{"1": {"fulltext": "urn S\\\\askm\\niiiipiijSiipliii\\niffiitfiimiftii iitiiiiiii?\\nill\\nif\\ni\\ni!i\\nfilBni\\ni\\ni\\n1 J l!\\nI\\neJPor er\\nnwofiiiigsg:", "height": "3778", "width": "2427", "jp2-path": "naturestudiessel00rusk_0001.jp2"}, "2": {"fulltext": "", "height": "3559", "width": "2270", "jp2-path": "naturestudiessel00rusk_0002.jp2"}, "3": {"fulltext": "", "height": "3559", "width": "2270", "jp2-path": "naturestudiessel00rusk_0003.jp2"}, "4": {"fulltext": "", "height": "3559", "width": "2270", "jp2-path": "naturestudiessel00rusk_0004.jp2"}, "5": {"fulltext": "3 Nature Studies g\\n-I\\nSelections from v\u00c2\u00ab\\nthe Writings of\\nIt\\n\u00e2\u0080\u00a2J John Ruskin S\\ni\\nChosen and J*\\nJJ Arranged by\\nRose Porter 53*\\n3t\\n2\\n2\\na*\\n4fc*^JS ft\\naS!\\nBoston\\nDana E :e .v Compa\\nPublishers ^j*", "height": "3559", "width": "2270", "jp2-path": "naturestudiessel00rusk_0007.jp2"}, "6": {"fulltext": "503\\nao\\n[Library of Con.i\\nSEP 22 1900\\nCopyright aotry\\nOKOR Q!V!SI0N,\\nOCT 13 1900\\nCopyright, 1900\\nBy Dana Estes Company\\nElectrotyped and printed\\nby Fish Printing Company, Boston", "height": "3559", "width": "2270", "jp2-path": "naturestudiessel00rusk_0008.jp2"}, "7": {"fulltext": "CONTENTS\\nI. Nature Studies\\nII. Nature and Art\\nIII. Sky and Cloud\\nIV. About the Earth\\nV. Jewels of the Earth\\nVI. The Mountain Kingdom\\nVII. About Water\\nVIII. Color Studies\\nIX. Trees and Their Ministry\\nX. Plants and Flowers\\nXI. Grass, Moss and Lichen\\nXII. A Charm of Birds\\n9\\n47\\n33\\n127\\nJ 59\\n181\\n221\\n249\\n273\\n299\\n343\\n359", "height": "3559", "width": "2270", "jp2-path": "naturestudiessel00rusk_0009.jp2"}, "8": {"fulltext": "", "height": "3559", "width": "2270", "jp2-path": "naturestudiessel00rusk_0010.jp2"}, "9": {"fulltext": "INTRODUCTION,\\nThe general impression about volumes\\nof selections is, perhaps, correct, namely;\\nthat their object is, that by one individual s\\ncareful research many individuals may be\\nenabled to obtain a superficial knowledge\\nof an author s writings.\\nThis volume of Nature Studies has\\nbeen compiled with no such intention. On\\nthe contrary, its object is simply to serve\\nas a guide to the rich harvests about the\\nuniverse of visible things which have no\\nfaculty of speech, but which are ripe for\\ngleaning in John Ruskin s complete works.\\nHence the compiler s choice of extracts has\\nbeen made to suggest the wealth of truth\\nand beauty to be found, and to awaken a\\nthirst for fuller knowledge of these treas-\\nures rather than to satisfy that thirst. This", "height": "3559", "width": "2270", "jp2-path": "naturestudiessel00rusk_0011.jp2"}, "10": {"fulltext": "6 INTR OD UCTION.\\nexplains why, in many cases, the quotations\\nmay seem fragmentary and abrupt. But in\\nevery instance they can be verified and\\namplified by reference to the Illustrated\\nCabinet Edition of John Ruskin s Works\\npublished by Dana Estes and Company.", "height": "3559", "width": "2270", "jp2-path": "naturestudiessel00rusk_0012.jp2"}, "11": {"fulltext": "The truth of Nature is a part of the truth of God\\nto him who does not search it out, darkness, as it is to\\nhim who does infinity.\\nModern Painters, Vol. I, Part II, Chap. II, p. 129.\\nThe whole heart of Nature seems thirsting to give,\\nand still to give.\\nIn Montibus Sanctis, Chap. II, p. 1 31.", "height": "3559", "width": "2270", "jp2-path": "naturestudiessel00rusk_0013.jp2"}, "12": {"fulltext": "", "height": "3559", "width": "2270", "jp2-path": "naturestudiessel00rusk_0014.jp2"}, "13": {"fulltext": "NATURE STUDIES.\\ni.\\nNATURE STUDIES.\\nThe living inhabitation of the world\\nthe grazing and nesting in it, the spiritual\\npower of the air, the rocks, the waters, to\\nbe in the midst of it, and rejoice and won-\\nder at it, and help it if I could, happier\\nif it needed no help of mine, this was\\nthe essential love of Nature in me, this the\\nroot of all that I have usefully become,\\nand the light of all that I have rightly\\nlearned. Praterita, Vol. I, Chap. IX, p. 142.\\nAs the art of life is learned, it will be\\nfound at last that all lovely things are also\\nnecessary the wild flower by the wayside,\\nas well as the tended corn; and the wild\\nbirds and creatures of the forest, as well\\nas the tended cattle because man doth not\\nlive by bread only, but also by the desert\\nmanna: by every wondrous word and\\nunknowable work of God.\\nUnto This Last, Essay IV, p. 224.\\n9", "height": "3559", "width": "2270", "jp2-path": "naturestudiessel00rusk_0015.jp2"}, "14": {"fulltext": "io NATURE STUDIES.\\nIf we take full view of the matter, we shall\\nfind that the love of Nature, wherever it has\\nexisted, has been a faithful and sacred ele-\\nment of human feeling that is to say, sup-\\nposing all circumstances otherwise the same\\nwith respect to two individuals, the one who\\nloves nature most will be always found to\\nhave more faith in God than the other. It\\nis intensely difficult, owing to the confusing\\nand counter influences which always mingle\\nin the data of the problem, to make this\\nabstraction fairly but so far as we can do\\nit, so far, I boldly assert, the result is con-\\nstantly the same; the nature-worship will be\\nfound to bring with it such a sense of the\\npresence and power of a Great Spirit as no\\nmere reasoning can either induce or con-\\ntrovert; and where that nature-worship is\\ninnocently pursued, i. e., with due respect\\nto other claims on time, feeling, and exertion,\\nand associated with the higher principles of\\nreligion, it becomes the channel of certain\\nsacred truths, which by no other means can\\nbe conveyed.\\nInstead of supposing the love of\\nNature necessarily connected with the faith-\\nlessness of the age, I believe it is connected\\nproperly with the benevolence and liberty\\nof the age; that it is precisely the most", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0016.jp2"}, "15": {"fulltext": "NATURE STUDIES. n\\nhealthy element which distinctively belongs\\nto us; and that out of it, cultivated no longer\\nin levity or ignorance, but in earnestness and\\nas a duty, results will spring of an importance\\nat present inconceivable; and lights arise,\\nwhich, for the first time in man s history, will\\nreveal to him the true nature of his life, the\\ntrue field for his energies, and the true rela-\\ntions between him and his Maker.\\n\u00e2\u0080\u0094Modem Painters, Vol. Ill, Part IV, Chap. XVII, p. 375, 376.\\nIdeas of beauty are among the noblest\\nwhich can be presented to the human mind,\\ninvariably exalting and purifying it according\\nto their degree and it would appear that we\\nare intended by the Deity to be constantly\\nunder their influence, because there is not\\none single object in Nature which is not\\ncapable of conveying them, and which, to\\nthe rightly perceiving mind, does not pre-\\nsent an incalculably greater number of\\nbeautiful than of deformed parts; there\\nbeing in fact scarcely anything, in pure,\\nundiseased nature, like positive deformity,\\nbut only degrees of beauty, or such slight\\nand rare points of permitted contrast as may\\nrender all around them more valuable by\\ntheir opposition, spots of blackness in crea-\\ntion, to make its colors felt.\\nModem Painters^ Vol. I, Part I, Sect. I, Chap. VI, p. 102.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0017.jp2"}, "16": {"fulltext": "12 NATURE STUDIES.\\nWhenever people don t look at Nature,\\nthey always think they can improve her.\\nThe Two Paths, Lecture I, p. 22.\\nThe real majesty of the appearance of\\nthe thing to us, depends upon the degree\\nin which we ourselves possess the power of\\nunderstanding it, that penetrating, posses-\\nsion-taking power of the imagination the\\nvery life of the man, considered as a seeing\\ncreature.\\nExamine the nature of your own emotion,\\n(if you feel it) at the sight of the Alp, and you\\nwill find all the brightness of that emotion\\nhanging, like dew on gossamer, on a curious\\nweb of subtle fancy and imperfect knowl-\\nedge.\\nFirst, you have a vague idea of its size,\\ncoupled with wonder at the work of the\\ngreat Builder of its walls and foundations,\\nthen an apprehension of its eternity, a\\npathetic sense of its perpetualness, and your\\nown transientness, as of the grass upon its\\nsides; then, and in this very sadness, a sense\\nof strange companionship with past gener-\\nations in seeing what they saw. They did\\nnot see the clouds that are floating over your\\nhead nor the cottage wall on the other side\\nof the field nor the road by which you are", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0018.jp2"}, "17": {"fulltext": "NATURE STUDIES. 13\\ntravelling. But they saw that. The wall of\\ngranite in the heavens was the same to them\\nas to you. They have ceased to look upon\\nit; you will soon cease to look also, and\\nthe granite wall will be for others. Then,\\nmingled with these more solemn imagina-\\ntions, come the understandings of the gift\\nand glories of the Alps, the fancying forth of\\nall the fountains that well from its rocky\\nwalls, and strong rivers that are born out of\\nits ice, and of all the pleasant valleys that\\nwind between its cliffs, and all the chalets\\nthat gleam among its clouds, and happy\\nfarmsteads couched upon its pastures\\nwhile together with the thoughts of these, rise\\nstrange sympathies with all the unknown of\\nhuman life, and happiness, and death, signi-\\nfied by that narrow white flame of the ever-\\nlasting snow, seen so far in the morning sky.\\nThese images, and far more than these,\\nlie at the root of the emotion which you feel\\nat the sight of the Alp.\\nModern Painters, Vol. Ill, Part IV, Chap. X, p. 176.\\nBy the Word, or Voice, or Breath, or\\nSpirit, the heavens and earth, and all the\\nhost of them, were made; and in it they\\nexist. It is your life and speaks to you\\nalways, so long as you live nobly. It", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0019.jp2"}, "18": {"fulltext": "i 4 NATURE STUDIES.\\nmay come to you in clouds it may come\\nto you in the stillness of deserts.\\nFors Clavigera, Vol. II, Letter XXXVI, p. 121.\\nUnder natural conditions the degree of\\nmental excitement necessary to bodily health\\nis provided by the course of the seasons, and\\nthe various skill and fortune of agriculture.\\nIn the country every morning of the year\\nbrings with it a new aspect of springing or\\nfading nature a new duty to be fulfilled upon\\nearth, and a new promise or warning in\\nheaven. No day is without its innocent\\nhope, its special prudence, its kindly gift and\\nits sublime danger arid in every process of\\nwise husbandry, and every effort of contend-\\ning or remedial courage, the wholesome pas-\\nsions, pride, and bodily power of the laborer\\nare excited and exerted in happiest unison\\nWhile the divine laws of seed-time which\\ncannot be recalled, harvests which cannot\\nbe hastened, and winter in which no man\\ncan work, compel the impatiences and cov-\\neting of his heart into labor too submissive\\nto be anxious, and rest too sweet to be\\nWanton. The Ethics of the Dust, Lecture X, pp. 157, 158.\\nThe woods, which I had only looked on\\nas wilderness, fulfilled I then saw, in their", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0020.jp2"}, "19": {"fulltext": "NATURE STUDIES. 15\\nbeauty, the same laws which guided the\\nclouds, divided the light, and balanced the\\nwave. He hath made everything beautiful,\\nin his time, became for me thenceforward\\nthe interpretation of the bond between the\\nhuman mind and all visible things.\\nPrcetorita, Vol. II, Chap. IV, p. 253.\\nWhatever beauty there may result from\\neffects of light on foreground objects, from\\nthe dew of the grass, the flash of the cas-\\ncade, the glitter of the birch trunk, or the\\nfair daylight hues of darker things (and\\njoyfulness there is in all of them) there is\\nyet a light which the eye invariably seeks\\nwith a deeper feeling of the beautiful, the\\nlight of the declining or breaking day, and\\nthe flakes of scarlet cloud burning like\\nwatch-fires in the green sky of the horizon\\na deeper feeling, I say, not perhaps more\\nacute, but having more of spiritual hope\\nand longing.\\nModern Painters, Vol. II, Part III, Sect. I, Chap. V, p. 265.\\nAmong the hours of his life to which the\\nwriter looks back with peculiar gratitude, as\\nhaving been marked by more than ordinary\\nfulness of joy or clearness of teaching, is one\\npassed, now some years ago, near time of", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0021.jp2"}, "20": {"fulltext": "1 6 NATURE STUDIES.\\nsunset, among the broken masses of pine\\nforest which skirt the course of the Ain,\\nabove the village of Champagnole, in the\\nJura. It is a spot which has all the solem-\\nnity, with none of the savageness, of the\\nAlps; where there is a sense of a great\\npower beginning to be manifested in the\\nearth, and of a deep and majestic concord\\nin the rise of the long low lines of piny\\nhills the first utterance of those mighty\\nmountain symphonies, soon to be more\\nloudly lifted and wildly broken along the\\nbattlements of the Alps. But their strength\\nis as yet restrained; and the far-reaching\\nridges of pastoral mountain succeed each\\nother, like the long and sighing swell which\\nmoves over quiet waters from some far-off\\nstormy sea. And there is a deep tenderness\\npervading that vast monotony. The de-\\nstructive forces and the stern expression of\\nthe central ranges are alike withdrawn. No\\nfrost-ploughed, dust-encumbered paths of\\nancient glacier fret the soft Jura pastures\\nno splintered heaps of ruin break the fair\\nranks of her forests no pale, defiled, or furi-\\nous rivers send their rude and changeful\\nways among her rocks. Patiently, eddy by\\neddy, the clear streams wind along their\\nwell-known beds and under the dark quiet-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0022.jp2"}, "21": {"fulltext": "NATURE STUDIES. 17\\nness of the undisturbed pines, there springs\\nup, year by year, such company of joyful\\nflowers as I know not the like of among all\\nthe blessings of the earth. It was Spring-\\ntime, too; and all were coming forth in\\nclusters crowded for very love; there was\\nroom enough for all, but they crushed their\\nleaves into all manner of strange shapes\\nonly to be nearer each other. There was\\nthe wood anemone, star after star, closing\\nevery now and then into nebulae and there\\nwas the oxalis, troop by troop like virginal\\nprocessions of the Mois de Marie, the dark\\nvertical clefts in the limestone choked up\\nwith them as with heavy snow, and touched\\nwith ivy on the edges ivy as light and\\nlovely as the vine and ever and anon, a\\nblue gush of violets, and cowslip bells in\\nsunny places and in the more open ground,\\nthe vetch, and comfrey, and mezereon, and\\nthe small sapphire buds of the Polygala\\nAlpina, and the wild strawberry, just a\\nblossom or two, all showered amidst the\\ngolden softness of deep, warm, amber-\\ncolored moss. I came out presently on\\nthe edge of the ravine; the solemn mur-\\nmur of its waters rose suddenly from\\nbeneath, mixed with the singing of the\\nthrushes among the pine boughs and on", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0023.jp2"}, "22": {"fulltext": "1 8 NATURE STUDIES.\\nthe opposite side of the valley, walled all\\nalong as it was by grey cliffs of limestone,\\nthere was a hawk sailing slowly off their\\nbrow, touching them nearly with his wings,\\nand with the shadow of the pines flicker-\\ning upon his plumage from above; but\\nwith a fall of a hundred fathoms under his\\nbreast, and the curling pools of the green\\nriver gliding and glittering dizzily beneath\\nhim, their foam globes moving with him\\nas he flew.\\nSeven Lamps of Architecture, Chap. VI, p. 168.\\nThe truths of Nature are one eternal\\nchange one infinite variety. There is no\\nbush on the face of the globe exactly like\\nanother bush there are no two trees in the\\nforest whose boughs bend into the same\\nnetwork; nor two leaves on the same tree\\nwhich could not be told one from the other,\\nnor two waves in the sea exactly alike.\\nModern Painters, Vol. I, Part II, Sect. I, Chap. II, p. 134.\\nFor every distance from the eye there is a\\npeculiar kind of beauty, or a different system\\nof lines of form the sight of that beauty is\\nreserved for that distance, and for that alone.\\nIf you approach nearer, that kind of beauty\\nis lost, and another succeeds, to be dis-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0024.jp2"}, "23": {"fulltext": "NATURE STUDIES. 19\\norganised and reduced to strange incom-\\nprehensible means and appliances in its turn.\\nIf you desire to perceive the great harmonies\\nof the form of a rocky mountain, you must\\nnot ascend upon its sides. All there is\\ndisorder and accident, or seems so sudden\\nstarts of its shattered beds hither and thither;\\nugly struggles of unexpected strength from\\nunder the ground fallen fragments, toppling\\none over another into more helpless fall.\\nRetire from it, and, as your eye commands\\nit more and more, as you see the ruined\\nmountain world with a wider glance, behold\\ndim sympathies begin to busy themselves in\\nthe disjointed mass; line binds itself into\\nstealthy fellowship with line; group by\\ngroup, the helpless fragments gather them-\\nselves into ordered companies new captains\\nof hosts and masses of battalions become\\nvisible, one by one, and far away answers of\\nfoot to foot, and of bone to bone, until the\\npowerless chaos is seen risen up with girded\\nloins, and not one piece of all the unregard\\nheap could now be spared from the mystic\\nwhole. The Stones of Venice, Vol. I, Chap. XXI, p. 245.\\nThe work of the great spirit of Nature is\\nas deep and unapproachable in the lowest as\\nin the noblest objects the Divine Mind is", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0025.jp2"}, "24": {"fulltext": "20 NATURE STUDIES.\\nas visible in its full energy of operation on\\nevery lowly bank and mouldering stone, as\\nin the lifting of the pillars of heaven, and\\nsettling the foundation of the earth. And\\nto the rightly perceiving mind, there is the\\nsame infinity, the same majesty, the same\\npower, the same unity, and the same per-\\nfection, manifest in the casting of the clay\\nas in the scattering of the cloud, in the\\nmouldering of the dust as in the kindling of\\nthe day-star.