{"1": {"fulltext": "", "height": "3636", "width": "2376", "jp2-path": "johnruskinsketch00spi_0001.jp2"}, "2": {"fulltext": "", "height": "3570", "width": "2160", "jp2-path": "johnruskinsketch00spi_0002.jp2"}, "3": {"fulltext": "", "height": "3570", "width": "2160", "jp2-path": "johnruskinsketch00spi_0003.jp2"}, "4": {"fulltext": "", "height": "3570", "width": "2160", "jp2-path": "johnruskinsketch00spi_0004.jp2"}, "5": {"fulltext": "JOHN RUSKIN", "height": "3570", "width": "2160", "jp2-path": "johnruskinsketch00spi_0005.jp2"}, "6": {"fulltext": "", "height": "3570", "width": "2160", "jp2-path": "johnruskinsketch00spi_0006.jp2"}, "7": {"fulltext": "", "height": "3570", "width": "2160", "jp2-path": "johnruskinsketch00spi_0007.jp2"}, "8": {"fulltext": "JOHN RUSKIN, 1881.\\nHY PROFESSOR HUBERT HERKOMER, R.A.\\n{By permission of the Artist.)\\n(See p. igi.)", "height": "3570", "width": "2160", "jp2-path": "johnruskinsketch00spi_0008.jp2"}, "9": {"fulltext": "JOHN RUSKIN\\nA Sketch of His Life, His Work, and His Opinions\\nWith Personal Reminiscences\\nBY\\nM. H/SPIELM ANN\\nAUTHOR OF HENRIETTE RONNER, THE\\nWORKS OF G. F. WATTS, R.A., ETC.\\nEDITOR OF THE MAGAZINE OF ART\\nTOGETHER WITH\\nA PAPER BY JOHN RUSKIN, ENTITLED\\nTHE BLACK ARTS\\nAND A NOTE ON RUSKIN BY HARRISON S. MORRIS, MANAGING\\nDIRECTOR ACADEMY OF FINE ARTS, PHILADELPHIA, PA.\\nILLUSTRATED\\nPHILADELPHIA\\nJ. B. LIPPINCOTT COMPANY\\nMDCCCC", "height": "3570", "width": "2160", "jp2-path": "johnruskinsketch00spi_0011.jp2"}, "10": {"fulltext": "TWO COPIES RECEIVED,\\nUbrary of Cong,,\\nOffice of\\nFEB 5 1900\\nKegUter of Copyrlgfatfe\\na L\\n54\\nCopyright, 19CX),\\nBY\\nJ. B. LiPPiNCOTT Company.\\nSECwiO copy,\\nPrinted by J. B. Lippincott Company, Philadelphia.\\n}6loifl*", "height": "3570", "width": "2387", "jp2-path": "johnruskinsketch00spi_0012.jp2"}, "11": {"fulltext": "I DEDICATE THIS BOOK\\nMY WIFE.", "height": "3570", "width": "2160", "jp2-path": "johnruskinsketch00spi_0013.jp2"}, "12": {"fulltext": "", "height": "3570", "width": "2160", "jp2-path": "johnruskinsketch00spi_0014.jp2"}, "13": {"fulltext": "A NOTE ON RUSKIN.\\nThe dying century for which he has laboured\\nso valiantly marks the death of John Ruskin.\\nOn Saturday, the twentieth of January,\\n1900, he passed into the brightness of that\\nday whose herald he has been, and his many\\nbooks alone shall henceforth speak for him.\\nHe saw the light and caught the sounds from\\nbeyond our ken. He was the pilot of our\\nrace, leading the way into the realm of beauty\\nthat alone is truth. We gave him little heed\\nwe flouted his noble words we laughed at his\\nwhims and worries we pressed forward with\\nsteam and sordid desire in his despite. But\\nas surely as the odour from a flower steals\\n(5)", "height": "3570", "width": "2160", "jp2-path": "johnruskinsketch00spi_0015.jp2"}, "14": {"fulltext": "6 JOHN RUSKIN.\\nout and purifies the air, as irresistibly as the\\nbrook runs into the unacknowledging sea, so do\\nhis opinions, his ethics, his very syllables, enter\\nand take -part in our existence. We cannot\\nsilence them with jeers, for they are as silent\\nin their influence as an odour, nor can we stifle\\nthem with ignorance. Each author, journalist,\\nversifier, preacher, uses unheedingly a speech\\nmade purer by this master of our tongue, and\\neach must utter the code, in whatsoever form,\\nwhich the purer lips and richer brain have\\nmade a part of our unconscious thought.\\nIt is the mission of such a soul as John\\nRuskin s to deal with contemporary things\\nrather than with elemental ones. He was\\nborn a lofty antagonist of besetting ills. He\\nsaw, indeed, the deeper purport of events,\\nand spoke with profound meaning of them;\\nthe heights of erudition were early conquered,\\nand the meaning and purpose of life and death\\nwere clear. But, instead of touching a creative\\nchord, these thrilled to the dragon at the", "height": "3570", "width": "2160", "jp2-path": "johnruskinsketch00spi_0016.jp2"}, "15": {"fulltext": "JOHN R US KIN. 7\\ngates, and he fought like a hero with the\\nfoe.\\nSuch a contest demands the qualities which\\nuplift a people but when the knightly lance\\nis forever at rest, the hero is a memory. His\\nwork is over it is history, and its interest for\\nthe generations is the interest of history, and\\nnot the interest of living and elemental force.\\nRuskin s work is over. He lies with his great\\nancestors in the English valhalla of thought, with\\nBacon and Jeremy Taylor and Burke, with\\nColeridge and Haydon and Carlyle. The\\ngood he achieved is the world s, and the world\\nwill hold him in blessed remembrance while\\nbeauty rests in the open landscape or rises\\ninto forms of stone that shall endure.\\nHis own volumes are his best exponents.\\nThey are the ripeness of his gleanings. They\\ngive the man s thought and mental stature\\nbut they omit the man. In the pages that\\nfollow some of the personal threads of his\\ngreat career are woven into a likeness of\\nhim, and the reader who has drunk at his", "height": "3570", "width": "2160", "jp2-path": "johnruskinsketch00spi_0017.jp2"}, "16": {"fulltext": "8 JOHN RUSKIN.\\nwell of English undefiled will find here\\nmatter with which to realize the person who\\nanimates the books.\\nHarrison S. Morris.", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0018.jp2"}, "17": {"fulltext": "PREFATORY NOTE.\\nThis book is intended to present a brief out-\\nline of the life and opinions of the Sage of\\nConiston, together with some account of his\\npersonality, which I have had the opportunity\\nof gaining a knowledge of in his company and\\nin that of Mr. and Mrs. Arthur Severn as\\nwell as by the study of his writings and by in-\\nquiry into the impressions made by Ruskin\\nupon some of the chief writers of the day.\\nI have also included the recital of certain\\nfacts and correspondence that arose out of our\\nintercourse, deeming them interesting enough\\nto be placed on record, not otherwise, perhaps,\\npreservable.", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0019.jp2"}, "18": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0020.jp2"}, "19": {"fulltext": "CONTENTS.\\nPAGB\\nIntroduction 15\\nHis Life 17\\nCharacter, Health, and Temperament 40\\nAuthor, Bookman, and Stylist 67\\nThe Artist 73\\nThe Teacher 80\\nThe Educationist 92\\nHis View of Things 96\\nThe Letter-Writer 103\\nThe Poet 109\\nRuskin and George Cruikshank 115\\nBrantwood 125\\nThe Angel in the House 145\\nHome-Life at Coniston 157\\nThe Portraits of Ruskin 165\\nThe Black Arts. By John Ruskin 199\\nEpilogue 218\\nINDEX\\nII", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0021.jp2"}, "20": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0022.jp2"}, "21": {"fulltext": "ILLUSTRATIONS,\\nPAGB\\nI. John Ruskin, 1881. By Prof. Herkomer, R.A. Frontispiece\\n2. 1822. By. James Northcote, R.A. 19\\n3.\u00e2\u0080\u0094 1824. 23\\n4. Christchurch College, Oxford; showing Ruskin s\\nRooms 27\\n5. The Ruskin Drawing School, Oxford 35\\n6. John Ruskin, 1842. By George Richmond, R.A. 47\\n7. 1853. At Glenfinlas Waterfall. By\\nSir J. Millais, Br., R.A. 61\\n8. A Page of One of Ruskin s Note-books, for The\\nStones of Venice 77\\n9. Cathedral Spire, Rouen. By John Ruskin 81\\n10. John Ruskin, 1857. By George Richmond, R.A. 85\\n11. 1866. From a Photograph by Elliott\\nand Fry 97\\n12. John Ruskin, 1876. By Georges Pilotelle in\\n13. BrantwoOd from Coniston Lake. By Arthur Sev-\\nern, R.I 127\\n14. John Ruskin, 1877. From the Bust by Benjamin\\nCreswick 131\\n15.\u00e2\u0080\u0094 Ruskin s Study at Brantwood. By Arthur Sev-\\nern, R.I 135\\n16. Ruskin s Bedroom, Brantwood 141\\n17. Mrs. Arthur Severn. By Joseph Severn 149\\n18. John Ruskin, 1880. From the Bust by Sir Edgar\\nBoehm, Bt., R.A 153\\n19.\u00e2\u0080\u0094 John Ruskin, 1882. From a Photograph by Bar-\\nraud 167\\n20.\u00e2\u0080\u0094 John Ruskin, 1884. From the Bust by Conrad\\nDressler 183\\n2 13", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0023.jp2"}, "22": {"fulltext": "14 ILL USTRA TIONS.\\n2I.~John Ruskin, 1886. From a Photograph by Bar-\\nraud 195\\n22. Facsimile of Letter by John Ruskin 201\\n23\u00e2\u0080\u0094 205\\n24\u00e2\u0080\u0094 209\\nNote.\u00e2\u0080\u0094 The illustrations are here published by special permission or arrange-\\nment that by Sir John Millais, by courteous permission of Sir Henry Acland, the\\nowner of the copyright and the page of Ruskin s notebook, and the drawing of\\nRouen Spire, by consent of Mr. and Mrs. Arthur Severn.", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0024.jp2"}, "23": {"fulltext": "JOHN RUSKIN.\\nINTRODUCTION.\\nTis well; tis something; we may stand\\nWhere he in English earth is laid,\\nAnd from his ashes may be made\\nThe violet of his native land.\\nCome then, pure hands, and bear the head\\nThat sleeps, or wears the mask of sleep,\\nAnd come, whatever loves to weep,\\nAnd hear the ritual of the dead.\\nSince Tennyson died no greater loss has been\\nsustained by English literature in the memory\\nof the present generation than that of John\\nRuskin. Of all men who have dominated\\nthe Art-world of Britain during the nine-\\nteenth century, Ruskin is beyond all question\\nand beyond all comparison the greatest, and,\\nby universal admission, the most individual and\\nmost interesting. What his exact position as\\na critic and preacher of Art may be, what his\\nrank as a scientist or a leader of thought, I\\nmake no pretence here of determining. But\\nIS", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0025.jp2"}, "24": {"fulltext": "16 JOHN RUSKIN.\\nby common consent, he has been the most dis-\\ntinguished figure in the arena of Art-philosophy\\nfor half-a-century and more, the philanthropist-\\nmilitant par_ excellence. He is the man who has\\nadmittedly moulded the taste of the public to a\\npreponderating extent in matters aesthetic, and,\\napart from his labours outside the pale of Art\\nhas exerted an influence so powerful that he has\\ngiven a direction to the practice of painting and\\narchitecture that may still be traced in some of\\nthe happiest productions of the day. His death\\nhas given reason for mourning to many; no\\none has more eloquently, more passionately,\\npleaded the cause of the poor than Ruskin no\\none (except it be perhaps Mr. Gladstone, his\\npolitical bete noire) could boast so vast a num-\\nber of friends amongst the great mass of the\\npublic. No one was more frequently appealed\\nto for advice, nor to better or kindlier pur-\\npose. None, indeed, has loved his country\\nbetter, or more loyally striven to serve her.\\nAnd, in the general regret, few will be found\\nso blind or rancorous as to remember aught\\nbut the conscientious labours of his life, the\\nnobility of his sturdy efforts, and the sacrifices\\nthat he made for public and for private good.", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0026.jp2"}, "25": {"fulltext": "CHAPTER I.\\nHIS LIFE.\\nThe outline of his life is briefly this. He\\nwas born in London, at 54, Hunter Street,\\nBrunswick Square, on February 8, 18 19. His\\nfather (his mother s cousin) was a Scotsman,\\nbringing his good and extremely strong wilV\\nas the son tells us, into the firm of wine mer-\\nchants known as Ruskin, Telford, and\\nDomecq (agents for Peter Domecq, the great\\nsherry-grower of Xerez), and to such good\\npurpose that he speedily became a successful\\nand a wealthy man. John Ruskin, the son,\\nwas an only child, and for several years he\\nwas entirely without companions of his own\\nage, with hardly an amusement or boyish joy,\\nsave such few as were allowed him by his\\naustere mother and austerer aunt, and accus-\\ntomed to no other prospect than that of the\\nbrick walls over the way. Always an ex-\\ntremely sensitive and nervous child, he became\\nstudious, thoughtful, and observant, but lively\\nand impressionable withal so that when the\\nfirst event of his life took place no less\\nan occasion than being taken by his eminently\\nb 2* 17", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0027.jp2"}, "26": {"fulltext": "18 JOHN RUSKIN.\\ndisagreeable nurse to the brow of Friar s Craig,\\nor Derwentwater the intense joy and awe he\\nfelt sank so deeply into his soul that the love\\nof landscape became henceforth and for always\\nhis prevailing passion. In the conduct of his\\nbusiness Mr. Ruskin senior was constrained to\\ndrive throughout the length and breadth of\\nEngland, travelling with post-chaise and pair\\nand as soon as his son was old enough he\\ncarried him with him during the holidays, and\\nnever missed showing to him all the beautiful\\nviews, the cathedrals, castles, ruins, and picture-\\ngalleries, public and private, near which their\\ncourse might lay. It was thus that the boy s\\nlove of scenery and of art was first nurtured\\nand developed. He had already begun, at\\nthe age of eight, to sing the praises of land-\\nscape in precocious verse and his father a\\nhighly intellectual and cultivated man, and no\\nmean artist himself gladly recognised his\\ntendency, and encouraged his passion by\\nplacing him for instruction under J. D. Harding\\nand Copley Fielding. By those eminent but\\nsomewhat conventional water-colour painters\\nthen reckoned amongst the best teachers of\\nthe day his remarkable executive skill was\\nformed, while his ordinary education he re-\\nceived first from members of his own family,\\nand then from the testy, but kind-hearted,\\nCanon Dale and other private tutors.", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0028.jp2"}, "27": {"fulltext": "JOHN RUSKIN, 1822.\\nFROM THE OIL PAINTING BY JAMES NORTHCOTE, R.A.\\n{By permission of Arthur Severn, Esq., R.I.)\\n(See J jo.)", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0029.jp2"}, "28": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0030.jp2"}, "29": {"fulltext": "HIS LIFE. 21\\nIt was in 1835, at the age of sixteen, that\\nRuskin made his first appearance in the public\\npress by contributing a series of geological\\narticles, with illustrations by himself, to the\\nMagazine of Natural History. Later on,\\nunder the pseudonym of Kata Phusin\\nAccording to Nature he printed other\\npapers on Art and Architecture in Loudon s\\nArchitectural Magazine which in 1892 were\\nrepublished in sumptuous garb under the title\\nof The Poetry of Architecture. He was\\nbut eighteen when he wrote this book. In\\nlater years he excused the anonymity he had\\npreserved in respect to it by pleading that\\nthe public would hardly have felt inclined\\nto accept such frank dogmatism from one\\nso young. When I reminded Mr. Burne-\\nJones of this candid excuse, the artist re-\\nplied with smiling surprise: When, then,\\nshould one be dogmatic if not at the age of\\neighteen\\nHaving entered Christchurch, Oxford, as a\\ngentleman commoner, he began at once his\\nfriendship with his contemporary Dr. (now Sir\\nHenry) Acland half-a-century afterwards the\\nindirect and unoffending cause, I believe, of his\\nresignation of the Slade Professorship at the\\nUniversity. From Dr. Buckland he acquired\\nthat profound geological knowledge which has", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0031.jp2"}, "30": {"fulltext": "22 JOHN RUSK IN.\\nalways been one of the mainstays of Ruskin s\\nwritings on Art or Science, and of inestimable\\nservice to him later, whether as critic, painter,\\nlecturer, or disputant. It may also be said that\\nto Mr. W7H. Harrison Ruskin owed much that\\nwas not inborn of the elegance and purity of\\nhis literary style just as from the Rev. Osborne\\nGordon he acquired the greater part of his\\ngeneral scholarship. In 1839 ne gained the\\nNewdigate Prize, with his poem Salsette and\\nElephanta, which has since been reprinted\\nand he graduated B.A. in 1842. It was in that\\nyear that he wrote in support and defence of\\nTurner, who, now eight-and-sixty years of age,\\nold and alone, slighted and misunderstood by\\nthe public, was being savagely written down by\\nnearly all the critics, who could neither appre-\\nciate his beauties nor excuse his faults. In\\n1843, when twenty-four years old, and three\\nyears after his introduction to Turner, Ruskin\\nexpanded this explosion, penned in the height\\nof black anger, into what is known as the first\\nvolume of Modern Painters By a Graduate\\nof Oxford. This, without doubt, was the\\ncentral event of Ruskin s life, eventful and\\ncontentious as it has ever been.\\nThe sensation which the book created in\\nartistic circles has rarely been equalled before\\nor since. Its reception was tremendous, and", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0032.jp2"}, "31": {"fulltext": "HIS LIFE. 25\\nthe violence and bitterness with which the\\nunknown author was attacked by the critics\\nwere drowned only by the rapturous storm of\\napplause that arose from the Art-public at\\nlarge, who accepted with enthusiasm the bril-\\nliance and fire of his writing, and the force\\nand genius of his powerful reasoning. The\\nimmediate effect of the work was to establish\\nTurner s reputation, firmly and for ever, as the\\ngreatest landscape-painter the world has ever\\nseen, and his own as perhaps the greatest of\\nmodern English prose-writers. Four more\\nvolumes completed the work, but the last was\\nnot published until i860 after nearly twenty-\\nyears of laborious preparation, passed in inces-\\nsant study and travelling, mainly in Switzerland\\nand Italy, had been devoted to the task. Mr.\\nHamerton, in his Intellectual Life, points\\nout with truth how, in common with the Hum-\\nboldts, Ruskin affords a striking example of the\\nvalue of wealth to an intellectual career. Had\\nit not been for his material prosperity, all his\\ngenius, force of resolution and resistance to\\nevery temptation to indolence would not have\\nsufficed to enable him to carry through the\\nwork of seventeen years study and expensive\\npreparation. As Mr. Hamerton says, Modern\\nPainters is not merely a work of genius, but\\nof genius seconded by wealth.\\nb 3", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0033.jp2"}, "32": {"fulltext": "26 JOHN RUSK IN.\\nIn the meantime he had been busy with\\nother writings. In 1847 he contributed his\\nfirst review to the Quarterly his text being\\nLord Lindsay s History of Christian Art.\\nTwo years later having been brought, during\\nhis preparation of Modern Painters, to turn\\nhis attention to the Queen of the Arts he\\npublished his Seven Lamps of Architecture,\\nin which he sets forth the theory how in a\\nnation s dominant style of architecture may be\\nseen reflected its life and manners, and even\\nits passions and its religion. Following on the\\nlines thus laid down, Ruskin proceeded, in\\nThe Stones of Venice, issued in 1851 and\\n1853, to tell the history of the rise and fall of\\nVenice, as illustrated by her buildings, and to\\nshow how the prosperity and art of a nation\\nare synchronous and interdependent, and how\\nthe purity of national art and of the national\\nconscience and morals act and re-act each upon\\nthe other.\\nIt was at IKiiT time, while Ruskin was\\nastonishing the world with his originality and\\nstartling it with his eager sincerity, that the\\nsociety then termed and since known as the\\nPre-Raphaelite Brotherhood sprang into\\nbeing. A brilliant band of youthful enthusiasts\\ncomprising John Everett Millais, W. Holman\\nHunt, W. M. Rossetti, Frederick G. Stephens,", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0034.jp2"}, "33": {"fulltext": "", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0035.jp2"}, "34": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0036.jp2"}, "35": {"fulltext": "HIS LIFE. 29\\nJames Collinson, Thomas Woolner, and Dante\\nGabriel Rossetti combined with the avowed\\nobject of founding a school of painting of which\\nabsolute truth to nature in all things, especially\\nin respect to detail, was to be the fundamental\\nprinciple a path of material truth from which\\nRaphael was held to have been the first to stray,\\nand which, by a sort of tacit consent, had been\\nuntrodden by all others since his day. An\\nobject and mission so worthy were precisely\\nsuch as would enlist the sympathies and fire\\nthe generous and chivalrous nature of Ruskin,\\nencouraged and directed as he was by the\\nadvice of Dyce. He straightway threw himself\\nheart and soul into the fray, first by his\\ncelebrated letter to the Times, and afterwards\\nby his Pre-Raphaelitism, and other writings,\\nwhereby he not only succeeded in securing a\\nfair hearing and judgment for the harassed and\\npersecuted exponents of the creed, but in\\neducating the public into an appreciation of their\\nworks. He came, in fact, to be regarded as\\nthe prophet of the school, and his doughty\\nchampionship constitutes one of the stormiest\\npassages of his disputatious life. His chief, or\\nmost obvious, reward was the ridicule of the\\nworld, or such part of it as he especially ad-\\ndressed himself to. The general sentiment\\naroused was fairly reflected by the well-known", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0037.jp2"}, "36": {"fulltext": "30 JOHN RUSKIN.\\namusing cartoon by Mr. Frederick Sandys\\nhimself, by the way, by no means out of sympathy\\nwith the teaching of the school. In this clever\\nparody of Sir John Millais s Sir Isumbras at\\nthe Ford, which was then the sensation of the\\nAcademy, Mr. Sandys humorously represented\\nRuskin as the ass of burden of the P.-R.B., on\\nwhose back Millais, Holman Hunt, and Rossetti\\nwere carried across the stream of shallow\\nwaters.\\nIn i860 Ruskin, who had by this time\\nbecome a power in the land, threw himself\\ninto a new crusade. Truth, purity of motive,\\nand honesty of execution, which he had so long\\nand so fervently preached as essentials, not only\\nto the highest, but to all sincere art, he now\\ncame to consider in relation to social science,\\nand he began a series of papers entitled Unto\\nthis Last, which he contributed to the Comhill\\nMagazine. Their tendency and effect may\\neasily be imagined. They waged war with all\\nthe bitterness and all the torrentuous eloquence\\nof a prophet of old against the whole world\\nof commerce and its methods, and assailed\\nthe stronghold of the political economists\\nwith the fiery vigour of which John Ruskin,\\nin these latter days, has almost alone been\\npossessed. His principles and views, however,\\nbeing based upon quite the highest interpre-", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0038.jp2"}, "37": {"fulltext": "HIS LIFE. 31\\ntation and application of an ethical morality\\nsuch as his master, Carlyle, had preached\\nbefore him, were rejected with anger and con-\\ntempt by the commercial community. So\\nstrongly, indeed, did they resent his Utopian\\nphilosophy that the editor (who at that time\\nwas Thackeray), fearful for the fate of his maga-\\nzine, which was threatened with serious injury\\nby the publication of the obnoxious articles, put\\na summary stoppage to their further issue. It\\nwas, however, one of the crowning and closing\\nglories of Ruskin s life at once his delight and\\nconsolation that in more recent times thinkers\\nhave come to accept many of his theories and\\ncontentions once spurned or rejected, and the\\npublic to receive them as truths.\\nIn 1865 and 1866 appeared Sesame and\\nLilies and Crown of Wild Olive, the most\\npopular of Ruskin s books in England and\\nAmerica alike (if sales may be taken as a\\ncriterion) and, perhaps, his masterpieces of\\nprose-writing. In 1867 he was elected Rede\\nLecturer at Cambridge, with the honorary\\ndegree of LL.D. but so far back as 1853 he\\nhad made his debut as a lecturer, when he\\naddressed the Edinburgh students on Gothic\\nArchitecture. Moreover he, with Dante\\nGabriel Rossetti and F. D. Maurice, had taken\\nvast interest of the teaching sort in the", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0039.jp2"}, "38": {"fulltext": "32 JOHN RUSKIh.\\nWorking Men s College in 1865. In 1870\\nhe was appointed Professor of Fine Art at\\nOxford, to the chair founded in the previous\\nyear by Mr. Felix Slade. He was at Verona\\nwhen he_ received the invitation, and, as he\\nhimself has written, I foolishly accepted it.\\nMy simple duty at that time was to have stayed\\nwith my widowed mother at Denmark Hill\\n[his father had died in 1864], doing whatever\\nmy hand found to do there. Mixed vanity,\\nhope of wider usefulness, and partly her plea-\\nsure in my being at Oxford again, took me\\naway from her and from myself. Mrs. Ruskin\\ndearly loved Oxford, where her son had\\nspent those three happy years at college. The\\nprofessorship he continued to hold until 1879,\\ndelivering lectures on every phase of Art\\nlectures which have since been published and\\nonly resigned his post when he discovered that\\nthe enthusiasm and constant attendance of the\\nstudents were due rather to personal attach-\\nment and appreciation of his original and force-\\nful way of putting things, than to real interest\\nin the subjects upon which he discoursed.\\nRuskin s famous periodical, Fors Clavi-\\ngera Fortune, the Club-bearer was begun\\nin 1 87 1, and for eight years was devoted to\\nthe expositions of its author s views upon every-\\nthing in general, written with a nervous energy", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0040.jp2"}, "39": {"fulltext": "HIS LIFE. 33\\nand an easy familiarity eminently Ruskinian,\\nstrikingly fresh in style and catholic in scope.\\nIt was in its pages that he announced his inten-\\ntion of founding the St. George s Guild, first\\nestablished in that year a practical attempt to\\nstart and carry on a land-owning society con-\\nducted on the principles which he would have\\nall landowners to adopt. On this institution he\\nat once settled .\u00c2\u00a37,000, and a London freehold\\nof the value of ,\u00c2\u00a33,500 more, and of all this\\nMiss Octavia Hill was appointed manageress.\\nIn this same Fors, on July 2, 1877,\\nappeared the author s famous criticism of Mr.\\nWhistler and his pictures, then being exhibited\\nat the Grosvenor Gallery. The trial has even\\nnow become a classic and how Mr. Whistler\\ndelivered his smart evidence in the witness-\\nbox, and how Ruskin who was at the\\ntime confined to Brantwood with his first attack\\nof serious illness was unable to defend himself\\nwith his own testimony, and was made to pay\\nhis prosecutor one farthing for the rare privi-\\nlege of saying what he thought of him are to\\nthis day subjects of merry conversation where\\nartists and lawyers meet. As a matter of fact,\\nthe verdict, which left each litigant to pay his\\nown costs, made no call whatever on the purse\\nof Mr. Ruskin. The amount of his costs\\nreached, I believe, to \u00c2\u00a3350, or thereabouts but a", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0041.jp2"}, "40": {"fulltext": "34 JOHN RUSK IN.\\ngroup of devoted admirers at once subscribed the\\namount, even to the last farthing Mr. Whist-\\nler s farthing and the sum was paid forthwith.\\nBut Mr. Ruskin never knew to the last to what\\nthe amount of the cost attained, nor the names\\nof any of his enthusiastic friends, save that\\nof Mrs. Talbot, of Barmouth. To the end\\nhe was not satisfied with his nominal defeat.\\nI am blamed by my prudent acquaintances\\nfor being too personal, said he; but\\ntruly I find vaguely objurgatory language\\ngenerally a mere form of what Plato calls\\nshadow-fight. Similarly, when in conver-\\nsation with him on one occasion I touched\\nupon the subject, he quietly avoided it, saying,\\nI am afraid of a libel-action if I open my\\nmouth, and if I can t say what I like about a\\nperson, I prefer to say nothing at all.\\nBy this time Mr. Ruskin s disciples and\\nadmirers, who, acknowledged Ruskinites,\\nwere now to be counted by thousands, rightly\\nperceived that if their Master s doctrines, social\\nand artistic, were to bear good fruit, it would\\nbe necessary that some sort of organisation\\nshould be formed for the dissemination of his\\nwritings, the indexing of his works, and the\\ncarrying of his theories into practical effect.\\nThe result was the beginning of the foundation\\nof the Ruskin Societies of the Rose, in", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0042.jp2"}, "41": {"fulltext": "C/2 5\\ntf~", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0043.jp2"}, "42": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0044.jp2"}, "43": {"fulltext": "HIS LIFE. 37\\n1879, in London, Manchester, Sheffield, Glas-\\ngow, Aberdeen, Birmingham, and other centres\\nbodies now collectively known as The Ruskin\\nSociety, which have sought and obtained\\nvitality by dealing generally with poetry and\\nart, education, morals, ethics, and all such\\nother subjects as the Ruskinian philosophy has\\npronounced upon, apart from the narrower or\\nmore defined teachings of Mr. Ruskin himself.\\nThese affiliated societies are all of them in\\nactive existence.\\nAfter presenting many valuable gifts, artistic\\nand mineralogical, to various institutions, en-\\ndowing the Taylorian Galleries at Oxford with\\na school, furnishing it with exquisite works\\nof art as copies, and making rich presents\\nbesides to the University, as well as to\\nCambridge and to the British Museum\\n(whose collection of Silicas he catalogued) and\\nrendering many other public services of a\\nkindred nature, Mr. Ruskin crowned his work\\nin this direction by the establishment and stock-\\ning of the St. George s Museum at Walkley,\\nnear Sheffield. He chose this spot because it\\nwas situated on the summit of a steep and\\ntoilsome hill, which, he hoped, the workers of\\nSheffield might understand to typify the ascent\\nof the artistic path that none but earnest\\nworkers need care to face. But the hill proved\\n4", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0045.jp2"}, "44": {"fulltext": "38 JOHN RUSK IN.\\nto be too generally and too successfully de-\\nterrent; and the removal of the reorganised\\nmuseum to the fine old Georgian mansion of\\nMeersbrook Park took place in 1890, when it\\nwas opened by the Earl of Carlisle. This\\nbeautiful museum, placed by deed under the joint\\ncontrol and management of the Trustees of the\\nSt. George s Guild and of the Corporation,\\ncontains a large collection of works of fine\\nart, rare and exquisite books, Venetian casts,\\nmissals, splendid examples from his collection\\nof mineralogy and natural history\u00e2\u0080\u0094 all selected\\nwith thorough knowledge and purposeful care\\nby The Master himself. And Ruskin House,\\nWalkley, was in 1893 turned into a Girls\\nTraining Home, with the hearty approval and\\ncordial wishes of Ruskin.