Index of the Project Gutenberg Works of John Ruskin
Date: 2019-04-29T00:00:00+00:00
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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