\\nModern Painters, Vol. II, Part II, Sect. IV, Chap. IV, p. 91.\\nThe Val di Nievole is some five miles wide\\nby thirty long, and is simply one field of corn\\nor rich grassland. There are poppies\\nand bright ones, too, about the banks and\\nroadsides; but the corn of Val di Nievole\\nis too proud to grow with poppies, and is\\nset with wild gladiolus instead, deep violet.\\nHere and there a mound of crag rises out\\nof the fields, crested with stone-pine, and\\nstudded all over with large stars of the white\\nrock-cistus. Quiet streams, filled with the\\nclose crowds of the golden water-flag, wind\\nbeside meadows painted with purple orchis.\\nOn each side of the great plain is a wilder-\\nness of hills veiled at their feet with a gray\\ncloud of olive woods.\\nFors Clavigera, Vol. I, Letter XVIII, p. 239.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0026.jp2"}, "25": {"fulltext": "NATURE STUDIES. 21\\nThe peculiar levity with which natural\\nscenery is regarded by a large number of\\nmodern minds cannot be considered as\\nentirely characteristic of the age, inasmuch\\nas it never can belong to the greatest\\nintellects.\\nMen of any high mental power must be\\nserious, whether in ancient or modern days\\na certain degree of reverence for fair scenery\\nis found in all our great writers without\\nexception.\\nIt is only the dull, the uneducated, or the\\nworldly, whom it is painful to meet on the\\nhill sides.\\nModern Painters, Vol. Ill, Part IV, Chap. XVI, p. 326.\\nIt is not sufficient that the facts or the\\nfeatures of Nature be around us, while they\\nare not within us. We may walk day by\\nday through grove and meadow, and scarcely\\nknow more concerning them than is known\\nby bird and beast, that the one has shade for\\nthe head, and the other softness for the foot.\\nIt is not true that the eye, it cannot choose\\nbut see, unless we obey the following con-\\ndition, and go forth in a wise passiveness,\\nfree from that plague of our own hearts\\nwhich brings the shadow of ourselves, and\\nthe tumult of our petty interests and impa-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0027.jp2"}, "26": {"fulltext": "22 NATURE STUDIES.\\ntient passions, across the light and calm of\\nNature. We do not sit at the feet of our\\nmistress to listen to her teachings but we\\nseek her only to drag from her that which\\nmay suit our purpose, to see in her the con-\\nfirmation of a theory, or find in her fuel for\\nour pride.\\nYou may rest assured that those who do\\nnot care for Nature, cannot see her. A few\\nof her phenomena lie on the surface: the\\nnobler number lie deep, and are the reward\\nof watching and of thought.\\nArrows of the Chacc, Letter I, pp. 31, 32.\\nNature keeps whatever she has done\\nbest, close sealed, until it is regarded with\\nreverence.\\nModern Painters, Vol. Ill, Part IV, Chap. V, p. 100.\\nAlthough in all lovely nature, there is,\\nfirst, an excellent degree of simple beauty,\\naddressed to the eye alone, yet often what\\nimpresses us most will form but a very small\\nportion of that visible beauty. That beauty\\nmay, for instance, be composed of lovely\\nflowers and glittering streams, and blue sky,\\nand white clouds and yet the thing which\\nimpresses us most, and which we should\\nbe sorriest to lose, may be a thin gray film", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0028.jp2"}, "27": {"fulltext": "NATURE STUDIES. 23\\non the extreme horizon, not so large, in the\\nspace of the scene it occupies, as a piece of\\ngossamer on a near at hand bush, nor in any\\nwise prettier to the eye than the gossamer\\nbut, because the gossamer is known by us\\nfor a little bit of spider s work, and the other\\ngray film is known to mean a mountain ten\\nthousand feet high, inhabited by a race of\\nnoble mountaineers, we are solemnly im-\\npressed by the aspect of it; and yet, all the\\nwhile the thoughts and knowledge which\\ncause us to receive this impression are so\\nobscure that we are not conscious of them.\\nModern Painters, Vol. Ill, Part IV, Chap. XVII, p. 353.\\nIf it is not human design you are looking\\nfor, there is more beauty in the next wayside\\nbank than in all the sun-blackened paper\\nyou could collect in a lifetime. Go and look\\nat the real landscape, and take care of it; do\\nnot think you can get the good of it in a\\nblack stain portable in a folio. But if you\\ncare for human thought and passion, then\\nlearn yourselves to watch the course and fall\\nof the light by whose influence you live, and\\nto share in the joy of human spirits in the\\nheavenly gifts of sunbeam and shade. For\\nI tell you truly, that to a quiet heart, and\\nhealthy brain, and industrious hand there is", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0029.jp2"}, "28": {"fulltext": "24 NATURE STUDIES.\\nmore delight, and use, in the dappling of\\none wood-glade, with flowers and sunshine,\\nthan to the restless, heartless, and idle could\\nbe brought by a panorama of a belt of the\\nworld, photographed round the equator.\\nLectures on Art, Lecture VI, p. 310.\\nI am Utopian and enthusiastic enough\\nto believe that the time will come when\\nthe world will discover and understand\\nthat God paints the clouds and shapes the\\nmoss-fibres, that men may be happy in see-\\ning Him at His work, and that in resting\\nquietly beside Him, and watching His work-\\ning, and, according to the power He has\\ncommunicated to ourselves, and the guidance\\nHe grants, in carrying out His purposes\\nof peace and charity among all His creatures,\\nare the only real happinesses that ever were,\\nor will be, possible to mankind.\\nModern Painters, Vol. Ill, Part IV, Chap. XVII, p. 381.\\nThe study of Natural History is one emi-\\nnently addressed to the active energies of\\nbody and mind. Nothing is to be got out\\nof it by dreaming, not always much by think-\\ning. It is work for the hills and fields,\\nwork of foot and hand, knife and hammer.\\nArrows of the Chace, Letter VI, p. 133.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0030.jp2"}, "29": {"fulltext": "NATURE STUDIES.\\n25\\nLast autumn I saw something bright;\\nlow sunshine at six o clock of an October\\nmorning, glancing down a long bank of\\nfern covered with hoar-frost I noted it\\nas more beautiful than anything I had ever\\nseen, to my remembrance, in gladness and\\ninfinitude of light.\\nFors Clavigera, Vol. I, Letter XV, p. 204.\\nThough Nature is constantly beautiful,\\nshe does not exhibit her highest powers\\nof beauty constantly, for then they would\\nsatiate us and pall upon our senses. It is\\nnecessary to their appreciation that they\\nshould be rarely shown. Her finest touches\\nare things that must be watched for; her\\nmost perfect passages of beauty are the\\nmost evanescent. She is constantly doing\\nsomething beautiful for us, but it is some-\\nthing which she has not done before and\\nwill not do again: some exhibition of her\\ngeneral powers in particular circumstances\\nwhich, if we do not catch at the instant it\\nis passing, will not be repeated for us.\\nModern Painters, Vol. I, Part II, Sect. I, Chap. IV, p. 146.\\nYou may enjoy a thing legitimately because\\nit is rare, and cannot be seen often (as you\\ndo a fine aurora, or a sunset, or an unusually", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0031.jp2"}, "30": {"fulltext": "26 NATURE STUDIES.\\nlovely flower) that is Nature s way of stim-\\nulating your attention.\\nAratra Pentelici Lecture I, p. 298.\\nLandscape seems hardly to have exercised\\nany strong influence, as such, on any pagan\\nnation, or pagan artist. I have no time to\\nenter into any details on this, of course, most\\nintricate and difficult subject but I will only\\nask you to observe, that wherever natural\\nscenery is alluded to by the ancients, it is\\neither agriculturally, with the kind of feeling\\nthat a good Scotch farmer has; sensually,\\nin the enjoyment of sun or shade, cool\\nwinds or sweet scents; fearfully, in a mere\\nvulgar dread of rocks dna desolate places,\\nas compared with the comfort of cities; or\\nfinally, superstitiously, in the personification\\nor deification of natural powers generally\\nwith much degradation of their impressive-\\nness, as in the paltry fables of Ulysses\\nreceiving the wind bags from y^Eolus, and\\nof the Cyclops hammering lightening sharp\\nat the ends on an anvil.\\nOf course you will here and there find\\nfeeble evidences of a higher sensibility,\\nchiefly, I think, in Plato, yEschylus, Aris-\\ntophanes, and Virgil. Homer, though in\\nthe epithets he applies to landscape always", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0032.jp2"}, "31": {"fulltext": "NATURE STUDIES. 27\\nthoroughly graphic, uses the same epithet\\nfor rocks, seas, and trees, from one end of\\nhis poem to the other, evidently without the\\nsmallest interest in anything of the kind;\\nand in the mass of heathen writers the\\nabsence of sensation on these subjects is\\nsingularly painful. For instance, in that, to\\nmy mind, most disgusting of all so-called\\npoems, the journey to Brundusium, you\\nremember that Horace takes exactly as\\nmuch interest in the scenery he is passing\\nthrough, as Sancho Panza would have done.\\nYou will find on the other hand, that the\\nlanguage of the Bible is specifically dis-\\ntinguished from all other early literature, by\\nits delight in natural imagery; and that the\\ndealings of God with His people are calcu-\\nlated peculiarly to awaken this sensibility\\nwithin them and that scenery is associated\\nin their minds with the immediate manifes-\\ntation and presence of the Divine Power\\nand their literature is full of expressions,\\nnot only testifying a vivid sense of the\\npower of Nature over man, but showing that\\nsympathy with natural things themselves, as\\nif they had human souls, which is the espe-\\ncial characteristic of true love of the works\\nof God.\\nLectures on Architecture and Painting, Lecture III, p. 289.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0033.jp2"}, "32": {"fulltext": "28 NATURE STUDIES.\\nI was up by the mill-stream this evening,\\nand climbed to the right of it, up among\\nthe sloping waves of grass. I never was so\\nstruck by their intense beauty, the masses\\nof walnut shading them with their broad,\\ncool, clearly-formed foliage the glossy gray\\nstems of the cherry trees, as if bound round\\ntight with satin, twining and writhing against\\nthe shadows the tall pollards of oak set\\nhere and there in the soft banks, as if to\\nshow their smoothness by contrast, yet them-\\nselves beautiful, rugged, and covered with\\ndeep brown and bright silver moss. Here\\nand there a chestnut sharp, and soft, and\\nstarry; and always the steep banks, one\\nabove another, melting into terraces of pure\\nvelvet, gilded with corn here and there a\\nblack jet black crag of slate breaking\\ninto a frown above them, and mouldering\\naway down into the gloomy torrent, fringed\\non its opposite edge, a grisly cliff, with\\ndelicate birch and pine, rising against the\\nsnow light of Mount Blanc.\\nPrceterita, Vol. II, Chap. XI, p. 364.\\nThe charts of the world which have been\\ndrawn up by modern science have thrown\\ninto a narrow space the expression of a\\nvast amount of knowledge, but I have", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0034.jp2"}, "33": {"fulltext": "NATURE SI U DIES. 29\\nnever yet seen any one pictorial enough\\nto enable the spectator to imagine the kind\\nof contrast in physical character which\\nexists between Northern and Southern\\ncountries. We know the difference in\\ndetail, but we have not that broad glance\\nand grasp which would enable us to feel\\nthem in their fulness. We know that gen-\\ntians grow on the Alps, and olives on the\\nApennines; but we do not enough con-\\nceive for ourselves that variegated mosaic\\nof the world s surface which a bird sees in\\nits migration, that difference between the\\ndistrict of the gentian and of the olive\\nwhich the stork and the swallow see far off,\\nas they lean upon the sirocco wind. Let\\nus, for a moment, try to raise ourselves\\neven above the level of their flight, and\\nimagine the Mediterranean lying beneath\\nus like an irregular lake, and all its ancient\\npromontories sleeping in the sun here and\\nthere an angry spot of thunder, a gray\\nstain of storm, moving upon the burning\\nfield and here and there a fixed wreath\\nof white volcano smoke, surrounded by its\\ncircle of ashes but for the most part a\\ngreat peacefulness of light, Syria and\\nGreece, Italy and Spain, laid like pieces\\nof a golden pavement into the sea-blue,", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0035.jp2"}, "34": {"fulltext": "3 o NATURE STUDIES.\\nchased, as we stoop nearer to them, with\\nbossy beaten work of mountain chains, and\\nglowing softly with terraced gardens, and\\nflowers heavy with frankincense, mixed\\namong masses of laurel, and orange and\\nplumy palm, that abate with their gray-\\ngreen shadows the burning of the marble\\nrocks, and of the ledges of porphyry, slop-\\ning under lucent sand. Then let us pass\\nfarther towards the north, until we see\\nthe orient colors change gradually into a\\nvast belt of rainy green, where the pas-\\ntures of Switzerland and poplar valleys of\\nFrance, and dark forests of the Danube\\nand Carpathians stretch from the mouths\\nof the Loire to those of the Volga, seen\\nthrough clefts in gray swirls of rain-cloud\\nand flaky veils of the mist of the brooks,\\nspreading low along the pasture lands and\\nthen, farther north still, to see the earth\\nheave into mighty masses of leaden rock\\nand heathy moor, bordering with a broad\\nwaste of gloomy purple that belt of field\\nand wood, and splintering into irregular\\nand grisly islands amidst the northern seas,\\nbeaten by storm and chilled by ice-drift,\\nand tormented by furious pulses of con-\\ntending tide, until the roots of the last\\nforests fail from among the hill ravines, and", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0036.jp2"}, "35": {"fulltext": "NATURE STUDIES. 31\\nthe hunger of the north wind bites their\\npeaks into barrenness; and, at last, the\\nwall of ice, durable like iron, sets, death-\\nlike, its white teeth against us out of the\\npolar twilight.\\nThe Stones of Venice Vol. II, Chap. VI, pp. 156, 157.\\nIt had been wild weather when I left\\nRome, and all across the Campagna the\\nclouds were sweeping in sulphurous blue,\\nwith a clap of thunder or two, and break-\\ning gleams of sun along the Claudian\\naqueduct lighting up the infinity of its\\narches like the bridge of chaos. But as I\\nclimbed the long slope of the Alban\\nmount, the storm swept finally to the\\nnorth, and the noble outlines of the domes\\nof Albano and graceful darkness of its ilex\\ngrove rose against pure streaks of alter-\\nnate blue and amber, the upper sky gradu-\\nally flushing through the last fragments of\\nrain-cloud in deep, palpitating azure, half\\nether and half dew. The noon-day sun\\ncame slanting down the rocky slopes of\\nLa Riccia, and its masses of entangled and\\ntall foliage, whose autumnal tints were\\nmixed with the wet verdure of a thousand\\nevergreens, were penetrated with it as with\\nrain. I cannot call it color, it was conflagra-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0037.jp2"}, "36": {"fulltext": "32 NATURE STUDIES.\\ntion. Purple, and crimson, and scarlet, like\\nthe curtains of God s tabernacle, the rejoic-\\ning trees sank into the valley in showers\\nof light, every separate leaf quivering with\\nbuoyant and burning life each, as it turned\\nto reflect or to transmit the sunbeam, first\\na torch and then an emerald. Far up into\\nthe recesses of the valley, the green vistas\\narched like the hollows of mighty waves\\nof some crystalline sea, with the arbutus\\nflowers dashed along their flanks for foam,\\nand silver flakes of orange spray tossed\\ninto the air around them, breaking over\\nthe gray walls of rock into a thousand\\nseparate stars, fading and kindling alter-\\nnately as the weak wind lifted and let them\\nfall. Every blade of grass burned like the\\ngolden floor of heaven, opening in sudden\\ngleams as the foliage broke and closed\\nabove it, as sheet-lightning opens in a\\ncloud at sunset: the motionless masses of\\ndark rock dark though flushed with scar-\\nlet lichen, casting their quiet shadows\\nacross its restless radiance, the fountain\\nunderneath them filling its marble hollow\\nwith blue mist and fitful sound, and over all\\nthe multitudinous bars of amber and rose,\\nthe sacred clouds that have no darkness,\\nand only exist to illumine, were seen in", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0038.jp2"}, "37": {"fulltext": "NATURE STUDIES. 33\\nfathomless intervals between the solemn\\nand orbed repose of the stone pines, pass-\\ning to lose themselves in the last, white,\\nblinding lustre of the measureless line\\nwhere the Campagna melted into the blaze\\nof the sea.\\n\u00e2\u0080\u0094Modern Painters, Vol. I, Part II, Sect. II, Chap. II, pp. 256, 257.\\nThere is not a cluster of weeds growing\\nin any cranny of ruin which has not a\\nbeauty in all respects nearly equal, and, in\\nsome, immeasurably superior, to that, of the\\nmost elaborate sculpture of its stones.\\nSeven Lamps of Architecture, Chap. Ill, p. 56.\\nWith us, observe, the idea of the Divin-\\nity is apt to get separated from the life\\nof nature; and imagining our God upon a\\ncloudy throne, far above the earth, and not\\nin the flowers or waters, we approach those\\nvisible things with a theory that they are\\ndead, governed by physical laws, and so forth.\\nBut coming to them, we find the theory fail\\nthat they are not dead; that, say what we\\nchoose about them, the instinctive sense of\\ntheir being alive is too strong for us and in\\nscorn of all physical law, the wilful fountain\\nsings, and the kindly flowers rejoice. And\\nthen, puzzled and yet happy; pleased, and", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0039.jp2"}, "38": {"fulltext": "34 NATURE STUDIES.