\\nBut by this time his course was nearly\\nrun. He resigned the Slade Professorship, to\\nwhich he had been re-elected in 1876, when a\\npassing but distressing attack of brain-dis-\\nturbance warned him that he was straining too\\nfar his powers of endurance by the multiplicity\\nand arduousness of his labours. In 1884, when\\nhe was engaged in delivering another series of\\nlectures at Oxford, he found it necessary to\\ncease their public delivery, and to confine them\\nto students for the rush of the outside world\\nto listen to the lecturer, no less than the wide", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0046.jp2"}, "45": {"fulltext": "HIS LIFE. 39\\nrange of subject and method of dealing with\\nit adopted by him acted upon the University\\nauthorities as an electric shock. The final split\\nsoon came the Professor, it was thought, was\\nabout to assail in his next lecture what he\\nconsidered to be the vivisectionist tendencies\\nof the University. Pressure was brought to\\nbear upon him to postpone the lecture,\\nwhich, in fact, he did. Ruskin then asked\\nthe University for a grant to permit of the\\nbetter arrangement of the Art Section under\\nhis care. It was declined, on the ground of\\nthe University being in debt, but a few days\\nlater a vote was passed endowing vivisection\\nin the University, and on the following Sunday\\nMr. Ruskin s resignation was in the Vice-\\nChancellor s hands.\\nThe facts connected with the matter, it\\nmay be said, appear to have been strangely\\nburked. Since that time Mr. Ruskin retired\\nfrom personal contact with the public, although\\nfor a time his pen was still busy, and the press\\ngave forth more than one volume of his earlier,\\nas well as of his later, writings. But his first\\nattack of illness was succeeded by others, under\\nwhich he gradually, but yet more peacefully,\\nsank, until there came the end which robbed\\nEngland of one of her greatest men, and, so to\\nspeak, cast the better part of her into mourning.", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0047.jp2"}, "46": {"fulltext": "CHAPTER II.\\nCHARACTER, HEALTH, AND TEMPERAMENT.\\nIt is impossible to form any accurate esti-\\nmate of the literary work of Ruskin, or of the\\nworth of the man himself and his acts, without\\ntaking his character and temper, as influenced\\nby his health, largely into account. This, of\\ncourse, is in a measure true of all men. But\\nwith one possessed of an organisation so com-\\nplex and delicate as that of Ruskin, such\\nknowledge and careful judgment are absolutely\\nnecessary, for they afford the clue to many\\napparent inconsistencies.\\nThe conditions of his rearing all tended to\\nfoster self-conceit in the lad and the wonder is\\nthat, being as clever as he was, and finding him-\\nself the object of constant applause from admir-\\ning friends, of the worship of parents, and the\\napproval of some of the first intellects of the\\nday the wonder is, in truth, that he was so\\nlittle of a prig. But his severe Bible teaching,\\nthe oft-repeated assurance that he was to become\\na preacher, and an eminent one, too, predisposed\\nhim, perhaps, towards the early idea of being\\n40", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0048.jp2"}, "47": {"fulltext": "CHARACTER, HEALTH, AND TEMPERAMENT. 41\\nappointed to be unto the public as a missionary,\\nand later, as an oracle and a seer. But many\\nof his most admirable qualities barred the way\\nto his complete success in these characters, and\\nmade him feel, to his intense and abiding dis-\\nappointment in his later years, that he was a\\nvery Cassandra among the prophets. All my\\nlife, he declared in my hearing some years ago,\\nall my life I have been talking to the people,\\nand they have listened, not to what I say, but to\\nhow I say it; they have cared not for the matter,\\nbut only for the manner of my words. And so I\\nhave made people go wrong in a hundred ways,\\nand they have done nothing at all. I am not,\\nhe added bitterly, an art-teacher; they have\\npicked up a few things from me, but I find I\\nhave been talking too much and doing too\\nlittle, and so have been unable to form a school\\nand people have not been able to carry out\\nwhat I say, because they do not understand\\nit.\\nIf we had to define the main characteristics\\nof Ruskin s mind, and the keys to the secret\\nof all he said or did, I think we could hardly\\ndo better than repeat the analysis he made of\\nTurner s Uprightness, generosity, extreme\\ntenderness of heart, sensuality, excessive ob-\\nstinacy, irritability, infidelity and, we should\\nhave to add, impulsiveness, violent prejudice,\\n4*", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0049.jp2"}, "48": {"fulltext": "42 JOHN RUSK IN.\\nkindliest sympathy, and profound piety/ But\\nimpulsiveness, and its offspring prejudice\\nwere at the root of too many of his acts and his\\nhastier judgments. He was supposed to hate\\nJews on principle, not from religious motives,\\nbut simply because some of the lowest and most\\ncontemptible of them practised the usury that\\npersecution had forced upon them he despised\\nall bishops, because some of them died rich.\\nNo one really deserves hanging, he says some-\\nwhere, save bankers and bishops. Perhaps this\\nwas written at the time of his famous duel with\\nthe late Bishop of Manchester on the subject of\\nusury, when his indignation was aroused by\\nwhat he imagined was the lukewarmness of his\\nantagonist. Yet in no man s company did he\\nmore rejoice than in that of Dr. Harvey Good-\\nwin, Bishop of Carlisle, whom he entertained\\nat Brantwood more than once, and whom he\\nloved and esteemed as he loved few others.\\nBut all his prejudice is to be traced to exces-\\nsive generosity a fact which, with all his\\nlove of paradox, he never would recognise\\nhimself.\\nIt is not a little surprising, seeing how\\ndelicate and troubled he was in general health,\\nand how numerous and actively bitter were his\\nadversaries, that the engaging sweetness of his\\ncharacter was so often uppermost. His natural", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0050.jp2"}, "49": {"fulltext": "CHARACTER, HEALTH, AND TEMPERAMENT. 43\\ngentleness was proof against the trying circum-\\nstances of his early education. At Oxford, as\\nhe himself tells us, I could take any quantity\\nof jests, though I could not make one, even\\nto the point of seeing with good-humour the\\nfruit he had sent for from London thrown\\nout of the window to the porters children. No\\nman ever smiled more agreeably in his greet-\\ning; no man s eyes ever looked more kindly\\ninto yours. Having nothing to conceal, he was\\nfrank, even to a fault, making no attempt\\nto hide his little amiable weaknesses and venial\\ndefects.\\nI like Wilson Barrett, he said one day,\\nwhen discussing the drama he flatters me so\\ndeliciously and in such tactful taste an ad-\\nmission, by the way, confirmed long before in\\na letter of instructions to his private secretary,\\nwritten from abroad: Send me as little as\\nyou possibly can. Tie up the knocker say\\nI m sick I m dead (flattering and love-letters,\\nplease, in any attainable quantity. Nothing\\nelse). Love-letters! how many did he not\\nwrite and delight in receiving platonic for the\\nmost part, perhaps for the whole, but the\\nbrightest, quaintest, most humorous, merriest\\nlove-letters imaginable! For the respect, the\\nveneration, and admiration he entertained for\\nthe beau sexe as a whole as an institution, as", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0051.jp2"}, "50": {"fulltext": "44 JOHN RUSK IN.\\nArtemus Ward calls it were intensified, were\\nall focussed, indeed, on young, pretty, and in-\\nnocent femininity. Humour bubbles over the\\npages of many of his books and letters, but it\\nis never quite so sly and quite so happy as\\nwhen charming, modest, and lively girls are the\\nsubject or the object of them and I have heard\\na score of anecdotes of the pretty thraldom\\nunder which he has suffered beneath their yoke,\\nand the not unwelcome tricks that have oft\\nbeen played upon him. I have said that his\\namorous sport was entirely platonic it was\\nmore than that, it was essentially paternal\\nand usually ended in his presenting to his\\ncharmer, or tormentor, some dainty gift, with\\na playful grace that was altogether peculiar to\\nhimself.\\nHerein I am breaking no confidences, for\\nhas he not told us all about it a score of\\npleasant times? My pets his adopted\\ndaughter, Mrs. Arthur Severn (his veritable\\nAngel in the house and Miss Hilliard, now\\nMrs. W. H. Churchill are familiar, through\\nhis books, to all good Ruskinites. He speaks\\nof them often enough in Fors, and of others\\ntoo First, those two lovely ladies who were\\nstudying the Myosotis palustris with me yes,\\nand, by the way, a little beauty from Cheshire,\\nwho came in afterwards and then that charm-", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0052.jp2"}, "51": {"fulltext": "CHARACTER, HEALTH, AND TEMPERAMENT. 45\\ning (I didn t say she was charming, but she\\nwas and is) lady whom I had charge of at\\nFurness Abbey, and her two daughters, and\\nthose three beautiful girls who tormented me\\nso on the 23rd of May, 1875, an d another who\\ngreatly disturbed my mind at church only a\\nSunday or two ago with the sweetest little\\nwhite straw bonnet I have ever seen, only\\nletting a lock or two escape of the curliest\\nhair so that I was fain to make her a present\\nof a Prayer-book afterwards, advising her that\\nher tiny ivory one was too coquettish and my\\nown pet cousin and I might name more, but\\nleave their accusation to their consciences.\\nOn another occasion, speaking of his garden\\nand house at Denmark Hill, he says The\\ncamelias and azaleas stand in the ante-room of\\nmy library and everybody says, when they\\ncome in, How pretty and my young lady\\nfriends have leave to gather what they like to\\nput in their hair when they are going to balls.\\nHe himself once admitted that when he fell\\nin love in a mildly confidential way\\naccording to my usual manner of paying\\ncourt to my mistresses, I wrote an essay for\\nher, nine foolscap pages long, on the rela-\\ntive dignity of music and painting Many\\nwill remember with how much enthusiasm\\nCharles Dickens, thirty or forty years ago,", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0053.jp2"}, "52": {"fulltext": "46 JOHN RUSK IN.\\nendorsed in All the Year Round what\\nRuskin had to say of the beauties of the\\nmaids of merry England, and the artistic\\ngrace of their then fashionable attire. Even\\nwhen combating an obnoxious theory, he\\nwould sometimes revert to pretty womanhood\\nfor an illustration, as when, in animadverting\\non the Darwinian doctrine of the Descent of\\nMan as mischievous (in looking rather to the\\ngrowth of the flesh than to the breath of the\\nspirit), he says: The loss of mere happiness\\nin such modes of thought is incalculable.\\nWhen I see a girl dance, I thank Heaven\\nthat made her cheerful as well as graceful,\\nand envy neither the science nor sentiment\\nof my Darwinian friend, who sees in her only\\na cross between a dodo and a daddy-long-\\nlegs. And again, when contesting the idea\\nthat a knowledge of anatomy is essential for\\npainters, he writes to Monsieur Chesneau\\nWill you please ask the next lover you\\nmeet how far he thinks the beauty of his\\nmistress s fore-arm depends on the double\\nbones in it, and of her humerus on the single\\none Nay, one would swear that his little\\nSusie one of the sister ladies of Thwaite,\\nto whom he wrote the delightful letters which\\nhave since been published under the title of\\nHortus Inclusus must have been at once", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0054.jp2"}, "53": {"fulltext": "JOHN RUSKIN, 1842.\\nFROM THE WATER COLOUR BY GEORGE RICHMOND, R.A.\\n{By permission of Arthur Severn, Esq., R.I.)\\n{See p. 174-)", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0055.jp2"}, "54": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0056.jp2"}, "55": {"fulltext": "CHARACTER, HEALTH, AND TEMPERAMENT. 49\\npretty and graceful, were one to judge alone by\\nthe tone adopted in the letters he wrote her.\\nBut, as a matter of fact, Miss Susannah Beever\\nhis neighbour in Coniston village, living in\\na house on an eminence looking over the lake-\\nhead was a few years his senior, and was\\nseventy years of age at least when Ruskin\\nfirst knew her. To the end of her long life\\nthis clever lady was surprisingly young, and so\\nbright and cheerful and sweet and charming,\\nthat she fully deserved the daily letters that\\nthe Master of Brantwood sent her. She had,\\nindeed, discovered for herself the art of growing\\nold beautifully, and she reaped the reward by\\ncompletely enslaving the intellectual affections\\nof her ageing friend.\\nBut his love for pretty girls in no way\\nlessened his love for children a passion\\nwhich inspired some of the most pathetic\\nand beautiful passages that have issued from\\nhis pen. This tendency, together with his\\ncordial and courteous old-fashioned hospitality\\nand his overflowing charity, combined to form\\nthe bright side of his character a side so\\nbright that on the other there is none of his\\nshortcomings but is thrown into shadow and\\nbelittled in its brilliancy. He has chosen to\\nrefer to his nature as a worker s and a\\nmiser s though I love giving, yet my", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0057.jp2"}, "56": {"fulltext": "50 JOHN RUSK IN.\\nnotion is not at all dividing my last crust with\\na beggar, but riding through a town like a\\nCommander of the Faithful, having any quantity\\nof sequins and ducats in saddle-bags, and throw-\\ning them around in radiant showers and hailing\\nhandfuls with more bags to brace on when\\nthose were empty. But herein he did himself,\\nas he often did, gross injustice, for I have\\nample documentary evidence in my possession\\nthat he delighted in nothing more and almost\\ndaily gave rein to his delight than giving,\\nsecretly, tactfully, and with kindliest judg-\\nment.\\nIt is not too much to say that the record\\nof his benefactions and almsgiving would fill a\\nvolume. How when his father died he gave\\nforthwith to those relations who, he thought, had\\nbeen forgotten in the will, the sum of ^17,000,\\nand to a cousin advanced another ,\u00c2\u00a315,000, a\\ndebt he promptly wiped off which hereby\\nmy cousin will please observe is very heartily\\ndone and he is to be my cousin as he used\\nto be, without any more thought of it\\nhas ere now been made public. But his\\nthousand -and -one kindnesses now acts of\\ngrace and delicacy, now of substantial help\\nand rescue have never reached the ken of\\nthe public save by the confession of the\\nrecipients. A few extracts from his letters to", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0058.jp2"}, "57": {"fulltext": "CHARACTER, HEALTH, AND TEMPERAMENT. 51\\nhis secretary during the year 1866 may give\\nsome idea of the extent and number of his\\nkindly deeds, and of his solicitude and warmth\\nof heart, though they give little clue to the times\\nout of number on which the gentle Samaritan\\nwas victimised the usual fate of the philan-\\nthropist who prides himself, beyond any other\\nquality, on his worldly shrewdness and his\\nknowledge of life and character.\\nOn February 22nd he writes with some\\nshow of mystery\\nHere s something, please, I want done very much.\\nWill you please go to the Crystal Palace to-morrow or\\nthe day after, which is the last day, but to-morrow better,\\nand, if it is not sold, buy the lizard canary (^1) No. 282,\\npage 17 of catalogue, in any name you like not mine, nor\\nyours and give the bird to anybody who you think will\\ntake care of it, and I ll give you the price when I see you\\nwhich must be soon.\\nTo this canary, which was duly bought,\\nthere evidently hung a tale, for it formed the\\nsubject of many subsequent references and\\nanxious directions.\\nOn the 5th of March he wrote\\nDid Ned speak to you about an Irish boy whom I\\nwant to get boarded and lodged, and put to some art\\nschooling and I don t know how?\\nThree days afterwards he proceeded\\nThanks for note about the boy, and infinite thanks\\nfor kindest offer. But I ve no notion of doing as much", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0059.jp2"}, "58": {"fulltext": "52 JOHN RUSK IN.\\nas this for him. All I want is a decent lodging he is\\nnow a shop-boy. I only want a bit of a garret in a\\ndecent house, and means of getting him into some school\\nof art. I fancy Kensington best and you should look\\nafter him morally and I artistically.\\nOn the -27th the boy from Ireland was duly\\nsettled on Ruskin s charity, and on the same\\ndate began the arrangement which ended in\\na gift of a hundred pounds to George Cruik-\\nshank. Then ensued a prolonged visit to the\\nContinent, on the conclusion of which there\\ncame a new request for almoner s duty\\nThe enclosed is from a funny, rather nice, half-\\ncrazy old French lady (guessing at her from her letters),\\nand I have a curiosity to know what kind of a being it is.\\nWould you kindly call on her to ask for further information\\nabout the predicament, and, if you think it at all curable\\nor transit-able, I ll advance her 20 pounds without interest.\\nI ve only told her you will call to l inquire into the\\ncircumstances of the case.\\nAlthough he complained that he can t\\nunderstand the dear old lady s letters, Ruskin\\ndecided of course to come to her help,\\ncharged his secretary to look after her a\\nlittle, and added, I shouldn t mind placing\\nthe over-charge sum at her bankers, besides.\\nAlso look over the enclosed form from I m\\nvery sorry about this man anything more wretched than\\nthe whole business can t be. He ll never paint, and how\\nto keep him from starvation and madness I can t see. 1", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0060.jp2"}, "59": {"fulltext": "CHARACTER, HEALTH, AND TEMPERAMENT. 53\\ncan t keep every unhappy creature who mistakes his voca-\\ntion. What can I do? I ve rather a mind to send him\\nthis fifty pounds, which would be the simplest way to me\\nof getting quit of him but I can t get quit of the\\nthought of him. Is his wife nice, do you know or if you\\ndon t, would you kindly go and see I ve written to him\\nto write to you, or to explain things to you, if you call.\\nwrote to me in a worry for money the day before\\nyesterday. I wrote I couldn t help him. All the earlier\\npart of this week an old friend of my father s a staff-writer\\non the Times was bothering and sending his wife out here\\nin cabs in the rain, to lend him ^800, on no security to\\nspeak of, and yesterday comes a letter from Edinburgh\\nsaying that my old friend Dr. John Brown is gone mad\\nowing to, among other matters, pecuniary affairs (after a\\nwhole life of goodness and usefulness).\\nThree days afterwards he put his foot down\\ntemporarily.\\nTell it s absolutely no use his trying to see me\\n(I don t even see my best friends at present, as you know),\\nand nothing is of the least influence with me but plain\\nfacts, plainly told, and right conduct\\na declaration that would have called a smile\\nto the lips of many of the impostors who\\nsqueezed, before and since, the soft heart of the\\ntoo sympathetic and charitable professor.\\nOn the 14th of September Ruskin wrote\u00e2\u0080\u0094-\\nThat boy s sketches are marvellous. I should like to\\nsee him and be of any use I could to him,\\nand immediately followed it by another scheme\\nof charity.", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0061.jp2"}, "60": {"fulltext": "$4 JOHN RUSK IN.\\nPlease just look over enclosed, he wrote, and see if\\nany little good can or ought to be done. I want you to go to\\nBoulogne for me to see after the widow of a pilot who died\\nat Folkestone of cholera. They were dear friends of mine,\\nboth as good as gold she now quite desolate. When could\\nyou go, taking your cousin with you, if you like, for a few\\ndays You*would be well treated at the Hotel des Bains.\\nI ll come over to-morrow and tell you about it.\\nI don t think it will be necessary, he continued, a day\\nor two later, for you to stay at Boulogne longer than the\\nenclosed will carry you. It is more as a bearer of the\\nexpression of my sympathy that I ask you to go than to\\ndo much. The poor woman ought to be able to manage\\nwell enough with her one child, if she lives, and I doubt\\nnot she will do all she ought but at present she is stunned,\\nand it will do her good to have you to speak to.\\nA few days afterwards another matter was\\nforced on his attention.\\nThis business is serious [the next letter ran].\\nWrite to Miss that I do not choose at present to\\ntake any notice of it, else the creditor would endeavour\\nto implicate me in it at once, if there was the least ap-\\npearance of my having been acquainted with the transac-\\ntion and I don t at all intend to lose money by force,\\nwhatever I may do for my poor friend when she is quit of\\nlawyers.\\nOnce more Ruskin lost patience at the\\nunreasonable demands to which he was sub-\\njected, and on the 9th of November he wrote\\nAll that you have done is nice and right but I am\\nsorry to see that you are yourself over-worked. Also, I", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0062.jp2"}, "61": {"fulltext": "CHARACTER, HEALTH, AND TEMPERAMENT 55\\nwill take some measures to relieve you of this nuisance by\\nwriting a letter somewhere on modern destitution in the\\nmiddle classes. I hope to be able to do this more effec-\\ntively towards the beginning of the year, and to state that\\nfor the present I must retire from the position necessarily\\nnow occupied by a publicly recognised benevolent or\\nsimple person. I simply have at present no more\\nmoney and therefore am unable to help in fact, I am a\\nlong way within of my proper banker s balance and I\\ndon t choose at present to sell out stock and diminish my\\nfuture power of usefulness.\\nI think I shall do most ultimate good by distinctly\\nserviceable appropriation of funds, not by saving here and\\nthere an unhappy soul I wish I could when I hear of\\nthem as you well know. I am at the end of my means\\njust now, and that s all about it.\\nWherewith he at once made a further gift of a\\nhundred pounds, as I said I would. Such is\\nthe record of a few months of a single year taken\\nat random and it may fairly be assumed that\\none year much resembled another in the cycle\\nof the Ruskinian doctrine of Faith, Hope, and,\\nabove all, Charity.\\nIn his taste for amusement Mr. Ruskin\\nwas always simple. Almost to the last he\\nretained his love for the theatre, and was an\\nadmirable critic of a play. Now that I am\\ngetting old, he told me, and can climb the\\nhills no longer, my chief pleasure is to go to\\nthe theatre. Just as I can always enjoy\\nProut, even when I sometimes tire of Turner,", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0063.jp2"}, "62": {"fulltext": "56 JOHN RUSK IN.\\nso one of the only pleasures in my life en-\\ntirely undiminished is to see a good actor\\nand a good play. I was immensely pleased\\nwith Claudian and Mr. Wilson Barrett s act-\\ning of it. [It was during the run of that\\nplay that this conversation took place.] In-\\ndeed, I admired it so much that I went to\\nsee it three times from pure enjoyment of it,\\nalthough as a rule I cannot sit out a tragic\\nplay. It is not only that it is the most\\nbeautifully mounted piece I ever saw, but it\\nis that every feeling that is expressed in the\\nplay, and every law of morality that is taught\\nin it, is entirely right. I call that charming\\nlittle play of School entirely immoral, be-\\ncause the teaching of it is that a man should\\nswagger about in knickerbockers, shoot a bull,\\nand marry an heiress. Now, as for the litera-\\nture of modern plays, I think that in comedies\\nthe language is often very precious and\\npiquant more so in French than in English\\npieces but I know of no tragedy, French\\nor English, whose language satisfies me.\\nAnd he added that he was a critical admirer,\\ntoo, with reservations, of Miss Mary Anderson\\na sweet lady and an excellent person but\\nnot, I think, a great actress.\\nIn fine weather, when he did not roam\\nabout the moors and hills that overlook", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0064.jp2"}, "63": {"fulltext": "CHARACTER, HEALTH, AND TEMPERAMENT. 57\\nConiston Lake, he loved to cut brushwood\\nthat grew in the wood behind his house\\nand in bad, when not reading, or drawing,\\nor examining his fossils or other treasures,\\nhe would revel in a game of chess. He was\\nan excellent player, and at one time talked\\nof publishing a selection of favourite old\\ngames by players of genius and imagination,\\nas opposed to the stupidity called chess-\\nplaying in modern days. Pleasant play, truly\\nin which the opponents sit calculating and\\nanalysing for twelve hours, tire each other\\nnearly into apoplexy or idiocy, and end in a\\ndraw or a victory by an odd pawn.\\nThe darker side of his nature almost balanced,\\nin intensity, the brighter. There is a weird,\\nalmost Dantesque, vein running through it.\\nHis love of life and beauty gave rise to a\\nperfectly morbid horror of what was ugly or\\nsad illness and death were ideas utterly re-\\npugnant in the terror they bore in upon him.\\nIn a private letter he speaks of Death and\\nthe North Wind both Devil s inventions as far\\nas I can make out. Indeed, during one of his\\nlast visits to London, I heard him say how his\\nattacks of illness were brought on, or, at least,\\nin a measure, induced, by the knowledge of\\nthe gradual approach of death not so much\\nthe fear of death, he hastened to add, as the", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0065.jp2"}, "64": {"fulltext": "58 JOHN RUSK IN.\\nregret at the deprivation of life, which he was\\nconvinced he enjoyed with infinitely greater\\nintensity than others did.\\nThe very idea of a funeral was abhorrent to\\nhim. He even declined to attend that of the\\nDuke of Albany, of whom he was very fond;\\nfor the young Prince often sought his company\\nat Oxford, and the old man and the young\\nlearned to appreciate the virtues of the other.\\nI had the deepest regard and respect, he\\nsaid about the time of the Duke s death, for\\nwhat I would call his genius, rather than his\\nintellect. He was entirely graceful and kind\\nin every thought or deed. There was no\\nmystery about him he was perfectly frank\\nand easy 3|i\u00c2\u00a3h everyone. At Oxford I thought\\n,he desired to ta%e all the advantage that was\\npossible from the university course. But I did\\nnot attend the funeral. It is ten years or more\\nsince I went to one, he continued gravely\\nand though there are several whom I love\\nvery dearly, I doubt very much if I should see\\nthem to the grave were they to die before me.\\nNo I shall go to no more funerals till I go\\nto my own. In this relation there may be\\nappropriately quoted the reply he sent to the\\nSecretary of the Church of England Funeral\\nReform Association a society of all others of\\nwhose attentions and requests for recommenda", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0066.jp2"}, "65": {"fulltext": "CHARACTER, HEALTH, AND TEMPERAMENT. 59\\ntion and approval he would most cheerfully\\nhave dispensed\\nSir, I entirely approve of the object of the Funeral\\nReform Association but if I could stop people from\\nwasting their money while they were alive, they might\\nbury themselves how they liked for aught I care.\\nFaithfully yours,\\nJohn Ruskin.\\nThe growing knowledge of a constitutional\\nbrain-weakness caused him acute suffering, and\\nhe made no attempt to conceal the fact on the\\ncontrary, it was a frank topic of conversation\\nwith him. There is something profoundly\\npathetic in a reference of his to his keen enjoy-\\nment, in his childhood, in reading Don Quixote s\\ncrazy life, but of the superlative .sadness with\\nwhich the reference or thought of it filled him\\nin later years. My illnesses, so-called, he\\nsays somewhere else, are only brought on\\nby vexation or worry, and leave me, after a\\nfew weeks of wandering thoughts, the same\\nas I was before, only a little sadder and wiser.\\nProbably, if I am spared till I am seventy, I\\nshall be as sad and wise as I ever wish to be,\\nand will try to keep so to the end.\\nAt the age of twenty-one he spat blood, as\\na result of putting on a spurt in his study at\\nOxford, and obtained a year s leave of absence\\nto recover. Ever since that time his letters", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0067.jp2"}, "66": {"fulltext": "6o JOHN RUSK IN.\\nare proof of constant ailing and sometimes of\\nsuffering.\\nTrue illness, severe enough to confine him\\nto his bed, he never had, from his alarming\\nOxford symptoms down to 1871, when an\\ninflammatory illness laid him low at Matlock.\\nOf the manner in which he characteristically\\ntook his treatment in great measure into his\\nown hands he writes thus, under date 24th\\nJuly, 1871\\nReally your simplicity about naughty me is the most\\ncomic thing I know, among all my old friends. Me\\ndocile to Doctors I watched them (I had three) to\\nsee what they knew of the matter did what they advised\\nme, for two days; found they were utterly ignorant of\\nthe illness were killing me. I had inflammation of\\nthe bowels, and they gave me ice tried to nourish\\nme with milk Another 12 hours I should have been\\npast hope. I stopped in the 7niddle of a draught of iced\\nwater, burning with insatiable thirst thought over the\\nillness myself steadily and ordered the doctors out of\\nthe house. Everybody was in agony, but I swore and\\nraged till they had to give in ordered hot toast and\\nwater in quantities, and mustard poultices to the bowels.