Part 12 (2/2)

[120] c 1478-1511

[121] Dante, alluding to Florence, _Paradiso_, 25 5 ”Frofellow's tr

[122] Allusions to pictures by Turner, The Garden of the Hesperides, and The Meuse: Orange-Merchant to pieces on the Bar

[123] The pictures referred to are: The Death of Nelson, The Battle of Trafalgar, and The Fighting Te towed to its Last Berth (see cut) The first and third are in the National Gallery, London

[124] _Matthew_ xxiii, 14

[125] Santa Maria della Salute, a church conspicuously situated at the junction of the Grand Canal and the Giudecca

[126] _Liber Studioruione and titian are always delighted to have an opportunity of drawing priests The English Church ratulation that this is the only instance in which Turner drew a clergyman [Ruskin]

[127] 1785

[128] Wolsey's famous palace, twelve miles from London

[129] I do not mean that this is his first acquaintance with the country, but the first i one, after his mind was formed The earliest sketches I found in the National Collection are at Clifton and Bristol; the next, at Oxford

[Ruskin]

[130] The reference is to the two famous ruined abbeys of Yorkshi+re--Whitby and Bolton

[131] The Tenth Plague of Egypt [Ruskin]

[132] Rizpah, the Daughter of Aiah [Ruskin]

[133] Durer [1471-1528], Gerner

Salvator [1615-73], Italian painter, etcher, satirical poet, and musical composer

[134] _Ie_, between November 17, 1796, and June 18, 1815

[135] _Joel_ iii, 13

SELECTIONS FROM

THE STONES OF VENICE

The first volume of _The Stones of Venice_ appeared in March, 1851; the first day of May of the sa entry in Ruskin's diary: ”About to enter on the true beginning of the second part of lory, and ood” The main part of the voluh it did not appear until the end of July, 1853 His work on architecture, including _The Seven Lamps_, it will be noted, intervenes between the composition of the second and third volumes of _Modern Painters_; and Ruskin himself always looked upon the work as an interlude, almost as an interruption But he also caression had really led back to the heart of the truth for all art Its main theme, as in _The Seven Lamps of Architecture_, is its illustration of the principle that architecture expresses certain states in the moral temper of the people by and for whom it is produced It lories of Venetian architecture, the common ”professional opinion was that St Mark's and the Ducal Palace were as ugly and repulsive as they were contrary to rule and order” In a private letter Gibbon writes of the Square of St Mark's as ”a large square decorated with the worst architecture I ever saw” The architects of his own tiarded Ruskin's opinions as dictated by wild caprice, and al an unbalanced mind Probably the core of all this architectural work is to be found in his chapter ”On the Nature of Gothic,” in the ain a point of fundanificance--that his artistic analysis led him inevitably on to social inquiries He proved to himself that the main virtue of Gothic lay in the unrestricted play of the individual iination; that the best results were produced when every artist was a workman and every workman an artist Twenty years after the publication of this book, he wrote in a private letter that his main purpose ”was to show the dependence of (architectural) beauty on the happiness and fancy of the workman, and to show also that no architect could claiister_ unless he hiht at the head of his ht is captain of armies” He himself called the chapter ”precisely and accurately the most important in the whole book” Mr Frederic Harrison says that in it is ”the creed, if it be not the origin, of a new industrial school of thought”

THE THRONE