\\nyet ashamed of being so accepting sympathy\\nfrom nature, which we do not believe it gives,\\nand giving sympathy to nature, which we do\\nnot believe it receives, mixing, besides, all\\nmanner of purposeful play and conceit with\\ntheir involuntary fellowships, we fall neces-\\nsarily into the curious web of hesitating\\nsentiment, pathetic fallacy, and wandering\\nfancy, which form a great part of our modern\\nview of nature.\\nModern Painters, Vol. Ill, Part IV, Chap. XIII, p. 229.\\nThe simplest forms of Nature are strangely\\nanimated by the sense of the Divine pres-\\nence; the trees and flowers seem all, in a\\nsort children of God.\\nModern Painters, Vol. Ill, Part IV, Chap. XVII, p. 383.\\nLook at the crest of the Alp, from the far-\\naway plains over which its light is cast,\\nwhence human souls have communion with\\nit by their myriads. The child looks up to it\\nin the dawn, and the husbandman in the bur-\\nden and heat of the day, and the old man in\\nthe going down of the sun, and it is to them\\nall as the celestial city on the world s horizon\\ndyed with the depth of heaven and clothed\\nwith the calm of eternity. There was it set,\\nfor holy dominion, by Him who marked for", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0040.jp2"}, "39": {"fulltext": "NATURE STUDIES. 35\\nthe sun his journey, and bade the moon know\\nher going down. It was built for its place in\\nthe far-off sky approach it, and as the sound\\nof the voice of man dies away about its\\nfoundations, and the tide of human life, shal-\\nlowed upon the vast aerial shore, is at last\\nmet by the Eternal Here shall thy waves be\\nstayed, the glory of its aspect fades into\\nblanched fearfulness; its purple walls are\\nrent into grisly rocks, its silver fretwork sad-\\ndened into wasting snow, the storm-brands\\nof ages are on its breast, the ashes of its own\\nruin lie solemnly on its white raiment.\\nThe Stones of Venice^ Vol. I, Chap. XXI, p. 244.\\nI do not know that there is a district in\\nthe world more calculated to illustrate this\\npower of the expectant imagination, than\\nthat which surrounds the city of Fribourg\\nin Switzerland, extending from it towards\\nBerne.\\nIt is an undulating district of gray sand-\\nstone, never attaining any considerable\\nheight, but having enough of the mountain\\nspirit to throw itself into continual succes-\\nsion of bold slope and dale elevated, also,\\njust far enough above the sea to render the\\npine a frequent forest tree along its irregu-\\nlar ridges. Through this elevated tract the", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0041.jp2"}, "40": {"fulltext": "36 NATURE STUDIES.\\nriver cuts its way in a ravine some five or\\nsix hundred feet in depth, which winds for\\nleagues between the gentle hills, unthought\\nof, until its edge is approached: and then,\\nsuddenly through the boughs of the firs,\\nthe eye perceives, beneath, the green and\\ngliding stream, and the broad walls of\\nsandstone cliff that form its banks: hol-\\nlowed out where the river leans against\\nthem, as it turns, into perilous overhang-\\ning, and, on the other shore, at the same\\nspots, leaving little breadths of meadow\\nbetween them and the water, half-overgrown\\nwith thicket, deserted in their sweetness,\\ninaccessible from above, and rarely visited\\nby any curious wanderers along the hardly\\ntraceable footpath which struggles for exist-\\nence beneath the rocks. And there the\\nriver ripples and eddies and murmurs in\\nutter solitude. It is passing through the\\nmidst of a thickly peopled country but\\nnever was a stream so lonely. The fee-\\nblest and most far-away torrent among the\\nhigh hills has its companions; the goats\\nbrowse beside it; and the traveller drinks\\nfrom it, and passes over it with his staff;\\nand the peasant traces a new channel for\\nit down to his mill-wheel. But this stream\\nhas no companions it flows on in infinite", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0042.jp2"}, "41": {"fulltext": "NATURE STUDIES. 37\\nseclusion, not secret nor threatening, but\\na quietness of sweet daylight and open\\nair, a broad space of tender and deep\\ndesolateness, drooped into repose out of\\nthe midst of human labor and life; the\\nwaves plashing lowly, with none to hear\\nthem; and the wild birds building in the\\nboughs, with none to fray them away; and\\nthe soft, fragrant herbs rising and breathing,\\nand fading, with no hand to gather them;\\nand yet all bright and bare to the clouds\\nabove, and to the fresh fall of the passing\\nsunshine and pure rain.\\nBut above the brows of those scarped\\ncliffs, all is in an instant changed. A few\\nsteps only beyond the firs that stretch their\\nbranches, angular, and wild, and white, like\\nforks of lightning, into the air of the ravine,\\nand we are in an arable country of the most\\nperfect richness; the swathes of its corn\\nglowing and burning from field to field its\\npretty hamlets all vivid with fruitful orchards\\nand flowery gardens, and goodly with steep-\\nroofed storehouse and barn; its well-kept,\\nhard, park-like roads rising and falling from\\nhillside to hillside, or disappearing among\\nbrown banks of moss, and thicket of the\\nwild raspberry and rose or gleaming through\\nlines of tall trees, half glade, half avenue,", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0043.jp2"}, "42": {"fulltext": "38 NATURE STUDIES.\\nwhere the gate opens, or the gateless path\\nturns trustfully aside, unhindered, into the\\ngarden of some statelier house, surrounded in\\nrural pride with its golden hives, and carved\\ngranaries, and irregular domain of latticed\\nand espaliered cottages, gladdening to look\\nupon in their delicate homeliness delicate,\\nyet, in some sort, rude. For there is an\\nuntamed strength even in all that soft and\\nhabitable land. It is, indeed, gilded with\\ncorn and fragrant with deep grass, but it is\\nnot subdued to the plough or the scythe. It\\ngives at its own free will, it seems to have\\nnothing wrested from it nor conquered from\\nit. It is not redeemed from desertness, but\\nunrestrained in fruitfulness, a generous\\nland, bright with capricious plenty, and\\nlaughing from vale to vale in fitful fulness,\\nkind and wild; nor this without some sterner\\nelements mingled in the heart of it. For\\nalong all its ridges stand the dark masses\\nof innumerable pines, taking no part in its\\ngladness, asserting themselves forever as\\nfixed shadows, not to be pierced or banished\\neven in the intensest sunlight fallen flakes\\nand fragments of the night, stayed in their\\nsolemn squares in the midst of all the rosy\\nbendings of the orchard boughs, and yellow\\neffulgence of the harvest, and tracing them-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0044.jp2"}, "43": {"fulltext": "NATURE STUDIES.\\n39\\nselves in black network and motionless\\nfringes against the blanched blue of the\\nhorizon in its saintly clearness. And yet\\nthey do not sadden the landscape, but seem\\nto have been set there chiefly to show how\\nbright everything else is round them; and all\\nthe clouds look of purer silver, and all the\\nair seems filled with a whiter and more living\\nsunshine, when they are pierced by the sable\\npoints of the pines and all the pastures look\\nof more glowing green where they run up\\nbetween the purple trunks and the sweet\\nfield foot-paths skirt the edges of the forest\\nfor the sake of its shade, sloping up and\\ndown about the slippery roots, and losing\\nthemselves every now and then hopelessly\\namong the violets, and ground ivy, and\\nbrown sheddings of the fibrous leaves; and at\\nlast plunging into some open aisle where the\\nlight through the distant stems shows that\\nthere is a chance of coming out again on the\\nother side, and coming out, indeed, in a little\\nwhile, from the scented darkness, into the\\ndazzling air and marvellous landscape, and\\nstretches still farther and farther in new wilful-\\nness of grove and garden, until, at last, the\\ncraggy mountains of Simmenthal rise out of it,\\nsharp into the rolling of the southern clouds.\\nModem Painters, Vol. IV, Part X, Chap. XI, pp. 173-177.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0045.jp2"}, "44": {"fulltext": "40 NATURE STUDIES.\\nThere is a decisive instant in all matters;\\nand if you look languidly you are sure to\\nmiss it. Nature seems always, somehow, try-\\ning to make you miss it. I will see that\\nthrough, you must say, without turning\\nmy head or you won t see the trick of it\\nat all. Mornings in Florence Second Morning, p. 28.\\nThat sentence of Genesis, I have given\\nthee every green herb for meat, like all the\\nrest of the book, has a profound symbol-\\nical as well as a literal meaning. It is not\\nmerely the nourishment of the body, but\\nthe food of the soul, that is intended. The\\ngreen herb is, of all nature, that which is\\nmost essential to the healthy spiritual life\\nof man. Most of us do not need fine scen-\\nery: the precipice and the mountain peak\\nare not intended to be seen by all men,\\nperhaps, their power is greatest over those\\nwho are unaccustomed to them. But trees,\\nand fields, and flowers were made for all, and\\nare necessary for all. God has connected the\\nlabor which is essential to the bodily suste-\\nnance, with the pleasures which are healthi-\\nest for the heart: and while He made the\\nground stubborn, He made its herbage fra-\\ngrant, and its blossoms fair. The proudest\\narchitecture that man can build has no", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0046.jp2"}, "45": {"fulltext": "NATURE STUDIES. 41\\nhigher honor than to bear the image and\\nrecall the memory of that grass of the field\\nwhich is, at once, the type and the support\\nof his existence the goodly building is then\\nmost glorious when it is sculptured into the\\nlikeness of the leaves of Paradise; and the\\ngreat Gothic Spirit noble in its disquietude,\\nis also noble in its hold of nature it is\\nindeed, like the dove of Noah, in that she\\nfound no rest upon the face of the waters\\nbut like her in this also, Lo, in her mouth\\nwas an olive branch, plucked off.\\nThe Stones of Venice^ Vol. II, Chap. VI, p. 202.\\nWe know more certainly every day that\\nwhatever appears to us harmful in the uni-\\nverse has some beneficent or necessary\\noperation that the storm which destroys a\\nharvest brightens the sunbeams for harvests\\nyet unsown, and that the volcano which\\nburies a city preserves a thousand from de-\\nstruction. But the evil is not for the time\\nless fearful, because we have learned it to\\nbe necessary and we easily understand the\\ntimidity or the tenderness of the spirit which\\nwould withdraw itself from the presence of\\ndestruction. That man is greater, how-\\never, who contemplates with an equal mind\\nthe alternations of terror and of beauty who,", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0047.jp2"}, "46": {"fulltext": "42 NATURE STUDIES.\\nnot rejoicing less beneath the sunny sky,\\ncan bear also to watch the bars of twilight\\nnarrowing on the horizon, and, not less\\nsensible to the blessing of the peace of\\nNature, can rejoice in the magnificence of\\nthe ordinance by which that peace is pro-\\ntected and secured.\\nThe Stones of Venice, Vol. II, Chap. VI, p. 190.\\nNot enjoying the beauty of things, goes\\never so much deeper than mere blindness.\\nHortus Inclusus, p. 63.\\nThere are few so utterly lost, but that\\nthey receive, and know that they receive, at\\ncertain moments, strength of some kind,\\nor rebuke from the appealings of outward\\nthings; and that it is not possible for a\\nChristian man to walk across so much as\\na rood of the natural earth, with mind un-\\nagitated and rightly poised, without receiving\\nstrength and hope from some stone, flower,\\nleaf, or sound, nor without a sense of a dew\\nfalling upon him out of the sky.\\nModern Painters, Vol. II, Part III, Sect. I, Chap. XV, p. 383.\\nAll Nature, with one voice with one\\nglory, is set to teach you reverence for the\\nlife communicated to you from the Father", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0048.jp2"}, "47": {"fulltext": "NATURE STUDIES.\\n43\\nof Spirits. The song of birds, and their\\nplumage; the scent of flowers, their color,\\ntheir very existence, are in direct connection\\nwith the mystery of that communicated life.\\nThe Eagle s Nest, Lecture VIII, p. 398.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0049.jp2"}, "48": {"fulltext": "", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0050.jp2"}, "49": {"fulltext": "NATURE AND ART.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0051.jp2"}, "50": {"fulltext": "Have no fear in judging between Nature and Art,\\nso only that you love both. If you can love one only,\\nthen let it be Nature you are safe with her but do\\nnot then attempt to judge the Art, to which you do not\\ncare to give thought, or time. But if you love both,\\nyou may judge between them fearlessly you may esti-\\nmate the last, by its making you remember the first,\\nand giving you the same kind of joy.\\nThe Stones of Venice^ Vol. I, Chap. XXX, p. 345.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0052.jp2"}, "51": {"fulltext": "II.\\nNATURE AND ART.\\nAs you know more and more of the cre-\\nated world, you will find that the true will\\nof its Maker is that its creatures should\\nbe happy; that He has made everything\\nbeautiful in its time and its place, and that\\nit is chiefly by the fault of men, when\\nthey are allowed the liberty of thwarting\\nHis laws, that Creation groans or travails\\nin pain. The Love of God exists, and you\\nmay see it, and live in it if you will. A\\nSpirit does actually exist which teaches the\\nant her path, the bird her building, and\\nmen, in an instinctive and marvellous way,\\nwhatever lovely arts and noble deeds are\\npossible to them. Without it you can do\\nno good thing. In the possession of\\nit is your peace and your power.\\nLectures on Art, Lecture IV, p. 274.\\nTrue criticism of art never can consist\\nin the mere application of rules; it can\\nbe just only when it is founded on quick\\nsympathy with the innumerable instincts\\nand changeful efforts of human nature,\\n47", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0053.jp2"}, "52": {"fulltext": "48 NATURE STUDIES.\\nchastened and guided by unchanging love\\nof all things that God has created to be\\nbeautiful, and pronounced to be good.\\nModern Painters, Vol. Ill, Part IV, Chap. II, p. 45.\\nForms are not beautiful because they are\\ncopied from Nature; only it is out of the\\npower of man to conceive beauty without\\nher aid.\\nSeven Lamps of Architecture, Chap. IV, p. 102.\\nThere are some landscapes w r hose best\\ncharacter is sparkling, and there is a pos-\\nsibility of repose in the midst of brilliancy,\\nor embracing it, as on the fields of sum-\\nmer sea, or summer land:\\nCalm, and deep peace, on this high wold,\\nAnd on the dews that drench the furze,\\nAnd on the silvery gossamers,\\nThat twinkle into green and gold\\nAnd there are colorists who can keep\\ntheir quiet in the midst of a jewellery of\\nlight; but, for the most part, it is better\\nto avoid breaking up either lines or\\nmasses by too many points, and to make\\nthe few points used exceedingly precious.\\nThe Stones of Venice, Vol. I, Chap. XXIX, p. 340.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0054.jp2"}, "53": {"fulltext": "NATURE AND ART. 49\\nHigh art, consists neither in altering\\nnor in improving Nature but in seeking\\nthroughout Nature for whatsoever things\\nare lovely, and whatsoever things are pure\\nin loving these, in displaying to the ut-\\nmost of the painter s power such loveli-\\nness as is in them, and directing the\\nthoughts of others to them by winning\\nart, or gentle emphasis.\\nModern Painters, Vol. Ill, Part IV, Chap. Ill, p. 60.\\nThe highest art in all kinds is that\\nwhich conveys the most truth.\\nArrows of the CAace, Vol. I, Letter VI, p. 140.\\nArt, followed as such, and for its own\\nsake, irrespective of the interpretation of\\nNature by it, is destructive of whatever is\\nbest and noblest in humanity but Nature\\nhowever simply observed, or imperfectly\\nknown, is, in the degree of the affection\\nfelt for it, protective and helpful to all\\nthat is noblest in humanity.\\nSo long as Art is steady in the con-\\ntemplation and exhibition of natural facts, so\\nlong she herself lives and grows and in her\\nown life and growth partly implies, partly\\nsecures, that of the nation in the midst of\\nwhich she is practised.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0055.jp2"}, "54": {"fulltext": "5o NATURE STUDIES.\\nReview for yourself the history of art, and\\nyou will find this to be a manifest certainty,\\nthat no great school ever yet existed which\\nhad not for primal aim the representation\\nof some natural fact as truly as possible.\\nWheresoever the search after truth begins,\\nthere life begins; wheresoever that search\\nceases, there life ceases.\\nDepend upon it, the first universal char-\\nacteristic of all great art is Tenderness, as\\nthe second is Truth. Seize hold of God s\\nhand and look full in the face of His crea-\\ntion, and there is nothing He will not enable\\nyou to achieve.\\nThus, then, you will find and the more\\nprofound and accurate your knowledge\\nof the history of art the more assuredly\\nyou will find that the living power in\\nall the real schools, be they great or small,\\nis love of Nature.\\nThe Two Paths, Lecture I, pp. 16-30.\\nHe who is closest to Nature is best. All\\nrules are useless, all labor is useless, if you\\ndo not give facts.\\nModern Painters, Vol. II, Part IV, Chap. X, p. 172.\\nI suppose you will not wish me to spend\\nany time in proving that imagination must", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0056.jp2"}, "55": {"fulltext": "NATURE AND ART. 51\\nbe vigorous in proportion to the quantity\\nof material which it has to handle: and\\nthat, just as we increase the range of what\\nwe see, we increase the richness of what we\\ncan imagine. Granting this, consider what\\na field is opened to your fancy merely in\\nthe subject-matter which architecture admits.