\\nOne doctor had ordered fomentation that I persevered\\nin, adding mustard to give outside pain. I used brandy\\nand water as hot as I could drink it, for stimulant, kept\\nmyself up with it, washed myself out with floods of toast\\nand water, ate nothing refused all medicines. In\\ntwenty-four hours I had brought the pain under, in\\ntwenty-four more I had healthy appetite for meat, and\\nwas safe; but the agony of poor Joanna! forced to give", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0068.jp2"}, "67": {"fulltext": "JOHN RUSKIN AT GLENFINLAS WATERFALL, 1853.\\nBY STR JOHN MILLAIS, BART., R.A.\\n(By special permission 0/ Sir Henry Acland, owner of the picture and copyright.)\\n(See p. 178.)", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0069.jp2"}, "68": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0070.jp2"}, "69": {"fulltext": "CHARACTER, HEALTH, AND TEMPERAMENT. 63\\nme meat, for I ordered roast chicken instantly, when the\\ndoctors, unable to get at me, were imploring her to\\nprevail on me not to kill myself, as they said I should.\\nThe poor thing stood it nobly of course none of them\\ncould move me, on which I forced them to give me cold\\nroast beef mustard at two o clock in the morning\\nAnd here I am, thank God, to all intents and purposes\\nquite well again but I was within an ace of the grave,\\nand I know now something of Doctors that well I\\nthought Moliere bad enough on them, but he s compli-\\nmentary to what shall be after this.\\nBut with the exception of this grave, tragi-\\ncomical attack he never needed the calling in of\\na doctor for any physical ill. Yet at no time\\nwas he robust, a spine-weakness developed into\\na chronic stoop, and the aches and pains of a\\nhighly nervous, hard-worked constitution were\\nfor ever reminding him of the weakness of all\\nflesh. A number of his letters are before me,\\nwritten to his secretary and assistant with\\nwhom, as I have already said, he was in ex-\\ntremely frequent communication during the\\nyears 1865 and 1866; and in many of them\\nmay be seen the record of his ailing moments\\nand minor infirmities.\\nYou must think it very strange in me, he writes\\nunder date 3rd November, 1865, never asking you to\\ncome and see me. But I am very languid and ill just\\nnow and I seem of all things to dread talking; it\\nseems to force me to use my head faster than it should", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0071.jp2"}, "70": {"fulltext": "64 JOHN RUSK IN.\\nbe used I suppose I shall come out of the nervous\\nfit some day. I am pretty well on the whole.\\nIn the summer of the next year (3rd August,\\n1866) he writes\\nI ve been very sulky and ill, and somehow have\\nwanted what humanity I could get, even out of letters,\\nso I ve kept them.\\nAgain, on the 3rd of November of the s^ame\\nyear, he says\\nYou can t at all think what complicated and acute\\nworry I ve been living in the last two months. I m\\ngetting a little less complex now only steady headache\\ninstead of thorn-fillet I don t mean to be irreverent;\\nbut in a small way in one s poor little wretched humanity\\nit but expresses the differences. That s why I couldn t\\nthink about Cruikshank or anything.\\nOn the 2nd of December he again com-\\nplains\\nI have perpetual faceache, which quinine hardly\\ntouches, and am pulled down rather far but in other\\nrespects a little better stomach and the like.\\nAnd so things went on never very bad,\\nbut often bad enough to worry the neurotic\\nsubject with his little valetudinary troubles,\\nwhile all the while his self-imposed tasks in-\\ncreased in daily volume. At one time, indeed,\\nthe correspondence of friends and applicants\\nof all kinds, and particularly of sympathisers\\nthose most troublesome of well-wishers en-", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0072.jp2"}, "71": {"fulltext": "CHARACTER, HEALTH, AND TEMPERAMENT. 65\\ncroached so severely upon his time and patience,\\nrendering the conditions of his life almost intol-\\nerable, that the issue of this quaint manifesto\\nwas decided upon\\nMr. Ruskin trusts that his friends will pardon his\\ndeclining correspondence in the spring, and spending\\nsuch days as may be spared to him in the fields, instead\\nof at his desk. Had he been well he would have been\\nin Switzerland, and begs his correspondents to imagine\\nthat he is so; for there is no reason, because he is\\nobliged to stop in England, that he should not be\\nallowed to rest there.\\nLittle wonder, then, that his health told upon\\nhis temper, and that nervous irritability tended\\nto modify his character, and, to^ some extent,\\ntended to embitter an old age that was already\\nfull of disappointments and disillusionments.\\nAfter a lifetime of preaching to an unheeding\\nworld, or battling with a hostile or scornful one,\\nfinding his system of philosophy and theories\\nrejected, or, if accepted, accepted only as the\\nteaching of other and younger men, it is but\\nnatural that he should be prompted to say,\\nafter half-a-century of toil, Some of me is\\ndead, more of me stronger. I have learned a\\nfew things, forgotten many. In the total of\\nme, I am but the same youth, disappointed and\\nrheumatic. But, not beaten even to the last\\nbadgered and baited all through his life at-\\n6*", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0073.jp2"}, "72": {"fulltext": "66 JOHN RUSK IN.\\ntacked by some, scoffed at by others as all\\nfighters of original genius must ever be he\\ncomplained not of counter-attack. It was the\\nsupineness of those who listened and applauded,\\nbut continued in what he held was the down-\\nward road, which caused him to confess the\\nstate of quiet rage and wonder at everything\\npeople say and do in which I habitually live.", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0074.jp2"}, "73": {"fulltext": "CHAPTER III.\\nAUTHOR, BOOKMAN, AND STYLIST.\\nIt is presumed that most of those who read\\nthese pages are too well informed on Ruskin s\\nwork to need any recapitulation of the order,\\nor the titles, or even the purpose of his books.\\nBut it may be set down that they comprise\\nart-criticism, art-instruction, architecture, natural\\nhistory, political economy, morals and ethics,\\nmineralogy and geology, biography and auto-\\nbiography, fairy tale, military tactics, the\\nhigher journalism and most other things\\nbesides. But time will, perhaps, decide that\\nby Modern Painters he will both stand and\\nfall a paradox which himself, I fancy, would\\nbe the first to admit. It is the monument\\nhe has raised to himself: but other works\\nrank above them in the late author s opinion,\\nif not for literary style, at least for concision\\nof manner and closeness of thought. He told\\nme he had never written closer than in\\nhis University Lectures, known as Aratra\\nPentelici and they will recognise it one\\nof these days while he has publicly declared\\n67", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0075.jp2"}, "74": {"fulltext": "68 JOHN RUSK IN.\\nthat in that book, in Val d Arno, and\\nu Eagle s Nest, every word is weighed with\\ncare. I give far more care to my lectures\\nthan to my books, he said They are for the\\nmost part most carefully written, although I\\nsometimes introduce matter extemporaneously\\nin the delivery of them. II have taken more\\npains with my Oxford lectures than with any-\\nthing else I have ever done, and I must say\\nthat I am immensely disappointed at their not\\nbeing more constantly quoted and read. And\\nthus saying, he took down a volume of the\\nAratra and read the concluding pages of\\none of the lectures in his own powerful and\\nimpressive manner. Then he closed the book,\\nsoftly, with a sigh.\\nRuskin was, indeed, a rigorous critic of\\nhis own work, and cut to pieces Modern\\nPainters, Seven Lamps of Architecture,\\nStones of Venice, and Elements of Draw-\\ning, when preparing second editions, be-\\ncause in the three first all the religious\\nnotions are narrow, and many false, and in\\nthe fourth there is a vital mistake about out-\\nline, doing great damage to all the rest.\\nBut if it is one of the disturbing faults of\\nRuskin s books that he often owns to his\\nlater change of thought, it is one of his\\nmerits that he is ready to confess it, clearly", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0076.jp2"}, "75": {"fulltext": "AUTHOR, BOOKMAN, AND STYLIST. 69\\nand unmistakably. These changes of thought\\nhe once intended to tabulate, while quaintly\\napologising for them. Mostly matters of\\nany consequence are three-sided, or four-\\nsided, or polygonal; and the trotting round\\na polygon is severe work for people in any\\nway stiff in their opinions. At the same\\ntime he declared that his changes were those\\nof a tree, by nourishment and natural growth\\nnot those of a cloud. And what is his\\nreflection on his own auctorial life? I am\\nquite horrified to see, he wrote to Susie\\nor was it Rosie what a lot of books\\nI ve written, and how cruel I ve been to my-\\nself and everybody else whoever has to read\\nthem.\\nIt was in his quality of author that Ruskin\\nran a-tilt at the book-selling trade, and suffered\\nnot a little in pocket from their retaliation.\\nHe objected to the whole system of discount\\nas it had already then degenerated. The\\ntrade, not unnaturally, perhaps, retorted with\\na very effectual boycott, and Mr. Ruskin had\\nto distribute his books to the public direct\\nfrom his own special and private publisher\\nMr. George Allen, who before had been his\\nengraver. More lately a compromise was\\neffected with the shops but, curiously enough,\\nthe trade boycott seems to have been taken", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0077.jp2"}, "76": {"fulltext": "70 JOHN RUSK IN.\\nup by the Press, which for a long series of\\nyears maintained rigorous silence in respect\\nto Mr. Ruskin s newly published works.\\nWriting in 1887, Mr. E. T. Cook remarked:\\nSo, too, the professedly literary journals have\\nnot noticed anything that one of the foremost\\nliterary men of the time has written since\\n1872! Meanwhile, his works were being\\npirated in America and his own editions under-\\nsold a circumstance which increased his dis-\\nlike to the vulgarer side of American life, and\\nof that unhappy country which contains neither\\ncastle nor ruins.\\nThere is assuredly no need to await the ver-\\ndict of posterity to establish Ruskin s position\\nas a writer of English prose. No man pos-\\nsessed of such a power of language, such a\\nwealth of imagination and beauty of thought\\never spent more care in the polishing of his\\nsentences. And this not only with his written\\nbooks, but with his newspaper letters, on which\\nas he told me himself he expended the\\nutmost pains at his command.\\nWith such natural gifts as these, his training\\nwas exactly such as would best develop his\\npowers and form his style. The extensive\\nBible-reading and Bible-learning, forced upon\\nhim when a child, laid the foundations for\\npure and vigorous English, and encouraged", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0078.jp2"}, "77": {"fulltext": "AUTHOR, BOOKMAN, AND STYLIST. 71\\nhis later admiration for the manner of Dr.\\nJohnson. This alone would have gone far to\\neducate him into the accomplished rhapsodist\\nhe soon became. But other carefully-selected\\nreading exerted powerful influence upon his\\nfuture style. Byron and Wordsworth he\\nstudied carefully (and indeed knew pretty well\\nby heart) the former for perfect fluency and\\nrealistic truth of vision, and the latter for the\\nbeauty of simplicity and naturalness of language\\nand expression. Even Shakespeare s Venice\\nwas visionary; and Portia as impossible as\\nMiranda. But Byron told me of, and re-\\nanimated for me, the real people whose feet\\nhad worn the marble I trod on. And, finally,\\nCarlyle, his friend and admirer, gave the final\\nturn of originality of expression and that effec-\\ntive directness and apparent ruggedness which\\nendows all that Ruskin ever wrote with a rich\\nquality of its own, and made the man, as Mr.\\nJustice Pearson said, the most eloquent writer\\nof English, except Jeremy Taylor. In point\\nof thought, Ruskin often confessed himself the\\npupil of Carlyle but hardly less is he so in re-\\nspect to literary expression and the Sage of\\nChelsea returned the compliment by declaring\\nto Mr. Froude that many of Ruskin s utter-\\nances pierced like arrows into my heart.\\nWe surely do not require the enthusiastic attes-", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0079.jp2"}, "78": {"fulltext": "72 JOHN RUSKIN.\\ntation of Mathew Arnold, or George Eliot, or\\nJohn Morley, or the rest, of Ruskin s trans-\\ncendent position as a prose-writer but if it be\\ntrue, as indeed it is, that Ruskin writes beau-\\ntifully because he thinks beautifully, because his\\nthoughts spring, like Pallas, ready armed, it\\nwas not because the fashion of the armour\\ncosts him nothing, for his note-books exist,\\nlike the sketch-books of a painter, with beauti-\\nful descriptive sentences, sweetly turned and\\ncarefully moulded, ready for use when required,\\nthus attesting the constant and almost exces-\\nsive care, as well as the constructive method of\\nhis style.\\nRuskin s own estimate of his work, in his\\ncomparison of it with Tennyson s, is delightful\\nin its modesty, and sufficient testimony of his\\ncritical faculty, or, at least, unselfish appreci-\\nation. As an illustrator of natural beauty\\nTennyson is far beyond anything I ever did or\\ncould have done, he says and elsewhere de-\\nclared that there is finer word-painting in the\\npoet s Brook than can be found in all his\\nown prose-writings put together. But, for all\\nthat, Ruskin is and must be regarded, by friend\\nand foe alike, as the great modern master of\\nEnglish prose the Magician of Coniston Lake.", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0080.jp2"}, "79": {"fulltext": "CHAPTER IV.\\nTHE ARTIST.\\nA dozen years ago it might have been neces-\\nsary to defend the position of Ruskin as an\\nartist, or perhaps even primarily to inform the\\ngeneral public of the wondrous beauty to be\\nfound in his drawings. But since that time\\neditions de luxe have fully established his rank\\nas one of the most exquisite draughtsmen, both\\nwith the point and in water-colour sketching,\\nthat the country has produced. His work is\\nlimited in extent, rarely completed, and never\\nexecuted for public exhibition but for manual\\nskill, microscopic truth of observation, directed\\nand moulded by a passionate poetic sense of\\nthe most refined and gentle order, he has rarely\\nbeen excelled. He was, in truth, a landscape\\nand architectural artist of the greatest talent,\\nof infinite delicacy, grace, feeling, and patience\\nand the writer has more than once heard him\\ndeplore that he had not given a greater share\\nof his life to the practice of art by which he\\nmight have effected more real good than by all\\nhis word-painting and pen-preaching: Not\\nd 7 73", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0081.jp2"}, "80": {"fulltext": "74 JOHN RUSK IN.\\nthat I should have done anything great, said\\nhe, but I could have made such beautiful\\nrecords of things. It is one of the greatest\\nchagrins of my life.\\nIn respect to his theories of art, its technique,\\nand execution, Ruskin entertained views which\\nwere not shared by the majority of the greatest\\npainters of his day even of most of his most in-\\ntimate friends and admirers. Such, for exam-\\nple, was the theory that all shadows should be\\npainted purple a dictum which most of the\\nluministes of later days, the very polar con-\\ntraries of Ruskin, have widely adopted,\\nthough not perhaps to the full extent. Mr.\\nGoodall, R.A., told me once of the surprise\\nof Madame Rosa Bonheur when Ruskin laid\\ndown this proposition to her with all the firm-\\nness of conviction, and stoutly maintained\\nthrough their crisp little discussion that thus\\nshould all her shadows be painted. Mais oui\\nma-t-il bien dit^ said she, in repeating the con-\\nversation, rouge et bleu and she further de-\\nclared that she was convinced that his views\\non this matter, as well as on his artistic work\\ngenerally, were governed by a physical pecu-\\nliarity of his retina, and that he possessed be-\\nsides the microscopic eye of a bird: voit\\nprecisement comme un oiseau! This sugges-\\ntion, so swiftly and deftly made, goes a good", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0082.jp2"}, "81": {"fulltext": "THE ARTIST. 75\\nway towards explaining Ruskin s love of ex-\\nhaustive detail, the more accurately drawn and\\nexquisitely finished the better; but it hardly\\ntallies with the frequent breadth of handling\\nand largeness of view to be found in his own\\nwork. Perhaps it was, in a measure, his early\\ntraining in facsimile copying of great models\\nthat rendered him so precise, encouraged\\nthereto by his own natural bent and genius for\\ncriticism and subtle analysis but no less was\\nit his scientific knowledge and his cultivated\\naccuracy that served him so well in the making\\nof his innumerable sketches of natural phe-\\nnomena and artistic shorthand notes of every\\nsort of detail, to say nothing of his profound\\nstudy and elaborate drawings of architecture\\ngeometrical as well as picturesque. It is, per-\\nhaps, not too much to say that his Glacier\\ndes Bossons, Chamouni in which the ice is\\ninimitably represented creeping down the hill-\\nside with its exquisite drawing, its refinement\\nand delicacy, and its beauty of sparkling colour,\\nhas never been surpassed in its own line by\\nany artist however eminent.\\nHis actual masters in art, it has already been\\nsaid, were J. D. Harding (who was the first to\\ninspire him with the idea that there was some-\\nthing more soulful and philosophic in art than\\nappears upon the surface) and Copley Fielding.", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0083.jp2"}, "82": {"fulltext": "76 JOHN RUSK IN.\\nThen came his love for Prout he who above all\\nothers appreciated Modern Painters to the\\nfull when it first appeared. It was upon his\\nmanner that Ruskin loved to form his own, as\\nmay be seen in the early drawing of The\\nCathedral Spire, Rouen (reproduced on page\\n81) and in many another work of his early\\nyears. Of this Rouen/ by the way, pub-\\nlished with two other drawings in the Maga-\\nzine of Art in 1886, he wrote to me: There\\nought to be a separate half-page of apology for\\nthe drawings of mine, in which the Rouen is a\\nlittle bit too childish to show my proper early\\narchitectural power. All my really good draw-\\nings are too large and most of them at\\nOxford but I should like you to give one of\\nthem, some day.\\nHe remained true to his Proutism, which\\nhe cultivated so assiduously, to the end; for,\\nspeaking of his Brantwood drawings, he said\\nProut is one of the loves that always remain\\nfresh to me sometimes I tire of Turner, but\\nnever of Prout. To what extent Turner was\\nhis idol it is not necessary here to insist: for\\nTurner practically came for many years to be\\nRuskin s raison d etre. Then followed his love\\nfor William Hunt and David Roberts and on\\nthe work of all these men his own style of art\\nwas founded. But his approval of Roberts was", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0084.jp2"}, "83": {"fulltext": "k+JfrS-//\\\\. ultL cJU-JL ^nM.\\nt^2 (u*^ \u00c2\u00abV jL ty\u00c2\u00bbW^,\\ndjuM dUjcA\\nA PAGE OF ONE OF RUSKIN S NOTE-BOOKS, MADE WHEN\\nFIE WAS PREPARING THE STONES OF VENICE.\\n{By permission of Mrs. Arthur Severn.)", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0085.jp2"}, "84": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0086.jp2"}, "85": {"fulltext": "THE ARTIST. 79\\ngreatly modified by time and by Roberts own\\ndevelopment and change. The story is still\\nrecounted with a chuckle how Ruskin once felt\\nit necessary to print a rather severe criticism\\nupon Roberts work, but wrote a private note\\nexpressing the hope that it might make no\\ndifference to their friendship, and how the artist\\nreplied that when next he met him he would\\npunch Ruskin s head, but hoped that that would\\nin no way disturb their pleasant and cordial\\nrelations.", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0087.jp2"}, "86": {"fulltext": "CHAPTER V.\\nTHE TEACHER.\\nThe teaching of John Ruskin might for\\nconvenience sake be divided into Art and\\nGeneral Teaching, which together form a\\nsynthetic philosophy, erratic enough at first\\nsight to a superficial observer, but consistent\\nand focussed in aim when properly under-\\nstood. Codified as has been his teaching by\\nMr. Collingwood, Mr. Cook, and minor dis-\\nciples, it is simple and clear, its fundamental\\nprinciples being honesty, piety, and sincerity in\\nall things in Art as in Ethics. A philosopher\\nso impulsive and, at times, so hasty as Mr.\\nRuskin, writing more often, as it has been\\nsaid, in the character of the pamphleteer\\nthan in that of the academist or pundit,\\nnaturally laid himself freely open to attack.\\nOf this weakness advantage was from time\\nto time fully taken by vigorous and pitiless\\nassailants. A fighter of the Puritan sort\\nas zealous, pugnacious, and self-sure a Prot-\\nestant as you please, as he himself has\\nexpressed it Ruskin hit hard, loving nothing\\n80", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0088.jp2"}, "87": {"fulltext": "THE CATHEDRAL SPIRE, ROUEN.\\nDRAWN BY RUSKIN, UNDER THE INFLUENCE OF PROUT.\\n{By permission of Mrs. Arthur Severn.)", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0089.jp2"}, "88": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0090.jp2"}, "89": {"fulltext": "THE TEACHER. 83\\nso much as to pillory acknowledged wrongs\\nand conventional rights. He thus made for\\nhimself more enemies than most men, though\\nnot so many, perhaps, as he would had\\npeople not regarded him as something of a\\nprophet of old, or as a hot-tempered enthu-\\nsiast, whose seriously over-charged brain often\\ncarried him beyond the limits of soberer judg-\\nment and moderation. Rarely has an Eng-\\nlishman of letters been the subject of such a\\nslashing and abusive attack as Ruskin but a\\nfew years since was the victim of at the hands\\nof the Quarterly Review, and many others\\njoined with interest in the campaign of retalia-\\ntion. The development of his ideas with time\\nand maturity of judgment placed a ready\\nweapon in the hands of his opponents, which\\nthey were not slow to use but more than once\\nhe has turned and emptied upon them with\\nwithering effect the vials of his wrath and\\nscathing invective, which have few, if any,\\nparallels in the language.\\nEarly in his career he assumed the apos-\\ntolic attitude in respect, not only to art, but\\nto the whole principles of life. Applying the\\nresults of his thoughts and doctrines, he came\\nto set up Religion and Ethics as in direct oppo-\\nsition to Science and Avarice and there we\\nhave the philosophy of his early life in a nut-", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0091.jp2"}, "90": {"fulltext": "84 JOHN RUSK IN.\\nshell. He was not long before he modified\\nthis view to a sensible degree his Evangelical\\ntraining began to fade before his kindlier senti-\\nments, and loosened its uncompromising grip.\\nBut from the beginning to the end his motto\\nwas All great art is praise and this he\\nfollowed logically with the thesis that the\\nteaching of art is the teaching of all things.\\nArt, he said, is to minister to a sense of beauty\\na view which enabled him to bring nearly\\nevery subject within his net; and then, in-\\nversely, he taught that beauty in all things\\nactual, aesthetic, moral, and ethical\u00e2\u0080\u0094 that was\\nthe end and aim of life. It was to the propa-\\ngation of this idea that he set his mind that\\nmind which Mazzini declared was the most\\nanalytical in Europe but the length to which\\nhe carried his arguments such as that no man\\ncan be an architect who is not also a metaphy-\\nsician raised a veritable storm of criticism and\\ndissent, upon which the young philosopher rode\\nforward in triumph and delight.\\nGeorge Eliot who said I venerate him as\\none of the great teachers of the age he teaches\\nwith the inspiration of the Hebrew prophet\\nsaw no reason to contest his two leading doc-\\ntrines a Quixotic purity of commercial morality\\ncarried almost to the point of impracticability\\nand stagnation, and a religious view of higher", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0092.jp2"}, "91": {"fulltext": "JOHN RUSKIN, 1S57.\\nFROM THE PORTRAIT IN COLOURED CHALK BY GEORGE RICHMOND, R.A.\\n{By permission of Arthur Severn, Esq., R.I.)\\n{See p. 182.)", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0093.jp2"}, "92": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0094.jp2"}, "93": {"fulltext": "THE TEACHER. 87\\nart developed almost to the point of monastic\\nexclusiveness and ethical fervour. His search\\nafter honesty and truth in Art enabled him to\\nclaim with pride that it was left to me, and me\\nalone, first to discern and then to teach as far\\nas in this hurried century any such thing can be\\ntaught the excellence and supremacy of five\\ngreat painters, despised until I spoke of them\\nTurner, Tintoret, Luini, Botticelli, and Carpac-\\ncio. But his happiness in the analysis and\\nestablishment of past triumphs in art rendered\\nhim the more dejected in the contemplation\\nof what he considered was its present tendency\\nin England. I have only stopped grumbling,\\nhe exclaimed, because I find that grumbling\\nis of no use. I believe that all the genius of\\nmodern artists is directed to tastes which are\\nin vicious states of wealth in cities, and that,\\non the whole, they are in the service of a luxu-\\nrious class who must be amused, or worse than\\namused. There is twenty times more effort\\nthan there used to be, far greater skill, but far\\nless pleasure in the exercise of it in the artists\\nthemselves. I may say that my chief feeling\\nis that things are going powerfully to the bad,\\nbut that there may be something no one\\nknows how or when which may start up and\\ncheck it. Look at those drawings of Turner\\non the wall there is nothing wrong in them", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0095.jp2"}, "94": {"fulltext": "88 JOHN RUSKIN.\\nbut in every exhibition there is something\\nwrong the pictures are either too sketchy or\\ntoo finished there is something wrong with\\nthe man up to the very highest.\\nIn ordinary life he thought he discovered\\nthat manual labor and every effort of the body,\\nto the exclusion of all mechanical assistance,\\nwas thrice-blessed, and the more highly sancti-\\nfied the baser and more menial the office.\\nWhen Adam delved and Eve span,\\nWho was then the gentleman?\\nmust have been more than once in his mind.\\nAnd thus it was that he learned the art of\\ncrossing-sweeping in London from a knight of\\nthe broom, and the art of road-making too.\\nIt speaks eloquently for his power of per-\\nsuasion and his sway over the affections of his\\npupils, that he brought the Oxford under-\\ngraduates, during his Slade professorship, to\\nplay the navvy, and with pick and spade to\\nconstruct the Hincksey Road, to the delight\\nand amusement of all the countryside. The\\nroad, I believe, is a very bad one, disgracefully\\nso, save in that small portion to which Ruskin\\ncalled in the professional help of his gardener\\nbut it was made, and that was enough for him.\\nThe story perhaps an apochryphal one goes\\nin Oxford that Mr. Andrew Lang was one of", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0096.jp2"}, "95": {"fulltext": "THE TEACHER. 89\\nthe undergraduates who, with a lurking sus-\\npicion as to the efficacy and Tightness of the\\nwhole business, as well as with a lively sense of\\nthe ludicrous, used to take his pickaxe and drive\\ndown in a hansom to the scene of operations.\\nIn fact, Muscle versus Machinery was one of\\nthe tenets of Ruskin s vital creed. He hated\\nrailways for three reasons partly because they\\ndefaced the country and fouled the air partly\\nbecause they were usually constructed rather\\nas a speculation (the immorality of gambling!),\\nwith the sole view not to utility, but to profit\\n(the immorality of sordidness and chiefly\\nbecause they wiped out the good old-fashioned\\ntravelling, with patience and industry, with\\nthew and muscle. Railways, he said, if rightly\\nunderstood, are but a device to make the world\\nsmaller but he ignored the necessary corollary\\nthat they made life longer and larger, at\\nleast to the traveller. When the abortive at-\\ntempt was being made to pass a Bill for the\\nAmbleside Railway through the Committee of\\nthe House, I had but to refer to the scheme\\nwhich was to have brought the bane of his life\\ninto the very heart of the Lake district, to fire\\nhim at the bare mention of it. Whenever I\\nthink of it, he cried warmly, I get so angry\\nthat I begin to fear an attack of apoplexy.\\nThere is no hope for Ambleside the place is\\n8*", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0097.jp2"}, "96": {"fulltext": "90 JOHN RUSK IN.\\nsure to be ruined beyond all that people\\nimagine. It is no use my writing to the Lon-\\ndon papers on the matter, because it merely\\ncentres in the question, have they money\\nenough to fight in the House of Commons\\nIt does not matter what anybody says if the\\ndamaging party can pay expenses. There are\\nperpetually people who are trying to get up\\nrailways in every direction, and as it now stands\\nj they unfortunately can find no other place to\\nmake money from. But it is no use attacking\\nthem you might just as well expect mercy\\nfrom a money-lender as expect them to listen\\nto reason. Nor was his animosity towards\\nthe promoters in any way subdued by the fail-\\nure of the attempt in Parliament. Even the\\ndecoration of the railway stations he condemned\\nas an impertinence and an outrage on the art\\nof design that was disgraced by the lowliness\\nof its mission.\\nBut Ruskin s hatred of railways was not so\\nall-consuming nor so sweeping that he had no\\ndislike and contempt left for that more recent\\nform of mechanical self-transport cycling, as he\\nproved to a startled correspondent who sought\\nfor his opinion, and apparently his approval, on\\nthe subject. I not only object, he wrote,\\nbut am quite prepared to spend all my best\\n1 bad language in reprobation of bi- tri- 4- 5- 6-", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0098.jp2"}, "97": {"fulltext": "THE TEACHER. 