. Emslie

115

65. Cloud Perspective (Curvilinear)

J. Ruskin

J. Emslie

116

66. Light in the West, Beauvais

J. Ruskin

J. C. Armytage

121

67. Clouds

J. M. W. Turner

J. C. Armytage

118

68. Monte Rosa

J. Ruskin

J. C. Armytage

339

69. Aiguilles and their Friends

J. Ruskin

J. C. Armytage

125

70. The Graiæ

J. Ruskin

J. C. Armytage

127

71. “Venga Medusa”

J. Ruskin

J. C. Armytage

127

72. The Locks of Typhon

J. M. W. Turner

J. C. Armytage

142

73. Loire Side

J. M. W. Turner

J. Ruskin

165

74. The Mill Stream

J. M. W. Turner

J. Ruskin

168

75. The Castle of Lauffen

J. M. W. Turner

R. P. Cuff

169

76. The Moat of Nuremberg

J. Ruskin

J. H. Le Keux

233

78. Quivi Trovammo

J. M. W. Turner

J. Ruskin

298

79. Hesperid Æglé

Giorgione

Wm. Hall

314

80. Rocks at Rest

J. Ruskin, from J. M. W. Turner

J. C. Armytage

319

81. Rocks in Unrest

J. Ruskin, from J. M. W. Turner

J. C. Armytage

320

82. The Nets in the Rapids

J. M. W. Turner

J. H. Le Keux

336

83. The Bridge of Rheinfelden

J. Ruskin

J. H. Le Keux

337

84. Peace

J. Ruskin

J. H. Le Keux

338

SEPARATE ENGRAVINGS ON WOOD

Figure

56,

to face page

65

”

61,

”

69

”

75 to 78,

”

97

”

85,

”

118

”

87,

”

127

”

88 to 90,

”

128

”

98,

”

184

”

100,

”

284

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Table of Contents

INDEX OF THE PROJECT GUTENBERG WORKS OF JOHN RUSKIN

Compiled by David Widger

CONTENTS

Click on the ## before many of the titles to view a linked table of contents for that volume. Click on the title itself to open the original online file.

TABLES OF CONTENTS OF VOLUMES

The King of the Golden River

CONTENTS

CHAPTER I HOW THE AGRICULTURAL SYSTEM OF THE BLACK BROTHERS WAS INTERFERED WITH BY SOUTHWEST WIND, ESQUIRE

CHAPTER II OF THE PROCEEDINGS OF THE THREE BROTHERS AFTER THE VISIT OF SOUTHWEST WIND, ESQUIRE; AND HOW LITTLE GLUCK HAD AN INTERVIEW WITH THE KING OF GOLDEN RIVER

CHAPTER III HOW MR. HANS SET OFF ON AN EXPEDITION TO THE GOLDEN RIVER, AND HOW HE PROSPERED THEREIN

CHAPTER IV HOW MR. SCHWARTZ SET OFF ON AN EXPEDITION TO THE GOLDEN RIVER, AND HOW HE PROSPERED THEREIN

CHAPTER V HOW LITTLE GLUCK SET OFF ON AN EXPEDITION TO THE GOLDEN RIVER, AND HOW HE PROSPERED THEREIN, WITH OTHER MATTERS OF INTEREST

THE KING OF THE GOLDEN RIVER OR THE BLACK BROTHERS

A Legend of Stiria By John Ruskin

Illustrated by Richard Doyle

CONTENTS

LIST OF ILLUSTRATIONS

Designed And Drawn On Wood By Richard Doyle

THE ETHICS OF THE DUST

Ten Lectures To Little Housewives On The Elements Of Crystallization

CONTENTS

MORNINGS IN FLORENCE

CONTENTS

THE TWO PATHS

CONTENTS

VAL D'ARNO

CONTENTS

THE QUEEN OF THE AIR

Being a Study of the Greek Myths of Cloud and Storm

CONTENTS

PROSERPINA.

VOLUME I.

Studies of Wayside Flowers By John Ruskin,

CONTENTS OF VOL.

SELECTIONS FROM THE WORKS OF JOHN RUSKIN

Edited With Introduction And Notes By Chauncey B. Tinker

CONTENTS

THE PLEASURES OF ENGLAND.

Lectures given in Oxford.

CONTENTS

LECTURE I.

LECTURE II.

LECTURE III.

LECTURE IV.

POETRY OF ARCHITECTURE

SEVEN LAMPS OF ARCHITECTURE

CONTENTS

LIST OF PLATES

LOVE'S MEINIE.

THREE LECTURES ON GREEK AND ENGLISH BIRDS.

CONTENTS.

LECTURES ON ART. Delivered Before The University Of Oxford In Hilary Term, 1870.

CONTENTS

"A JOY FOR EVER"

(AND ITS PRICE IN THE MARKET) Two Lectures On The Political Economy Of Art

CONTENTS.