\\nNearly every other art is severely limited in\\nits subjects. But is there anything within\\nrange of sight, or conception, which may not\\nbe of use to you, or in which your interest\\nmay not be excited with advantage to your\\nart?\\nAll the wide world of vegetation\\nblooms and bends for you the leaves trem-\\nble that you may bid them be still under\\nthe marble snow; the thorn and the thistle,\\nwhich the earth casts forth as evil, are to\\nyou the kindliest servants no dying petal,\\nnor drooping tendril, is so feeble as to have\\nno more help for you; no robed pride of\\nblossom so kingly, but it will lay aside its\\npurple to receive at your hands the pale\\nimmortality. Is there anything in common\\nlife too mean, in common things too triv-\\nial, to be ennobled by your touch\\nAs there is nothing in life, so there is\\nnothing in lifelessness which has not its\\nlesson for you, or its gift; and when you", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0057.jp2"}, "56": {"fulltext": "52 NATURE STUDIES.\\nare tired of watching the strength of the\\nplume and the tenderness of the leaf, you\\nmay walk down to your rough river shore,\\nor into the thickest markets of your thor-\\noughfares, and there is not a piece of torn\\ncable that will not turn into a perfect\\nmoulding. Yes, and if you gather up the\\nvery sand, and break the stone on which\\nyou tread, among its fragments of all but\\ninvisible shells you will find forms that will\\ntake their place, and that proudly, among\\nthe starred traceries of your vaulting: and\\nyou, who can crown the mountain with its\\nfortress, and the city with its towers, are\\nthus able also to give beauty to ashes, and\\nworthiness to dust.\\nDo not think it wasted time to sub-\\nmit yourselves to any influence which may\\nbring upon you any noble feeling. Rise\\nearly, always watch the sunrise, and the\\nway the clouds break from the dawn; you\\nwill cast your statue-draperies in quite\\nanother than your common way, when the\\nremembrance of that cloud motion is with\\nyou, and of the scarlet vesture of the\\nmorning. Live always in the springtime\\nin the country; you do not know what\\nleaf-form means, unless you have seen the\\nbuds burst, and the young leaves breathing", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0058.jp2"}, "57": {"fulltext": "NATURE AND ART. 53\\nlow in the sunshine, and wondering at the\\nfirst shower of rain.\\nThe Two Paths, Lecture IV, pp. 95, 96, 100.\\nWhere does Nature pause in her finish-\\ning that finishing which consists not in\\nthe smoothing of surface, but the filling\\nof space, and the multiplication of life\\nand thought\\nModern Painters, Vol. Ill, Part IV, Chap. IX, p. 166.\\nAll most lovely forms and thoughts are\\ndirectly taken from natural objects.\\nSeven Lamps of Architecture, Chap. IV, p. 101.\\nThe things which Art does care to\\nknow, are these: that in the heavens God\\nhath set a tabernacle for the sun, which\\nis as a bridegroom coming out of his\\nchamber, and rejoiceth as a strong man to\\nrun a race. His going forth is from the\\nend of the heaven, and his circuit unto the\\nends of it, and there is nothing hid from\\nthe heat thereof.\\nThis, then, being the kind of truth with\\nwhich Art is exclusively concerned, how\\nis such truth as this to be ascertained\\nand accumulated? Evidently, and only,\\nby perception and feeling. Neither either", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0059.jp2"}, "58": {"fulltext": "54 NATURE STUDIES.\\nby reasoning or report. Nothing must\\ncome between Nature and the artists\\nsight nothing between God and the artist s\\nsoul. Neither calculation nor hearsay, be\\nit the most subtle of calculations, or the\\nwisest of sayings, may be allowed to come\\nbetween the universe and the witness which\\nArt bears to its visible nature.\\nThe whole function of the artist in the\\nworld is to be a seeing and feeling crea-\\nture; to be an instrument of such tender-\\nness and sensitiveness, that no shadow,\\nno hue, no line, no instantaneous and\\nevanescent expression of the visible things\\naround him, nor any of the emotions\\nwhich they are capable of conveying to\\nthe spirit which has been given him, shall\\neither be left unrecorded, or fade from\\nthe book of record. There is no great\\npainter, no great workman in any art, but\\nhe sees more with the glance of a mo-\\nment than he could learn by the labor of\\na thousand hours.\\nThe Stones of Venice, Vol. Ill, Chap. II, pp. 40, 41.\\nWhat is the purpose of your decora-\\ntion We profess that it is to honor\\nthe Deity; or, in other words, that it is\\npleasing to Him that we should delight", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0060.jp2"}, "59": {"fulltext": "NATURE AND ART. 55\\nour eyes with blue and golden colors, and\\nsolemnise our spirits by the sight of large\\nstones laid one on another, and ingen-\\niously carved.\\nI do not think it can be doubted that\\nit is pleasing to Him when we do this\\nfor He has Himself prepared for us, nearly\\nevery morning and evening, windows\\npainted with Divine art, in blue and gold\\nand vermilion windows lighted from within\\nby the lustre of that heaven which we\\nmay assume, at least with more certainty\\nthan any consecrated ground, to be one of\\nHis dwelling-places. Again, in every moun-\\ntain side, and cliff of rude seashore, He\\nhas heaped stones one upon another of\\ngreater magnitude than those of Chartres\\nCathedral, and sculptured them with floral\\nornament,\u00e2\u0080\u0094 surely not less sacred because\\nliving?\\nMust it not then be only because we\\nlove our own work better than His, that\\nwe respect the lucent glass, but not the\\nlucent clouds; that we weave embroidered\\nrobes with ingenious fingers, and make\\nbright the gilded vaults we have beauti-\\nfully ordained while yet we have not\\nconsidered the heavens the work of His\\nfingers nor the stars of the strange vault", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0061.jp2"}, "60": {"fulltext": "5 6 NATURE STUDIES.\\nwhich He has ordained. And do we dream\\nthat by carving fonts and lifting pillars in\\nHis honor, who cuts the way of the rivers\\namong the rocks, and at whose reproof the\\npillars of the earth are astonished, we shall\\nobtain pardon for the dishonor done to the\\nhills and streams by which He has appointed\\nour dwelling-place; for the infection of\\ntheir sweet air with poison; for the burn-\\ning up their tender grass and flowers with\\ntire. Lectures on Art, Lect. II, p. 237.\\nThe first thing we have to ask of dec-\\noration is that it should indicate strong\\nliking, and that honestly.\\nThe second requirement in decoration,\\nis a sign of our liking the right thing.\\nAnd the right thing to be liked is God s\\nwork, which He made for our delight and\\ncontentment in this world. And all noble\\nornamentation is the expression of man s\\ndelight in God s work.\\nThe Stones of Venice, Vol. I, Chap. II, p. 56.\\nThis infinite universe is unfathomable,\\ninconceivable, in its whole; every human\\ncreature must slowly spell out, and long\\ncontemplate, such part of it as may be\\npossible for him to reach; then set forth", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0062.jp2"}, "61": {"fulltext": "NATURE AND ART. 57\\nwhat he has learned of it for those beneath\\nhim; extricating it from infinity, as one\\ngathers a violet out of grass one does not\\nimprove either violet or grass in gathering\\nit, but one makes the flower visible; and\\nthe human being has to make its power\\nupon his own heart visible also, and to give\\nit the honor of the good thoughts it has\\nraised up in him, and to write upon it the\\nhistory of his own soul. And sometimes\\nhe may be able to do more than this, and\\nto set it in strange lights, and display it\\nin a thousand ways before unknown ways\\nspecially directed to necessary and noble\\npurposes, for which he had to choose in-\\nstruments out of the wide armory of God.\\nAll this he may do-: and in this he is only\\ndoing what every Christian has to do with\\nthe written, as well as the created word,\\nrightly dividing the word of truth.\\nStones of Venice, Vol. I, Chap. XXX, p. 344.\\nBeware, in going to nature, of taking\\nthe commonplace dogmas or dicta of art.\\nLook not for what is like Titian or like\\nClaude but believe that everything which\\nGod has made is beautiful, and that every-\\nthing which Nature teaches is true.\\nArrows of the Chace, Letter I, p. 38.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0063.jp2"}, "62": {"fulltext": "58 NATURE STUDIES.\\nThere is but one grand style in the treat-\\nment of all subjects, whatsoever, and that\\nstyle is based on the perfect knowledge,\\nand consists in the simple, unencumbered\\nrendering of the specific characters of the\\ngiven object. Every change, or abandon-\\nment of such specific character, is as de-\\nstructive of grandeur as it is of truth,\\nof beauty, of propriety. Every alteration of\\nthe features of nature has its origin either\\nin powerless indolence or blind audacity,\\nin the folly which forgets, or the insolence\\nwhich desecrates, works which it is the pride\\nof angels to know, and their privilege to love.\\nModern Painters, Vol. I, Preface to Second Edition, p. 27.\\nAn architect should live as little in cities\\nas a painter. Send him to our hills, and let\\nhim study there what nature understands by\\na buttress, and what by a dome.\\nSeven Lamps of Architecture, Chap. Ill, p. 99.\\nHuman Art can only flourish when its\\ndew is Affection: its air, Devotion; the rock\\nof its roots, Patience; and its sunshine, God.\\nThe Laws of Fe sole, Chap. X, p. 135.\\nWe need not hope to be able to imi-\\ntate, in general work, any of the subtly", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0064.jp2"}, "63": {"fulltext": "NATURE AND ART. 59\\ncombined curvatures of Nature s highest\\ndesigning; on the contrary, their extreme\\nrefinement renders them unfit for coarse\\nservice or material. Lines which are lovely\\nin the pearly film of the Nautilus shell,\\nare lost in the gray roughness of stone;\\nand those which are sublime in the blue\\nof far away hills, are weak in the sub-\\nstance of incumbent marble.\\nNo sculptor can in the least imitate\\nthe peculiar character of accidental fracture\\nhe can obey or exhibit the laws of Nature,\\nbut he cannot copy the felicity of her\\nfancies, nor follow the steps of her fury.\\nThe very glory of a mountain is in the\\nrevolutions which raised it into power, and\\nthe forces which are striking it into ruin.\\nBut we want no cold and careful imitation\\nof catastrophe; no calculated mockery of\\nconvulsion; no delicate recommendation\\nof ruin. We are to follow the labor of\\nNature, but not her disturbance to imitate\\nwhat she has deliberately ordained, not\\nwhat she has violently suffered, or strangely\\npermitted. Beautiful ornament, wher-\\never found, or however invented, is always\\neither an intentional or unintentional copy\\nof some constant natural form.\\nr\u00e2\u0080\u0094 The Stones of Venice, Vol. I, Chap. XX, pp. 224, 225.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0065.jp2"}, "64": {"fulltext": "60 NATURE STUDIES.\\nFor prolonged entertainment, no picture\\ncan be compared with the wealth of interest\\nwhich may be found in the herbage of\\nthe poorest field, or blossoms of the nar-\\nrowest copse.\\nModern Painters, Vol. V, Part IX, Chap. I, p. 249.\\nThe art of man is the expression of his\\nrational and disciplined delight in the forms\\nand laws of the creation of which he forms\\na part. Fix, then, this in your mind\\nthat your art is to be the praise of some-\\nthing that you love, be you small or great,\\nwhat healthy art is possible to you must\\nbe the expression of your true delight in\\na real thing, better than the art.\\nThe Laws of Fesole Chap. I, pp. 11, 12.\\nMany forest trees present, in their acci-\\ndental contortions, types of the most com-\\nplicated spiral shafts, the plan being origi-\\nnally of a graceful shaft rising from several\\nroots; nor, indeed, will the reader ever find\\nmodels for every kind of shaft decoration,\\nso graceful or so gorgeous, as he will find\\nin the great forest aisle, when the strength\\nof the earth itself seems to rise from the\\nroots into the vaulting: but the shaft sur-\\nface, barred as it expands with wings of", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0066.jp2"}, "65": {"fulltext": "NATURE AND ART. 61\\nebony and silver, is fretted with traceries\\nof ivy, marbled with purple moss, veined\\nwith gray lichen, and tessellated by the rays\\nof the rolling heaven, with flitting fancies\\nof blue shadow and burning gold.\\nThe Stones of Venice^ Vol. I, Chap. XXVI, p. 299.\\nThe greater part of those delights by\\nwhich Nature recommends herself to man at\\nall times, cannot be conveyed by his imita-\\ntive work. He cannot make his grass green\\nand cool and good to rest upon, which\\nin Nature is its chief use to man nor\\ncan he make his flowers tender and full\\nof color and of scent, which in Nature\\nare their chief powers of giving joy. Those\\nqualities which alone he can secure are\\ncertain severe characters of form, such as\\nmen only see in Nature on deliberate\\nexamination, and by the full and set appli-\\nance of sight and thought; a man must\\nlie down on the bank of grass on his\\nbreast and set himself to watch and pene-\\ntrate the intertwining of it, before he finds\\nthat which is good to be gathered by the\\narchitect. So then while Nature is at all\\ntimes pleasant to us, and while the sight\\nand sense of her work may mingle hap-\\npily with all our thoughts, and labors, and", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0067.jp2"}, "66": {"fulltext": "62 NATURE STUDIES.\\ntimes of existence, that image of her which\\nthe architect carries away represents what\\nwe can only perceive in her by direct\\nintellectual exertion of a similar kind in\\norder to understand it and feel it.\\nT7ie Seven Lamps of Architecture, Chap. IV, p. 113.\\nAll art, and all Nature, depend on the\\ndisposition of masses. Painting, sculpture,\\nmusic and poetry, depend equally on the\\nproportion, whether of colors, stones,\\nnotes, or words. Proportion is a principle,\\nnot of architecture, but of existence. It is\\nby the law of proportion that stars shine,\\nthat mountains stand, and rivers flow.\\nLectures on Architecture and Painting Lecture I, p. 274.\\nThe true ideal of landscape is precisely\\nthe same as that of the human form; it\\nis the expression of the specific not the\\nindividual, but the specific characters of\\nevery object, in their perfection; there is\\nan ideal form of every herb, flower, and\\ntree: it is that form to which every\\nindividual of the species has a tendency\\nto arrive, freed from the influence of acci-\\ndent or disease. Every landscape painter\\nshould have the specific characters of every\\nobject he has to represent, rock, flower, or", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0068.jp2"}, "67": {"fulltext": "NATURE AND ART. 63\\ncloud; and in his highest ideal works,\\nall their distinctions will be perfectly ex-\\npressed, broadly or delicately, slightly or\\ncompletely, according to the nature of the\\nsubject, and the degree of attention which\\nis to be drawn to the particular object by\\nthe part it plays in the composition.\\nBotanical or geological details are\\nnot to be given as matters of curiosity\\nor subject of search, but as the ultimate\\nelements of every species of expression\\nand order of loveliness.\\nEvery herb and flower of the field\\nhas its specific, distinct, and perfect beauty;\\nit has its peculiar habitation, expression\\nand function. The highest art is that\\nwhich seizes this specific character, which\\ndevelops and illustrates it, which assigns\\nto it its proper position in the landscape,\\nand which, by means of it, enhances and\\nenforces the great impression which the\\npicture is intended to convey. Nor is it\\nof herbs and flowers alone that such sci-\\nentific representation is required. Every\\nclass of rock, every kind of earth, every\\nform of cloud, must be studied with equal\\nindustry, and rendered with equal pre-\\ncision.\\nGeneralization, as the word is com-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0069.jp2"}, "68": {"fulltext": "64 NATURE STUDIES.\\nmonly understood, is the act of a vulgar,\\nincapable, and unthinking mind. To see\\nin all mountains nothing but similar heaps\\nof earth; in all rocks, nothing but similar\\nconcretions of solid matter in all trees,\\nnothing but similar accumulations of leaves,\\nis no sign of high feeling or extended\\nthought. The more we know, and the\\nmore we feel, the more we separate we sepa-\\nrate to obtain a more perfect unity.\\nModern Painters, Vol.1, Preface, pp. 28-39.\\nOf all embellishments by which the\\nefforts of man can enhance the beauty of\\nnatural scenery, those are the most effect-\\nive which can give animation to the scene,\\nwhile the spirit which they bestow is in\\nunison with its general character. It is\\ngenerally desirable to indicate the pres-\\nence of animated existence in a scene of\\nnatural beauty; but only of such existence\\nas shall be imbued with the spirit, and\\nshall partake of the essence, of the beauty,\\nwhich, without it, would be dead.\\nThe Poetry of Architecture, p. 9.\\nIt is ordained that, for our encourage-\\nment, every step we make in the more\\nexalted range of science adds something", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0070.jp2"}, "69": {"fulltext": "NATURE AND ART. 65\\nalso to its practical applicabilities that all\\nthe great phenomena of nature, the knowl-\\nedge of which is desired by the angels\\nonly, by us partly, as it reveals to farther\\nvision the being and the glory of Him in\\nwhom they rejoice and we live, dispense\\nyet such kind influences and so much of\\nmaterial blessing as to be joyfully felt by\\nall inferior creatures, and to be desired by\\nthem with such single desire as the imper-\\nfection of their nature may admit; that\\nthe strong torrents which, in their own\\ngladness fill the hills with hollow thunder\\nand the vales with winding light, have yet\\ntheir bounden charge of field to feed and\\nbarge to bear that the fierce flames to\\nwhich the Alp owes its upheaval and the\\nvolcano its terror, temper for us the metal\\nvein and quickening spring; and that for\\nour incitement, I say not our reward, for\\nknowledge is its own reward, herbs have\\ntheir healing, stones their preciousness,\\nand stars their times.