91\\nor 7-cycles, and every other contrivance and\\ninvention for superseding human feet on God s\\nground. To walk, to run, to leap, and to\\ndance are the Virtues of the human body, and\\nneither to stride on stilts, wriggle on wheels, or\\ndangle on ropes, and nothing in the training of\\nthe human mind with the body will ever super-\\nsede the appointed God s ways of slow walking\\nand hard working.\\nMr. William Morris rightly declared that\\nRuskin was the only man who, during the\\nwhole nineteenth century, made Art possible in\\nEngland. Dr. Waldstein has placed him on\\nan equal pedestal with Mathew x^rnold as an\\napostle of culture. And, further, by proclaim-\\ning his service in combating the severance of\\nmorality and economics, in killing the fetish of\\nthe Quartier Latin, and in inducing the love\\nand study of nature and landscape-painting, he\\nhas awarded Ruskin the palm he so passion-\\nately sought for the admission that he reached\\nhis goal. In short, as has been said, Ruskin\\nstood midway between the religious and scien-\\ntific lines of thought as a theistic philosopher.\\nAnd it is claimed for him that he inaugurated\\nthe era of scientific and methodical art-criticism,\\nand ranged himself beside Carlyle, Emerson,\\nand Hegel against the advancing materialism of\\nthe day.", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0099.jp2"}, "98": {"fulltext": "CHAPTER VI.\\nTHE EDUCATIONIST.\\nUpon no subject, even upon art or railways,\\ndid Ruskin entertain stronger views than upon\\neducation more especially upon the education\\nof the very young. Laying down primarily\\nthat little children should be taught or shown\\nnothing that is sad and nothing that is ugly, he\\nprotested with all his vigour against the blind\\nThree R s-system of all school education\\nparticularly that of the School Board. And\\nhe further set his face against what he believed\\nwas the latter-day tendency of scientific or eco-\\nnomic study amongst our youth, to the end and\\nconclusion that their fathers were apes and\\ntheir mothers winkles that the world began in\\naccident, and will end in darkness; that honour\\nis a folly, ambition a virtue, charity a vice,\\npoverty a crime, and rascality the means of all\\nwealth and the sum of all wisdom. As usual,\\nhis earnestness in asseveration and felicity in\\nexpression carried him a little too far; but it\\ncertainly presented his views with considerable\\naccuracy.\\n92", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0100.jp2"}, "99": {"fulltext": "THE EDUCATIONIST. 93\\nFew people applied to him in vain for\\nassistance and advice on the subject of school-\\nteaching and with his advice there often\\ncame something more substantial in the way\\nof materials for object-lessons. The Cork\\nHigh School for Girls is one of the several\\nestablishments which benefited in this way,\\nreceiving a gift of minerals of high value\\naccompanied by a characteristic descriptive\\ncatalogue. To Mrs. Magnussen, again, Ruskin\\nexpressed the deep interest he felt in her\\nhigh school for girls in Ireland, and besought\\nher to teach your children to be cheerful,\\nbusy, and honest; teach them sewing, music,\\nand cookery; and if they want bonnets from\\nParis why, you ll have to send for them.\\nAnd many a time the village school of Conis-\\nton has known his presence during school\\nhours, and reaped advantage and amusement\\nfrom his kindly interference.\\nAs soon as the child has been taught to learn,\\nnot only with its eyes and ears, but with its lips\\nand tongue and skin (the latter by the appointed\\ndaily washing, to say nothing of thrashing\\ndelicately on due occasion its time is to\\nbe gradually occupied with the teaching of the\\nnatural sciences, as against mere reading and\\nwriting. Physical science, botany, the elements\\nof music, astronomy, and zoology these are", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0101.jp2"}, "100": {"fulltext": "JOHN RUSK IN\\nthe subjects to be included in a system which\\nis to know no over-pressure, and which, by its\\ncourse of study, precludes the possibility of\\nwriting folly for the attraction of other infantile\\nfools, or the reading of pestilential popular\\nliterature- and penny dreadfuls to the\\nreader s ruin. Drawing and history, accord-\\ning to the Ruskinian system, were to be com-\\npulsory subjects. The school-house, with\\ngarden, playground, and cultivable land round\\nit, wherever possible, should have workshops\\na carpenter s and a potter s a children s\\nlibrary, where scholars who want to read\\nmight teach themselves without troubling\\nthe masters and a sufficient laboratory\\nalways, in which shall be specimens of\\nall common elements of natural substances,\\nand where chemical, optical, and pneumatic\\nexperiments may be shown. And to these\\nsubjects, others\u00e2\u0080\u0094 which should not be extras\\nthe laws of Honour, the habit of Truth,\\nthe Virtue of Humility, and the Happiness of\\nLove.\\nAnd coming later to the ordinary University\\ncourse and University teaching, Ruskin be-\\nsought his students to confine themselves to\\nthe regular curriculum. But as for languages\\ntheir own and foreign-\u00e2\u0080\u0094 he told them to\\nlearn the former at home, and the others in", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0102.jp2"}, "101": {"fulltext": "THE EDUCATIONIST. 95\\nthe various countries and, after they ve\\nlearned all they want, learn wholesomely to\\nhold their tongues, except on extreme occa-\\nsions, in all languages whatsoever.", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0103.jp2"}, "102": {"fulltext": "CHAPTER VII.\\nHIS VIEW OF THINGS.\\nRuskin s originality and invariable happi-\\nness of expression drew, perhaps, undue public\\nattention to his versatility and views of things\\nin general, and he was listened to with pleasure\\nby adversaries, as by friends and followers.\\nHis theory of political economy was too ideal\\nto be acceptable to the work-a-day world yet\\nhis Time and Tide and Ethics of the Dust\\ngained no small share of approval from non-\\ncapitalists. With Palmerston, Gladstone, and\\nDisraeli, Ruskin contested for these opinions\\nin vigorous conversation though, as he him-\\nself admitted, with but little effect. For\\nPalmerston gently remonstrated with him\\nGladstone hotly argued, and Disraeli cyni-\\ncally chaffed him: but Ruskin held on the\\nprecise attitude that might have been expected\\nfrom the character and dispositions of the four\\nmen. On this subject he remained firm my\\npolitical teaching, he said, has never changed\\nin a single thought or word, and, being that\\nof Homer and Plato, is little likely to do so,\\nthough not acceptable to a country whose\\n9 6", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0104.jp2"}, "103": {"fulltext": "JOHN RUSKIN, 1866.\\nFROM A PHOTOGRAPH BY ELLIOTT PRY.", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0105.jp2"}, "104": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0106.jp2"}, "105": {"fulltext": "HIS VIEW OF THINGS, 99\\nmilkmaids cannot make butter, nor her black-\\nsmiths bayonets.\\nArdent in all things, he was an ardent,\\nthough inactive, politician but he was strongly\\nopposed to government by party, being con-\\nvinced that the ablest men should be in the\\npositions for which they were best suited.\\nI care no more for Mr. D Israeli or Mr.\\nGladstone than for two old bagpipes with\\nthe drones going by steam, he once wrote\\nbut I hate all Liberalism as I do Beelzebub,\\nand, with Carlyle, I stand, we two alone now\\nin England, for God and the Queen. This\\nis on all-fours with the sentiment he once\\nimparted to me, and which at the time it\\nwas my duty to make known to the world\\nThere is one political opinion I do enter-\\ntain, and that is that Mr. Gladstone is an old\\nwind-bag, who uses his splendid gifts of\\noratory not for the elucidation of a subject,\\nbut for its vaporisation in a cloud of words\\na sentiment, he told me afterwards, which\\nhad given the greatest offence to Miss Glad-\\nstone, of whom he was so fond, and now she\\nwouldn t look at him I am not a Liberal\\nquite the Polar contrary of that. I am,\\nand my father was before me, a violent Tory\\nof the old school (Walter Scott s school)\\nand again, I am a violent Illiberal, but it", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0107.jp2"}, "106": {"fulltext": "ioo JOHN RUSKIN.\\ndoes not follow that I must be a Conserva-\\ntive. I want to keep the fields of England\\ngreen and her cheeks red.\\nIn one of his lighter moods he wrote to a\\nfriend concerning the proposed erection of a\\nnew public office If I were he [the archi-\\ntect] I would build Lord P an office with\\nall the capitals upside down, and tell him it was\\nin the Greek style, inverted, to express typi-\\ncally Government by party up to-day, down\\nto-morrow. And on another occasion I\\nbeg of you, so far as you think of me, not\\nto think of me as a Tory, or as in any wise\\nacknowledging party principles and, finally,\\ndeclaring himself what amounts to a limited\\nHome Ruler, he piously proclaimed himself a\\nbeliever in the minority of One\\nThere seems to be good ground for the be-\\nlief that, had not Art claimed Ruskin for her\\nown, his love of Nature would have been di-\\nverted into scientific channels. Dr. Buckland\\nand James Forbes had done much with him,\\nand as he believed and said with perfect can-\\ndour, he might have become the first geologist\\nin Europe. Geology, mineralogy, meteorology\\nglacier movements, mountains, rocks, clouds,\\nand perspective, birds and plants, all severally\\nengaged his attention, and to good purpose\\nenlisted his highest powers. But for all that,", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0108.jp2"}, "107": {"fulltext": "HIS VIEW OF THINGS. 101\\nhe hated mathematics and having once learned,\\nwith the rest of the children at the Coniston\\nschool, how much seven-and-twenty pounds of\\nbacon would come to at ninepence farthing a\\npound, with sundry the like marvellous conse-\\nquences of the laws of numbers, he stopped\\nthe mistress and diverted the delighted chil-\\ndren s attention to object-lessons more pictu-\\nresque, and, as he believed, more interesting and\\nuseful. Yet his contributions to science are\\nnot altogether insignificant, and Mr. Tyndall\\nhad cause to wince under his lash when he\\nopposed the glacier-theory of James Forbes,\\nand, as Ruskin himself told me with unusual\\nbitterness, put back the glacier-theory twenty\\nyears and more a theory which had been de-\\ncided before that conceited, careless schoolboy\\nwas born Scientists he cried, but not men\\nof science. They are not students of science, but\\ndilettanti in the enjoyment of its superficial as-\\npects. They do not examine and analyse the\\nmilk they only sip at the cream, and then\\nchatter about it. They are of the race that say\\nKeltic for Celtic, and Keramic for Ce-\\nramic, at once the makers and the followers of\\nfashion in Science, and not, as they should be,\\nthe servants of God, and the humble masters\\nof the universe. The Darwinian theory, as I\\nhave already said, was in a measure hateful to\\n9*", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0109.jp2"}, "108": {"fulltext": "102 JOHN RUSK IN.\\nhim yet few men he esteemed more than the\\nauthor of it. To the last he remembered with\\ndelight the visits of the great naturalist to\\nBrantwood, and was perhaps not a little grate-\\nful for the tact with which all reference to\\ndebateable matters was carefully avoided.\\nIn religion Ruskin may be described as a\\nBroad Churchman earnest and pious, but no\\nbigot, as the following passage, extracted from\\na private letter, will show If people in this\\nworld would but teach a little less religion and\\na little more common honesty, it would be\\nmuch more to everybody s purpose and to\\nGod s. As a child he was brought up in the\\nEvangelical faith, but soon became more catho-\\nlic and indulgent, and looked with horror on\\nthe more intolerant attitude of Protestantism\\nor Puritanism, and with scorn upon sects and\\nschisms alike and their belittling quarrels.\\nStill, as before and later, religion in its larger\\nsense was the forerunning and guiding princi-\\nple of his life the passion that directed every\\nact and moulded every thought. Love, Faith,\\nCharity, and Honour were the four boundaries\\nof his Church a Church which was broad\\nenough to cover every noble mind and every\\nhonest heart.", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0110.jp2"}, "109": {"fulltext": "CHAPTER VIII.\\nTHE LETTER- WRITER.\\nOne of the most delightful of Ruskin s\\ntalents was that of letter-writing, his natural\\nbent for which was developed and perfected by\\ncontinual practice. But his art was not that of\\nthe great literary epistolographers. It aimed\\nless, in point of fact, at literary quality and\\nformal composition (though it did not less for\\nthat reason hit the mark) than at vivacity of\\nmanner and frank expression of his thoughts\\nas they took form in his brain and bubbled\\nsparkling and flowing from his pen now in\\nthe ripple of boyish playfulness, now in the\\nstiller sweep of philosophic thought, and now\\nagain in the torrent of hot indignation that\\noverwhelmed his adversaries in their flood.\\nTo the public journals he was a prolific\\ncorrespondent, from the time when, in 1847\\nand again in 1853, he addressed long letters\\nto the Times on the dangers threatening the\\nNational Gallery to the dissipation of which\\ndangers he was able long years afterwards to\\ntestify down to a quite recent period. The\\n103", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0111.jp2"}, "110": {"fulltext": "104 JOHN RUSKIN.\\nTimes, but particularly the Daily Telegraph\\nand the Pall Mall Gazette, were his favourite\\nnewspaper channels of communication with\\nthe public, but the Morning Post, the Man-\\nchester Examiner and Times, the Leeds Mer-\\ncury, the Scotsman, the Manchester City News,\\nthe Reader, the Critic, the Literary Gazette,\\nthe Monetary Gazette, and other journals were\\nselected by him from time to time for the\\nexposition of his views upon almost every\\nsubject within the extended range of his\\nphilosophy. Yet if he was a prolific news-\\npaper letter-writer it must not be imagined\\nthat he was necessarily, therefore, a rapid one.\\nOn the contrary, he more than once, to me\\nas well as to others, remarked upon the labour\\nwhich the inditing and publishing of such pro-\\nductions entailed upon him. In a post-\\nscript to a letter addressed to the editor of\\nthe Pall Mall Gazette in 1887, Mr Ruskin\\nwrote\\nI have not written this letter with my usual care, for\\nI am at present tired and sad but you will enough gather\\nmy meaning in it and may I pray your kindness, in any\\nnotice you may grant in continuation of Prseterita, to\\ncontradict the partly idle, partly malicious rumours which\\nI find have got into other journals, respecting my state of\\nhealth this spring. Whenever I write a word that my\\nfriends don t like, they say I am crazy; and never con-\\nsider what a cruel and wicked form of libel they thus pro-", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0112.jp2"}, "111": {"fulltext": "THE LETTER-WRITER. 105\\nvoke against the work of an old age in all its convictions\\nantagonistic to the changes of the times, and in all its com-\\nfort oppressed by them\\na most pathetic and, as the Editor truly\\ncommented, sad undernote of weariness in\\nrespect to a charge to which all great original\\nthinkers have been exposed at the hands of\\ncommonplace people from St. Paul to Gen-\\neral Gordon.\\nAll these newspaper letters, from 1841 up\\nto 1880, together with a few others, were re-\\nprinted in Arrows of the Chace, wherein, it\\nmust be remarked, the writer asserts, with in-\\nexplicable self-contradiction, that most of them\\nwere written hastily, though he admits that\\nthey cost him much trouble. And he further\\ndeclared, what, indeed, every man can see for\\nhimself, that in these letters, designed for his\\ncountry s help, there is not one word which\\nhas been warped by interest nor weakened\\nby fear, and that they are as pure from\\nselfish passion as if they were spoken already\\nout of another world.\\nIt is clear that letter-writing came with\\nsingular ease to Ruskin, for it allowed him\\nan unconventionality of composition and ex-\\npression and a forcefulness of diction that\\nwould, perhaps, have been less permissible in\\nthe more customary methods of essay writing.", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0113.jp2"}, "112": {"fulltext": "106 JOHN RUSKIN.\\nFor this reason, doubtless, Time and Tide\\nby Weare and Tyne was frankly thrown\\ninto epistolary form, or left in it, precisely as\\nthe five-and- twenty letters of which the book\\nis composed were indited to Mr. Thomas\\nDixon, of Sunderland while The Elements\\nof Drawing, and even Fors Clavigera, were\\nin like manner issued in Ruskin s favourite\\nform of public address.\\nApart from his letters immediately intended\\nfor publication in the newspapers, there were\\nthose he addressed to the comparatively un-\\nknown correspondents who sought his help\\nand advice in their private affairs, or inquired\\nhis opinions upon every sort of subject of\\npublic curiosity and those, again, which he\\ndistributed with so generous a hand among\\nhis private friends and relations. How many\\nof all these letters have found their way into\\nprint it is unnecessary to point out or inquire.\\nRuskin s own general statement that I never\\nwrite what I would not allow to be published,\\nand his general declaration, duly printed in the\\nnewspapers, that all were free to publish every\\nletter he ever wrote, so that they print the\\nwhole of them, was confirmed by him in a\\ncharacteristic letter which he wrote to James\\nSmetham, and which was printed in the fasci-\\nnating volume of Letters of that artist. I", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0114.jp2"}, "113": {"fulltext": "THE LETTER-WRITER, 107\\nhave had, wrote Smetham on one occasion,\\nsome kind letters from Ruskin, one giving me\\nleave to print anywhere or anyhow any opinion\\nhe may have expressed about my work in\\nprivate letters, in bits or wholes, or how I like,\\nand concluding by a very characteristic sen-\\ntence I never wrote a private letter to any\\nhuman being which I would not let a bill-\\nsticker chalk up six feet high on Hyde Park\\nwall, and stand myself in Piccadilly and say\\nI did it. Thus it is that Ruskin encour-\\naged a system of general publicity which cer-\\ntainly has done his reputation no harm, while\\nit enlivened the columns of the public press\\nwith a pyrotechnic sequence of letters, delight-\\nfully and often enough fervently expressed\\ncontributions for which newspaper-readers felt\\nthemselves duly grateful.\\nOf the private letters, the most notable\\ncollection is that before, referred to, which\\nwas addressed to Miss Beever the Younger\\nLady of Thwaite, to whom the world is in-\\ndebted for the charming selection from Modern\\nPainters known as Frondes Agrestes. A\\nsmaller selection was more recently published\\nfor private circulation by Mr. Ellis, the book-\\nseller a collection containing much that is\\npleasant and interesting, bearing chiefly on\\nRuskin s knowledge and love of books, but", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0115.jp2"}, "114": {"fulltext": "108 JOHN RUSK IN.\\nhardly edited with the solicitude demanded\\nby the reputation of a great writer. Few men\\ndeclare themselves completely in their literary\\nwork, so that the publication of their letters\\nis always .looked to for the explanation of\\notherwise inexplicable problems presented by\\ntheir character, to throw light upon unguessed\\nmotives, or even to tear from their face the\\nmask that the heroes have laboured all their\\nlife to mould and wear with the ease of\\ntruth. With Ruskin it is different. His\\nwritings declare the man in his weakness as\\nin his strength, simply and fully, drawing a\\ncareful outline, so to speak, that leaves little\\nto be filled into the portrait, and requires no\\nfurther evidence to enable his fellow-men to\\nform their judgment. It is chiefly confirmatory\\nevidence that his letters afford presented with\\na light hand to fill in the main lines laid down\\nin hts books illustrating, developing, and rep-\\nresenting the author in a stronger light, only\\na good deal more light-hearted or more de-\\npressed and at the same time bringing into\\ngreater relief the dominating qualities of charity\\nand love which those who knew him best saw\\noftenest and esteemed highest.", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0116.jp2"}, "115": {"fulltext": "CHAPTER IX.\\nTHE POET.\\nRuskin, as has already been said, was in-\\ntended for the Church. His mother strict\\nEvangelical soul devoutly hoped that her\\nson would become a Bishop his father\\nfirmly believed he would be a poet. And\\nthough Ruskin belied both prophecies, it must\\nbe admitted that he gave ample ground for\\nthe paternal conviction. His facility in verse-\\nmaking was amazing, and from those tender\\nyears when, still a baby, he wrote the imagina-\\ntive lines beginning\\nPapa, how pretty those icicles are,\\nThat are seen so near, that are seen so far,\\nhe, in a short time, developed such fluency\\nthat few writers of verse of any age could\\nexcel him in the direction of fatal facility.\\nHis literary prose style, as we have seen, had\\nbeen founded on the Bible and Dr. Johnson,\\ntempered by Carlyle his poetic Muse was\\nnourished on Byron, guided by Wordsworth,\\nand modified by Scott. As he himself wrote in\\na tone of apology to Hogg, the Ettrick Shep-\\n10 109", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0117.jp2"}, "116": {"fulltext": "no JOHN RUSK IN.\\nherd, when but fifteen years of age I fear\\nyou are too lenient a critic, and that Mr. Mar-\\nshall is in the right when he says I have imi-\\ntated Scott and Byron. I have read Byron\\nwith wonder, and Scott with delight they have\\ncaused me* many a day-dream and night-dream,\\nand it is difficult to prevent yourself from imi-\\ntating what you admire. I can only say that\\nthe imitation was unintentional, but I fear, with\\nme, almost unavoidable. Yet, to his infinite\\ncredit, it must be confessed that he early saw\\nthat his drift into art-criticism carried him into\\nthe right stream. Nevertheless, although the\\nfeu sacre burned brightly within him, although\\nhe heard on all sides that none had written\\nsuch poetic prose as he, and although his sensi-\\ntiveness to nature and beauty was universally\\nallowed him, he soon recognised that, as with\\nLord .Lytton, poetry was to him but a will-o\\nthe-wisp to be wooed and followed, but never,\\nlike Fata Morgana, to be seized.\\nYet, though he thus tacitly admitted, while\\nyet a stripling, that verse was not the weapon\\nwith which he was to conquer the recognition\\nof the world, he made no objection to the re-\\npublication of his poems by Mr. Collingwood.\\nTheir issue, in splendid garb, with many admir-\\nable facsimiles of the Master s most beautiful\\ndrawings with pencil-point and brush, will be", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0118.jp2"}, "117": {"fulltext": "JOHN RUSKIN, 1876.\\nSKETCHED IN THE NATIONAL GALLERY BY GEORGES PILOTELLE.\\n{By permission of Mr. JVoseda, the owner of the copyright of the etching.)\\n{See p. 186.)", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0119.jp2"}, "118": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0120.jp2"}, "119": {"fulltext": "THE POET. 113\\nfresh in the memory of the reader. It might\\nbe said, and not without truth, that the pictures\\nformed the chief artistic value of the volumes\\nfor, while the poems with all their pretty\\ndaintiness and occasional power savoured a\\ngood deal of the efforts of the precocious poet,\\nthe pictures were full of richness of fancy,\\nexquisiteness of touch, and true beauty the\\nattributes of natural genius. The humour\\nwhich distinguishes his unfinished autobiog-\\nraphy, Prseterita, is often slyly pointed at his\\nyouthful indiscretions poetical and otherwise\\nbut in his Collected Poems the verses were\\nput forth with a seriousness almost a solem-\\nnity which is a little out of balance with the\\nsubject. For, while the verse-lover may smile\\nin sympathy with his dainty fancies, or fires,\\nmaybe, with noble suggestions, or nods his\\nhead gently in time to its musical cadences, the\\ncritic can but regret that a maturer judgment\\npermitted them to go forth as the poetical\\nworks of a great man, for all the exquisite\\nbeauty of their pictorial accompaniments. He\\nbrought as a sacrifice the harvest of his intel-\\nlectual wild oats to the altar of public opinion\\nbut it is doubtful if he cared for the verdict if\\nhe ever knew of it. As in other instances, his\\nshaft had missed its aim. Just as a comedian\\nyearns for recognition as an actor of tragedy,\\nh 10*", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0121.jp2"}, "120": {"fulltext": "114 JOHN RUSK IN.\\nso Ruskin ever sought for some other judgment\\nthan that which an admiring public chose to\\npass upon him. The people proclaim him an\\nart-critic, and he would be taken for a political\\neconomist the artists welcome him as a writer,\\nand he would be taken for an art-preacher;\\nMr. Tyndall respected him as a controversial-\\nist, when he would be taken for a man of\\nscience and, lastly, we find him applauded as\\nan artist when he would be taken for a poet\\nBut it must be remembered that it was from\\nhis young and hopeful heart that these poems\\nchiefly flowed, even when he set himself as he\\nonce amusingly observed in a state of mag-\\nnificent imbecility to write a tragedy on a Vene-\\ntian subject, in which Venice and love were to\\nbe described as never had been thought of be-\\nfore If, however, for no other reason than\\nthat it is the frank utterance of a young and\\ngentle spirit, his verse so sweetly, so nobly\\nconceived is to be welcomed beyond its inher-\\nent merit. And, as it fell out, his song pub-\\nlished just as he was vanishing from the world\\nbecame in truth the song of the swan", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0122.jp2"}, "121": {"fulltext": "CHAPTER X.\\nRUSKIN AND GEORGE CRUIKSHANK.\\nThere was no pleasanter phase of Ruskin s\\ncharacter, as has been already said, than his\\ncharity, delicately dispensed, especially when\\nthe recipient was worthy of his gift, and at the\\nsame time claimed his respect. An example\\nin point is Ruskin s connection with George\\nCruikshank in the artist s later days. The\\nrelation of the circumstances at an interesting\\nperiod of their connection affords a plain in-\\nstance of the generosity of Ruskin, no less\\nthan of his refusal to allow his sympathy of\\nsentiment to overcloud his faculty of criticism.\\nMany a time had Ruskin borne testimony to\\nCruikshank s genius as a designer, as well as\\nto his almost unrivalled skill and facility as an\\netcher.\\nIf ever [he wrote] you happen to meet with two vol-\\numes of Grimm s German Stories, which were illustrated\\nby George Cruikshank long ago, pounce upon them in-\\nstantly the etchings in them are the finest things, next to\\nRembrandt s, that, as far as I know, have been done since\\netching was invented.\\nAnd again\\n5", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0123.jp2"}, "122": {"fulltext": "n6 JOHN RUSKIA\\nThey are of quite sterling and admirable art, in a class\\nprecisely parallel in elevation to the character of the tales\\nthey illustrate unrivalled in masterfulness of touch\\nsince Rembrandt (in some qualities of delineation un-\\nrivalled even by him). To make somewhat enlarged copies\\nof them, looking at them through a magnifying glass, and\\nnever putting two lines where Cruikshank has put only one,\\nwould be an exercise in decision and severe drawing which\\nwould leave afterwards little to be learned in schools.\\nOf course, it is not only, or even mainly,\\nupon the Grimm plates that Cruikshank s repu-\\ntation rests as an etcher and a humorist of the\\nhighest order for in several of his caricatures\\ncoarse as many of the subjects may be\\nthere are a boldness and a freedom of compo-\\nsition and execution which are perfectly aston-\\nishing, even to the expert connoisseur in these\\nthings. But it was always the Grimm plates\\nexecuted about the year 1824 that were upper-\\nmost in Ruskin s mind. More than forty years\\nlater Ruskin conceived an idea, partly in order\\nto be of use to Cruikshank who (greatly\\nthrough his own fault, be it said) never knew\\nwhat assured prosperity meant and partly to\\nplease little children, whom he loved so well.\\nThis was to place before the little people a\\nbook of fairy-tales fairy-tales just such as they\\nshould be, and adorned with pictures exactly\\nfitting the stories. Not until he issued Dame\\nWiggins of Lee, in 1885, did he even par-", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0124.jp2"}, "123": {"fulltext": "RUSKIN AND GEORGE CRUIKSHANK. 117\\ntially fulfil his wish; but in 1866 he went to\\nconsiderable trouble to carry his object into\\nexecution. On the 27th of March he wrote to\\nhis secretary from Denmark Hill\\nHow curious all that is about the Grimm plates. I\\nwish you would ask Cruikshank whether he thinks he could\\nexecute some designs from fairy-tales of my choosing, of\\nthe same size, about, as these vignettes, and with a given\\nthickness of etching line using no fine line anywhere?\\nThe reservation was a wise one, for the\\nvigour and excellence of Cruikshank s etched\\nline had degenerated sadly as he reached mid-\\ndle life. On the 2nd of the following month,\\nfull of his new project, and fully decided in his\\nmind as to what he wanted and meant to have,\\nRuskin wrote again\\nI don t want to lose an hour in availing myself of Mr.