LECTURES ON LANDSCAPE

LIST OF PLATES

THE STORM-CLOUD OF THE NINETEENTH CENTURY

TWO LECTURES DELIVERED AT THE LONDON INSTITUTION

CONTENTS.

ON THE OLD ROAD

A Collection Of Miscellaneous Essays And Articles On Art And Literature.

Vol. II. (of II.) CONTENTS

THE HARBORS OF ENGLAND.

CONTENTS

HORTUS INCLUSUS

MESSAGES FROM THE WOOD TO THE GARDEN,

CONTENTS

LECTURES ON ARCHITECTURE AND PAINTING

Delivered At Edinburgh In November, 1853. CONTENTS.

LIST OF PLATES.

THE BIBLE OF AMIENS

CONTENTS

PLATES

ARATRA PENTELICI.

SEVEN LECTURES ON THE ELEMENTS OF SCULPTURE Given Before The University Of Oxford In Michaelmas Term, 1870 CONTENTS

LIST OF PLATES

THE CROWN OF WILD OLIVE

Also, Munera Pulveris, Pre-Raphaelitism-aratra Pentelici, The Ethics Of The Dust, Fiction, Fair And Foul, The Elements Of Drawing

John Ruskin

CONTENTS.

LIST OF ILLUSTRATIONS.

ARIADNE FLORENTINA

SIX LECTURES ON WOOD AND METAL ENGRAVING

GIVEN BEFORE THE UNIVERSITY OF OXFORD, IN MICHAELMAS TERM, 1872. CONTENTS.

APPENDIX

LIST OF PLATES

SAINT URSULA

THE ELEMENTS OF DRAWING

IN THREE LETTERS TO BEGINNERS

CONTENTS.

STONES OF VENICE

CONTENTS

THE STONES OF VENICE

VOLUME I. (of III)

THE FOUNDATIONS

CONTENTS.

APPENDIX.

LIST OF PLATES.

THE STONES OF VENICE

VOLUME II. (of III)

THE SEA STORIES

CONTENTS FIRST, OR BYZANTINE, PERIOD.

APPENDIX.

LIST OF PLATES.

THE STONES OF VENICE

VOLUME III. (of III)

THE FALL

CONTENTS.

APPENDIX.

INDICES.

LIST OF PLATES.

FRONDES AGRESTES

READINGS IN 'MODERN PAINTERS

Chosen At Her Pleasure, By The Author's Friend, The Younger Lady Of The Thwaite, Coniston.

CONTENTS

TIME AND TIDE

CONTENTS

APPENDICES.

THE SEVEN LAMPS OF ARCHITECTURE

LECTURES ON ARCHITECTURE AND PAINTING

The Study of Architecture

CONTENTS.

LIST OF ILLUSTRATIONS.

UNTO THIS LAST AND OTHER ESSAYS ON POLITICAL ECONOMY

CONTENTS. PART I.

PART II.

PART III.

THE EAGLE'S NEST

TEN LECTURES ON THE RELATION OF NATURAL SCIENCE TO ART

GIVEN BEFORE THE UNIVERSITY OF OXFORD, IN LENT TERM, 1872

CONTENTS

RUSKIN RELICS

Author Of "The Life Of John Ruskin With Fifty Illustrations By John Ruskin And Others

CONTENTS

ILLUSTRATIONS

ARROWS OF THE CHACE

BEING A COLLECTION OF SCATTERED LETTERS

PUBLISHED CHIEFLY IN THE DAILY NEWSPAPERS

1840-1880

VOLUME I. LETTERS ON ART AND SCIENCE

CONTENTS OF VOLUME I.

CHRONOLOGICAL LIST OF THE LETTERS

ARROWS OF THE CHACE

BEING A COLLECTION OF SCATTERED LETTERS

PUBLISHED CHIEFLY IN THE DAILY NEWSPAPERS

1840-1880

VOLUME II. LETTERS ON POLITICS, ECONOMY, AND MISCELLANEOUS MATTERS

CONTENTS OF VOLUME II.

CHRONOLOGICAL LIST OF THE LETTERS CONTAINED IN THE SECOND VOLUME.

MODERN PAINTERS

VOLUME I.

PART I-II. SYNOPSIS OF CONTENTS. PART I.

OF GENERAL PRINCIPLES.

SECTION I.

Chapter I., Introductory

Chapter II., Definition of Greatness in Art

Chapter III.Of Ideas of Power

Chapter IV. Of Ideas of Imitation

Chapter V., Of Ideas of Truth

Chapter VI., Of Ideas of Beauty

Chapter VII., Of Ideas of Relation

SECTION II., OF POWER. Chapter I., General Principles respecting Ideas of Power

Chapter II., Of Ideas of Power, as they are dependent upon Execution

Chapter III., Of the Sublime

PART II. OF TRUTH. SECTION I. GENERAL PRINCIPLES RESPECTING IDEAS OF TRUTH. Chapter I., Of Ideas of Truth in their connection with those of Beauty and Relation

Chapter II., That the Truth of Nature is not to be discerned by the Uneducated Senses

Chapter III., Of the Relative Importance of Truths:—First, that Particular Truths are more important than General Ones.