\\nModern Painters^ Vol. II, Part III, Sect. 1, Chap. I, p. 228.\\nNature is never mechanical in her ar-\\nrangements; she never allows two mem-\\nbers of her composition exactly to corre-\\nspond accordingly, in every piece of art", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0071.jp2"}, "70": {"fulltext": "66 NATURE STUDIES.\\nwhich is to combine, without gradations,\\nwith landscape (as must always be the\\ncase in monuments) we must not allow a\\nmultitude of similar members; the design\\nmust be a dignified and simple whole.\\nThe Poetry of Architecture p. 171.\\nThe word truth, as applied to art, sig-\\nnifies the faithful statement, either to the\\nmind or senses, of any fact of Nature.\\nModern Painters^ Vol. I, Part I, Sect. 1, Chap. V, p. 95.\\nEvery geological formation has features\\nentirely peculiar to itself: definite lines of\\nfracture, giving rise to fixed resultant forms\\nof rock and earth peculiar vegetable prod-\\nucts, among which still farther distinc-\\ntions are wrought out by variations of\\nclimate and elevation. From such modi-\\nfying circumstances, arise the infinite vari-\\neties of the orders of landscape, of which\\neach one shows perfect harmony among\\nits several features, and possesses an ideal\\nbeauty of its own. The level marshes\\nand rich meadows of the tertiary, the rounded\\nswells and short pastures of the chalk, the\\nsquare-built cliffs and cloven dells of the\\nlower limestone, the soaring peaks and ridgy\\nprecipices of the primaries, having nothing", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0072.jp2"}, "71": {"fulltext": "NATURE AND ART. 67\\nin common among them nothing which is\\nnot distinctive and incommunicable. Their\\nvery atmospheres are different their clouds\\nare different their humors of storm and\\nsunshine are different their flowers, ani-\\nmals and forests are different. By each order\\nof landscape and its orders, I repeat, are\\ninfinite in number, corresponding not only\\nto the several species of rock, but to the\\nparticular circumstances of the rock s depo-\\nsition or after treatment, and to the in-\\ncalculable varieties of climate, aspect, and\\nhuman interference: by each order of land-\\nscape, I say, peculiar lessons are intended\\nto be taught, and distinct pleasures to be\\nconveyed: and it is as utterly futile to talk\\nof generalizing their impressions into an\\nideal landscape, as to talk of amalgamating\\nall nourishment into one ideal food, gather-\\ning all music into one ideal movement,\\nor confounding all thought into one ideal\\nidea.\\nModern Painters^ Vol. I, Preface to Second Edition, p. 40.\\nNo picture can be good which deceives\\nby its imitation, for the very reason that\\nnothing can be beautiful which is not true.\\nModern Painters^ Vol. I, Part I, Sect. I, Chap. V, p. 99.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0073.jp2"}, "72": {"fulltext": "68 NATURE STUDIES.\\nIn the edifices of Man there should be\\nfound reverent worship and following, not\\nonly of the spirit which rounds the pillars of\\nthe forest, and arches the vault of the avenue\\nwhich gives veining to the leaf, and polish\\nto the shell, and grace to every pulse that\\nagitates animal organization but of that\\nalso which reproves the pillars of the earth,\\nand builds up her barren precipices into the\\ncoldness of the clouds, and lifts her shadowy\\ncones of mountain purple into the pale arch\\nof the sky.\\nThe Seven Lamps of Architecture Chap. Ill, p. 72.\\nIt is always to be remembered that no one\\nmind is like another, either in its powers or\\nperceptions and while the main principles\\nof training must be the same for all, the re-\\nsult in each will be as various as the kinds\\nof truth which each will apprehend; there-\\nfore, also, the modes of effort, even in men\\nwhose inner principles and final aims are\\nexactly the same. Suppose, for instance, two\\nmen, equally honest, equally industrious,\\nequally impressed with a humble desire to\\nrender some part of what they saw in\\nNature faithfully. But one of them is\\nquiet in temperament, has a feeble memory,\\nno invention, and excessively keen sight.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0074.jp2"}, "73": {"fulltext": "NATURE AND ART. 69\\nThe other is impatient in temperament, has\\na memory which nothing escapes, an inven-\\ntion which never rests, and is comparatively\\nnear-sighted.\\nSet them both free in the same field in a\\nmountain valley. One sees everything, small\\nand large, with almost the same clearness\\nmountains and grasshoppers alike; the\\nleaves on the branches, the veins in the peb-\\nbles, the bubbles in the stream but he can\\nremember nothing, and invent nothing.\\nMeantime the other has been watching the\\nchange of the clouds, and the march of the\\nlight along the mountain sides he beholds\\nthe entire scene in broad, soft masses of true\\ngradation, and the very feebleness of his\\nsight is in some sort an advantage to him, in\\nmaking him more sensible of the aerial mys-\\ntery of distance, and hiding from him the\\nmultitudes of circumstances which it would\\nhave been impossible for him to represent.\\nBut there is not one change in the casting of\\nthe jagged shadows along the hollows of the\\nhills, but it is fixed on his mind forever; not\\na flake of spray has broken from the sea of\\ncloud about their bases, but he has watched\\nit as it melts away, and could recall it to its\\nlost place in heaven by the slightest effort of\\nhis thoughts.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0075.jp2"}, "74": {"fulltext": "70 NATURE STUDIES.\\nFancy how his paper will be covered with\\nstray symbols and blots, and undecipherable\\nshort-hand: as for his sitting down to\\ndraw from Nature, there was not one of\\nthe things which he wished to represent\\nthat stayed for so much as five seconds to-\\ngether but none of them escaped, for all\\nthat: they are sealed up in that strange store-\\nhouse of his he may take one of them out,\\nperhaps this day twenty years, and paint it\\nin his dark room far away. Now, observe,\\nyou may tell both of these men, when they\\nare young, that they are to be honest, that\\nthey have an important function, and that\\nthey are not to care what Raphael did. This\\nyou may wholesomely impress on them both.\\nBut fancy the exquisite absurdity of expecting\\neither of them to possess any of the qualities\\nOf the Other. Pre-Raphaelilism, pp. 252, 254.\\nTo my own mind, there is no more beauti-\\nful proof of benevolent design in the creation\\nof the earth, than the exact adaptation of its\\nmaterials to the art-power of man. The plas-\\nticity and constancy under fire of clay the\\nductility and fusibility of gold and iron:\\nthe consistent softness of marble, and the\\nfibrous toughness of wood, are in each\\nmaterial carried to the exact degree which", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0076.jp2"}, "75": {"fulltext": "NATURE AND ART. 71\\nrenders them provocative of skill by their\\nresistance, and full of reward for it by their\\nCompliance. The Art of England, Lecture V, p. 322.\\nI would rather teach drawing that my\\npupils may learn to love Nature, than teach\\nthe looking at Nature that they may learn\\nto draw. Elements of Drawing, Preface, p. 226.\\nObserve that you do not wilfully use the\\nrealistic power of art to convince yourselves\\nof historical or theological statements which\\nyou cannot otherwise prove, and which you\\nwish to prove: on the other hand, that\\nyou do not check your imagination and\\nconscience while seizing the truths of which\\nthey alone are cognizant, because you value\\ntoo highly the scientific interest which\\nattaches to the investigation of second\\ncauses.\\nFor instance, it may be quite possible to\\nshow the conditions in water and electricity\\nwhich necessarily produce the craggy out-\\nline, the apparently self-contained silvery\\nlight, and the sulphurous blue shadow of\\na thunder-cloud, and which separate these\\nfrom the depth of the golden peace in the\\ndawn of a summer morning. But it is\\nthe function of the rightly-trained imagina-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0077.jp2"}, "76": {"fulltext": "72 NATURE STUDIES.\\ntion to recognise, in these, and such other\\nrelative aspects, the unity of teaching which\\nimpresses, alike on our senses and our con-\\nscience, the eternal difference between good\\nand evil and the rule, over the clouds of\\nheaven and over the creatures in the earth,\\nof the same Spirit which teaches to our own\\nhearts the bitterness of death, and strength\\nOf love. Lectures on Art, Lecture II, p. 225.\\nThe moral temper of the workman is\\nshown by his lovely forms and thoughts to\\nexpress, as well as by the force of his hand\\nin expression. \u00e2\u0080\u0094Lectures on Art, Lecture III, p. 245.\\nAs soon as you have obtained the power\\nof drawing, I do not say a mountain, but\\neven a stone accurately, you will find that in\\nthe grain, the lustre, and the cleavage-lines\\nof the smallest fragment of rock, there are\\nrecorded forces of every order and magnitude,\\nfrom those which raise a continent by one vol-\\ncanic effort, to those which at every instant\\nare polishing the apparently complete crystal\\nin its nest, and conducting the apparently\\nmotionless metal in its vein, and that only\\nby the art of your own hand, and fidelity of\\nsight which it developes, you can obtain true\\nperception of these invincible and inimitable", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0078.jp2"}, "77": {"fulltext": "NATURE AND ART. 73\\narts of the earth herself while the compara-\\ntively slight effort necessary to obtain so\\nmuch skill as may serviceably draw moun-\\ntains in distant effect will be instantly\\nrewarded by what is almost equivalent to\\na new sense of the conditions of their\\nStructure. Lectures on Art, Lecture IV, p. 263.\\nThe good architects have generally been\\ncontent, with God s arch, the arch of the\\nrainbow and of the apparent heaven, and\\nwhich the sun shapes for us as it sets and\\nrises. The Stones of Venice, Vol. I, Chap. X, p. 134.\\nOh, if people did but know how many\\nlines nature suggests without showing, what\\ndifferent art should we have\\nArrows of the Chace, Letter I, p. 37.\\nEvery archaeologist, every natural phil-\\nosopher, knows that there is a peculiar rigid-\\nity of mind brought on by long devotion\\nto logical and analytical inquiries. The\\nman who has gone, hammer in hand, over\\nthe surface of a romantic country, feels no\\nlonger, in the mountain ranges he has so\\nlaboriously explored, the sublimity or mys-\\ntery with which they were veiled when he\\nfirst beheld them, and with which they are", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0079.jp2"}, "78": {"fulltext": "74 NATURE STUDIES.\\nadorned in the mind of the passing traveller.\\nAnd it would be with infinite gratitude\\nthat he would regard the man, who, retain-\\ning in his delineation of natural scenery a\\nfidelity to the facts of science so rigid as\\nto make his work at once acceptable and\\ncredible to the most sternly critical intellect,\\nshould yet invest its features again with the\\nsweet veil of their daily aspect: should make\\nthem dazzling with the splendor of wander-\\ning light, and involve them in the unsearch-\\nableness of stormy obscurity should restore\\nto the divided anatomy its visible vitality of\\noperation, clothe naked crags with soft for-\\nests, enrich the mountain ruins with bright\\npastures, and lead the thoughts from the\\nmonotonous recurrence of the phenomena\\nof the physical world, to the sweet interests\\nand sorrows of human life and death.\\nPre-Raphaelitism, pp. 279, 280.\\nGood painting, like nature s own work, is\\ninfinite, and unreduceable.\\nThe Elements of Perspective^ Problem XX, p. 379.\\nWe lay it down for a first principle, that\\nour graphic art, whether painting or sculp-\\nture, is to produce something which shall\\nlook as like Nature as possible. But now", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0080.jp2"}, "79": {"fulltext": "NATURE AND ART. 75\\nwe must go one step farther, and say that\\nit is to produce what shall look like Nature\\nto people who know what Nature is like\\nYou see this is at once a great restriction, as\\nwell as a great exaltation of our aim.\\nAralra Pentelici, Lecture IV, p. 358.\\nThe teaching of Nature is as varied and\\ninfinite as it is constant and the duty of the\\npainter is to watch for every one of her les-\\nsons, and to give those in which she has\\nmanifested each of her principles in the\\nmost peculiar and striking way.\\nModern Painters, Vol. I, Part II, Sect. I, Chap. IV, p. 147.\\nI think I am justified in considering those\\nforms to be most natural which are most fre-\\nquent or, rather, that on the shapes which\\nin the every-day world are familiar to the\\neyes of men, God has stamped those charac-\\nters of beauty which He has made it man s\\nnature to love. By frequency I mean\\nthat limited and isolated frequency, which\\nis characteristic of all perfection not mere\\nmultitude; as a rose is a common flower, but\\nyet there are not so many roses on the tree\\nas there are leaves. In this respect Nature\\nis sparing of her highest, and lavish of her\\nless, beauty but I call the flower as frequent", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0081.jp2"}, "80": {"fulltext": "76 NATURE STUDIES.\\nas the leaf, because, each in its allotted quan-\\ntity, where the one is, there will ordinarily be\\nthe other.\\nSeven Lamps of Architecture, Lecture IV, pp. 102, 103.\\nIn all drawing and sculpture, it is the\\npower of rounding, softly and perfectly, every\\ninferior mass which preserves the serenity,\\nas it follows the truth, of Nature, and which\\ndemands the highest knowledge and skill\\nfrom the workman.\\nSeven Lamps of Architecture, Letter III, p. 90.\\nIt is one of the eternal principles of Nature,\\nthat she will not have one line nor color,\\nnor one portion, nor atom of space without\\na change in it. There is not one of her\\nshadows, tints, or lines that is not in a state\\nof perpetual variation: I do not mean in\\ntime, but in space. There is not a leaf in\\nthe world which has the same color visible\\nover its whole surface it has a white high-\\nlight somewhere; and in proportion as it\\ncurves to or from that focus, the color is\\nbrighter or grayer. Pick up a common flint\\nfrom the roadside, and count, if you can,\\nits changes and hues of color. Every bit\\nof bare ground under your feet has in it a\\nthousand such the gray pebbles, the warm", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0082.jp2"}, "81": {"fulltext": "NATURE AND ART. 77\\nochre, the green of incipient vegetation, the\\ngrays and blacks of its reflexes and shadows,\\nmight keep a painter at work for a month,\\nif he were obliged to follow them touch for\\ntouch: how much more, when the same\\ninfinity of change is carried out with vast-\\nness of object and space.\\n\u00e2\u0080\u0094Modern Painters, Vol. I, Part II, Sect. II, Chap. II, pp. 271, 272.\\nConsider what marble seems to have been\\nmade for. Over the greater part of the\\nsurface of the world, we find that a rock\\nhas been providentially distributed, in a man-\\nner particularly pointing it out as intended\\nfor the service of man. Not altogether a\\ncommon rock, it is yet rare enough to\\ncommand a certain degree of interest and\\nattention wherever it is found; but not so\\nrare as to preclude its use for any pur-\\npose to which it is fitted. It is exactly of\\nthe consistence which is best adapted for\\nsculpture: that is to say, neither hard nor\\nbrittle, nor flaky nor splintery, but uniform,\\nand delicately, yet not ignobly, soft, exactly\\nsoft enough to allow the sculptor to work it\\nwithout force, and trace on it the finest lines\\nof finished form and yet so hard as never to\\nbetray the touch or moulder away beneath\\nthe steel and so admirably crystallized, and", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0083.jp2"}, "82": {"fulltext": "78 NATURE STUDIES.\\nof such permanent elements, that no rains\\ndissolve it, no time changes it, no atmos-\\nphere decomposes it: once shaped, it is\\nshaped forever, unless subjected to actual\\nviolence or attrition. This rock, then, is\\nprepared by Nature for the sculptor and\\narchitect, just as paper is prepared by the\\nmanufacturer for the artist, with as great\\nnay, with greater care, and more perfect\\nadaptation of the material to the require-\\nments. And of this marble paper, some is\\nwhite and some colored but more is colored\\nthan white, because the white is evidently\\nmeant for sculpture, and the colored for the\\ncovering of large surfaces.\\nNow, if we would take Nature at her word,\\nand use this precious paper which she has\\ntaken so much care to provide for us (it is\\na long process, the making of that paper;\\nthe pulp of it needing the subtlest possible\\nsolution, and the pressing of it for it is all\\nhot-pressed having to be done under the\\nsaw, or under something at least as heavy)\\nif, I say, we use it as Nature would have\\nus, consider what advantages would follow.\\nThe colors of marble are mingled for us just\\nas if on a prepared palette. They are of all\\nshades and hues (except bad ones), some\\nbeing united and even, some broken, mixed,", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0084.jp2"}, "83": {"fulltext": "NATURE AND ART. 79\\nand interrupted, in order to supply, as far as\\npossible, the want of the painter s power of\\nbreaking and mingling the color with the\\nbrush. But there is more in the colors than\\nthis delicacy of adaptation. There is history\\nin them. By the manner in which they are\\narranged in every piece of marble, they\\nrecord the means by which that marble has\\nbeen produced, and the successive changes\\nthrough which it has passed. And in all\\ntheir veins and zones, and flame-like stain-\\nings, or broken and disconnected lines, they\\nwrite various legends, never untrue, of the\\nformer political state of the mountain king-\\ndom to which they belonged, of its infirmities\\nand fortitudes, convulsions and consolida-\\ntions, from the beginning of time.