\\nCruikshank s kindness, but I am puzzled, as I look at the\\nfairy tales within my reach, at their extreme badness. The\\nthing I shall attempt will be a small collection of the best\\nand simplest I can find, re-touched a little, with Edward s\\nhelp, and with as many vignettes as Mr. Cruikshank will\\ndo for me. One of the stories will certainly be the Pied\\nPiper of Hamelin but, I believe, in prose. I can only\\nlay hand just now on Browning s rhymed rendering of it,\\nbut that will do for the subject. I want the piper taking\\nthe children to Koppelberg Hill a nice little rout of\\nfunny little German children not too many for clearness\\nof figure and a bit of landscape with the raven opening\\nin the hillside but all simple and bright and clear with\\nbroad lines the landscape in Curdken running after his", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0125.jp2"}, "124": {"fulltext": "u8 JOHN RUSKIN.\\nHat, for instance or the superb bit with the cottage in\\nThumbling picked up by the Giant/ are done with the\\nkind of line I want and I should like the vignette as small\\nas possible, full of design and neat, not a labour of light\\nand shade.\\nI would always rather have two small vignettes than one\\nlarge one. And I will give any price that Mr. Cruikshank\\nwould like, but he must forgive me for taking so much upon\\nme as to make the thick firm line a condition, for I cannot\\nbear to see his fine hand waste itself in scratching middle\\ntints and covering mere spaces, as in the Cinderella and\\nother later works. The Peewit vignette, with the\\npeople jumping into the lake, I have always thought one\\nof the very finest things ever done in pure line. It is so\\nbold, so luminous, so intensely real, so full of humour,\\nand expression, and character to the last dot.\\nI send you my Browning marked with the subject at\\npage 315, combining one and two; and, perhaps, in the\\ndistance there might be the merest suggestion of a Town\\nCouncil 3. but I leave this wholly to Mr. Cruik-\\nshank s feeling.\\nPlease explain all this to him, for I dare not write to\\nhim these impertinences without more really heartfelt\\napology than I have time, or words, to-day to express.\\nEver affectionately yours,\\nJ. Ruskin.\\nOn the 7th of the same month Ruskin re-\\nturned to the subject\\nI was so busy and tired yesterday I couldn t write\\nanother note. That is capital and very funny about the\\nPied Piper. Your subjects are all good as good can be,\\nbut I doubt we can t afford more than one to each story,\\nand the final one is here the best. Please tell me of any\\nother stories and subjects that chance to you.", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0126.jp2"}, "125": {"fulltext": "RUSKIN AND GEORGE CRUIKSHANK. 119\\nTwo days later, with the jovial spirit of a\\nCheeryble Brother strong within him, he wrote\\nagain\\nI do not know anything that has given me so much\\npleasure for a long time as the thought of the feeling with\\nwhich Cruikshank will read this list of his committee.\\nYou re a jolly fellow you are, and I m very grateful to\\nyou, and ever affectionately yours,\\nJ. Ruskin.\\nI enclose Cruikshank s letter, which is very beautiful.\\nI think you must say ^100 (a hundred) for me.\\nAnd on the 1 6th of April he wrote\\nLetter just received so many thanks. It s delightful\\nabout Cruikshank.\\nSo, everything being settled, the artist went\\nsteadily to work, and in the month of July fol-\\nlowing, Ruskin wrote with enthusiasm\\nI can only say to-day that I m delighted about all\\nthese Cruikshank matters, and if the dear old man will do\\nanything he likes more from the old Grimms it will be\\ncapital. Edward and Morris and you and I will choose\\nthe subjects together.\\nMeanwhile he saw and became enthusiastic\\nover other work of the great etcher s, and once\\nmore wrote to his secretary, on the 2nd of\\nSeptember, to tell him so\\nI am wholly obliged to you for these Cruikshanks.\\nThe Jack Shepherd [sic] one is quite awful, and a miracle\\nof skill and command of means. The others are all splen-\\ndid in their way the morning one with the far-away street", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0127.jp2"}, "126": {"fulltext": "120 JOHN RUSK IN.\\nI like the best. The officials with the children are glorious\\ntoo withering, if one understands it. But who does, or\\never did The sense of loss and rarity of all good art\\nuntil we are better people increases in us daily.\\nA few days later he suggested\\nWouldn t Cruikshank choose himself subjects out of\\nGrimm If not, to begin with, the old soldier who has\\nlost his way in a wood, comes to a cottage with a light in\\nit shining through the trees. At its door is a witch spin-\\nning, of whom he asks lodging. She says, He must dig\\nher garden, then.\\nAt this time a missing etching was returned\\nto him, and he wrote\\nI forgot to thank you for the Cruikshank plate of\\nfairies. I lost it out of the book when I was a boy, and\\nam heartily glad to have it in again. The facsimiles are\\nmost interesting, as examples of the /^-measurably little\\nthings on which life and death depend in work a fatal\\ntruth forced on me too sharply, long ago, in my own en-\\ndeavours to engrave Turner.\\nThe facsimiles referred to here were an\\nextraordinary series of reproductions for-\\ngeries some collectors chose to declare them\\nwhich a French artist made of the Grimm\\nplates. So fine are they that it is only by one\\nor two minor points, as well as by the colour\\nof the ink in which they are printed, that the\\ndifference between the genuine plates and the\\ncopies can be detected. And this, it must be\\nremembered, was long before the means of", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0128.jp2"}, "127": {"fulltext": "RUSKIN AND GEORGE CRUIKSHANK. 121\\nphotographing a design upon copper was dis-\\ncovered. Disappointment, however, was soon\\nto follow. The plates were delivered but\\nbrought the following charming letter from Rus-\\nkin a letter as truthful in its criticism as it is\\ngentle and happy in its choice of expression\\nThe etching will not do. The dear old man has\\ndwelt on serious and frightful subjects, and cultivated his\\nconscientiousness till he has lost his humour. He may\\nstill do impressive and moral subjects, but I know by this\\ngroup of children that he can do fairy tales no more.\\nI think he might quite well do still what he would\\nfeel it more his duty to do illustrations of the misery of the\\nstreets of London. He knows that, and I would gladly\\npurchase the plates at the same price.\\nEver affectionately yours, J. Ruskin.\\nGive my dear love to Mr. Cruikshank, and say, if he\\nhad been less kind and good, his work now would have\\nbeen fitter for wayward children, but that his lessons of\\ndeeper import will be incomparably more precious if he\\ncares to do them. But he must not work while in the\\ncountry.\\nDisappointed as he was, Ruskin determined\\nthat the artist should not share his mortifica\\ntion, and on the 19th November he wrote\\nI am going to write to Rutter [Ruskin s hotnme\\nd affaires] to release Cruikshank from the payment of that\\nhundred he gave some bonds which may be useful to\\nhim, and I shall put the hundred down, as I said I would,\\nto the testimonial.\\nThe sequel of the plates is not without\\nF II", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0129.jp2"}, "128": {"fulltext": "122 JOHN RUSKIN.\\ninterest as having drawn from Ruskin a later\\ncriticism on Cruikshank s work which may fitly\\nbe recorded here. As a Cruikshank collector,\\nI was aware that the two plates of the Pied\\nPiper and -the Old Soldier had disappeared\\nfrom Ruskin s possession and having further\\nascertained that some of his late secretary s\\neffects had long before found their way to the\\nhands of various dealers, I applied myself to\\ndiscover them, if possible. By good fortune I\\nlighted upon them, nearly twenty years after\\nthey were executed and years after they were\\nlost, and I had the pleasure of placing them\\nin the possession of their rightful owner. In\\na letter acknowledging the receipt of them he\\nwrote\\nIt was precisely because Mr. Cruikshank could not re-\\nturn to the manner of the Grimm plates, but etched too\\nfinely and shaded too much, that our project came to an\\nend. I have no curiosity about the plates I\\nnever allow such things to trouble me, else I should have\\nvexation enough. There s a lovely plate of Stones of\\nVenice \u00e2\u0080\u0094folio size lost these twenty years\\nEver faithfully yours,\\nJ. Ruskin.\\nWriting a few days later, on the 21st\\nJanuary, 1884, in response to a suggestion of\\nmine that his latest criticism on Cruikshank\\nmight be interesting to the public, he wrote", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0130.jp2"}, "129": {"fulltext": "RUSKIN AND GEORGE CRUIKSHANK. 123\\nIt is a pleasure to me to answer your obliging letter\\nwith full permission to use my note on Cruikshank in any\\nway you wish, and to add, if you care to do so, the expres-\\nsion of my perpetually increasing wonder at the fixed love\\nof ugliness in the British soul which renders the collective\\nworks of three of our greatest men Hogarth, Bewick,\\nand Cruikshank totally unfit for the sight of women and\\nchildren, and fitter for the furniture of gaols and pigstyes\\nthan of the houses of gentlemen and gentlewomen.\\nIn Cruikshank the disease was connected with his\\nincapacity of colour but Hogarth and Bewick could both\\npaint.\\nIt may be noticed in connection with the matter that\\nGothic grotesque sculpture is far more brutal in England\\nthan among the rudest continental nations and the singu-\\nlar point of distraction is that such ugliness on the Conti-\\nnent is only used with definitely vicious intent by de-\\ngraded artists but with us it seems the main amusement\\nof the virtuous ones\\nEver faithfully yours,\\nJ. RUSKIN.\\nThere can be no doubt that Ruskin s con-\\ndemnation of the ugliness or extreme impro-\\npriety in some of the works of the artists\\nhe named is entirely just. But that must be\\nborne in mind which Ruskin, in his impatience\\nof everything that was vile or ugly, unfairly\\nignored that the works he denounces were\\nproduced, with all their coarseness and vulgarity\\nof sentiment and colour, to suit the taste and\\nsatisfy the demand of our great-grandfathers,\\nwith whom grossness often passed for wit and", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0131.jp2"}, "130": {"fulltext": "124 JOHN RUSK IN.\\nextravagance for humour and that it was their\\nvery aptitude for distortion and for investing\\ntheir subject with brutality which enabled\\nsuch lesser lights as Williams, Woodward, and\\nBunbury to take equal rank in our ancestors\\nestimation with giants such as Gillray, Row-\\nlandson, and the inimitable George Cruik-\\nshank.", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0132.jp2"}, "131": {"fulltext": "CHAPTER XL\\nBRANTWOOD.\\nBrantwood, the chosen lake-side home of\\nRuskin during the last quarter-century of his\\nlife, occupies one of the most favoured spots in\\nall England. Set in the background of a half-\\nencircling wood of exquisite grace and mystic\\nbeauty, as seen in the green half-light of its\\ntranquil shade, and protected from the east\\nwinds by the open moorland that stretches away\\nstill further to the rear, it faces a long slope of\\nlawn that sweeps down to Coniston Waters\\nedge.\\nBehind the moor, with the water of its\\noverflowing wells running swiftly down the\\nrocks with all the fuss of a real cascade and\\nthe exalted rock of Naboth, rising on the\\noutskirts of the estate, which Ruskin loved to\\nclimb that he might gaze upon a wider view\\nand then, still higher, the great expanse of green\\nand purple moor which game-birds haunt down\\nto the very limits of the wood itself. And at\\nits foot the fishing pond and the soft green turf\\nof the natural amphitheatre.\\nii* 125", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0133.jp2"}, "132": {"fulltext": "126 JOHN RUSK IN.\\nIn front the narrow lake, sparkling in the\\nsun and blue as the waters of the Rhone or of\\nThun, or grey and ruffling to the breeze that\\nsweeps swiftly across the lake, tossing Mr.\\nSevern s sailing boats as they lie at anchor\\nclose by the little creek, or thwarting them and\\ntheir skipper as they seek their moorings on a\\nsqually day. Then the rising banks beyond oi\\nbroken green, with white-faced houses blinking\\nbehind their trees, and the quiet, grey village\\nnestling away to the right and the Old Man\\nof Coniston himself, towering above the smaller\\nhills that close like guards around his knees.\\nTo the left, the road that skirts the shore\\nloses itself quickly among the trees but the\\nfull length of the lake itself is seen away down\\nto where the water gleams beyond Peel Island\\nfive miles and more away.\\nUpon such a view, with its range of hills\\ndraped in hanging cloud and clinging mists, or\\nclear cut against the summer sky, would Rus-\\nkin stand and gaze, peering beneath his hand\\nwhen the light was strong, many times a day\\nnever tiring of the ever-changing scene, and\\nfinding in it a reminiscence of his beloved Alps,\\nand deriving real consolation when his days of\\ntravel were complete.\\nIn the midst of this land of delight Brant-\\nwood stands, once the house of Mr. W. J.", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0134.jp2"}, "133": {"fulltext": "", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0135.jp2"}, "134": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0136.jp2"}, "135": {"fulltext": "BRANTWOOD. 129\\nLinton, the great wood-engraver. How Ruskin\\nacquired it, he has himself amusingly told:\\nThen Brantwood was offered me, which I\\nbought, without seeing it, for fifteen hundred\\npounds (the fact being that I have no time to\\nsee things, and must decide at a guess, or not\\nact at all). Then the house at Brantwood a\\nmere shed of rotten timber and loose stone had\\nto be furnished. The repairs also prov-\\ning worse than complete rebuilding. I\\ngot myself at last seated at my tea-table, one\\nsummer, with my view of the lake for a net\\nfour thousand pounds all told. I afterwards\\nbuilt a lodge, nearly as big as the house, for a\\nmarried servant, and cut and terraced a kitchen\\ngarden cut out of the steep wood another\\ntwo thousand transforming themselves thus\\ninto utilities embodied in material objects.\\nSo that he estimated the value in 1877 at five\\nthousand pounds. But since then Brantwood,\\nwith its new buildings, has grown steadily up\\nthe hill, and wells have been sunk and the\\nplace improved with new rooms south and\\nnorth and east, until it distinctly rambles,\\ncomfortably and cheerfully, more than ever it\\nrambled before.\\nEntering from the private road, which after-\\nwards disappears through an archway beneath\\nthe house and the outbuildings, the visitor finds", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0137.jp2"}, "136": {"fulltext": "130 JOHN RUSK IN.\\nhimself in a square hall, remarkable chiefly\\nfor being hung with cartoon-drawings by Mr.\\nBurne-Jones, and other pictures besides. On\\nthe left lies the old dining-room, where visi-\\ntors were permitted to smoke after the Pro-\\nfessor had retired for the night; in front the\\npassage leading to the large dining-room\\nspecially constructed with a great number of\\nwindows for the sake of the view on the walls\\nof which hang those portraits of Ruskin by\\nNorthcote, to which reference will be made\\nlater on. Here also are the portraits of Rus-\\nkin s parents by the same artist, that of the\\nfather being incontestably the finer of the two\\nand above the fireplace that splendid Titian,\\nA Doge of Venice, which played the promi-\\nnent part of dumb witness in the trial of\\nWhistler versus Ruskin and beside it a\\nmost interesting autographic portrait of Turner,\\nduly inscribed sua manu and wrought, with all\\nits delightful errors of draughtsmanship, when\\nthe artist was but sixteen years of age.\\nDoubling sharply to the right after entering the\\nstreet door is the drawing-room. Bookcases\\nfull of best editions of the best books his\\nown and others and displaying notable bind-\\nings, stand against the walls, Scott s novels and\\nhistorical and critical works in quite a variety\\nof sizes appearing to preponderate. Charac-", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0138.jp2"}, "137": {"fulltext": "PBHH\\nl^F\\n.Bp^\\nk^ %Bfar\\n\u00e2\u0096\u00a0BET* v^\\nIk\\nivj^H\\n1\\nJOHN RUSKIN, 1877.\\nFROM THE BUST BY BENJAMIN CRESWICK.\\n(See p. 188.)", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0139.jp2"}, "138": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0140.jp2"}, "139": {"fulltext": "BRANTWOOD. 133\\nteristically enough, one edition of his works\\ndoes not bear the surname upon their richly-\\nbound backs, but Sir Walter only 3 suggest-\\ning the familiar reverence in which Ruskin\\nheld the author whose every word, he in-\\nsisted, should be included among the Hun-\\ndred Best Books. Exquisite examples of\\nProut s pencil drawings, of Burne-Jones Fair\\nRosamund and of Ruskin s own beautiful\\nstudies of the interior of St. Mark s at Venice\\none of them, perhaps, the most important of\\nall his artistic productions, together with his\\ncopy of Botticelli s Zipporah adorn the\\nwalls as well. Cases of shells in infinite\\nvariety, of great rarity and equal beauty, and\\na few minerals of various formation reveal that\\nother side of Ruskin s taste and knowledge\\nwhich those forget who thought and talked of\\nhim only as an art-critic. On the mantelpiece\\nare superb examples of cloisonne enamel, whose\\nrich blue rivals the colour of the finest products\\nof Nankin. And all around are books and\\nornaments which the connoisseur must seek\\nout and appreciate for himself, for they are not\\ndisplayed or thrust forward as is commonly\\nthe case in treasure-houses such as this.\\nAnd they serve, perhaps, to emphasize the fact\\n\u00e2\u0080\u0094so remarkable and striking at first that the\\nfurniture throughout the house has no flavour", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0141.jp2"}, "140": {"fulltext": "134 JOHN RUSK IN\\nno taint, I should say of high art/ No\\nparticular attempt is made at artistic beauty\\nno spindle-legs make proclamation of culture,\\nnor Morris-paper of aesthetics. The furni-\\nture, for the most part, belonged to Mr. Ruskin\\npere and, sound and solid as the day it was\\nmade, seeming to bear its date of 1817\\ncarved on its face as the year of its creation.\\nBeside the drawing-room and, like it, over-\\nlooking the lake is the study, where so many\\nhappy working hours of the Professor were\\npassed. Here, about him, were many of his\\nmost loved possessions. Beside the doorway\\nstands his great terrestrial globe above it, and\\nflanking the door on either hand, several fine\\nTurner water-colours. On the right, at the end\\nof the room, is the fireplace, and above it a\\nMadonna and Child, one of the most exquisite\\nexamples of the faience of Lucca della Robbia,\\nfashioned by the Master s own hand, and ab-\\nsolutely perfect, as Ruskin said the first time I\\nsaw it. Here, beside the hearth and next to the\\nwindow, was the Professor s favourite corner.\\nHere he would sit in his old-fashioned, high-\\nbacked chair, with a small table before him, on\\nwhich he would have a couple of books or so,\\nor his writing materials, and always glasses of\\nflowers and from them he would ever and\\nagain raise his eyes and gaze wistfully or in ad-", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0142.jp2"}, "141": {"fulltext": "", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0143.jp2"}, "142": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0144.jp2"}, "143": {"fulltext": "BRANTWOOD. 137\\nmiration over the lake or at the varying skies,\\nwhich, as he once said, I keep bottled like\\nmy father s sherries. Bookcases abound, and\\npresses and cabinets. In the first low press\\nstretching across the room is that wonderful\\ncollection of Turner drawings too precious to\\nbe allowed to hang upon the walls. Framed\\nand hermetically sealed, they are slid upright\\ninto grooves as plates are slid into the rack by\\nthe scullery-maid. Further on is the writing-\\ndesk proper, and behind it that wonderful huge\\npress that holds half the lions of Brantwood.\\nBelow are the mineral-cabinets. One series of\\ndrawers contains nothing but opals. Pulling\\nout one in which lumps of stone, veined or\\nplastered with large masses of dark-blue opal,\\nThere said the Professor, never before, I\\nverily believe, have such gigantic pieces of opal\\nbeen seen certainly not pieces that possess\\nthat lovely colour. I m very strong in stones,\\nhe went on, and this collection of agates is\\nthe finest in the kingdom/ In another series\\nare the crystals, and in yet another rich speci-\\nmens of gold in every condition in which it has\\nbeen found and so forth and so forth through-\\nout the whole extent of the great nest of\\ndrawers.\\nAbove is a collection, almost unmatched, of\\nsplendid books and manuscripts of all periods,\\n12*", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0145.jp2"}, "144": {"fulltext": "138 JOHN RUSK IN.\\nof special interest on their own account, and\\nsometimes on that of previous possessors. The\\nengrossed mss. of the tenth, twelfth, and thir-\\nteenth centuries are of exceptional beauty.\\nI know of no stronger proof of the healthy\\ncondition of the Church at that time, said\\nRuskin, as he showed me the books with pride,\\nfingering them with loving familiarity, yet some-\\ntimes, I thought, with a sort of easy indifference,\\nthan the evidence of these books, when they\\nused to write their psalm-books so beautifully\\nand play with their initial letters so freely and\\nartistically. Of course, the faces in all such\\nmanuscripts are very badly drawn, because the\\nilluminators were sculptors rather than artists,\\nin our sense of the word.\\nTranscending in interest all the more modern\\nvolumes are the original Scott manuscripts\\nof several of the Waverley Novels of The\\nFortunes of Nigel, The Black Dwarf,\\nWoodstock, St. Ronan s Well, and Pev-\\neril of the Peak. I think, he said, taking\\ndown one of these well-cared-for volumes,\\nthat the most precious of all is this. It is\\nWoodstock. Scott was writing this book\\nwhen the news of his ruin came upon him.\\nHe was about here, where I have opened it.\\nDo you see the beautiful handwriting Now\\nlook, as I turn over the pages towards the end.", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0146.jp2"}, "145": {"fulltext": "BRANTWOOD. 139\\nIs the writing one jot less beautiful Are there\\nmore erasures than before? That assuredly\\nshows how a man can, and should, bear adver-\\nsity. For these mss., as for the quintessence of\\nScott himself, Ruskin had the profoundest rever-\\nence and love, and he was ever on the watch to\\nincrease his collection. One occasion that did\\narise became a very sore recollection to him, for\\nleaving an unrestricted, but presumably discre-\\ntionary, limit with his friend and bookseller,\\nMr. F. S. Ellis, he was doomed to disappoint-\\nment as an ultra-fancy price was reached.\\nI ve been speechless with indignation, he\\nwrote to him, since you let go that Guy\\nMannering ms. And again, later on What\\non earth do you go missing chance after chance\\nlike that for I d rather have lost a catch at\\ncricket than that St. Ronan s. Seri-\\nously, my dear Ellis, I do want you to secure\\nevery Scott manuscript that comes into the\\nmarket. Carte blanche as to price I can trust\\nyour honour; and you may trust, believe me,\\nmy solvency. But the St. Ronan s was not\\nlost for good, for in due time it became one\\nof the five Scott mss. in the famous study at\\nBrantwood.\\nThe first floor is ieached by a stairway\\nparallel with the dining-room passage. Its walls\\nare hung as are most of the rooms and cor-", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0147.jp2"}, "146": {"fulltext": "140 JOHN RUSK IN.\\nridors\u00e2\u0080\u0094 with pictures and drawings of great\\ninterest a noble canvas, unfinished, by Tin-\\nto ret, and drawings by Prout, Ruskin (one in\\nparticular yery Proutish), and others. Above\\nthe study is the guest-room, known as the\\nturret- room, with its Turners and its Prouts,\\nand especially delightful for the look-out it\\naffords round three points of the compass by\\nday, and by night for the splendid view of the\\nstarlit sky. At the other end of the corridor is\\nthe room, situated over the drawing-room, of\\nMr. and Mrs. Arthur Severn, and between the\\ntwo the bedroom occupied by the Professor.\\nSo small, so unassuming, one would say it was\\nthe least important in the house. In front of\\nits single window, which lights it well, stands\\nthe low table on the left wall a bookcase with\\nits precious volumes and missals one of which,\\nI believe, belonged to Sir Thomas More and\\non the right the wash-hand-stand, the fireplace,\\nand the little wooden bedstead. The last-\\nnamed, with the doorway, occupies nearly the\\nwhole wall facing the window and the little\\nroom, as a whole, with its plain furniture and\\nplainer chintz, seems rather the retreat of an\\nanchorite than the sanctum sanctorum of the\\nman whose taste was unsurpassed in England,\\nand whose love of beauty and daintiness was\\nkeen and insatiable. But it is in the wonderful", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0148.jp2"}, "147": {"fulltext": "", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0149.jp2"}, "148": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0150.jp2"}, "149": {"fulltext": "BRANTWOOU 143\\nTurners which paper the room that its glory\\nlies drawings, every one a masterpiece, that\\nso glow in their white mounts and frames of\\ngold with all the colour and fancy and exquisite-\\nness of touch and the magic of distance, that\\nthey have long been famous in the land.\\nLook around at them, said Ruskin, with-\\nout a shadow of the enthusiasm of the collector,\\nbut with the quiet confidence of the connois-\\nseur, when he took me up for the first time to\\nhis bedroom to act the showman to his treas-\\nures. There are twenty of Turner s most\\nhighly-finished water-colours, representing his\\nwhole career, from this one, when he was quite\\na boy, to that one, which he executed for me.\\nThere is not one of them which is not perfect\\nin every respect. Now here is what is proba-\\nbly the most beautiful painting that William\\nHunt ever did, and it hangs among the Turners\\nlike a brooch with that drawing of my father s\\nabove it. I hold this to be the finest collection\\nof perfect Turner drawings in existence, with\\nperhaps a single exception.\\nAt right angles to the principal corridor runs\\nanother which leads to the newer portions of\\nthe house to the rooms of the younger mem-\\nbers of the family, to the schoolroom of the\\nlittle ones, with its window built out for the\\nview s sake, to Mr. Arthur Severn s large", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0151.jp2"}, "150": {"fulltext": "144 JOHN RUSKIN.\\nstudio and the greater play-room. Thence ac-\\ncess most easily had to that lodge which Ruskin\\nbuilt in the grounds, nearly as big as the\\nhouse for a married servant, and which later\\ncontained Miss Severn s own little temple of\\nease. And about the whole place there is that\\nair of prosperity and comfort and taste, though\\nnot of luxury nor display, which might be ex-\\npected in such a home an air of peace, happi-\\nness, and bright contentment, of artistic and\\nintellectual activity.", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0152.jp2"}, "151": {"fulltext": "CHAPTER XII.\\nTHE ANGEL IN THE HOUSE.\\nTo Ruskin s love of feminine society, and\\nhis profound respect and admiration for the\\nsex, justice has already been done. But al-\\nthough he knew well many of the most distin-\\nguished and accomplished women of the day,\\nit was in his own home that Ruskin found the\\ntruest sympathy, the warmest affection, and,\\nperhaps, the most efficient aid in the person\\nof his cousin and adopted daughter, Mrs.\\nArthur Severn. It was in 1864, a month\\nafter old Mr. Ruskin died, that that lady\\nfirst shed her gentle light upon his house-\\nhold, and soon became, what she ever con-\\ntinued to be, his Angel in the House. How\\nhis mother yearned for companionship after\\nher husband s death, and how she provi-\\ndentially secured the affection and the society\\nof her little kinswoman Joan Agnew Ruskin\\nhas himself told with equal simplicity and grace\\nin that last chapter of Praeterita gratefully\\ndevoted to Joanna s Care. I had a notion\\nshe would be nice, and saw at once that she\\ng k 13 145", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0153.jp2"}, "152": {"fulltext": "146 JOHN RUSKIN.\\nwas entirely nice, both in my mother s way and\\nmine being seventeen years old. And I very\\nthankfully took her hand out of her uncle s and\\nreceived her in trust, saying I do not remem-\\nber just what. And later he continues:\\nNor virtually have she and I ever parted\\nsince. I do not care to count how long it is\\nsince her marriage to Arthur Severn, only I\\nthink her a great deal prettier now than I did\\nthen but other people thought her extremely\\npretty then, and I am certain that everybody\\nfelt the guileless and melodious sweetness of\\nthe face. And he goes on to describe how,\\nalmost on our threshold, her first conquest\\nwas made, for Carlyle rode up the front garden\\nand stayed the whole afternoon, and dined;\\nand, later on, paid some very pretty com-\\npliments to the account of Miss Joan Ruskin\\nAgnew.\\nNo memoir of Ruskin. however brief, can\\nomit mention of the influence for good that\\nMrs. Severn exercised upon Ruskin s life.\\nShe had gone to stay with Mrs. Ruskin at\\nDenmark Hill for seven days, while Ruskin\\nwent to Bradford and stayed for seven years.\\nAnd when her kinswoman died it was with one\\nhand in hers, while the son held the other.\\nNot only did she bring lightness into the house,\\nand filled the character of Dame Durden as", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0154.jp2"}, "153": {"fulltext": "THE ANGEL IN THE HOUSE. 147\\ndelightfully and as satisfactorily as ever Miss\\nEsther Summerson did for Mr. Jarndyce, but\\nshe helped the Professor in his mineralogical\\nstudies and arrangements. She led him as he\\nhimself has admitted to a fuller understanding\\nof his beloved Scott and of Scottish genius and\\nshe widened his knowledge and appreciation of\\nmusic.