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Selections From the Works of John Ruskin   By: (1819-1900)

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Riverside College Classics

SELECTIONS

FROM THE WORKS OF

JOHN RUSKIN

EDITED WITH INTRODUCTION AND NOTES BY

CHAUNCEY B. TINKER, Ph.D. Professor of English in Yale College

BOSTON NEW YORK CHICAGO SAN FRANCISCO HOUGHTON MIFFLIN COMPANY The Riverside Press Cambridge

1908

BY HOUGHTON MIFFLIN COMPANY

ALL RIGHTS RESERVED

The Riverside Press CAMBRIDGE MASSACHUSETTS PRINTED IN THE U.S.A.

PREFACE

In making the following selections, I have tried to avoid the appearance of such a volume as used to be entitled Elegant Extracts . Wherever practicable, entire chapters or lectures are given, or at least passages of sufficient length to insure a correct notion of the general complexion of Ruskin's work. The text is in all cases that of the first editions, unless these were later revised by Ruskin himself. The original spelling and punctuation are preserved, but a few minor changes have been made for the sake of uniformity among the various extracts. For similar reasons, Ruskin's numbering of paragraphs is dispensed with.

I have aimed not to multiply notes. Practically all Ruskin's own annotation is given, with the exception of one or two very long and somewhat irrelevant notes from Stones of Venice . It has not been deemed necessary to give the dates of every painter or to explain every geographical reference. On the other hand, the sources of most of the quotations are indicated. In the preparation of these notes, the magnificent library edition of Messrs. Cook and Wedderburn has inevitably been of considerable assistance; but all their references have been verified, many errors have been corrected, and much has of course been added.

In closing I wish to express my obligation to my former colleague, Dr. Lucius H. Holt, without whose assistance this volume would never have appeared. He wrote a number of the notes, including the short prefaces to the various selections, and prepared the manuscript for the printer.

C.B.T.

September, 1908 .

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

ILLUSTRATIONS

JOHN RUSKIN IN 1857 TURNER'S FIGHTING TÉMÉRAIRE CHURCH OF ST. MARK, VENICE ST. MARK'S: CENTRAL ARCH OF FAÇADE

INTRODUCTION

[Sidenote: Two conflicting tendencies in Ruskin.]

It is distinctive of the nineteenth century that in its passion for criticising everything in heaven and earth it by no means spared to criticise itself. Alike in Carlyle's fulminations against its insincerity, in Arnold's nice ridicule of Philistinism, and in Ruskin's repudiation of everything modern, we detect that fine dissatisfaction with the age which is perhaps only proof of its idealistic trend. For the various ills of society, each of these men had his panacea. What Carlyle had found in hero worship and Arnold in Hellenic culture, Ruskin sought in the study of art; and it is of the last importance to remember that throughout his work he regarded himself not merely as a writer on painting or buildings or myths or landscape, but as the appointed critic of the age. For there existed in him, side by side with his consuming love of the beautiful, a rigorous Puritanism which was constantly correcting any tendency toward a mere cult of the aesthetic... Continue reading book >>




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