\\nThe Stones of Venice, Vol. Ill, Chap. I, pp. 30, 31, 32.\\nFrom young artists in landscape, nothing\\nought to be tolerated but simple bona fide\\nimitations of Nature. Their duty is neither\\nto choose, nor compose, nor imagine, nor\\nexperimentalize: but to be humble and ear-\\nnest in following the steps of Nature, and\\ntracing the finger of God.\\n\u00e2\u0080\u0094Modern Painters, Vol. II, Part II, Sect. VI, Chap. Ill, p. 209.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0085.jp2"}, "84": {"fulltext": "", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0086.jp2"}, "85": {"fulltext": "SKY AND CLOUD.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0087.jp2"}, "86": {"fulltext": "I hope to show, what noble things these\\nclouds are, and with what feeling it seems to be\\nintended by their Creator that we should contemplate\\nthem. \u00e2\u0080\u0094Modern Painters, Vol. IV, Part V, Chap. VI, p. 113.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0088.jp2"}, "87": {"fulltext": "III.\\nSKY AND CLOUD.\\nI understand the making- the firmament\\nto signify that, so far as man is concerned,\\nmost magnificent ordinance of the clouds\\nthe ordinance, that as the great plain of waters\\nwas formed on the face of the earth, so also\\na plain of waters should be stretched along\\nthe height of air, and the face of the cloud\\nanswer the face of the ocean and that this\\nupper and heavenly plain should be of\\nwaters, as it were, glorified in their nature,\\nno longer quenching the fire, but now bear-\\ning fire in their .own bosoms; no longer\\nmurmuring only when the winds raise them\\nor rocks divide, but answering each other\\nwith their own voices from pole to pole;\\nno longer restrained by established shores,\\nand guided through unchanging channels,\\nbut going forth at their pleasure like the\\narmies of the angels, and choosing their\\nencampments upon the heights of the hills\\nno longer hurried downwards forever, mov-\\ning but to fall, nor lost in lightless accumu-\\nlation of the abyss, but covering the east\\nand west with the waving of their wings,\\n83", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0089.jp2"}, "88": {"fulltext": "84 NATURE STUDIES.\\nand robing the gloom of the farther infin-\\nite with a vesture of divers colors, of which\\nthe threads are purple and scarlet, and the\\nembroideries flame.\\nThis I believe, is the ordinance of the\\nfirmament and it seems to me that in the\\nmidst of the material nearness of these\\nheavens God means us to acknowledge His\\nown immediate presence as visiting, judg-\\ning, and blessing us. He doth set His\\nbow in the cloud, and thus renews, in the\\nsound of every drooping swathe of rain, His\\npromise of everlasting love. In them hath\\nHe set a tabernacle for the sun whose\\nburning ball, which without the firmament\\nwould be seen as an intolerable and scorch-\\ning circle in the blackness of vacuity, is by\\nthat firmament surrounded with gorgeous\\nservice, and tempered by mediatorial minis-\\ntries by the firmament of clouds the golden\\npavement is spread for His chariot wheels\\nat morning by the firmament of clouds the\\ntemple is built for His presence to fill with\\nlight at noon by the firmament of clouds\\nthe purple veil is closed at evening round\\nthe sanctuary of His rest; by the mists of the\\nfirmament His implacable light is divided,\\nand its separated fierceness appeased into\\nthe soft blue that fills the depth of distance", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0090.jp2"}, "89": {"fulltext": "SKY AND CLOUD. 85\\nwith its bloom, and the flush with which\\nthe mountains burn as they drink the over-\\nflowing of the dayspring. And in this tab-\\nernacling of the unendurable sun with men,\\nthrough the shadows of the firmament, God\\nwould seem to set forth the stooping of His\\nown majesty to men, upon the throne of the\\nfirmament. And all those passings to\\nand fro of fruitful shower and grateful shade,\\nand all those visions of silver palaces built\\nabout the horizon, and voices of moaning\\nwinds and threatening thunders, and glories\\nof colored robe and cloven ray, are but to\\ndeepen in our hearts the acceptance and\\ndistinctness, and dearness of the simple\\nwords, Our Father, which art in heaven.\\nCceli Enarrant, Chap. I, pp. 159, 160.\\nAlso Modern Painters, Vol. IV, Part V, Chap. VI.\\nThe heavens declare or make clear the\\nhonour of God. These heavens, are the\\nreal roof, as the earth is the real floor, of\\nGod s house for you here. That word\\ncceli, in the first words of the Latin psalm,\\nmeans the hollow place. It is the great\\nspace, or, as we conceive it, vault, of Heaven.\\nIt shows the glory of God in the existence\\nof the light by which we live.\\nFors Clavigera, Vol. Ill, Letter LXXV, p. 402.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0091.jp2"}, "90": {"fulltext": "86 NATURE STUDIES.\\nIt is a strange thing how little in general\\npeople know about the sky. It is the part\\nof creation in which Nature has done more\\nfor the sake of pleasing man, more for the\\nsole and evident purpose of talking to him\\nand teaching him, than in any other of her\\nworks, and it is just the part in which we\\nleast attend to her. There are not many of\\nher other works in which some more material\\nor essential purpose than the mere pleasing\\nof man is not answered by every part of their\\norganization but every essential purpose of\\nthe sky might, so far as we know, be answered,\\nif once in three days, or thereabouts, a great\\nugly black rain-cloud were brought up over\\nthe blue, and everything well watered, and so\\nall left blue again till next time, with perhaps\\na film of morning and evening mist for dew.\\nAnd instead of this, there is not a moment of\\nany day of our lives, when Nature is not pro-\\nducing scene after scene, picture after picture,\\nglory after glory, and working still upon such\\nexquisite and constant principles of the most\\nperfect beauty, that it is quite certain it is\\nall done for us, and intended for our per-\\npetual pleasure. And every man, wherever\\nplaced, however far from other sources of\\ninterest or of beauty, has this done for him\\nconstantly. The sky is for all bright as", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0092.jp2"}, "91": {"fulltext": "SKY AND CLOUD. 87\\nit is, it is not too bright, nor good, for human\\nnature s daily food it is fitted in all its\\nfunctions for the perpetual comfort and ex-\\nalting of the heart, for the soothing it and\\npurifying it from its dross and dust. Some-\\ntimes gentle, sometimes capricious, sometimes\\nawful, never the same for two moments to-\\ngether almost human in its passions, almost\\nspiritual in its tenderness, almost divine in\\nits infinity, its appeal to what is immortal in\\nus, is as distinct, as its ministry of chastise-\\nment or of blessing to what is mortal is essen-\\ntial. And yet we never attend to it, we never\\nmake it a subject of thought, but as it has to\\ndo with our animal sensations:\\nIf in our moments of utter idleness and\\ninsipidity, we turn to the sky as a last re-\\nsource, which of its phenomena do we speak\\nof? One says it has been wet, and another\\nit has been windy, and another it has been\\nwarm. Who, among the whole chattering\\ncrowd, can tell me of the forms and the preci-\\npices of the chain of tall white mountains\\nthat girded the horizon at noon yesterday?\\nWho saw the narrow sunbeam that came out\\nof the south, and smote upon their summits\\nuntil they melted and mouldered away in a\\ndust of blue rain? Who saw the dance of the\\ndead clouds when the sunlight left them last", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0093.jp2"}, "92": {"fulltext": "88 NATURE STUDIES.\\nnight, and the west wind blew them before it\\nlike withered leaves All has passed, unre-\\ngretted as unseen or if the apathy be ever\\nshaken off, even for an instant, it is only by\\nwhat is gross, or what is extraordinary; and\\nyet it is not in the broad and fierce manifes-\\ntations of the elemental energies, not in the\\nclash of the hail, nor the drift of the whirl-\\nwind, that the highest characters of the sub-\\nlime are developed. God is not in the earth-\\nquake, nor in the fire, but in the still small\\nvoice. They are but the blunt and the low\\nfaculties of our nature, which can only be\\naddressed through lampblack and lightning.\\nIt is in quiet and subdued passages of unob-\\ntrusive majesty, the deep, and the calm, and\\nthe perpetual, that which must be sought\\nere it is seen, and loved ere it is understood,\\nthings which the angels work out for us\\ndaily, and yet vary eternally, which are never\\nwanting, and never repeated, which are to be\\nfound always yet each found but once it is\\nthrough these that the lesson of devotion\\nis chiefly taught, and the blessing of beauty\\ngiven.\\nI fully believe, little as people in general\\nare concerned with art, more of their ideas\\nof sky are derived from pictures than from\\nreality, and that if we could examine the con-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0094.jp2"}, "93": {"fulltext": "SKY AND CLOUD. 89\\nception formed in the minds of most educated\\npersons when we talk of clouds, it would\\nfrequently be found composed of fragments\\nof blue and white reminiscences of the old\\nmasters.\\nNow, if there be one characteristic\\nof the sky more valuable or necessary to\\nbe rendered than another, it is that which\\nWordsworth has given in the second book\\nof the Excursion:\\nThe chasm of sky above my head\\nIs Heaven s profoundest azure. No domain\\nFor fickle, short-lived clouds, to occupy,\\nOr to pass through but rather an abyss\\nIn which the everlasting stars abide, [tempt\\nAnd whose soft gloom, and boundless depth, might\\nThe curious eye to look for them by day.\\nAnd, in his American Notes, I remember\\nDickens notices the same truth, describing\\nhimself as lying drowsily on the barge deck,\\nlooking not at, but through the sky. And\\nif you look intensely at the pure blue of\\na serene sky, you will see that there is a\\nvariety and fulness in its very repose. It is\\nnot flat dead color, but a deep, quivering,\\ntransparent body of penetrable air, in which\\nyou trace or imagine short, falling spots of\\ndeceiving light, and dim shades, faint, veiled\\nvestiges of dark vapor.\\n\u00e2\u0080\u0094Modern Painters^ Vol. I, Part II, Sect. Ill, Chap. I, pp. 314-318.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0095.jp2"}, "94": {"fulltext": "9 o NATURE STUDIES.\\nBetween the heaven and man came the\\ncloud.\\nHas the reader any distinct idea of what\\nclouds are\\nThat mist which lies in the morning so\\nsoftly in the valley, level and white, through\\nwhich the tops of the trees rise as if through\\nan inundation why is it so heavy And\\nwhy does it lie so low, being yet so thin and\\nfrail that it will melt away utterly into splen-\\ndor of morning, when the sun has shone on\\nit but a few moments more Those colossal\\npyramids, huge and firm, with outlines as\\nof rocks, and strength to bear the beating of\\nthe high sun full on their fiery flanks why\\nare they so light their bases high over our\\nheads, high over the heads of Alps? Why\\nwill these melt away, not as the sun rises,\\nbut as he descends, and leave the stars of\\ntwilight clear, while the valley vapor gains\\nagain upon the earth like a shroud Or\\nthat ghost of a cloud, which steals by yonder\\nclump of pines nay, which does not steal\\nby them, but haunts them, wreathing yet\\nround them, and yet and yet, slowly now\\nfalling in a fair waved line like a woman s\\nveil; now fading, now gone; we look away\\nfor an instant, and look back, and it is there\\nagain. What has it to do with that clump", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0096.jp2"}, "95": {"fulltext": "SKY AND CLOUD. 91\\nof pines, that it broods by them and waves\\nitself among their branches, to and fro?\\nHas it hidden a cloudy treasure among the\\nmoss at their roots, which it watches thus?\\nOr has some strong enchanter charmed it\\ninto fond returning, or bound it fast within\\nthose bars of bough? And yonder filmy\\ncrescent, bent like an archer s bow above\\nthe snowy summit, the highest of all the\\nhill that white arch which never forms\\nbut over the supreme crest how is it\\nstayed there, repelled apparently from the\\nsnow nowhere touching it, the clear sky\\nseen between it and the mountain edge,\\nyet never leaving it poised as a white\\nbird hovers over its nest?\\nOr those war-clouds that gather on the\\nhorizon, dragon-crested, tongued with fire;\\nhow is their barbed strength bridled What\\nbits are these they are champing with their\\nvaporous lips; flinging off flakes of black\\nfoam? Leagued leviathans of the Sea of\\nHeaven, out of their nostrils goeth smoke,\\nand their eyes are like the eyelids of the\\nmorning: the sword of him that layeth at\\nthem cannot hold the spear, the dart, nor\\nthe habergeon. Where ride the captains of\\ntheir armies Where are set the measures\\nof their march Fierce murmurers, answer-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0097.jp2"}, "96": {"fulltext": "92 NATURE STUDIES.\\ning each other from morning until even-\\ning what rebuke is this which has awed\\nthem into peace? what hand has reined\\nthem back by the way by which they came\\nI know not if the reader will think at first\\nthat questions like these are easily answered.\\nSo far from it, I rather believe that some of\\nthe mysteries of the clouds never will be\\nunderstood by us at all. Knowest thou the\\nbalancing of the clouds Is the answer\\never to be one of pride? The wondrous\\nworks of Him which is perfect in knowl-\\nedge Is our knowledge ever to be so\\nIt is one of the most discouraging con-\\nsequences of the varied character of this\\nwork of mine, that I am wholly unable to\\ntake note of the advance of modern science.\\nWhat has conclusively been discovered or\\nobserved about clouds I know not; but by\\nthe chance inquiry possible to me I find\\nno book which fairly states the difficulties\\nof accounting for even the ordinary aspects\\nof the sky. I shall, therefore, be able to\\ndo little more than suggest inquiries to the\\nreader, putting the subject in a clear form\\nfor him. All men accustomed to investiga-\\ntion will confirm me in saying that it is a\\ngreat step when we are personally quite cer-\\ntain what we do not know. First, then, I", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0098.jp2"}, "97": {"fulltext": "SKY AND CLOUD, 93\\nbelieve we do not know what makes clouds\\nfloat. Clouds are water, in some form or\\nanother; but water is heavier than air, and\\nthe finest form you can give a heavy thing\\nwill not make it float in a light thing. On\\nit, yes, as a boat but in it, no. Clouds are\\nnot boats, nor boatshaped, and they float in\\nthe air, not on the top of it. Nay, but\\nthough unlike boats, may they not be like\\nfeathers? If out of quill substance there\\nmay be constructed eider-down, and out of\\nvegetable tissue, thistle-down, both buoyant\\nenough for a time, surely of water-tissue\\nmay be constructed also water-down, which\\nwill be buoyant enough for all cloudy pur-\\nposes. Not so. Throw out your eider\\nplumage in a calm day, and it will all come\\nsettling to the ground slowly indeed, to\\naspect; but practically so fast that all\\nour finest clouds would be here in a\\nheap about our ears in an hour or two, if\\nthey were only made of water feathers.\\nBut may they not be quill feathers, and\\nhave air inside them? May not all their\\nparticles be minute little balloons? A\\nballoon only floats when the air inside\\nit is either specifically, or by heating, lighter\\nthan the air it floats in. If the cloud-feath-\\ners had warm air inside their quills, a cloud", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0099.jp2"}, "98": {"fulltext": "94 NATURE STUDIES.\\nwould be warmer than the air about it,\\nwhich it is not (I believe). And if the\\ncloud-feathers had hydrogen inside their\\nquills, a cloud would be unwholesome for\\nbreathing, which it is not at least so it\\nseems to me.\\nBut may they not have nothing inside their\\nquills? Then they would rise, as bubbles\\ndo through water, just as certainly as, if they\\nwere solid feathers, they would fall. All our\\nclouds would go up to the top of the air, and\\nswim in eddies of cloud-foam.\\nBut is not that just what they do No.\\nThey float at different heights, and with\\ndefinite forms, in the body of the air itself.\\nIf they rose like foam, the sky on a cloudy\\nday would look like a very large flat glass of\\nchampagne seen from below, with a stream\\nof bubbles (or clouds) going up as fast as\\nthey could to a flat foam-ceiling.\\nBut may they not be just so nicely\\nmixed out of something and nothing, as to\\nfloat where they are wanted Yes that is\\njust what they not only may, but must be:\\nonly this way of mixing something and noth-\\ning is the very thing I want to explain or have\\nexplained, and cannot do it, nor get it done.\\nExcept thus far. It is conceivable that\\nminute hollow spherical globules might be", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0100.jp2"}, "99": {"fulltext": "SKY AND CLOUD. 95\\nformed of water, in which the enclosed vacu-\\nity just balanced the weight of the enclosing\\nwater, and that the arched sphere formed by\\nthe watery film was strong enough to pre-\\nvent the pressure of the atmosphere from\\nbreaking it in. Such a globule would float\\nlike a balloon at the height in the atmosphere\\nwhere the equipoise between the vacuum it\\nenclosed, and its own excess of weight above\\nthat of the air, was exact. It would, prob-\\nably, approach its companion globules by\\nreciprocal attraction, and form aggregations\\nwhich might be visible.\\nThis is, I believe, the view usually taken\\nby meteorologists.