\\nIt was with great glee, and with full sense of\\npaternal responsibility, that just two years after\\nher arrival under his mother s roof Ruskin\\nundertook to pilot Lady Trevelyan, her niece\\nMiss Constance Hilliard and his own charge\\nMiss Agnew\u00e2\u0080\u0094 for a voyage through Italy.\\nConstance Hilliard, wrote Ruskin she be-\\ncame Mrs. W. H. Churchill later nine years\\nold when I first saw her there, glittered about\\nthe place in an extremely quaint and witty way,\\nand took to me a little, like her aunt. After-\\nwards her mother and she became\\nimportant among my feminine friendships.\\nAnd so it fell out that Ruskin undertook to\\ntravel with them to Italy but the war between\\nPrussia and Austria fell out, too, and the plans\\nhad to be radically altered. Concerning this\\njourney and annotating it, are a number of\\nRuskin s letters to his private secretary which\\nlie before me as I write and from them I\\nquote some of the most interesting passages.", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0155.jp2"}, "154": {"fulltext": "148 JOHN RUSKIN.\\nThe tour had been carefully mapped out. The\\ntravellers left in the last week of April, 1866,\\nand the first letter is as follows\\nParis, 27th April, 1866.\\nWe are getting on nicely. My address will be, Poste\\nRestante, Vevay, Canton Vaud, Suisse. Send me as little\\nas you possibly can. Tie up the knocker say I m sick\\nI m dead. (Flattering and love-letters, please, in any\\nattainable quantity. Nothing else.) Necessary business in\\nyour own words, if possible, shortly, as you would if I was\\nreally paralytic, or broken-ribbed, or anything else dread-\\nful. And after all explanation and abbreviation don t ex-\\npect any answer till I come back. But, in fact, I ve a fair\\nappetite for one dinner a day my cousin likes two, but I\\nonly carve at one of them. Tell Ned this. The Conti-\\nnent is quite ghastly in unspeakable degradations and\\nill-omened ness of ignoble vice everywhere.\\nThen Lady Trevelyan, the ill-fated com-\\npanion of their journey, fell ill and detained\\nthem, first in Paris and again in Neufchatel,\\nwhence, on the 1 3th of May, there came\\nI am entirely occupied to-day by the too probably\\nmortal illness of one of the friends I am travelling with,\\nbut I may be yet more painfully so to-morrow. Please\\npost enclosed, and say to everybody whom it may concern\\nthat that portrait of Mr. Mawkes is unquestionably Turner\\nby himself, and, on the whole, the most interesting one I\\nknow. I gave Mr. Mawkes a letter to this effect six\\nmonths ago, or more.\\nFour days later Ruskin wrote the news of\\nLady Trevelyan s death, which, together with", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0156.jp2"}, "155": {"fulltext": "MRS. ARTHUR (JOAN RUSKIN) SEVERN.\\nFROM THE PORTRAIT IN COLOURED CHALK BY JOSEPH SEVERN.", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0157.jp2"}, "156": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0158.jp2"}, "157": {"fulltext": "THE ANGEL IN THE HOUSE. 151\\nthe war in Italy, would probably alter all his\\nplans. Then a move was made to Thun and\\nfrom the lake-side Ruskin wrote the following\\ncharacteristic note\\nThun, 21st May.\\nI ve had a rather bad time of it at Neufchatel, what\\nwith Death and the North Wind both Devil s inventions,\\nas far as I can make out but things are looking a little\\nbetter now, and I have had a lovely three hours walk by\\nthe lake shore, in cloudless calm, from five to eight this\\nmorning, under hawthorn and chestnut here just in full\\nblossom, and among other pleasantnesses too good for\\nmortals, as the North Wind and the rest of it are too bad.\\nWe don t deserve either such blessing or cursing, it seems\\nto poor moth me.\\nInterlaken was the next place of sojourn.\\nOn the 26th May Ruskin wrote\\nAll you ve done is right, except sending Mr. Henry\\nVaughan about his business. He is a great Turner man.\\nPlease write to him that he would be welcome to see any-\\nthing of mine, but I would rather show them to him my-\\nself. Also, don t take people to Denmark Hill, as it would\\nmake my mother nervous. I m pretty well; my two\\nducklings all right.\\nFour days later he writes from the same\\nplace\\nI have answered the Vice Chancellor, saying I ll come\\nafter the long vacation. If I ought to come before he\\nmust tell me by a line to Denmark Hill. I have\\nhad long letters to write to Lady Trevelyan s sister, and\\nI m much tired. Joan is well and Constance, and there s\\nno one else in the inn just now, and the noise they make", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0159.jp2"}, "158": {"fulltext": "152 JOHN RUSK IN.\\nin the passages is something I was going to say unheard\\nof/ but that s not quite the expression.\\nAnother letter from Interlaken, in which he\\nsays: I am pretty well, much as usual; fresh\\nair seems to do me little good, and foul little\\nharm and another from Meyringen announces\\nthe arrival of the party at Lucerne, whence he\\nwrites delightedly, on Friday, 22nd June:\\nThat nice, quiet Miss Hilliard was dancing quad-\\nrilles with an imaginary partner (a pine branch I had\\nbrought in to teach her botany with all round the\\nbreakfast table so long yesterday morning that I couldn t\\nget my letters written, and am all behind to-day in conse-\\nquence. I ve got Georgie s letter. I m too good-\\nfor-nothing to answer such divine things.\\nBusiness communications followed from\\nSchaffhausen and Berne, chiefly with regard\\nto a certain wandering letter which was start-\\ning in pursuit of me to Interlaken and thence-\\nforward. It will catch me at Vevay at last, I\\nbelieve, after making its own Swiss tour. And\\nthe writer continues I am sadly tired dis-\\ngusted with the war and all things. I have\\nbeen very anxious about the two children since\\nI was left alone with them, but it would have\\ndisappointed them too cruelly to bring them\\nhome at once.\\nThe 4th of July found Ruskin and his\\nducklings at Geneva, whence he wrote", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0160.jp2"}, "159": {"fulltext": "JOHN RUSKIN, 1880.\\nFROM THE BUST BY SIR EDGAR BOEHM, BART., R.A.\\n{See j /go.)", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0161.jp2"}, "160": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0162.jp2"}, "161": {"fulltext": "THE ANGEL IN THE HOUSE. 155\\nMy little daisy Miss Hilliard is wild to-day about\\njewellers shops, but not so wild as to have no love to\\nsend you. So here you have it, and some from the other\\none, too, though she s rather worse than the little one,\\nbecause of a new bracelet. They ve been behaving pretty\\nwell lately, and only broke a chair nearly in two this\\nmorning running after each other.\\nReturning by way of Interlaken, Mr. Ruskin\\nand his wards came back to Denmark Hill,\\nafter an absence of about three months, while\\nthe great war was proceeding and preventing\\nthem from reaching Italy but the time, as may\\nbe seen in Praeterita, was occupied by a\\njourney of such delight that Mrs. Severn has\\ndeclared that it was one of the most pleasurable\\nmemories of her youthful days.\\nIt was in 1870 that Miss Agnew was married\\nto Mr. Arthur Severn, the eminent water-colour\\npainter, and became the Joan Ruskin Severn\\nwhose name is so closely linked with that of\\nthe Professor as his most trusted friend and\\ncounsellor, and the cheerful companion and\\nguardian of his age. He always rejoiced in\\nher company, and when he chanced to be ab-\\nsent for a brief time he would send her daily\\nletters of cheery import and the delight with\\nwhich he watched her family grow up around\\nhim (for he would not spare her even when she\\nwas married especially when she was married)\\nequalled the pleasure he found in the friend-", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0163.jp2"}, "162": {"fulltext": "156 JOHN RUSK IN.\\nship of her husband. But to the last, I think,\\nhe was always a little regretful that, although\\nshe had married the husband whom he wel-\\ncomed cordially as the companion best fitted\\nfor his darling, he could not overbear the\\nindividuality of the artist to the point of making\\nhim in all respects a true disciple of the\\nRuskinian theory of painting.", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0164.jp2"}, "163": {"fulltext": "V\\nCHAPTER XIII.\\nHOME-LIFE AT CONISTON.\\nBut for the occasional access of illness in\\nhis later years, and the periodical intrusion of\\nworrying attacks or harassing troubles as the\\nsound of battle murmurs from afar, though\\nsometimes, too, of persecution nearer home\\nthe life of Ruskin in his retreat at Coniston\\nwas one of sweet peace and luxurious quiet.\\nHe lived, in a measure, by rote, ordering his\\nlife carefully both the time for work and the\\ntime for leisure.\\nNever, indeed, was man more methodical in\\nhis work than Ruskin, nor more precise and\\nregular in obedience to the rules he laid down\\nfor h s guidance. From first to last his work-\\ning hours were from seven in the morning till\\nnoon, and for no consideration would he ex-\\nceed his limit. Within those five daily hours\\nall his work was produced not only his books,\\nbut his business and private correspondence.\\nWork in the afternoon was by himself for-\\nbidden, unless it took the form of reading, and\\nnever under any circumstances, save in the ex-\\ntremely exceptional case of an important note,\\n14 157", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0165.jp2"}, "164": {"fulltext": "158 JOHN RUSK IN.\\nwould he write letters in the evening. On one\\noccasion, at a time when he was busily engaged\\nupon one of his books, he wrote to a gentleman\\nwho afterwards became his confidential secre-\\ntary for ar time\\nlam ashamed of myself when I look at the date of\\nyour letter, but it arrived when I was far from well and in\\na press of work, and as I had only to answer with sincere\\nthanks and I find my gratitude will always keep I put\\noff replying till I am ashamed to reply.\\nAnd nine years later, in May, 1865, writing\\nto the same person, who was now about to\\nenter on his secretarial duties and occupy the\\nposition of friendship he afterwards forfeited,\\nhe wrote\\nI could not even read your letter last night. I was at\\ndinner, and I never answer or read letters after business\\nhours I never see anybody my best friends but by\\npre-engagement. Ask the Rossetti s or anyone else who\\nknows me. I can t do it, having my poor, little, weak\\nhead and body divided enough by my day s work. But do\\nnot the less think me ever faithfully yours.\\nThose only who saw Ruskin at home can\\nclaim properly to have known him. There\\nwithin his own atrium was little sign of the\\ndogmatism that characterised his appearance\\nin the lecture-room, or the shyness that so\\noften attended him in the drawing-room of\\nsociety and touched his deportment with a sus-", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0166.jp2"}, "165": {"fulltext": "HOME-LIFE AT CONISTON. 159\\npicion of gatickene. Writing of him in 1855,\\nJames Smetham said I wish I could re-\\nproduce a good impression of John for you,\\nto give you the notion of his perfect gentle-\\nness and lowliness. He is different at\\nhome from that which he is in a lecture be-\\nfore a mixed audience, and there is a spiritual\\nsweetness in the half-timid expression of his\\neyes. As he was in 1855 so he was in 1893:\\nkeen in respect to every subject which he dis-\\ncussed, modest in respect to those in which he\\nthought his interlocutor the better versed, and\\nuncompromisingly emphatic when well upon\\nhis own ground. Old Mrs. Ruskin, said\\nSmetham, puts John down, and holds her\\nown opinions, and flatly contradicts him and\\nhe receives all her opinions with a soft rever-\\nence and gentleness that is pleasant to wit-\\nness. And so he remained to the end\\nopinionated, undoubtedly, as he had a right\\nto be, but gentle and considerate with his\\nfriends, as he had before been filially rever-\\nential to his mother.\\nWith his life at Denmark Hill, Ruskin made\\nthe world sufficiently acquainted in his writings.\\nAt Brantwood his life was necessarily of a\\nmore tranquil order, and, perhaps, more in\\naccordance with the habits of a country squire.\\nIn weather that was too fine and lovely to", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0167.jp2"}, "166": {"fulltext": "160 JOHN RUSK IN.\\nthink of rascals in, as he wrote to me once\\napropos of certain artistic troubles that were\\nbrewing in London, he would climb the hills\\nor walk along the lake-side, wander over the\\nmoor or cut away the underwood or he\\nwould romp with Mrs. Severn s youngest\\nchildren, or play cricket (more properly\\nbattledore and shuttlecock) with the elder\\nones. For cricket, indeed, Di Pa (as he\\nwas fondly love-named) was in great request;\\nbut, in truth, he was no great hand at the\\nsport, and his protest to Mr. Ellis that he\\nwould rather have missed a catch at cricket\\nthan that Scott manuscript must be taken\\nrather as a bit of humorous self-criticism than\\nas serious judgment of his powers at the game.\\nHe was a tireless walker, and almost to the\\nlast he would ramble for hours during the day,\\nattended by his valet, Baxter, or leaning on\\nMrs. Severn s arm, when the weather per-\\nmitted, and the keen air threatened him with\\nneither neuralgia nor chilblains.\\nUntil the latter years of his life he loved\\nto read Scott in the evening, and the family\\nwas expected to sit round and listen while\\nhe rendered one or other of the Waverley\\nNovels with that completeness of realisation\\nthat few could equal. He would modify his\\nvoice for the various characters, and would", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0168.jp2"}, "167": {"fulltext": "HOME-LIFE AT CONISTON. 161\\nrevel in the Scottish accent, which he gave to\\nperfection. As age began to tell upon him\\nhe would sometimes drop asleep for a moment\\nor two in the middle of a chapter; but on\\nawaking with a guilty start he would neverthe-\\nless continue the appointed reading just as if\\nnothing had happened.\\nOn the occasion of the visit to which I have\\nbefore referred, the Scott-reading days were\\nover. Ruskin no longer took his meals with\\nthe family, but alone in his study partly be-\\ncause, in accordance with the doctor s mandate,\\nhe ate very slowly, and partly because he found\\nthat the lively interest he took in the conversa-\\ntion had a deleterious effect upon his digestive\\nprocesses. He would take an early breakfast\\nin bed, comfortably propped by pillows and\\nwarmly wrapped in his dressing-gown, down\\nthe front of which his grey beard flowed with\\npatriarchal dignity. He would then dress and\\ndescend to the study, when, after another break-\\nfast, he would go out until a half-hour before\\nluncheon time. Then, after resting for a time,\\nhe would sally forth again and, on returning, he\\nwould sit and think, or read. In the course of\\nreading he would often annotate a book and I\\nremember the amusement with which it was re-\\nmarked that an author s declaration of what he\\ncould plainly see had called forth a marginal\\n14*", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0169.jp2"}, "168": {"fulltext": "162 JOHN RUSKIN.\\nnote of you owl After dinner the Professor\\nor Coz, as he was usually spoken of by Mrs.\\nSevern in her own house would come into the\\ndrawing-room and ensconce himself in his chair,\\nwith that back-cuddling posture that was\\npeculiar to him. Then, as he sipped at his cup\\nof coffee, and afterwards at his glass of port,\\nthe chess-table was brought out, and the Pro-\\nfessor and Mr. Arthur Severn, or the visitor,\\nwould settle down to a game. For, as it has been\\nsaid, Ruskin passionately loved a game of chess.\\nHe had been a master of it, and played with\\ngreat rapidity and considerable brilliancy. At\\none time he was a constant visitor to the Mas-\\nkelyne and Cooke entertainment, where on at\\nleast one occasion he took a hand in the rubber\\nwith Psycho and whenever a new chess-\\nplaying automaton made a public appearance\\nhe would endeavour to try conclusions with it.\\nIndeed, it was a matter of pride to him that he\\nhad obtained more than one victory over the\\nfamous player, Mephisto, at the time when\\nit was performing at the Crystal Palace with\\nconsiderable eclat.\\nTowards the end of his life he would rather\\nlisten than talk, and was readier to be amused\\nthan to amuse. Nevertheless he entered keenly\\ninto the subject of conversation, and his blue\\neyes flashed intelligence even when he preferred", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0170.jp2"}, "169": {"fulltext": "HOME-LIFE AT CONISTON. 163\\nto maintain silence. Yet he would talk, and\\ntalk well, if the humour took him. Thus, on\\nthe last evening of my latest visit he was, I re-\\nmember well, more than usually conversational,\\nand in his brightest humour. The subject of\\nbirds was mooted, and then he fell a-thinking.\\nAh he said, with his quaint-sounding r-less\\narticulation, I have made a great mistake.\\nI have wasted my life with mineralogy, which\\nhas led to nothing. Had I devoted myself to\\nbirds, their life and plumage, I might have pro-\\nduced something worth doing. If I could only\\nhave seen a humming-bird fly, he went on with\\na wistful smile, it would have been an epoch\\nin my life Just think what a happy life Mr.\\nGould s must have been what a happy life\\nThink what he saw and what he painted. I once\\npainted with the utmost joy a complete drawing\\nof a pheasant complete with all its patterns,\\nand the markings of every feather, in all its\\nparticulars and details accurate. It seems to me\\nan entirely wonderful thing that the Greeks,\\nafter creating such a play as The Birds, never\\nwent further in the production of any scientific\\nresult. You remember that perfectly beautiful\\npicture of Millais The Ornithologist the\\nold man with his birds around him one of the\\nmost pathetic pictures of modern times. And\\nthus he talked on during the evening, on one", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0171.jp2"}, "170": {"fulltext": "164 JOHN RUSK IN.\\nor other of his favourite subjects, until, at half-\\npast ten, Mrs. Severn rose without a word and\\ngently took his arm to escort him to his bed-\\nroom door. He submitted with a loving smile\\nhe gently -pressed his visitor s hand in both of\\nhis, and saying jocularly, Good night, old\\nun, to Mr. Arthur Severn, and merrily, Good\\nnight, piggy-wiggy, to one of the young\\nladies, the old man moved with genial dignity\\nto the door and through it made a slow and\\nstately exit.", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0172.jp2"}, "171": {"fulltext": "CHAPTER XIV.\\nTHE PORTRAITS OF RUSKIN.\\nIt is not a little interesting to see what man-\\nner of man was he who had but to put his pen\\nto paper to set the whole art-world by the ears\\nhe kindled our admiration for his literary ex-\\ncellences even while amusing us by his originality\\nand his quaintness, startling us with the bitter-\\nness of his scorn, with the heat of his eloquence,\\nand the gall of his contempt and ridicule, tick-\\nling us with the delicacy of his banter, or some-\\ntimes even with the error of his parti przs, and\\ncharming us with the wealth, beauty, and poetry\\nof his diction. How did his appearance, ex-\\nternal and physical, impress him who had\\nformed his own conception of the author seen\\nthrough his own writings Truth to tell, the\\nfirst sight was a little disappointing. It has\\noften been said that with Lord John Russell,\\nDr. Oliver Wendell Holmes, and many more,\\nhe shared the distinction of being one of the\\ngreat little men of his day; but this is certainly\\nnot founded upon fact. Mrs. Arthur Severn s\\ntestimony on this point is conclusive. I grant,\\n165", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0173.jp2"}, "172": {"fulltext": "166 JOHN RUSKIN.\\nalas she wrote early in 1891, that in the last\\nten years he has stooped so much that he has\\nshrunk into what might be considered by some\\npeople a little man but about twenty-five years\\nago I should certainly have called him much\\nabove the average height. And as a young man\\nhe was well over five feet ten inches indeed,\\nalmost five feet eleven and people who knew\\nhim then would have called him tall This\\nevidence, incontrovertible by itself, is yet con-\\nfirmed by Dr. Furnivall s preface to Mr. Mau-\\nrice s little book. Ruskin, he says, was a tall\\nslight fellow, whose piercing and frank blue eye\\nlookt through you and drew you to him. Thus,\\nthough the slightness of his build reduced the\\nweight of his figure to little more than ten stone\\nof humanity, such was the brilliancy of the con-\\nversationalist that nothing remained but a com-\\nmanding magnetic personality, the sweetness\\nof whose merry, fascinating smile, and the viva-\\ncious, deeply sympathetic expression of whose\\nbright blue eyes removed at once all sense of\\nsize or comparative diminutiveness.\\nIt is, perhaps, to be deplored that the head\\nand features of the Professor were not more\\noften recorded than is the case. Mr. G. F.\\nWatts, who has painted a prodigious number\\nof the most eminent men of the day, never\\nsought to execute a portrait of Ruskin it", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0174.jp2"}, "173": {"fulltext": "JOHN RUSKIN, 1882.\\nFROM A PHOTOGRAPH BY BARRaUD.\\n(See p. ibg.)", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0175.jp2"}, "174": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0176.jp2"}, "175": {"fulltext": "THE PORTRAITS OF RUSKIN. 169\\nwould have been impossible for me to attempt\\nit, said he, for I should have felt paralysed in\\nRuskin s presence. Several artists of distinc-\\ntion have set those features on canvas, moulded\\nthem in clay, and carved them in marble but\\nit is rather through the photographer that they\\nwill live, with all the thousand and one changes\\nof expression and humour that no painter or\\nsculptor could hope to seize so as to give a\\ncomplete representation of the man.* More-\\nover, Ruskin had no special love for being\\nreproduced paradoxical as it may sound, his\\nlack of vanity in respect to his own features\\nAs late as 1887 Mr. Ruskin wrote to me that no\\nphotograph gives any of the good in me, and he was\\nhimself more pleased with the accurate truth than with\\nthe obliging amiability of the camera. When the Queen\\nasked Chalon, the miniaturist, if his beautiful art would\\nnot be killed by photography, then newly-invented, the\\nAcademician replied, with a complacent bow Madame,\\nphotography cannot flattere. This, in a measure, Ruskin\\nfelt too, and, I think, a little resented. But he was en-\\ntirely pleased with Mr. Barraud s portraits of himself, which\\nhe declared were the first done of him that expressed what\\ngood or character there was in him for his work. The plate\\nof himself standing by a tree-trunk was taken when he was\\nin one of his more frivolous moods. Young ladies and\\nprofessional beauties, he said, were taken beneath palm-\\nbranches, or leaning gracefully against a tree, and for that\\nplayful reason he selected the pose very awkward for a\\nman of such natural grace of movement as he was shown\\nin the photograph reproduced on page 195.\\nH 15", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0177.jp2"}, "176": {"fulltext": "170 JOHN RUSKIN.\\nstruck me once, when we were talking on this\\nsubject, as savouring not a little, but not un-\\npleasantly, of that very weakness. Yet, on the\\nother hand, he certainly entertained no strong\\nobjection to sit for his portrait an objection\\nwhich in some men amounts to an absolute\\nsuperstition. Isaac D Israeli keenly observes\\nin his Curiosities of Literature Marville\\njustly reprehends the fastidious feelings of\\nthose ingenious men who have resisted the\\nsolicitations of the artist to sit for their por-\\ntraits. In them it is sometimes as much pride,\\nas it is vanity in those who are less difficult in\\nthis respect. Of Gray, Fielding, and Akenside\\nwe have no heads for which they sat; a cir-\\ncumstance regretted by their admirers and\\nby physiognomists. But here, by the way,\\nD Israeli was wrong, for Akenside did sit for\\nhis portrait to Pond in 1754, and it was\\nengraved in mezzotint by Fisher in 1772.\\nCertainly, Ruskin s father had no such preju-\\ndices and scruples, and when his son was not\\nmore than three and a half years old he em-\\nployed James Northcote, R.A., to paint a por-\\ntrait of the child. This charming picture, the size\\nof life, is well known by reputation to readers\\nof Fors Clavigera and of the opening chapter\\nof Prseterita. Let Mr. Ruskin himself speak\\nThe portrait in question represents a", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0178.jp2"}, "177": {"fulltext": "THE PORTRAITS OF RUSK IN. 171\\nvery pretty child with yellow hair, dressed\\nin a white frock like a girl, with a broad\\nlight-blue sash and blue shoes to match the\\nfeet of the child wholesomely large in pro-\\nportion to its body, and the shoes still more\\nwholesomely large in proportion to the feet.\\nThese articles of my daily dress were all\\nsent to the old painter for perfect realisation\\nbut they appear in the picture more remark-\\nable than they were in my nursery, because\\nI am represented as running in a field at\\nthe edge of a wood, with the trunks of its\\ntrees stripped across in the manner of Sir\\nJoshua Reynolds while two rounded hills, as\\nblue as my shoes, appear in the distance, which\\nwere put in by the painter at my own request,\\nfor I had already been once, if not twice, taken\\nto Scotland, and my Scottish nurse having\\nalways sung to me as we approached the\\nTweed or Esk\\nFor Scotland, my darling, lies full in thy view,\\nWith her barefooted lasses, and mountains so blue,\\nthe idea of distant hills was connected in my\\nmind with approach to the extreme felicities\\nof life, in my Scottish aunt s garden of goose-\\nberry bushes, sloping to the Tay. But that,\\nwhen old Mr. Northcote asked me (little\\nthinking, I fancy, to get any answer so ex-", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0179.jp2"}, "178": {"fulltext": "172 JOHN RUSK IN,\\nplicit) what I would like to have in the dis-\\ntance of my picture, I should have said blue\\nhills instead of gooseberry bushes, appears\\nto me and I think without morbid tendency to\\nthink overmuch of myself a fact sufficiently\\ncurious, and not without promise in a child of\\nthat age.\\nOf this picture there are two versions, the\\nfirst the life-size portrait hanging in Brant-\\nwood and the other an admirable reduced\\ncopy of it, at Mr. Arthur Severn s house at\\nHeme Hill the place which belonged at one\\ntime to the Professor s father, and which his\\nown writings have endeared to all Ruskin-\\ndom. How far this portrait is an accurate\\nlikeness it is impossible to say, but there is a\\nmanifest similarity between it and the pret-\\ntily-conceived allegorical subject by the same\\nartist which represents the child naked, with a\\nfaun or satyr or, as Mr. Ruskin himself calls\\nhim, a wild man of the woods extracting a\\nthorn from the foot of the baby-shepherd.\\nThere is no missing the resemblance between\\nthe running child and the poor half-averted,\\npanic-stricken, little face. This picture, Mr.\\nRuskin tells us, was painted at the special\\nrequest of old Northcote, who had previously\\nbeen so greatly charmed with the quaint repose\\nand excellent sitting of the little model.", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0180.jp2"}, "179": {"fulltext": "THE PORTRAITS OF RUSKIN. 173\\nAssuming that the first-named portrait gives\\na fair impression of the child, we see young\\nJohn Ruskin the possessor of a fine intellectual\\nhead, quite exceptional in one so young, with\\nsingularly beautiful blue eyes, and a mouth of\\ngreat sensibility. Playing happily in the green\\nfields among the lambs and the daisies, he\\nreveals the same love of nature which has\\nalways been his strongest passion from first\\nto last. We may safely take it that the like-\\nness is a good one, for the artist was one of\\nthe best portrait-painters of his day; and\\nalthough he greatly affected history-painting,\\nsacred as well as profane, portraiture was his\\nspeciality. By this time, however, Northcote\\nwas a man greatly advanced in years, of whom\\nCharles Westmacott, in his Pindaric Ode,\\nissued in 1824, had written\\nNorthcote, the veteran, let me praise.\\nFor works of past and brighter days.\\nHis star was manifestly in the descendent,\\nand only one of his works was afterwards\\npublicly shown in Somerset House, where the\\nRoyal Academy then held its court. Yet\\nRuskin always thought well of the painter,\\nalthough he has written so little about him in\\nhis works. Showing me the artist s portrait\\nof Mr. Ruskin, senior, which hangs in the", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0181.jp2"}, "180": {"fulltext": "174 JOHN RUSK IN.\\ndining-room at Brantwood, and which at once\\nrecalls something of Reynolds s Banished\\nLord to the memory of the beholder, the\\nProfessor expressed his gratification that his\\nfather had the good taste and the good\\nsense to have his portrait painted by so clever\\nan artist. Neither of these portraits by\\nNorthcote was ever exhibited in the Royal\\nAcademy.\\nWe now come to the year 1842, when Mr.\\nGeorge Richmond, R.A., painted the full-\\nlength water-colour for Mr. Ruskin s father.\\nAt that time the young graduate was not yet\\nfamous. He had distinguished himself at Ox-\\nford; he had proved himself a born artist, by\\nthe charming drawings he had produced under\\nthe tutorship of Copley Fielding and J. D.