Chapter IV., Of the Relative Importance of Truths:—Secondly, that Rare Truths are more important than Frequent Ones

Chapter V., Of the Relative Importance of Truths:—Thirdly, that Truths of Color are the least important of all Truths

Chapter VI. Recapitulation

Chapter VII., General Application of the Foregoing Principle

SECTION II. OF GENERAL TRUTHS. Chapter I., Of Truth of Tone

Chapter II., Of Truth of Color

Chapter III., Of Truth of Chiaroscuro

Chapter IV., Of Truth of Space:—First, as Dependent on the Focus of the Eye

Chapter V., Of Truth of Space:—Secondly, as its Appearance is dependent on the Power of the Eye

SECTION III., OF TRUTH OF SKIES Chapter I., Of the Open Sky.

Chapter II., Of Truth of Clouds:—First, of the Region of the Cirrus.

Chapter III., Of Truth of Clouds:—Secondly, of the Central Cloud Region

Chapter IV.,Of Truth of Clouds:—Thirdly, of the Region of the Rain-Cloud.

Chapter V., Effects of Light rendered by Modern Art.

SECTION IV. OF TRUTH OF EARTH. Chapter I., Of General Structure

Chapter II., Of the Central Mountains

Chapter III., Of the Inferior Mountains

Chapter IV., Of the Foreground

SECTION V.

Chapter I., Of Water, as Painted by the Ancients

Chapter II., Of Water, as Painted by the Moderns

Chapter III., Of Water, as Painted by Turner

SECTION VI. OF TRUTH OF VEGETATION.—CONCLUSION. Chapter I., Of Truth of Vegetation

Chapter II., General remarks respecting the Truth of Turner

Chapter III., Conclusion.-Modern Art and Modern Criticism

LIST OF PLATES TO VOLUME I.

MODERN PAINTERS

VOLUME II.

CONTAINING PART III., SECTIONS I. AND II. OF THE IMAGINATIVE AND THEORETIC FACULTIES.

PART III.

OF IDEAS OF BEAUTY.

SECTION I.

OF THE THEORETIC FACULTY.

Chapter I.-Of the Rank and Relations of the Theoretic Faculty.

Chapter II.-Of the Theoretic Faculty as concerned with Pleasures of Sense.

Chapter III.-Of Accuracy and Inaccuracy in Impressions of Sense.

Chapter IV.-Of False Opinions held concerning Beauty.

Chapter V.-Of Typical Beauty:-First, of Infinity, or the Type of Divine Incomprehensibility.

Chapter VI.-Of Unity, or the Type of the Divine Comprehensiveness.

Chapter VII.-Of Repose, or the Type of Divine Permanence.

Chapter VIII.-Of Symmetry, or the Type of Divine Justice.

Chapter IX.-Of Purity, or the Type of Divine Energy.

Chapter X.-Of Moderation, or the Type of Government by Law.

Chapter XI.-General Inferences respecting Typical Beauty.

Chapter XII.-Of Vital Beauty:-First, as Relative.

Chapter XIII.-Of Vital Beauty:-Secondly, as Generic.

Chapter XIV.-Of Vital Beauty:-Thirdly, in Man.

Chapter XV.-General Conclusions respecting the Theoretic Faculty.

SECTION II. OF THE IMAGINATIVE FACULTY. Chapter I.-Of the Three Forms of Imagination.

Chapter II.-Of Imagination Associative.

Chapter III.-Of Imagination Penetrative.

Chapter IV.-Of Imagination Contemplative.

Chapter V.-Of the Superhuman Ideal.

LIST OF PLATES TO VOLUME II.

MODERN PAINTERS

VOL. III.

CONTAINING PART IV., OF MANY THINGS.

TABLE OF CONTENTS.

PART IV., OF MANY THINGS

APPENDIX.

LIST OF PLATES TO VOL. III.

MODERN PAINTERS

VOLUME IV., CONTAINING PART V., OF MOUNTAIN BEAUTY.

TABLE OF CONTENTS. PART V.

OF MOUNTAIN BEAUTY.

APPENDIX.

LIST OF PLATES TO VOL. IV.

MODERN PAINTERS

VOLUME V., COMPLETING THE WORK AND CONTAINING:

PARTS VI. OF LEAF BEAUTY. VII. OF CLOUD BEAUTY. VIII. OF IDEAS OF RELATION. 1. OF INVENTION FORMAL. IX. OF IDEAS OF RELATION. 2. OF INVENTION SPIRITUAL.

TABLE OF CONTENTS

LIST OF PLATES TO VOL. V.

SEPARATE ENGRAVINGS ON WOOD

THE FULL PROJECT GUTENBERG LICENSE