\\nNevertheless, I state it as a possibility only,\\nnot seeing how any known operation of phys-\\nical law could explain the formation of such\\nmolecules. This, however, is not the only dif-\\nficulty. Whatever shape the water is thrown\\ninto, it seems at first improbable that it should\\nlose its property of wetness. Minute division\\nof rain, as in Scotch mist, makes it capable\\nof floating farther, or floating up and down a\\nlittle, just as dust will float, though pebbles\\nwill not or gold-leaf, though a sovereign will\\nnot but minutely divided rain wets as much\\nas any other kind, whereas a cloud, partially\\nalways, sometimes entirely, loses its power", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0101.jp2"}, "100": {"fulltext": "96 NATURE STUDIES.\\nof moistening. Some low clouds look, when\\nyou are in them, as if they were made of\\nspecks of dust, like short hair; and these\\nclouds are entirely dry. And also many\\nclouds will wet some substances, but not\\nothers. So that we must grant further, if\\nwe are to be happy in our theory, that the\\nspherical molecules are held together by\\nan attraction which prevents their adhering\\nto any foreign body, or perhaps ceases only\\nunder some peculiar electric conditions.\\nThe question remains, even supposing their\\nproduction accounted for What intermedi-\\nate states of water may exist between these\\nspherical hollow molecules and pure vapor?\\nHas the reader ever considered the rela-\\ntions of commonest forms of volatile sub-\\nstance The invisible particles which cause\\nthe scent of a rose-leaf, how minute, how mul-\\ntitudinous, passing richly away into the air\\ncontinually! The visible cloud of frankin-\\ncense why visible? Is it in consequence\\nof the greater quantity, or larger size, of the\\nparticles, and how does the heat act in throw-\\ning them off in this quantity, or of this size\\nAsk the same questions respecting water.\\nIt dries, that is, becomes volatile, invisibly,\\nat (any temperature. Snow dries, as water\\ndoes. Under increase of heat, it volatilizes", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0102.jp2"}, "101": {"fulltext": "SKY AND CLOUD. 97\\nfaster, so as to become dimly visible in large\\nmass, as a heat-haze. It reaches boiling-point,\\nthen becomes entirely visible. But compress\\nit, so that no air shall get between the watery\\nparticles it is invisible again. At the first\\nissuing from the steam-pipe the steam is trans-\\nparent but opaque, or visible, as it diffuses\\nitself. The water is indeed closer, because\\ncooler, in that diffusion but more air is be-\\ntween its particles. Then this very question\\nof visibility is an endless one, wavering be-\\ntween form of substance and action of light.\\nThe clearest (or least visible) stream becomes\\nbrightly opaque by more minute division in\\nits foam, and the clearest dew in hoar-frost.\\nDust, unperceived in shade, becomes con-\\nstantly visible in sunbeam and watery vapor\\nin the atmosphere, which is itself opaque,\\nwhen there is promise of fine weather, be-\\ncomes exquisitely transparent and (question-\\nably) blue, when it is going to rain.\\nQuestionably blue for beside knowing\\nvery little about water, we know what, except\\nby courtesy, must, I think, be called Nothing\\nabout air. Is it the watery vapor, or the\\nair itself, which is blue Are neither blue,\\nbut only white, producing blue when seen over\\ndark spaces? If either blue, or white, why,\\nwhen crimson is their commanded dress, are", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0103.jp2"}, "102": {"fulltext": "98 NATURE STUDIES.\\nthe most distant clouds crimsonest Clouds\\nclose to us, may be blue, but far off, golden\\na strange result, if the air is blue. And again,\\nif blue, why are rays that come through large\\nspaces of it red and that Alp, or anything\\nelse that catches far-away light, why colored\\nred at dawn and sunset? No one knows, I\\nbelieve. It is true that many substances, as\\nopal, are blue, or green, by reflected light,\\nyellow by transmitted; but air, if blue at all,\\nis blue always by transmitted light.\\nBut further: these questions of volatility,\\nand visibility, and hue, are all complicated\\nwith those of shape. How is a cloud out-\\nlined Granted whatever you choose to ask\\nconcerning its material, or its aspect, its lofti-\\nness, and luminousness how of its limita-\\ntion What hews it into a heap, or spins it\\ninto a web Cold is usually shapeless, I sup-\\npose, extending over large spaces equally, or\\nwith gradual diminution. You cannot have,\\nin the open air, angles, and wedges, and coils,\\nand cliffs of cold. Yet the vapor stops sud-\\ndenly, sharp and steep as a rock, or thrusts\\nitself across the gates of heaven in likeness\\nof a brazen bar; or braids itself in and out,\\nand across and across, like a tissue of tapes-\\ntry; or falls into ripples, like sand; or into\\nwaving shreds and tongues, as fire. On what", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0104.jp2"}, "103": {"fulltext": "SKY AND CLOUD.\\n99\\nanvils and wheels is the vapor pointed, twisted,\\nhammered, whirled, as the potter s clay? By\\nwhat hands is the incense of the sea built up\\ninto domes of marble\\nAnd lastly, all these questions respecting\\nsubstance, and aspect and shape, and line,\\nand division, are involved with others as\\ninscrutable, concerning action. The curves\\nin which clouds move are unknown nay,\\nthe very method of their motion, or apparent\\nmotion, how far it is by change of place, how\\nfar by appearance in one place and vanish-\\ning from another. And these questions\\nabout movement lead partly far away into\\nhigh mathematics, where I cannot follow\\nthem, and partly into theories concerning\\nelectricity and infinite space, where I sup-\\npose at present no one can follow them.\\nWhat, then, is the use of asking the ques-\\ntions\\nFor my own part, I enjoy the mystery, and\\nperhaps the reader may. I think he ought.\\nHe should not be less grateful for summer\\nrain, or see less beauty in the clouds of\\nmorning, because they come to prove him\\nwith hard questions to which, perhaps, if we\\nlook close at the heavenly scroll, we may find\\nalso a syllable or two of answer illuminated\\nhere and there. CceK Enarrant, Chap. II, pp. 161-168.\\nAlso Modern Painters, Vol. V, Part VII, Chap. I.\\nlire", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0105.jp2"}, "104": {"fulltext": "ioo NATURE STUDIES.\\nAt whatever height they form, clouds may\\nbe broadly considered as of two species only,\\nmassive and striated.\\nThe upper clouds, owing to their quiet-\\nness and multitude, we may, perhaps, con-\\nveniently think of as the cloud-flocks.\\nFlocks of Admetus under Apollo s keeping.\\nWho else could shepherd such? He by\\nday, dog Sirius by night or huntress Diana\\nherself her bright arrows driving away\\nthe clouds of prey that would ravage her\\nfair flocks.\\nModern Painters^ Vol. V, Part VII, Chap. II, pp. 149, 151.\\nBetween the flocks of small countless\\nclouds which occupy the highest heavens,\\nand the gray undivided film of the true rain-\\ncloud, form the fixed masses or torn fleeces,\\nsometimes collected, and calm, sometimes\\nfiercely drifting, which are, nevertheless,\\nknown under one general name of cumulus,\\nor heaped cloud.\\nThe true cumulus, the most majestic\\nof all clouds, and almost the only one\\nwhich attracts the notice of ordinary ob-\\nservers, is for the most part windless: the\\nmovement of its masses being solemn, con-\\ntinuous, inexplicable, a steady advance or\\nretiring, as if they were animated by an", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0106.jp2"}, "105": {"fulltext": "SKY AND CLOUD. 101\\ninner will, or compelled by an unseen power.\\nThey appear to be peculiarly connected\\nwith heat, forming perfectly only in the\\nafternoon, and melting away in the even-\\ning. Their noblest conditions are strongly\\nelectric, and connect themselves with storm-\\ncloud and true thunder-cloud.\\nModern Painters, Vol. V, Part VII, Chap. Ill, p. 165.\\nStand upon the peak of some isolated\\nmountain at daybreak, when the night mists\\nfirst rise from off the plains, and watch their\\nwhite and lake-like fields as they float in\\nlevel bays and winding gulfs about the\\nislanded summits of the lower hills, un-\\ntouched yet by more than dawn, colder and\\nmore quiet than a windless sea under the\\nmoon of midnight; watch when the first\\nsunbeam is sent upon the silver channels,\\nhow the foam of their undulating surface\\nparts and passes away: and down under\\ntheir depths, the glittering city and green\\npasture lie like Atlantis, between the white\\npaths of winding rivers: the flakes of light\\nfalling every moment faster and broader\\namong the starry spires, as the wreathed\\nsurges break and vanish above them, and\\nthe confused crests and ridges of the dark\\nhills shorten their gray shadows upon the", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0107.jp2"}, "106": {"fulltext": "io2 NATURE STUDIES.\\nplain. Wait a little longer, and you shall\\nsee those scattered mists rallying in the\\nravines, and floating up toward you, along\\nthe winding valleys, till they couch in quiet\\nmasses, iridescent with the morning light,\\nupon the broad breasts of the higher hills,\\nwhose leagues of massy undulation will melt\\nback into that robe of material light, until\\nthey fade away, lost in its lustre, to appear\\nagain above, in the serene heaven, like a\\nwild, bright, impossible dream, foundation-\\nless and inaccessible, their very bases vanish-\\ning in the unsubstantial and mocking blue\\nof the deep lake below. Wait yet a little\\nlonger, and you shall see those mists gather\\nthemselves into white towers, and stand like\\nfortresses along the promontories, massy\\nand motionless, only piled with every instant\\nhigher and higher into the sky, and casting\\nlonger shadows athwart the rocks and out\\nof the pale blue of the horizon you will see\\nforming and advancing a troop of narrow,\\ndark, pointed vapors, which will cover the\\nsky, inch by inch, with their gray network,\\nand take the light off the landscape with an\\neclipse which will stop the singing of the\\nbirds and motion of the leaves together:\\nand then you will see horizontal bars of\\nblack shadow forming under them, and lurid", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0108.jp2"}, "107": {"fulltext": "SKY AND CLOUD. 103\\nwreaths create themselves, you know not\\nhow, along the shoulders of the hills; you\\nnever see them form, but when you look\\nback to a place which was clear an instant\\nago, there is a cloud on it, hanging by the\\nprecipices, as a hawk pauses over his prey.\\nAnd then you will hear the sudden rush of\\nthe awakened wind, and you will see those\\nwatch-towers of vapor swept away from their\\nfoundations, and waving curtains of opaque\\nrain let down to the valleys, swinging from\\nthe burdened clouds in black, bending\\nfringes, or pacing in pale columns along the\\nlake level, grazing its surface into foam as\\nthey go. And then, as the sun sinks you\\nshall see the storm drift for an instant from\\noff the hills, leaving their broad sides smok-\\ning, and loaded yet with snow-white torn,\\nsteamlike rags of capricious vapor, now gone,\\nnow gathered again; while the smouldering\\nsun, seeming not far away, but burning like\\na red-hot ball beside you, and as if you could\\nreach it, plunges through the rushing wind\\nand rolling cloud with headlong fall, as if it\\nmeant to rise no more, dyeing all the air\\nabout with blood. And then you shall hear\\nthe fainting tempest die in the hollow of\\nthe night, and you shall see a green halo\\nkindling on the summit of the eastern hills,", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0109.jp2"}, "108": {"fulltext": "io 4 NATURE STUDIES.\\nbrighter brighter yet, till the large white\\ncircle of the slow moon is lifted up among\\nthe barred clouds, step by step, line by line\\nstar after star she quenches with her kin-\\ndling light, setting in their stead an army\\nof pale, penetrable, fleecy wreaths in the\\nheaven, to give light upon the earth, which\\nmove together, hand in hand, company by\\ncompany, troop by troop, so measured in\\ntheir unity of motion, that the whole heaven\\nseems to roll with them, and the earth to\\nreel under them. And then wait yet for one\\nhour, until the east again becomes purple,\\nand the heaving mountains, rolling against\\nit in darkness, like the waves of a wild sea,\\nare drowned one by one in the glory of\\nits burning; watch the white glaciers blaze\\nin their winding paths about the mountains,\\nlike mighty serpents with scales of fire;\\nwatch the columnar peaks of solitary snow,\\nkindling downwards, chasm by chasm, each\\nin itself a new morning: their long ava-\\nlanches cast down in keen streams brighter\\nthan the lightning, sending his tribute of\\ndriven snow, like altar-smoke, up to the\\nheaven: the rose-light of their silent domes\\nflushing that heaven about them and above\\nthem, piercing with purer light through its\\npurple lines of lifted cloud, casting a new", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0110.jp2"}, "109": {"fulltext": "SKY AND CLOUD. 105\\nglory on every wreath as it passes by, until\\nthe whole heaven one scarlet canopy, is\\ninterwoven with a roof of waving flame,\\nand tossing, vault, beyond vault, as with the\\ndrifted wings of many companies of angels.\\nModern Painters, Vol. I, Part II, Sect. Ill, Chap. IV,\\npp. 385-388.\\nDid you ever see one sunrise like another?\\ndoes not God vary His clouds for you every\\nmorning and every night? though, indeed,\\nthere is enough in the disappearing and\\nappearing of the great orb above the rolling\\nof the world, to interest all of us, one would\\nthink, for as many times as we shall see it\\nand yet the aspect is changed for us daily.\\nLectures on Architecture and Painting, Lecture I, p. 220.\\nConcerning stars in the east you can t\\nsee the loveliest which appear there natu-\\nrally, the Morning Star, namely, and his\\nfellows, unless you get up in the morning.\\nIf you resolve thus always, so far as may\\nbe in your own power, to see the loveliest\\nwhich are there naturally you will soon come\\nto see them in a supernatural manner, with\\na quite properly so-called miraculous\\nor wonderful light which will be a light in\\nyour spirit, not in your eyes. And you will", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0111.jp2"}, "110": {"fulltext": "106 NATURE STUDIES.\\nhear, with your spirit, the Morning Star and\\nhis fellows sing together also, you will hear\\nthe sons of God shouting together for joy\\nwith them; particularly the little ones, spar-\\nrows, greenfinches, linnets, and the like.\\nYou will by persevering in the practice,\\ngradually discover that it is a pleasant thing\\nto see stars in the luminous east to watch\\nthem fade as they rise to hear their Master\\nsay, Let there be light, and there is\\nlight to see the world made that day at\\nthe Word \u00e2\u0080\u0094Fors Clavigera, Vol. Ill, Letter LX, p. 79.\\nLast night the sky was all a spangle and\\ndelicate glitter of stars, the glare of them\\nand spikiness softened off by a young\\ndarling of a Moon. Hortus indusus,^. 51.\\nVery wet all morning: the clouds drifting\\nlike smoke from the hills, and hanging in\\nwreaths about the white churches on their\\nwoody slopes. Kept in till three, then the\\nclouds broke. The clouds were rising\\ngradually from the Apennines, fragments\\nentangled here and there in the ravines\\ncatching the level sunlight like so many\\ntongues of fire the dark blue outline of the\\nhills clear as crystal against a pale distant\\npurity of green sky, the sun touching here", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0112.jp2"}, "111": {"fulltext": "SKY AND CLOUD. 107\\nand there upon their turfy precipices.\\nA mass of higher mountains, plunging down\\ninto broad valleys dark with olive, their sum-\\nmits at first gray with rain, then deep blue\\nwith flying showers the sun suddenly catch-\\ning the near woods at their base, already\\ncolored exquisitely by the autumn, with\\nsuch a burst of robing, penetrating, glow\\nas Turner only could even imagine, set off\\nby the gray storm behind.\\nTo the south, an expanse of sea, varied by\\nreflection of white Alpine cloud, and delicate\\nlines of most pure blue, the low sun sending\\nits line of light forty miles long from the\\nhorizon This continued till near sun-\\nset, when a tall double rainbow rose to the\\neast over the fiery woods, and as the sun\\nsank, the storm of falling rain on the moun-\\ntains became suddenly purple nearly crim-\\nson the rainbow, its hues scarcely traceable,\\none broad belt of crimson, the clouds above\\nall fire. Praterita, Vol. II, Chap. Ill, pp. 227,228.\\nThe first and most important character\\nof clouds, is dependent on the different\\naltitudes at which they are formed. The\\natmosphere may be conveniently considered\\nas divided into three spaces, each inhabited\\nby clouds of specific character altogether", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0113.jp2"}, "112": {"fulltext": "108 NATURE STUDIES.\\ndifferent, though, in reality, there is no dis-\\ntinct limit fixed between them by Nature,\\nclouds being formed at every altitude, and\\npartaking according to their altitude, more\\nor less of the characters of the upper or\\nlower regions. The scenery of the sky is\\nthus formed of an infinitely graduated series\\nof systematic forms of cloud, each of which\\nhas its own region in which alone it is\\nformed, and each of which has specific char-\\nacters which can only be properly deter-\\nmined by comparing them as they are\\nfound clearly distinguished by intervals of\\nconsiderable space. I shall therefore con-\\nsider the sky as divided into three regions\\nthe upper region, or region of the cirrus\\nthe central region, or region of the stratus\\nthe lower region, or the region of the rain-\\ncloud.