\\nHarding he had shown himself something of\\na poet a minor one, at least by the\\nverses, instinct with feeling and imagination,\\nwhich he had contributed to a magazine a\\nscientist, by the manner in which he treated\\nsubjects, geological, mineralogical, meteorologi-\\ncal, and other, as already recorded, in the pages\\nof Loudon s Magazine of Natural History and\\nother learned periodicals and an inventor, by\\nhis cyanometer an instrument for meas-\\nuring the depth of blue in the sky. He\\nhad fairly tested his keen critical faculty, as", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0182.jp2"}, "181": {"fulltext": "THE PORTRAITS OF RUSK IN. 17 1,\\nthe author of the series of papers on the\\nPoetry of Architecture, and a work destined\\nto be much enlarged in defence of Turner,\\nwho was fast becoming the butt of the igno-\\nrant critics. But his great work the book\\nthat was to bring him such immortality\\nas he may enjoy was as yet unpublished.\\nThe first volume of Modern Painters, or,\\nas he was within an ace of calling it, Turner\\nand the Ancients, was, indeed, not unwritten\\nbut it was not issued until the following year.\\nAnd when the portrait was hung in the Royal\\nAcademy and catalogued 1061, John Raskin,\\nEsq., there was none so wise as to correct it.\\nFor that portrait, which is reproduced\\nthrough the kindness of Mr. Arthur Severn\\nand of the artist, Mr. Richmond had plenty of\\nopportunity for studying his sitter. His senior\\nby ten years, Mr. Richmond was of the Ruskin\\nfamily party which, with Mr. Joseph (otherwise\\nKeats s Severn, journeyed through France\\nand Italy for the purpose of studying nature\\nand aesthetics in the artistic Elysium of Europe.\\nHe shared his enthusiasm for art and encour-\\naged his aspirations and he was his com-\\npanion on other expeditions, for which reason\\nthis first portrait of Ruskin as a man he was\\nnow in his twenty- fourth year has a peculiar\\ninterest. It is manifestly like him and his at-", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0183.jp2"}, "182": {"fulltext": "176 JOHN RUSK IN.\\ntitude as he turns from his desk, at which, may\\nbe, he had just been polishing his rounded\\nperiods in the proof-sheets of Modern\\nPainters, and was about to make some new\\ndrawing of the distant Alps, is thoroughly\\ncharacteristic of the man. The mountain land-\\nscape background, too, of which Mont Blanc is\\nthe principal feature, is what we might expect\\nfrom the boy who asked for boo hills. But\\nthe spectator cannot but be struck with sur-\\nprise at his quite unusual tallness. This is a\\nphysical fact which we can hardly accept, tall\\nthough Ruskin undoubtedly was in his youth\\nyet it may be that the natural slightness of the\\nyoung author and a certain smallness of the\\nfurniture lent him a height which is misleading\\nonly through lack of proper comparison of pro-\\nportion. As a work of art the portrait is in\\nevery way charming and interesting, and an ad-\\nmirable example of the water-colour portraits\\nwith which Mr. Richmond dear George Rich-\\nmond, as Ruskin calls him was then building\\nup his reputation.\\nIt shows us the Ruskin militant of those days\\nnot yet steeped in the bitterness of contro-\\nversy, but ready for the fray good-humoured,\\nsensitive, shrewd, and keen, turning his gentle\\nand kindly face towards the friend who is paint-\\ning him. To judge by the shape of his head", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0184.jp2"}, "183": {"fulltext": "THE PORTRAITS OF RUSK IN. 177\\nand face, he already belongs to what phrenolo-\\ngists and physiognomists would call the eagle\\ntribe the aquiline nose, as they would tell us,\\ndenoting sovereignty over men the projecting\\nbrows, perceptiveness with undoubted aesthetic\\ntendencies and the chin, a considerable degree\\nof reasoning power to direct his strongly-con-\\nceived opinions, yet with hardly a correspond-\\ning capacity for continuous logical deduction,\\nThus has his face been read by an accredited\\nstudent of physiognomy. Yet with this version\\nwould the subject of it certainly have disagreed\\nfor Ruskin especially prided himself upon his\\npower of logical deduction and analysis, and\\nsomewhere quotes Mazzini on him to the same\\neffect.\\nOn these characteristics of face Sir John\\nEverett Millais dwelt somewhat over-much in\\na chalk or pencil-drawing executed about this\\ntime, if we are to judge by the impression it\\nmade on those who saw it. Referring to this\\ndrawing, the late Mr. Woolner, R.A., wrote to\\nme as follows The Millais pencil-sketch was\\nin the possession of Lady Trevelyan, wife of\\nthe late Sir Walter Trevelyan, of Wallington.\\nThe likeness, so far as I can remember, was\\nvery good, but the expression that of a hyena,\\nor something between Carker and that hilarious\\nanimal. Enemies would call the expression", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0185.jp2"}, "184": {"fulltext": "178 JOHN RUSKIN.\\ncharacteristic, but friends would declare that it\\ndid him injustice. Whether this portrait is\\nthe same as that by Sir John, now belonging to\\nMr. Severn, I cannot say.\\nIn 1853 Sir John Millais began his brilliant\\nportrait of the now celebrated art-critic. Ruskin\\nwas known as the author of Modern Painters/\\nhe had published his Seven Lamps of Archi-\\ntecture, the Stones of Venice, and other\\nthings, and had assumed the position of the\\nchampion of the cause of the Pre-Raphaelite\\nBrotherhood a champion plus royaliste que le\\nroi, more Pre-Raphaelite than the Pre-Raphael\\nites, and with more impetuous enthusiasm in his\\nown nervous brain and frame than in those\\nof the whole other seven put together. This\\nmovement had for the last five years profoundly\\nexercised the minds of the art-world, and no\\npen but Ruskin s could have fought its battle\\nso fiercely, so powerfully, and so eloquently,\\nnor with so great a measure of success. In\\nacknowledgment of the yeoman s service he\\nhad rendered and was still rendering, Millais\\npainted this portrait, which its possessor, Sir\\nHenry Acland, of Oxford, has so courteously\\nallowed me to reproduce. Both painter and\\nsitter were in Scotland, whither the young\\nauthor had gone to deliver his Lectures on\\nArchitecture and Painting, and there, standing", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0186.jp2"}, "185": {"fulltext": "THE PORTRAITS OF RUSKIN. 179\\nby the waterfall of Glenfinlas, Millais painted\\nhim, religiously abiding in the execution of the\\npicture by all the tenets of the Pre-Raphaelite\\nfaith. Ruskin says somewhere that the English-\\nman is content to have his portrait painted any\\nway but praying, which was the chosen delight\\nof the Venetian noble and similarly here,\\nthough not on his knees, but wrapped in loving\\nreverence of nature, full of that spirit of hu-\\nmility and reverential awe which all men feel\\nat times, is the young preacher represented, as\\nhe stands bare-headed by the little cataract\\nthat rushes and dances down the grey-white\\nvalley to join the waters of Loch Lomond.\\nWith rare conscientiousness has Millais ren-\\ndered every detail in the scene. The geologist\\ncan detect no flaw in the painting of the rocks,\\nnor can the botanist find aught to carp at in\\nthe representation of lichen, plant, or flower,\\nDetail was never more truthfully and accurately\\nset on canvas than here in this small frame,\\nmeasuring in all but eight-and-twenty inches\\nby twenty-four, while In respect to technique\\nthe painter has rarely excelled the perfect\\nexecution of this work, which he completed\\nin 1854, the year after his election into the\\nAcademy.\\nNor is the character of the figure at all\\nunworthy of the still-life in this remarkable", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0187.jp2"}, "186": {"fulltext": "i8o JOHN RUSK IN.\\npicture. The man is seen at a moment when\\nhis enthusiasm is lost in contemplation. The\\nhair, always luxuriant, even to the last, is\\nthrown back in somewhat heavy masses from\\nhis temples, and reveals once more, and, per-\\nhaps, more successfully than heretofore, the\\nstamp of man he was. Drawn between profile\\nand three-quarter face, the upper part of the\\nhead is perfectly rendered but the aquilinity\\nof the nose is not sufficiently emphasized, nor\\nis the full sensibility of the mouth made quite\\nas much of as it deserves and his mouth\\nwas one of his most remarkable features. In\\nthis connection a further extract from Mr.\\nWoolner s private reminiscences of Ruskin s\\nappearance may be appropriately quoted\\nAs to Ruskin s mouth, it would be hard\\nfor anyone to read that feature. Rossetti told\\nme that when a boy Ruskin had part of one of\\nhis lips bitten off by a dog. The mouth is the\\nmost expressive of all features, and tells the\\nhistory of its owner s nature better than any\\nother but under the circumstances how would\\nit be possible to read it accurately To fill up\\nthe gaps in Sappho s verse would be but a\\nschoolboy s exercise compared to such a task.\\nLavater might give a hint, or the Greek expert\\nwho discovered that Socrates was a sensual\\nfellow, but I don t think any modern physiog-", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0188.jp2"}, "187": {"fulltext": "THE PORTRAITS OF RUSKIN. 181\\nnomist could do much with this modern in-\\nstance. Of course, the main force of his head\\nis perception, this faculty being unusually de-\\nveloped but, so far as I remember, I do not\\nthink there is anything else out of the common\\nin the shape of it. His expression is varied\\nbeyond all example in my experience.\\nSanguineness and sweetness of tempera-\\nment, when not crossed, appear to have been\\nhis chief characteristics at that time. Writing\\nto me about our friend, as he knew him in\\nthose early days, Mr. Holman Hunt has re-\\ncorded his interesting recollections as follows\\nWhen I first met him I was struck by his\\ngreat slenderness of build, which was not yet\\nwithout remarkable gracefulness of motion in\\nquiet life. In manner, his persevering polite-\\nness and untiring pains to interest me and\\nothers in his possessions almost surprised me,\\nand it would have been really unbearable to\\nreceive so much attention had he not shown\\nso much pleasure in gratifying his guests. On\\nfurther acquaintance he was quite capable of\\nexpressing the most extreme discontent that\\nhis friends would not adopt all his views. He\\nwas displeased with me for my determination\\nto go to the East, and that I did not set\\nmyself to work to found a school. I was\\noften amused at his ignoring the state of\\n16", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0189.jp2"}, "188": {"fulltext": "182 JOHN RUSK IN.\\nparalysis I was generally in from want of\\nmeans. He would ask me why I did not go\\nto Scotland for a few weeks or months for a\\nholiday _when I appeared overworked and\\nmore than once he urged me not to delay\\nleaving England for the purpose of seeing\\nItaly when in truth my purse would have\\nbeen empty at Dover, and there would have\\nbeen no means of making sure of a home\\nhad I returned on foot from the coast. It\\nwas quite strange to witness how this life-\\nlong experience of finding all things that he\\nwanted at hand had made him, not incapable\\nof talking of poverty, but without power of\\nrealising how straitness of means prevented\\na man from obeying the inclinations of his\\nmind and body at every turn. Whatever\\nfeeling he professed towards one s purposes,\\nI can say that I never found him anything\\nbut most gentle and tenderly affectionate, and\\nalthough for some years circumstances made\\nus unable to see one another much, I never\\nhad any reason to think him other than one\\nof the truest men I had ever met as a noble\\nfriend. It is not uninteresting to seek for\\nthe traits set forth in Mr. Holman Hunt s\\ngenerous testimony in the admirable synchro-\\nnous portrait by Millais.\\nThree years later, in 1857, Mr. Richmond", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0190.jp2"}, "189": {"fulltext": "ifim\\n111\\n\u00e2\u0096\u00a0H\\n5S IMS]\\nP M\\nmBk Bl\\nBBHgPifl i\\n\\\\k\\n1 i-\\nBl tfYv\\n^bifefc JpLy\\nWife, HHK4 fli\\nw 1\\nK^\\nm 2m\\nmm In\\nW\\n1^\u00c2\u00abM|\\nu\\n\u00e2\u0096\u00a0mB\\nByffe, f J\\n^Bp /,lllh\\nf zC^ jJfum\\nHHWSlliP^\\nI li i h iiiiii\\nSI\\nJOHN RUSKIN, 1884.\\nFROM THE BUST BY CONRAD DRESSLER.\\n79J.)", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0191.jp2"}, "190": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0192.jp2"}, "191": {"fulltext": "THE PORTRAITS OF RUSKIN. 185\\nexecuted a head in chalk, also for Mr. Ruskin\\nthe elder, which is an excellent specimen of\\nthe artist s skill in this kind of portraiture. In\\nthis drawing, as in the water-colour, Mr. Rich-\\nmond has preferred to show us the gentleness,\\nthoughtfulness, and brilliance of the friend,\\nrather than the vigour, the combativeness, and\\nthe earnestness of the crusader characteristics\\nwhich at the time were most impressed on\\nthe public mind. In both his charming works\\nit is Ruskin at Home whom the artist has\\nrecorded, not Ruskin the Teacher nor Ruskin\\nthe Missionary. This portrait, which hangs\\nat Brantwood, and which was brilliantly\\nengraved by Francis Holl, A.R.A. Frank\\nH oil s father and issued in a reduced size in\\none of Mr. Allen s publications, was exhibited\\nat the Royal Academy in the year it was made.\\nMrs. Severn tells me the following pretty cir-\\ncumstance concerning this head When the\\n1857 portrait was done by dear, courteous Mr.\\nRichmond, some friends thought it flattered\\nMr. Ruskin but Mr. Richmond said, No it\\nis only the truth, lovingly told/\\nA few years after Mr. George Richmond\\npainted his large water-colour head of Professor\\nRuskin, Rossetti produced his portrait of his\\nfriend. It is a crayon drawing, not unlike those\\nwhich he executed of other members of the Pre-\\n16*", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0193.jp2"}, "192": {"fulltext": "1 86 JOHN RUSK IN.\\nRaphaelite Brotherhood. It is simply executed\\nin coloured chalks, of which the prevailing tint\\nis red, and represents the young enthusiast in\\nan attitude in which the artist often placed his\\nsitters nearly full-face and looking down. It\\nis life-size, vignette in form, and belonged to the\\nlate Dr. Pocock, of Brighton it is now at Oxford.\\nNearly another decade elapsed before any\\nportrait other than photographic was produced\\nthat I know of. Mr. Ruskin s water-colour\\nportrait of himself, which is at Heme Hill, was\\npainted in 1864, or perhaps a year later a\\nthree-quarter view in pencil, lightly and skil-\\nfully washed in this and another life-size head\\nbelong to Mrs. Arthur Severn. Ten years\\nafterwards the Professor made two more auto-\\ngraphic efforts, one in pencil and the other in\\nwater-colour both of which he presented to\\nhis American friend and fellow-traveller, Pro-\\nfessor C. A. Norton. In 1875, or thereabouts,\\na clever modeller, by name Mr. Charles Ash-\\nmore, of Aston, a suburb of Birmingham, pro-\\nduced a plaster medallion that is an excellent\\nlikeness of Ruskin s features but it fails to\\nimpart any vivacity to the face or to give any\\nof the expression of intellectuality which was\\nnever absent from it. This work, however,\\nprobably took a photograph for its basis.\\nThe following year that which saw his", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0194.jp2"}, "193": {"fulltext": "THE PORTRAITS OF RUSK IN. 187\\nre-election to the Slade Professorship in the\\nUniversity of Oxford his features were cleverly\\ncaught by M. Georges Pilotelle, who chanced\\nupon the Professor as he stood before Turner s\\nPython in the National Gallery. The light-\\nning artist made a faithful sketch of the\\nthoughtful face, and, re-drawing it in dry-point\\nupon copper, he introduced it into the series of\\nportraits of notabilities which he was then pro-\\nducing for Mr. Noseda, by whose permission it\\nappears on page 1 1 1 of the present volume.\\nIt is not uninteresting to compare this head with\\nthat in the Millais picture painted two-and-\\ntwenty years before, and to see how little time\\nhas worked upon the living face, and how\\nlightly it has dealt with the flowing locks. Here\\nhe is as we of the younger generation knew\\nhim, his favourite sky-blue stiff satin tie wound\\nround his neck and falling in a bow in the\\nfamiliar, double-breasted waistcoat, and match-\\ning the deep azure of his clear and fearless\\neyes. There is more indecision than might be\\nexpected about the lips, but that, I take it, is\\nrather the fault of the etcher s needle than of\\nthe Professor s mouth. It may be observed\\nthat the hair is parted on the opposite side a\\nmerely accidental representation, owing to the\\ndirect sketch upon the copper being reversed\\nin the printing.", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0195.jp2"}, "194": {"fulltext": "188 JOHN RUSKIN.\\nTo the same period, or nearly so, belong\\ntwo other portraits: the first, a miniature by\\nMr. Andrews, which was exhibited at the Royal\\nAcademy jn 1877, and which, being based upon\\na previously-produced likeness, need find no\\nplace here and the second, a water-colour\\ndrawing by Mr. Arthur Severn. This interest-\\ning little picture, painted in full-length, together\\nwith the chalk drawing by Millais, is in the\\nhands of the painter, and I respect his wishes\\nin reserving any description of it.\\nTowards the close of the same year Sep-\\ntember, 1877 Mr. Benjamin Creswick pro-\\nduced his bust under circumstances of some\\ninterest. The sculptor was one of the many\\nartists whose talent Mr. Ruskin discovered\\nin his long life of beneficent watchfulness, and\\nwhose education he personally undertook, while\\ncharging himself with the cost of their worldly\\nnecessities. Mr. Creswick, in later years\\nLecturer to the Birmingham School of Art,\\nsought to express his gratefulness for the\\ngenerosity and interest of his patron who, I\\nunderstand, paid all expenses, not only for\\nhimself during four years, but also for his\\nfamily (for he married young) and his aged\\nparents by modelling the bust in his tenderest\\nmood, into which he aimed at throwing all the\\nlove and reverence he entertained for his bene-", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0196.jp2"}, "195": {"fulltext": "THE PORTRAITS OF RUSKIN. 189\\nfactor. Mr. Creswick s introduction to Ruskin\\nwas through the late Mr. Swan, when the late\\ncurator of the Ruskin Museum at Sheffield\\nwas on a visit to the Professor at Brantwood.\\nWhilst there, writes Mr. Creswick in refer-\\nence to this incident, he induced him to\\ngive me a sitting for a bust. This was early\\nin September, 1877. After the first sitting\\nof an hour the Professor asked me how many\\nmore I should require. Five, I replied.\\nAfter what I have seen of your work, said\\nhe, I will give you as many as you want\\nfor Ruskin took a quite Pre-Raphaelite delight\\nin watching for how long a time, and with\\nhow much patience, the sculptor would work\\nat obtaining an expression which the briefest\\nglance had enabled him to observe. The re-\\nsult is a bust which has pleased those most\\nconcerned, Ruskin declaring it, while it was\\nstill in progress, as unsurpassed in modern\\nsculpture except by Thorwaldsen while others\\nregard it as being specially successful in real-\\nising one of the sitters most beautiful ex-\\npressions, and entirely characteristic of his\\nanimation when interested by sympathetic con-\\nversation. The bust, which is in the Ruskin\\nMuseum at Meersbrook Park, Sheffield, repre\\nsents the Professor in the gown of his degree.\\nThere is also distinctly indicated the slight", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0197.jp2"}, "196": {"fulltext": "190 JOHN RUSKIN.\\nstoop, or bend, that his friends knew so well,\\nwhich afterwards became so much accentuated.\\nFor my own part, judging from the photo-\\ngraph which Dr. Bendelack Hewetson has\\nkindly taken for me, I cannot help thinking\\nthat, pleasing as it is in expression, the bust\\nis neither striking as a likeness nor, to be\\nfrank, in point of vigour likely to occupy so\\nhigh a position as a work of art, as others have\\nfreely declared. Yet, as I said before, it is a\\nfavourite work with some who are considered\\ngood judges and who certainly were well ac-\\nquainted with the Professor. A duplicate of the\\nbust is in the possession of Sir Henry Acland.\\nThe late Sir J. Edgar Boehm, R.A., modelled\\na bust of Ruskin for the Ruskin School in\\nthe University Galleries in 1880, and there it\\nis now placed, carried out in marble upon a\\npedestal, in the centre of the large room. The\\nportrait can hardly be considered a sympa-\\nthetic one. Not that the sculptor was out of\\nsympathy with his sitter as the reader may\\njudge by the words of the artist, who, writing\\nto me a short while befoie his death on the\\nsubject of the work, said, I never saw any\\nface on which the character and the inside of\\nthe man were so clearly written. He can\\nnever have tried to dissimulate. How true\\nthis is will be felt by all Ruskin s acquaint-", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0198.jp2"}, "197": {"fulltext": "THE PORTRAITS OF R US KIN. 191\\nance. Not only could he never have tried\\nto dissimulate, but that man must have been\\nhardened indeed who would try to dissimulate\\nin his magnetic presence, for so fearlessly\\ntruthful was his look that the quiet gaze from\\nthe bright blue eyes must have been strangely\\ndisarming. What appears unsatisfactory about\\nSir Edgar s bust is a certain hardness of ex-\\npression about the mouth\u00e2\u0080\u0094 an absence of those\\nqualities which rarely failed to endear him at\\nonce to whomever entered into conversation\\nwith him. It is the scholar, the thinker, and\\nthe disputant, rather than the man, that Sir\\nEdgar shows us.\\nWe now come to the large life-size por\\ntrait by Professor Hubert Herkomer, R.A.\\nIn this likeness, it seems to me, the artist\\nhas sought to place upon the face of his\\npredecessor in the Slade Chair all the kind-\\nliness which Sir Edgar Boehm omitted, all\\nthe cheery gentleness and old-world sweet-\\nness of disposition that distinguished him.\\nThe Boehm bust shows us something of a\\nmisanthrope the Herkomer portrait places\\nbefore us the philanthropist, quiet, kindly, and\\nself-possessed. The brow is, perhaps, a little\\ntoo broad, and the projection of the eyebrows\\nhardly enough insisted upon but the character\\nof the nose and the quaint, expressive mouth", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0199.jp2"}, "198": {"fulltext": "192 JOHN RUSK IN.\\nare perfectly rendered. This admirable por-\\ntrait is nominally a water-colour but that\\nmedium, strongly aided by body-colour, is\\nreinforced with a pulpy substance, and resem-\\nbles in method of execution the artist s well-\\nknown picture of Grandfather s Pet. It was\\nexhibited at the Grosvenor Gallery in 1881,\\nand was etched by the painter in the same\\nyear, the plate being published for him by the\\nFine Art Society.\\nThe year 1884 saw a new portrait of the\\nMaster. Being in London he visited Miss\\nKate Greenaway, and there sat to her for the\\ncommencement of a likeness which was never\\ncompleted. It was there, doubtless, that his\\ngreat admiration for her art sprang up, with\\nthe result with which we are all familiar the\\nOxford lecture on The Art of England, the\\nillustrations in Fors, and many a kindly\\nreference of enthusiastic approval alike for the\\nartist s dainty simplicity of style, and for her\\noriginal beauty of draughtsmanship. But the\\nportrait with which the year is to be credited\\nwas the pencil-drawing by Mr. Blake Wirg-\\nman, subsequently published in the Graphic in\\nApril, 1 6. In consenting to sit, the Professor\\nwrote to the lady who pleaded for Mr. Wirg-\\nman I ll have this portrait different from any\\nthat have been yet only I always fall asleep", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0200.jp2"}, "199": {"fulltext": "THE PORTRAITS OF RUSKIN. 193\\nin a quarter of an hour, so everything in the\\nway of expression must be got, tell the artist,\\nin ten minutes. Soon after this alarming\\nnotification the first sitting took place at Den-\\nmark Hill, Ruskin pointing out the particular\\nview the artist was to take and the second in\\nMr. Burne-Jones studio. When the drawing\\nwas finished, and the background worked up\\nfrom the study at Denmark Hill, Ruskin put\\na few finishing touches to it himself touches\\nhaving chiefly reference to the hair and eye-\\nbrows, about which he was very particular\\nand the work went off to the engraver, and has\\nnow found a resting-place in my own collection.\\nPassing over as unauthentic and unofficial\\nthe portraits by Mr. Emptmeyer and Miss\\nWebling, both exhibited at the Academy in\\n1888, I arrive at the bust of, Mr. Conrad\\nDressier, executed by him in 1884, and ex-\\nhibited at the New Gallery in 1889. This head,\\napart from its inherent merits as a work of art,\\nis of special interest and value, as being the\\nonly one (so far as I know) which represents\\nMr. Ruskin with a beard, as he was known to\\nhis friends since 1881. As a likeness, I must\\nadmit that the engraving hardly does justice to\\nMr. Dressier s work the characteristic stoop,\\nerect though bent, and the falling cheeks, the\\nslightly hooked nose, the open, sensitive nos-\\n1 17", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0201.jp2"}, "200": {"fulltext": "194 JOHN RUSKIN.\\ntrils, the pendant base of the septum, and the\\nbony brows, do not appear as clearly in the en-\\ngraving as they should the fault manifestly\\nlying with the lighting of it in the photograph\\nfrom which the block was cut. Speaking to me\\nof this same bust, which he said was better\\nthan Boehm s, Mr. Ruskin once said with a\\nstrong touch of pathos, yet with a look of irre-\\nsistible humour, Ah it makes me look far\\nmore frantic than ever Fve been! In point\\nof fact, Ruskin was, as I began by saying, very\\ntender as regards his personal appearance and\\nI well remember his unfeigned pleasure when I\\ntold him upon one occasion that he certainly\\ndid not look his years. Readers of Prae-\\nterita will remember the delightful story of\\nLittle Rosie, when in 1858 Mr. Ruskin paid\\na visit to her mother Rosie says never a\\nword, but we continue to take stock of each\\nother. I thought you so ugly/ she told me\\nafterwards. She didn t quite mean that, the\\nwriter hastens to add but only, her mother\\nhaving talked so much of my greatness to\\nher, she had expected me to be something like\\nGaribaldi, or the Elgin Theseus, and was ex-\\ntremely disappointed. And again he confided,\\nwith mock despondency, to the Lady of Thwaite\\nhow he had recently had his photograph taken\\nthat, although the likeness was good, he had", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0202.jp2"}, "201": {"fulltext": "JOHN RUSKIN, 1886.\\nFROM A PHOTOGRAPH BY BARRAUD.\\n(See p. ibq.)", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0203.jp2"}, "202": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0204.jp2"}, "203": {"fulltext": "THE PORTRAITS OF RUSK IN. 197\\ncome out, as usual, as an ourang-outang. I\\nthought with my beard I was beginning to be\\njust the least bit nice to look at. I would give\\nup half my books for a new profile.\\nSome years ago we were talking about his\\nportraits, when he took occasion to tell me, in\\na sweeping sort of way, that he was dissatisfied\\nwith all that had been done of him, and the\\ntruer and the more candid they were the less he\\ncared for them. I like to be flattered, both\\nby pen and pencil, so it is done prettily and in\\ngood taste, he said, with a candid smile, not at\\nall ashamed of the little confession. It is, how-\\never, in no sense discreditable to Mr. Dress-\\nier if he has not given just that touch of flattery\\neven conceding a lack of truth of which the\\nProfessor admitted his fondness.\\nI cannot tell how many sittings we had/\\nwrote the sculptor, in a letter in which he de-\\nscribed with glowing enthusiasm the fascination\\nof his visit to the Professor in the spring of\\n1884. They took place in the out-house, a\\nvery convenient place for my purpose and I\\nhad as many as I wanted, some long and some\\nshort, as the humour served. I had, with the\\nhelp of the old valet, made a little platform for\\nthe Professor to sit upon, and from this position\\nhe would watch me at my work for a couple of\\nhours, sometimes talking the whole of the time,\\n17*", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0205.jp2"}, "204": {"fulltext": "198 JOHN RUSK IN.\\nMy deepest recollection of Professor Rus-\\nkin is as he stood one evening after dinner\\n(during which the conversation had been about\\nhis life and work, and had been more animated\\nand touching than usual) at the open window\\noverhanging the lake. The sun had gone down,\\nand he wistfully looked over towards the Old\\nMan of Coniston, behind which the sky was still\\naglow. He seemed to be mentally reviewing\\nhis life s work. His head was held up, although\\nhis body was slightly stooping, his right hand\\nbehind his back, and his left held on to the case-\\nment for support. I was deeply impressed with\\nthe expression of mystery in his face, and deter-\\nmined to endeavour to reproduce it in my bust.\\nI have failed in my ideal but that is what I tried.\\nWith that picture I close this chapter. The\\nsun has indeed gone down behind the Grand\\nOld Man of Coniston while the sky is still all\\naglow with the fire of his words and the gold\\nof his beneficent acts. His portrait, his true\\nportrait, does not exist it could not exist not\\nuntil the artist s hand can picture in paint or\\nmould in clay the ever-varying, never-ending\\nexpression and the thousand moods, change-\\nable but always honest, uncertain in temper but\\nalways good and kind and tender and righteous,\\nthat go to make up the face so lovingly remem-\\nbered by his friends as that of John Ruskin.", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0206.jp2"}, "205": {"fulltext": "\\\\s\\nCHAPTER XV.\\nTHE BLACK ARTS: A REVERIE IN THE\\nSTRAND.\\nBY JOHN RUSKIN.\\n[Note. In the autumn of 1887 Ruskin was\\nin London, staying, as usual, at Morley s Hotel,\\nTrafalgar Square, whence a two minutes walk\\nwould carry him into the National Gallery.\\nHis window overlooked the gallery where the\\nTurners are, he said markedly but not caring\\nfor the light, he sat with his back towards it,\\ndrawing himself up into one side of it, with his\\nknees and feet together in his characteristic atti-\\ntude. The Editorship of the Magazine of Art had\\njust been confided to me, and my announce-\\nment of it seemed to awaken his sympathetic\\nenthusiasm. He clapped his hands and cried,\\nBravo I m so glad. You have a great\\nopportunity now for good, and immediately\\nproposed to contribute an article to its pages.\\nIt was agreed that the paper in question should\\nappear in the January number, and that it\\nshould be followed by at least one other.\\nThen he went off to Sandgate to recuperate,\\nwhence he wrote I find the landlord and his\\n199", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0207.jp2"}, "206": {"fulltext": "2oo JOHN RUSK IN.\\nwife so nice and the rooms so comfortable that\\nI ve settled down (so far as I know) till Christ-\\nmas. But please don t tell anybody where I\\nam. And a few days later When do you\\nwant your bit of pleasant writing? Did I\\nsay it would be pleasant? I have no confi-\\ndence in that prospect. What I meant was\\nthat it wouldn t be deliberately ^pleasant\\nand I will further promise it shall not be tech-\\nnical. But I fear it will be done mostly in gri-\\nsaillet. I don t feel up to putting any sparkle\\nin nor colour neither. For one thing, he\\nwrote on another occasion for he had now\\ngrown quite enthusiastic over the magazine,\\nand was offering a good deal of very accepta-\\nble advice, I shall strongly urge the publica-\\ntion of continuous series of things, good or\\nbad. Half the dulness of all art books is their\\nbeing really like specimen advertisement books,\\ninstead of complete accounts of anything.\\nThen followed the announcement: I have fin-\\nished the introductory paper; six leaves like\\nthis, written as close. It will, perhaps, be\\nshorter than you wished in print, but you will\\nsee it chats about a good many things, and I\\ncouldn t tack on the principal one to the tail of\\nthem so that you had better begin your Janu-\\nary number with Watts more serious paper.\\nThen came the article, but with no title to it", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0208.jp2"}, "207": {"fulltext": "si iux^ IfS\\nl^UVA.\\n\u00c2\u00a3_ VLpjuMJlM^-", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0209.jp2"}, "208": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0210.jp2"}, "209": {"fulltext": "THE BLACK ARTSr 203\\nand as the press was waiting a telegram was\\ndespatched to him to supply the omission. The\\ncharacteristic reply came I never compose\\nby telegram, but call it The Black Arts, if you\\nlike. A subsequent letter of confirmation\\nsupplied as a substitute A Reverie in the\\nStrand and, while protesting against the\\ntelegram, which always makes me think some-\\nbody s dead, he replied to a question of mine\\nas to the amount owing to him for the article:\\nu You are indebted to me a penny a line no\\nmore and no less. Of course, counted two-\\npence through the double columns. Subse-\\nquent letters, as well as previous ones, contain\\nfurther counsel and criticisms in respect to the\\nMagazine of Art, and details of arrangement\\nconcerning the articles which were to follow\\nthe first chiefly bearing on body-colour\\nTurners, as a contrast to the introductory\\nmatter, and on pure composition, as far as I\\ncan without being tiresome and there will be\\nsomething about skies and trees, and I ll under-\\ntake that the drawings I send shall be repre-\\nsentable, and not cost much in representing.\\nBut a period of indisposition followed, in which\\nto his correspondence was appended the vale-\\ndictory, And I m ever your cross old J. R.\\nand a subsequent journey and return to Brant-\\nwood, with another spell of illness, made him", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0211.jp2"}, "210": {"fulltext": "204 JOHN RUSK IN.\\nseek for a spell of complete rest, upon which\\nit would have been cruel to break in. And so\\nhis intended series of papers remained incom-\\nplete, and The Black Arts remains as much\\na fragment of an intended whole as Proser-\\npina, Love s Meinie, Deucalion, The\\nLaws ot Fesole, Our Fathers Have Told\\nUs, and even u Praeterita itself.]\\nIt must be three or four years now* since\\nI was in London, Christmas in the North coun-\\ntry passing scarcely noted, with a white frost\\nand a little bell-ringing, and I don t know Lon-\\ndon any more, nor where I am in it except\\nthe Strand. In which, walking up and down\\nthe other day, and meditating over its wonder-\\nful displays of etchings and engravings and\\nphotographs, all done to perfection such as I\\nhad never thought possible in my younger days,\\nit became an extremely searching and trouble-\\nsome question with me what was to come of all\\nthis literally black art, and how it was to in-\\nfluence the people of our great cities. For the\\nfirst force of it clearly in that field everyone\\nis doing his sable best: there is no scamped\\nphotography nor careless etching; and for\\nsecond force, there is a quantity of living char-\\nOctober, 1887.", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0212.jp2"}, "211": {"fulltext": "IMs\\nfix HZ^ J u^^-5", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0213.jp2"}, "212": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0214.jp2"}, "213": {"fulltext": "THE BLACK ARTS. 207\\nacter in our big towns, especially in their girls,\\nwho have an energetic and business-like know-\\nall-about-it kind of prettiness which is widely\\nindependent of colour, and which, with the\\nparallel business characters, engineering and\\nfinancial, of the city squiredom, can be vividly\\nset forth by the photograph and the schools of\\npainting developed out of it then for the third\\nforce, there is the tourist curiosity and the sci-\\nentific naturalism, which go round the world\\nfetching big scenery home for us that we never\\nhad dreamed of: cliffs that look like the world\\nsplit in two, and cataracts that look as if they\\nfell from the moon, besides all kinds of anti-\\nquarian and architectural facts, which twenty\\nlives could never have learned in the olden\\ntime. What is it all to come to? Are our\\nlives in this kingdom of darkness to be indeed\\ntwenty times as wise and long as they were in\\nthe light\\nThe answer what answer was possible to\\nme came chiefly in the form of fatigue, and a\\nsorrowful longing for an old Prout washed in\\nwith Vandyke brown and British ink, or even a\\nHarding forest scene with all the foliage done\\nin zigzag.\\nAnd, indeed, for one thing, all this labour\\nand realistic finishing makes us lose sight of\\nthe charm of easily-suggestive lines nay, of", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0215.jp2"}, "214": {"fulltext": "208 JOHN RUSK IN.\\nthe power of lines, properly so called, alto-\\ngether.\\nThere is a little book, and a very precious\\nand pretty one, of Dr. John Brown s, called\\nSomething about a Well. It has a yellow\\npaper cover, and on the cover a careful wood-\\ncut from one of the Doctor s own pen-sketches\\ntwo wire-haired terriers begging, and carrying\\nan old hat between them.\\nThere is certainly not more than five minutes\\nwork, if that, in the original sketch; but the\\nquantity of dog-life in those two beasts the\\nhill-weather that they have roughed through to-\\ngether, the wild fidelity of their wistful hearts,\\nthe pitiful, irresistible mendicancy of their eyes\\nand paws fills me with new wonder and love\\nevery time the little book falls out of any of the\\ncherished heaps in my study.\\nNo one has pleaded more for finish than I in\\npast time, or oftener, or perhaps so strongly\\nasserted the first principle of Leonardo, that a\\ngood picture should look like a mirror of the\\nthing itself. But now that everybody can mir-\\nror the thing itself at least the black and white\\nof it as easily as he takes his hat off, and then\\nengrave the photograph, and steel the copper,\\nand print piles and piles of the thing by steam,\\nall as good as the first half-dozen proofs used\\nto be, I begin to wish for a little less to look at,", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0216.jp2"}, "215": {"fulltext": "W vv\\nJ2^\\\\. ukdliu^u^^", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0217.jp2"}, "216": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0218.jp2"}, "217": {"fulltext": "THE BLACK ARTS. 211\\nand would, for my own part, gladly exchange\\nmy tricks of stippling and tinting for the good\\nDoctor s gift of drawing two wire-haired ter-\\nriers with a wink.\\nAnd truly, putting all likings for old fashions\\nout of the way, it remains certain that in a given\\ntime and with simple means, a man of imagina-\\ntive power can do more, and express more, and\\nexcite the fancy of the spectator more, by frank\\noutline than by completed work and that as-\\nsuredly there ought to be in all our national art\\nschools an outline class trained to express them-\\nselves vigorously and accurately in that man-\\nner. Were there no other reason for such les-\\nsoning, it is a sufficient one that there are\\nmodes of genius which become richly produc-\\ntive in that restricted manner and yet by no\\ntraining could be raised into the excellence of\\npainting. Neither Bewick nor Cruikshank in\\nEngland, nor Retsch, nor Ludwig Richter, in\\nGermany, could ever have become painters\\ntheir countrymen owe more to their unassuming\\ninstinct of invention than to the most exalted\\nefforts of their historical schools.\\nBut it must be noted, in passing, that the\\npractice of outline in England, and I suppose\\npartly in continental academies also, has been\\nboth disgraced and arrested by the endeavour\\nto elevate it into the rendering of ideal and", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0219.jp2"}, "218": {"fulltext": "212 JOHN RUSKIN.\\nheroic form, especially to the delineation of\\ngroups of statuary. Neither flesh nor sculp-\\ntured marble can be outlined and the en-\\ndeavour, to illustrate classical art and historical\\nessays on it, by outlines of sculpture and archi-\\ntecture, has done the double harm of making\\noutline common and dull, and preventing the\\npublic from learning that the merit of sculp-\\nture is in its surfaces, not its outlines. The\\nessential value of outline is in its power of sug-\\ngesting quantity, intricacy, and character, in\\naccessory detail, and in the richly-ornamented\\ntreatment which can be carried over large\\nspaces which in a finished painting must be\\nlost in shade.\\nBut I have said in many places before now,\\nthough never with enough insistence, that\\nschools of outline ought to be associated with\\nthe elementary practice of those entering on\\nthe study of colour. Long before the patience\\nor observation of children are capable of draw-\\ning in light and shade, they can appreciate the\\ngaiety, and are refreshed by the interest of\\ncolour and a very young child can be taught\\nto wash it flatly, and confine it duly within limits.\\nA little lady of nine years old coloured my\\nwhole volume of Guillim s heraldry for me\\nwithout one transgression or blot and there is\\nno question but that the habit of even and ac-", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0220.jp2"}, "219": {"fulltext": "THE BLACK ARTS. 213\\ncurately limited tinting is the proper foundation\\nof noble water-colour art.\\nIn the original plan of Modern Painters,\\nunder the head of Ideas of Relation, I had\\nplanned an exact inquiry into the effects of\\ncolour-masses in juxtaposition but found when\\nI entered on it that there were no existing\\ndata in the note-books of painters from which\\nany first principles could be deduced and that\\nthe analysis of their unexplained work was far\\nbeyond my own power, the rather that the\\npersons among my friends who had most\\ndefinitely the gift of colour-arrangement were\\nalways least able to give any account of their\\nown skill.\\nBut, in its connection with the harmonies of\\nmusic, the subject of the relations of pure\\ncolour is one of deep scientific and I am sorry\\nto use the alarming word, but there is no other\\nmetaphysical interest and without debate,\\nthe proper way of approaching it would be to\\ngive any young person of evident colour- faculty\\na series of interesting outline subjects, to colour\\nwith a limited number of determined tints, and\\nto watch with them the pleasantness, or dul-\\nness a discord of the arrangements which, ac-\\ncording to the nature of the subjects, might be\\ninduced in the colours.\\nIt is to be further observed that although", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0221.jp2"}, "220": {"fulltext": "214 JOHN RUSKIN.\\nthe skill now directed to the art of chromo-\\nJithotint has achieved wonders in that mecha-\\nnism, the perfection of illustrated work must\\nalways be jn woodcut or engraving coloured by\\nhand. No stamped tint of water-colour can\\never perfectly give the gradation to the sharp\\nedge left by a well-laid touch of the pencil.\\nAnd there can be no question (it has so long\\nbeen my habit to assert things at all events\\nvery questionable in the terms I choose for\\nthem in mere love of provocation, that now in\\nmy subdued state of age and infirmity I take\\nrefuge, as often as possible, in the Unquestion-\\nable) that great advantage might be gained in\\nthe geography classes of primary schools by\\na system of bright color adapted to dissected\\nmaps. In the aforesaid condition of age and\\ninfirmity which I sometimes find it very difficult\\nto amuse, I have been greatly helped by get-\\nting hold of a dissected map or two four, to\\nbe accurate Europe, France, England, and\\nScotland, and find it extremely instructive\\n(though I am by way of knowing as much\\ngeography as most people) to put them to-\\ngether out of chance-thrown heaps, when I am\\ngood for nothing else. I begin, for instance,\\nin consequence of this exercise, to have some\\nnotion where Wiltshire is, and Montgomery-\\nshire and where the departments of Haute", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0222.jp2"}, "221": {"fulltext": "THE BLACK ARTS. 215\\nLoire and Haute Garonne are in France, and\\nwhereabouts St. Petersburg is, in Russia. But\\nthe chief profit and pleasure of the business to\\nme is in colouring the bits of counties for my-\\nself, to my own fancy, with nice, creamy body-\\ncolour, which covers up all the names, leaves\\nnothing but the shape to guess the county by\\n(or colour when once determined), and opens\\nthe most entertaining debates of which will be\\nthe prettiest grouping of colours on the con-\\ndition of each being perfectly isolated.\\nBy this means, also, some unchangeable facts\\nabout each district may at once be taught, far\\nmore valuable than the reticulation of roads\\nand rails with which all maps are now, as a.\\nmatter of course, encumbered, and with which\\na child at its dissected map period has nothing\\nto do. Thus, generally reserving purple for\\nthe primitive rock districts, scarlet for the vol\\ncanic, green for meadow-land, and yellow for\\ncorn-fields, one can still get in the warm or cold\\nhues of each colour variety enough to separate\\ndistricts politically if not geologically distinct\\none can keep a dismal grey for the coal coun-\\ntries, a darker green for woodland the forests\\nof Sherwood and Arden, for instance and\\nthen giving rich gold to the ecclesiastical and\\nroyal domains, and painting the lakes and rivers\\nwith ultra-marine, the map becomes a gay and", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0223.jp2"}, "222": {"fulltext": "216 JOHN RUSKIN.\\npleasant bit of kaleidoscopic iridescence with-\\nout any question of colour-harmonies. But for\\nthe sake of these, by a good composer in varie-\\ngation, the geological facts might be ignored,\\nand fixing first on long-confirmed political ones,\\nas, for instance, on the blanche-rose colour and\\ndamask-rose for York and Lancaster, and the\\ngold for Wells, Durham, Winchester, and Can-\\nterbury, the other colours might be placed as\\ntheir musical relations required, and lessons of\\ntheir harmonic nature and power, such as could\\nin no other so simple method be enforced,\\nmade at once convincing and delightful.\\nI need not say, of course, that in manuscript\\nillumination and in painted glass, lessons of\\nthat kind are constant, and of the deepest\\ninterest but in manuscript the intricacy of\\ndesign, and in glass the inherent quality of the\\nmaterial, are so great a part of the matter that\\nthe abstract relations of colour cannot be ob-\\nserved in their simplicity. I intended in the\\nconclusion of this letter to proceed into some\\ninquiry as to the powers of chromolithotint\\nbut the subject is completely distinct from that\\nof colouring by hand, and I have been so much\\nshaken in my former doubts of the capability\\nof the process by the wonderful facsimiles of\\nTurner vignettes, lately executed by Mr. Long,\\nfrom the collection in the subterranean domain", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0224.jp2"}, "223": {"fulltext": "THE BLACK ARTS. 217\\nof the National Gallery, that I must ask per-\\nmission for farther study of these results before\\nventuring on any debate of their probable range\\nin the future.", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0225.jp2"}, "224": {"fulltext": "CHAPTER XVI.\\nEPILOGUE.\\nThere is little for me to add to this essay. I\\nhave purposely refrained from enlarging on\\nRuskin s many-sided character and achieve-\\nments, lest the size of the book should be car-\\nried far beyond the appointed limits. But I\\nhave, I think, done enough to direct the atten-\\ntion of the reader to many of the chief the\\nmost important or the most amusing of Rus-\\nkin s views, and to awaken a desire in some to\\nstudy the works of one of the most original\\nthinkers and most interesting writers of the day.\\nOpinions may vary as to the practicability of\\nhis synthetic philosophy, and as to the sound-\\nness of what he held to be the basis and root-\\nfoundation of all true art. He may have\\nregarded art too much as a moralist and too\\nlittle as a technician he may have raised cer-\\ntain individual workers too high in the compara-\\ntive scale of art, so that the fall from off\\ntheir perches has been inevitable. To all such\\nerrors and more a great reformer is liable,\\nwho single-handed, fierce and determined, and\\n218", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0226.jp2"}, "225": {"fulltext": "EPILOGUE. 219\\nin face of all opposition, has sought to lift the\\nart of his country into a mighty power for\\ngood, and to raise her conscience at the same\\ntime to a level of purity and morality. But\\nwhatever be the fate of his teaching, whatever\\nthe destiny of his artistic fame, he will always\\nbe numbered among the mighty ones of the\\npen one of the greatest, best, and kindest\\ncreatures who ever fought the people s fight of\\nrighteousness and truth.", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0227.jp2"}, "226": {"fulltext": "xa", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0228.jp2"}, "227": {"fulltext": "INDEX.\\nAcland, Sir Henry, 21\\nAgates, Ruskin s collection of, 137\\nAgnew, Miss, see Mrs. Arthur\\nSevern\\nAlbany, Duke of, 58\\nAnderson, Miss Mary, 56\\nAndrews, Mr., Miniature of Rus-\\nkin by, 188\\nAratra Pentelici, 67\\nArchitectural Magazine, Contri-\\nbutions to the, 21\\nArchitecture and Painting, Rus-\\nkin lectures on, 178\\nArchitecture, Ruskin s views on,26\\nArrows of the Chace, 105\\nArt and Architecture, Papers on, 21\\nArt Books, Dulness of, 200\\nArt of England, Lecture on the,\\n192\\nArt, Ruskin s views of, 74, 84\\nArtist, Ruskin as, 73 et sea.\\nAshmore, Charles, Plaster Medal-\\nlion of Ruskin, 186\\nAuthor, Bookman, and Stylist,\\nRuskin as, 67 et sea.\\nBarraud s Portrait of Ruskin, 169\\nBarrett, Wilson, 43\\nBedroom, Ruskin s, 140\\nBeever, Miss Susannah, 49, 107\\nBewick, Ruskin s criticism of, 123\\nBirds, Ruskin s love of, 163\\nBishop of Carlisle, Ruskin s friend-\\nship with the, 42\\nBishop of Manchester, Discussion\\nwith the, 42\\nBishops, Ruskin on, 42\\nBoehm, Sir J. Edgar, R.A., Bust\\nof Ruskin by, 190\\nBonheur, Madame Rosa, on Rus-\\nkin, 74\\nBooks, Collection of, 130, 137\\nBookselling Trade, Disagreements\\nwith the, 69\\nBotticelli, 87, 133\\nBrantwood, 125 el sea.; Acquisi-\\ntion of, 129; Description of,\\n129 et sea. Daily life at, 159\\nBrown, Dr. John, 208\\nBritish Museum, Ruskin arranges\\nSilicas, 37\\nBuckland, Dr., Influence on Rus-\\nkin, 21, 100\\nBurne- Jones, Drawings by, 130\\nByron, Influence on Ruskin, 71,\\n109\\nCarlyle and Ruskin, 31, 71, 99;\\nvisits Brantwood, 146\\nCarpaccio, 87\\nCharacter, Health, and Tempera-\\nment of Ruskin, 40 et sea.\\nCharacteristics, Main, of Ruskin s\\nmind, 41\\nCharity, Ruskin s, 47, 50 et sea.,\\n55\u00c2\u00bb 93\\nChesneau, E., 46\\nChess, Ruskin as a player of, 57,\\n162\\nChildren, Ruskin s love for, 49;\\nEducation of, 92, 212\\nChurchill, Mrs. W. H., 44; trav-\\nels with Ruskin, 147\\nClaudian, Ruskin on, 56\\nCook, E. T., 70, 80\\nCornhill Magazine, Contributions\\nto, 30, 31\\nCreswick, Benjamin, Bust of Rus-\\nkin by, 188\\nCritic, Ruskin on the, 104\\nCrown of Wild Olive 31\\n19* 221", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0229.jp2"}, "228": {"fulltext": "222\\nINDEX.\\nCruikshank, George, Ruskin s\\ndealings with and views on,\\n115 et seq.\\nCycling, Ruskin s dislike of, 90\\nDaily Telegraph, 104\\nDale, Canon, as Ruskin s tutor, 18\\nDame Wiggins of Lee, 116\\nDarwin visits Brantwood, 102;\\nRuskin s views upon his the-\\nory, 46, 1 01\\nDeath, Ruskin s horror of, 57\\nDegree, Ruskin receives B.A.,\\n22; LL.D., 31\\nDiscount, Ruskin objects to sys-\\ntem of, 69\\nDisraeli and Ruskin, 96\\nDixon, Thomas, 106\\nDrama, Criticism on the Modern,\\n5 6\\nDraughtsman, Ruskin as, 75\\nDressier, Conrad, Bust of Ruskin\\nby, 193 Impressions of Rus-\\nkin, 197\\nDyce, W., Advice to Ruskin of, 29\\nEagle s Nest, 68\\nEducation, Ruskin s views on, 92\\net seq., 212\\nElements of Drawing, 68, 106\\nEthics of the Dust, 96\\nFielding, Copley, Ruskin s early\\nteacher, 18, 75\\nForbes, James, teaches geology to\\nRuskin, 100\\nFors Clavigera, 32, 106\\nFrondes Agrestes, 107\\nFunerals, Ruskin s horror of, 58\\nGenerosity of Ruskin, 37, 48 et\\nseq. t 50, 93\\nGeography, Suggestions for im-\\nproved teaching of, 214\\nGeology, Ruskin s study and love\\nof, 21, 100\\nGlacier des Bossons, Chamouni, 75\\nGladstone, Mr., and Ruskin, 96, 99\\nGoodwin, Dr. Harvey, Ruskin s\\nfriendship for, 42\\nGordon, Rev. Osborne, influence\\non Ruskin, 22\\nGraphic, Portrait of Ruskin pub-\\nlished in, 192\\nGreenaway, Miss Kate, Portrait ot\\nRuskin begun by, 192; ad-\\nmiration of Ruskin for the\\nart of, 192\\nGrimm, Plates of Cruikshank for,\\n116\\nHamerton, P. G., on Ruskin, 25\\nHarding, J. D., Ruskin s early\\nteacher, 18, 75\\nHarrison, W. H., Influence on\\nRuskin of, 22\\nHealth, Ruskin s, and its influ-\\nence, 40 et seq.\\nHerkomer, Prof. Hubert, R.A.,\\nPortrait of Ruskin by, 191\\nHill, Miss Octavia, and Ruskin, 33\\nHilliard, Miss, see Mrs. Churchill\\nHistory of Christian Art, 26\\nHogarth, Ruskin on, 123\\nHogg, the Ettrick Shepherd, Let-\\nter to, 109\\nHoll, Francis, A.R.A., Engraving\\nof Ruskin by, 185\\nHome life at Coniston, 157 et\\nseq.\\nHortus Inclusus, 46\\nHunt,W. Holman, 26, 76, 143, 181\\nIllness, Attacks of, 38, 60\\nIllustrated work, Perfection of, 214\\nItaly, Ruskin s trips to, 25, 147\\nJournalistic correspondence of\\nRuskin, 103\\nLang, Andrew, 88\\nLeeds Mercury, 104\\nLetter-writer, Ruskin as, 1 03 et seq.\\nLetters, Private, 107\\nLife of Ruskin, 17 et seq.\\nLinton, W. J., owned Brantwood,\\n126\\nLiterary Gazette, The, 104\\nLong, W., Chromo-lithotints by,\\n216\\nLuini, 87", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0230.jp2"}, "229": {"fulltext": "INDEX.\\n223\\nMagazine of Art, Ruskin con-\\ntributes to, 199 et seq.\\nMagazine of Natural History, 21\\nManchester City News, 104\\nManchester Examiner and Times,\\n104\\nManuscript illumination, 216\\nMathematics, Ruskin s dislike of,\\n101\\nMaurice, Rev. F. D., 31\\nMillais, Sir John Everett, R.A.,\\n26; Portrait of Ruskin by,\\n178\\nMineral Collection, Ruskin s, 137\\nMineralogist, Ruskin as, 137\\nModern Painters, Publication o f\\n22; Ruskin s valuation of,\\n67, 213\\nMonetary Gazette, The, 104\\nMorning Post, The, 104\\nMorris, William, on Ruskin, 91\\nMuscle versus Machinery, 89\\nNorthcote, James, R.A., Portraits\\nof Ruskin, 130, 170; Rus-\\nkin s esteem for, 173\\nNorton, Professor C. A., Gift of\\nPortrait to, 186\\nOutline, Value of, 21 1\\nOxford, Ruskin enters Christ-\\nchurch, 21 endows Taylor-\\nian Galleries, 37; Lectures,\\n68\\nPall Mall Gazette, 104\\nPalmerston and Ruskin, 96\\nParis, Ruskin in, 148\\nPhilosophy, Ruskin s early, 83\\nPicture, Ruskin s summary of a\\ngood, 208\\nPilotelle, Georges, sketch of\\nRuskin, 187\\nPoems, Publication of Ruskin s,\\n109\\nPoet, Ruskin as, 109 et seq.\\nPoetry of Architecture, 21\\nPolitical Economy, Ruskin s the-\\nory of, 96\\nPolitician, Ruskin as, 99\\nPortraits of Ruskin, 165 et seq\\nBarraud, 169; James North-\\ncote, R.A., 170; George\\nRichmond, R.A., 174, 182;\\nSir John Everett Millais,R.A.,\\n177 Engraved by Francis\\nHoll, A.R.A., 185; Rossetti,\\n185; by himself, 186; Mod-\\nelled by Charles Ashmore,\\n186; Georges Pilotelle, 187;\\nAndrews, 188; Arthur Sev-\\nern, 188; Benjamin Creswick,\\n188; Modelled by Sir J.\\nEdgar Boehm, R.A., 190;\\nProfessor Hubert Herkomer,\\nR.A., 191 Miss Kate Green-\\naway, 192; T. Blake Wirg-\\nman, 192; Modelled by Con-\\nrad Dressier, 193\\nPrceterita, 113, 194\\nPre-Raphaelite Brotherhood, Rus-\\nkin and the, 26, 29, 178\\nPress, Attitude of, towards Rus-\\nkin, 70\\nProut, Esteem of Ruskin for, 76\\nDrawings of, 133\\nQuarterly Review, Ruskin con-\\ntributes to the, 26; attacks\\nRuskin, 8^\\nRailways, Ruskin s hatred of, 89\\nReader, The, 104\\nReligious opinions of Ruskin, 102\\nRichmond, George, R.A., Por-\\ntraits of Ruskin, 174, 182;\\ntravels with Ruskin, 175\\nRoberts, David, Ruskin s ameni-\\nties with, 76\\nRossetti, Dante Gabriel, 29 Por-\\ntrait of Ruskin by, 185\\nRossetti, W. M., 26\\nRouen Cathedral Spire, Drawing\\nof, 76\\nRuskin, John, birth of, 17; his\\nlove of scenery and art de-\\nveloped, 18; first painting\\nlessons of, 18; first appear-\\nance in public press, 21 en-\\nters Christ church,Oxford, 21", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0231.jp2"}, "230": {"fulltext": "224\\nINDEX.\\ngains Newdigate Prize, 22;\\ngraduates B.A., 22 publishes\\nModern Painters, 22; cen-\\ntral event of his life, 22;\\nfounds a school of painting,\\n26; wages war against ex-\\nisting commercial morality,\\n30 elected Rede Lecturer at\\nCambridge, 31 appointed\\nProfessor of Fine Art at Ox-\\nford, 32 begins Fors Clavi-\\ngera, 32 gifts to public in-\\nstitutions, 37 first attacked\\nby illness, 38; resigns Slade\\nProfessorship, 38 rupture\\nwith Oxford University, 39;\\nretires from personal contact\\nwith public, 39; as a chess\\nplayer, 57, 162; critic of his\\nown works, 68, 72; theories\\nof art, 74, 211 deplores the\\ndecadence of art, 87; ac-\\nquires the art of crossing-\\nsweeping, 88 the apotheosis\\nof the navvy, 88; a theistic\\nphilosopher, 91 as politician,\\n99 as geologist, 100 corre-\\nspondent of the public jour-\\nnals, 103; intended for the\\nChurch, 109; facility in verse-\\nmaking, 109; travels. abroad,\\n*47 x 75; methodical ways,\\n157; dailylife, 157,159, 161;\\na tireless walker, 160; as in-\\nventor, 1 74 portrait of him-\\nself, 186 dissatisfied with all\\nhis portraits, 197 enjoys\\njudiciously applied flattery,\\n197; amused by dissected\\nmaps, 214\\nRuskin, John, Senior, Portrait of,\\n1 73 death of, 32\\nRuskin, Mrs., 32, 135\\nRuskin Societies of the Rose\\nfounded, 34\\nSalsette and Elephanta, 22\\nSandys, Frederick, 30\\nSchool Board, Ruskin s views on\\nthe, 92\\nScotland, Ruskin in, 178\\nScotsman, The, 104\\nScott, Sir Walter, no; Ruskin s\\nadmiration of, 133 original\\nmanuscripts of, 138; read\\naloud by Ruskin, 160\\nSesame and Lilies, 31\\nSeven Lamps of Architecture, 26,\\n68\\nSevern, Arthur, R.I., Portrait of\\nRuskin by, 188\\nSevern, Mrs. Arthur, 44, 145, 147,\\n155\\nShells, Ruskin s collection of, 133\\nSmetham, James, Letters to, 106\\ndescription of Ruskin by, 159\\nSlade Professor, Ruskin appointed\\nin 1870, 32; re-elected in\\n1876,38; resigned in 1879,32\\nStature of Ruskin, 166\\nStephens, Frederick G., 26\\nSt. George s Guild established, 33\\nSt. George s Museum at Walkley\\nestablished, 37 transferred\\nto Meersbrook Park, 38\\nSt. Mark s Venice, Ruskin s stud-\\nies of, 133\\nStones of Venice, 68\\nStudy at Brantwood, 134\\nStylist, Ruskin as, 67 et sea.\\nSwitzerland, Ruskin in, 151\\nTaylorian Galleries at Oxford,\\nGifts to, 37\\nTeacher, Ruskin as, 80\\nThackeray, Editor of Cornhill, 31\\nTheatre, Ruskin s love for the, 55\\nThe Angel in the House, 145 et sea.\\nTime and Tide by Weare and\\nTyne, 96, 106\\nTimes, Ruskin s celebrated letter\\nto the, 29, 103\\nTintoret, 87\\nTrevelyan, Lady, travels abroad\\nwith Ruskin, 147 her death,\\n148\\nTurner, Ruskin s defence of, 22,\\n87; Ruskin s admiration of,\\n76; portrait of, 130; draw\\nings by, 137", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0232.jp2"}, "231": {"fulltext": "INDEX.\\n225\\nTynda.ll, Professor, Ruskin on,\\n101, 115\\nUgliness, Ruskin s condemnation\\nof, 123\\nUnto this Last, 30\\nVol D Arno, 68\\nVenice, 26, 68\\nVerse-making, Ruskin s facility\\nin, 109\\nView of things, Ruskin s, 96 et\\nseq.\\nVivisection, Ruskin opposed to, 39\\nWaldstein, Dr., on Ruskin, 91\\nWatts, G. F., R.A., and Ruskin,\\n166\\nWaverley Novels, Manuscripts of\\nthe, 138\\nWhistler, Ruskin s criticism on,\\nand subsequent trial, 33\\nWirgman, T. Blake, Portrait of\\nRuskin by, 192\\nWomen, Ruskin s sentiments to-\\nwards, 43\\nWoolner, T., R.A., 29, 177, 180\\nWorking Men s College, Rus-\\nkin s interest in the, 31", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0233.jp2"}, "232": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0234.jp2"}, "233": {"fulltext": "", "height": "3700", "width": "2336", "jp2-path": "johnruskinsketch00spi_0235.jp2"}, "234": {"fulltext": "", "height": "3646", "width": "2359", "jp2-path": "johnruskinsketch00spi_0236.jp2"}}