\\nThe clouds which I wish to consider in\\nthe upper region, never touch even the\\nhighest mountains of Europe they are\\nthe motionless multitudinous lines of deli-\\ncate vapor with which the blue of the open\\nsky is commonly streaked or speckled after\\nseveral days of fine weather. Their chief\\ncharacters are first, Symmetry: They\\nare nearly always arranged in some definite\\nand evident order, commonly in long ranks", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0114.jp2"}, "113": {"fulltext": "SKY AND CLOUD. 109\\nreaching sometimes from the zenith to the\\nhorizon, each rank composed of an infinite\\nnumber of transverse bars of about the\\nsame length, each bar thickest in the mid-\\ndle, and terminating in a traceless vapor-\\nous point at each side; the ranks are in\\nthe direction of the wind, and the bars of\\ncourse at right angles to it; these latter\\nare commonly slightly bent in the middle.\\nAnother frequent arrangement is in\\ngroups of excessively fine, silky, parallel\\nfibres commonly radiating, or having a ten-\\ndency to radiate, from one of their extremi-\\nties and terminating in a plumy sweep at\\nthe other: these are vulgarly known as\\nmares tails. They differ from all\\nother clouds in having a plan and system\\nwhereas other clouds, though there are cer-\\ntain laws which they cannot break, have\\nyet perfect freedom from anything like a\\nrelative and general system of government.\\nThe upper clouds are to the lower, what sol-\\ndiers on parade are to a mixed multitude.\\nSecondly, Sharpness of Edge: The edges\\nof the bars of the upper clouds, which are\\nturned to the wind, are often the sharpest\\nwhich the sky shows; The outline of\\na black thunder-cloud is striking, from the\\ngreat energy of the color or shade of the", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0115.jp2"}, "114": {"fulltext": "no NATURE STUDIES.\\ngeneral mass; but as a line, it is soft and\\nindistinct, compared with the edge of the\\ncirrus, in a clear sky with a brisk breeze.\\nThirdly, Multitude: The delicacy of\\nthese vapors is sometimes carried into such\\nan infinity of division, that no other sensa-\\ntion of number that the earth or heaven can\\ngive is so impressive.\\nFourthly, Purity of Color their colors\\nare more pure and vivid, and their white\\nless sullied than those of any other clouds.\\nLastly, Variety: Variety is never so\\nconspicuous as when it is united with sym-\\nmetry. The perpetual change of form in\\nother clouds, is monotonous in its very dis-\\nsimilarity, nor is difference striking where no\\nconnection is implied but if through a range\\nof barred clouds, crossing half the heaven, all\\ngoverned by the same forces, and falling into\\none general form, there be yet a marked and\\nevident dissimilarity between each member\\nof the great mass one more finely drawn,\\nthe next more delicately moulded, the next\\nmore gracefully bent, each broken into\\ndifferently modelled and variously numbered\\ngroups, the variety is doubly striking, be-\\ncause contrasted with the perfect symmetry of\\nwhich it forms a part. Such are the great\\nattributes of the upper cloud region.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0116.jp2"}, "115": {"fulltext": "SKY AND CLOUD. in\\nThe colors of these clouds are so marvel-\\nlous in their changefulness, that they require\\nparticular notice. If you watch for the\\nnext sunset, when there are a considerable\\nnumber of these cirri in the sky, you will see,\\nespecially at the zenith, that the sky does\\nnot remain of the same color for two inches\\ntogether one cloud has a dark side of cold\\nblue, and a fringe of milky white; another,\\nabove it, has a dark side of purple and an\\ntdge of red another, nearer the sun, has an\\nunder-side of orange and an edge of gold;\\nthese you will find mingled with, and passing\\ninto the blue of the sky, which in places you\\nwill not be able to distinguish from the cool\\ngray of the darker clouds, and which will be\\nitself full of gradation, now pure and deep,\\nnow faint and feeble; and all this is done,\\nnot in large pieces, nor on a large scale, but\\nover and over again in every square yard, so\\nthat there is no single part nor portion of\\nthe whole sky which has not in itself variety\\nof color enough for a separate picture, and\\nyet no single part which is like another,\\nor which has not some peculiar source of\\nbeauty, and some peculiar arrangement of\\ncolor of its own.\\nModern Painters.Vol. I, Part II, Sect. Ill, Chap. II, pp. 329-338.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0117.jp2"}, "116": {"fulltext": "ii2 NATURE STUDIES.\\nAn entirely glorious sunset deep scar-\\nlet and purest rose, on purple gray, in bars\\nand stationary, plumy, sweeping filaments\\nabove in upper-sky remaining in glory,\\nevery moment best, changing from one\\ngood into another (but only in color or\\nlight form steady), for half an hour full,\\nand the clouds afterwards fading into the\\ngray against amber twilight, stationary in\\nthe same form for about two hours, at least.\\nThe darkening rose-tint remained till half-\\npast ten the grand time being at nine.\\nThe day had been fine, exquisite green\\nlight on afternoon hills.\\nThe Storm- Cloud of the Nineteenth Century, Lecture I, p. 388.\\nOur boat shoots swiftly from beneath\\nthe last bridge of Venice, and brings us\\nout into the open sea and sky. The pure\\ncumuli of cloud lie crowded and leaning\\nagainst one another, rank beyond rank, far\\nover the shining water, each cut away at\\nits foundation by a level line, trenchant and\\nclear, till they sink to the horizon like a\\nflight of marble steps, except where the\\nmountains meet them, and are lost in\\nthem, barred across by the grey terraces of\\nthose cloud foundations, and reduced into\\none crestless bank of blue, spotted here", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0118.jp2"}, "117": {"fulltext": "SKY AND CLOUD. 113\\nand there with strange flakes of wan, aerial,\\ngreenish light, strewed upon them like snow.\\nThe Stones of Venice, Vol. II, Chap. Ill, p. 33.\\nAre not all natural things, it may be\\nasked, as lovely near as far away Nay,\\nnot so. Look at the clouds, and watch the\\ndelicate sculpture of their alabaster sides,\\nand the rounded lustre of their magnifi-\\ncent rolling. They are meant to be be-\\nheld far away they were shaped for their\\nplace, high above your head approach\\nthem, and they fuse into vague mists, or\\nwhirl away in fierce fragments of thunderous\\nVapor. The Stones of Venice, Vol. I, Chap. XXI, p. 244.\\nNever if you can help it, miss seeing\\nthe sunset and the dawn.\\nThe Laws of Fesole, Chap. I, p. 20.\\nThe cloud, or firmament, as we have seen,\\nsignifies the ministration of the heavens to\\nman. That ministration may be in judg-\\nment or mercy in the lightning, or the\\ndew. But the bow, or color, of the cloud,\\nsignifies always mercy, the sparing of life\\nsuch ministry of the heaven, as shall feed\\nand prolong life.\\nModern Painters, Vol. V, Part IX, Chap. XI, p. 404.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0119.jp2"}, "118": {"fulltext": "ii 4 NATURE STUDIES.\\nThe day had been fine, with scattered\\nclouds in the evening a most curious case\\nof floating cap clouds hooding the Mont\\nBlanc summit without touching it, like gos-\\nsamer blown upward from a field; an awning\\nof slender threads waving like weeds in the\\nblue sky (as weeds in a brook current I\\nmeant), and drawn out like floss silk as fine\\nas SnOW. Prceterita, Vol. II, Chap. XI, p. 370.\\nOf one thing I am well assured, that so far\\nas the clouds are regarded, not as conceal-\\ning the truth of other things, but as them-\\nselves true and separate creations, they are\\nnot usually beheld by us with enough honor\\nwe have too great veneration for cloudless-\\nneSS. Modern Painters, Vol. IV, Part V, Chap. V, p. 1 1 1.\\nNote that there is this great peculiarity\\nabout sky subject, as distinguished from\\nearth subject: that the clouds, not being\\nmuch liable to man s interference are always\\nbeautifully arranged the clouds, though\\nwe can hide them with smoke, and mix them\\nwith poison, cannot be quarried nor built\\nover, and they are always therefore gloriously\\narranged, so gloriously, that unless you have\\nnotable powers of memory you need not\\nhope to approach the effect of any sky that", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0120.jp2"}, "119": {"fulltext": "SKY AND CLOUD. 115\\ninterests you. For both its grace and its\\nglow depend upon the united influence of\\nevery cloud within its compass they all\\nmove and burn together in a marvellous\\nharmony not a cloud of them is out of its\\nappointed place, or fails of its part in the\\nchoir Clouds are definite and very\\nbeautiful forms of sculptured mist: sculp-\\ntured is a perfectly accurate word they are\\nnot more drifted into form than they are\\ncarved into form, the warm air around them\\ncutting them into shape by absorbing the\\nvisible vapor beyond certain limits, hence\\ntheir angular and fantastic outlines, as dif-\\nferent from a swollen, spherical, or globular\\nformation, on the one hand, as from that of\\nflat films or shapeless mists on the other.\\nThe Elements of Drawings Letter II, pp. 327, 329.\\nIn fine weather the sky was either blue or\\nclear in its light; the clouds either white\\nor golden, adding to, not abating, the lustre\\nof the sky. In wet weather, there were two\\ndifferent species of clouds, those of benefi-\\ncent rain, which for distinction s sake I will\\ncall the non-electric rain-cloud, and those of\\nstorm, usually charged highly with electricity.\\nThe beneficent rain-cloud was indeed often\\nextremely dull and gray for days together,", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0121.jp2"}, "120": {"fulltext": "n6 NATURE STUDIES.\\nbut gracious nevertheless, felt to be doing\\ngood, and often to be delightful after drought;\\ncapable also of the most exquisite coloring,\\nunder certain conditions; and continually\\ntraversed in clearing by the rainbow: and,\\nsecondly, the storm-cloud, always majestic,\\noften dazzlingly beautiful, and felt also to be\\nbeneficent in its own way, affecting the mass\\nof the air with vital agitation, and purging it\\nfrom the impurity of all mobific elements.\\nIn the entire system of the firmament,\\nthus seen and understood, there appeared\\nthe incontrovertible and unmistakable\\nevidence of a Divine Power in creation, which\\nhad fitted, as the air for human breath, so\\nthe clouds for human sight and nourishment:\\nthe Father who was in heaven feeding day\\nby day the souls of His children with mar-\\nvels, and satisfying them with bread, and so\\nfilling their hearts with food and gladness.\\nThe Storm- Cloud of the Nineteenth Century, Lecture I, p. 366.\\nThe discovery by modern science that all\\nmortal strength is from the Sun while it has\\nthrown foolish persons into atheism, is, to\\nwise ones, the most precious testimony to\\ntheir faith yet given by physical Nature for\\nit gives us the arithmetical and measurable\\nassurance that men vitally active are living", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0122.jp2"}, "121": {"fulltext": "SKY AND CLOUD. 117\\nsunshine, having the roots of their souls set\\nin sunlight, as the roots of a tree are in the\\nearth not that the dust is therefore the God\\nof the tree, but the Tree is the animation of\\nthe dust, and the living soul of the sunshine.\\nFors Clavigera, Vol. Ill, Letter LXIII, p. 148.\\nYou cannot love the real Sun, that is to\\nsay physical light and color, rightly, unless\\nyou love the spiritual Sun, that is to say\\njustice and truth, rightly.\\nFors Clavigera, Vol. Ill, Letter LXVI, p. 215.\\nAll lovely clouds, remember, are quiet\\nclouds, not merely quiet in appearance\\nbecause of their greater height and distance,\\nbut quiet actually, fixed for hours, it may be,\\nin the same form and place. I have seen a\\nfair-weather cloud high over Coniston Old\\nMan, not on the hill, observe, but a vertical\\nmile above it, stand motionless, change-\\nless, for twelve hours together. From four\\no clock in the afternoon of one day I watched\\nit through the night by the north twilight,\\ntill the dawn struck it with full crimson, at\\nfour of the following July morning.\\nWhat is glorious and good in the heavenly\\ncloud, you can, if you will, bring also into\\nyour lives, which are indeed like it, in", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0123.jp2"}, "122": {"fulltext": "n8 NATURE STUDIES.\\ntheir vanishing, but how much more in their\\nnot vanishing, till the morning take them to\\nitself. As this ghastly phantasy of death is\\nto the mighty clouds of which it is written,\\nThe Chariots of God are twenty thousand,\\neven thousands of angels, are the fates to\\nwhich your passions may condemn you,\\nor your resolution raise. You may drift\\nwith the phrenzy of the whirlwind, or be\\nfastened for your part in the pacified efful-\\ngence of the sky.\\nThe Art of England, Lecture VI, p. 356.\\nThere is no effect of sky possible in the\\nlowlands which may not in equal perfec-\\ntion be seen among the hills; but there\\nare effects by tens of thousands, forever\\ninvisible and inconceivable to the inhabit-\\nant of the plains, manifested among the\\nhills in the course of one day. The mere\\npower of familiarity with the clouds, of\\nwalking with them, and above them, alters\\nand renders clear our whole conception of\\nthe baseless architecture of the sky; and\\nfor the beauty of it, there is more in a\\nsingle wreath of early cloud, pacing its way\\nup an avenue of pines, or pausing among\\nthe points of their fringes, than in all the\\nwhite heaps that fill the arched sky of the", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0124.jp2"}, "123": {"fulltext": "SKY AND CLOUD. 119\\nplains from one horizon to the other. And\\nof the nobler cloud manifestations, the\\nbreaking of their troublous seas against the\\ncrags, their black spray sparkling with light-\\nning; or the going forth of the morning\\nalong their pavements of moving marble,\\nlevel-laid between dome and dome of\\nsnow; of these things there can be as lit-\\ntle imagination or understanding in an in-\\nhabitant of the plains as of the scenery of\\nanother planet than his own.\\nModern Painters, Vol. IV, Part IV, Chap. XX, p. 432.\\nThe moss-lands have one great advan-\\ntage over the forest-lands, namely, sight of\\nthe sky. And not only sight of it, but\\ncontinual and beneficent help from it.\\nWhat they have to separate them from\\nbarren rock, namely, their moss and\\nstreams, being dependent on its direct\\nhelp, not on great rivers coming from dis-\\ntant mountain chains, nor on vast tracks\\nof ocean-mist coming up at evening, but\\non the continued play and change of sun\\nand cloud.\\nIt would be strange, indeed, if there\\nwere no beauty in the phenomena by which\\nthis great renovating and purifying work\\nis done. And it is done almost entirely", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0125.jp2"}, "124": {"fulltext": "120 NATURE STUDIES.\\nby the great Angel of the Sea rain: the\\nAngel, observe, the messenger sent to a\\nspecial place on a special errand. Not the\\ndiffused perpetual presence of the burden\\nof mist, but the going and returning of\\nintermittent cloud. All turns upon this\\nintermittence. Soft moss on stone and\\nrock; cave-fern of tangled glen; wayside\\nwell perennial, patient, silent, clear steal-\\ning through its square font of rough-hewn\\nstone ever thus deep no more which\\nthe winter wreck sullies not, the summer\\nthirst wastes not, incapable of stain as of\\ndecline where the fallen leaf floats unde-\\ncayed, and the insect darts undenting.\\nCressed brook and ever-eddying river,\\nlifted even in flood scarcely over its step-\\nping stones, but through all sweet sum-\\nmer keeping tremulous music with harp-\\nstrings of dark water among the silver\\nfingering of the pebbles. Far away in the\\nsouth the strong river gods have all hasted,\\nand gone down to the sea. Wasted and\\nburning, white furnaces of blasting sand,\\ntheir broad beds lie ghastly and bare but\\nhere the soft wings of the Sea Angel droop\\nstill with dew, and the shadows of their\\nplumes falter on the hills strange laugh-\\nings, and glitterings of silver streamlets,", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0126.jp2"}, "125": {"fulltext": "SKY AND CLOUD. 121\\nborn suddenly, and twined about the mossy\\nheights in trickling tinsel, answering to\\nthem as they wave.\\nNor are those wings colorless. We hab-\\nitually think of the rain-cloud only as dark\\nand gray: not knowing that we owe to it\\nperhaps the fairest, though not the most\\ndazzling of the hues of heaven. Often in\\nour English mornings, the rain-clouds in\\nthe dawn form soft level fields, which melt\\nimperceptibly into the blue or when of\\nless extent, gather into apparent bars, cross-\\ning the sheets of broader cloud above and\\nall these bathed throughout in an unspeak-\\nable light of pure rose-color, and purple,\\nand amber, and blue not shining, but\\nmisty-soft: the barred masses, when seen\\nnearer composed of clusters or tresses of\\ncloud, like floss silk; looking as if each\\nknot were a little swathe or sheaf of lighted\\nrain. No clouds form such skies, none are\\nso tender, various, inimitable.\\nFor these are the robes of love of the\\nAngel of the Sea. To these that name is\\nchiefly given, the spreading of the clouds,\\nfrom their extent, their gentleness, their\\nfulness of rain. Note how they are spoken\\nof in Job xxxvi. v. 29-31. By them judge th\\nhe the people: he giveth meat in abun-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0127.jp2"}, "126": {"fulltext": "122 NATURE STUDIES.\\ndance. With clouds he covereth the light.\\nHe hath hidden the light in his hands,\\nand commanded that it should not return.\\nHe speaks of it to his friend that it is his\\npossession, and that he may ascend thereto.\\nThat, then, is the Sea Angel s message\\nto God s friends that, the meaning of\\nthose strange golden lights and purple\\nflushes before the morning rain. The rain\\nis sent to judge, and feed us but the light\\nis the possession of the friends of God,\\nand they may ascend thereto, where the\\ntabernacle veil will cross and part its rays\\nno more.\\nBut the Angel of the Sea has also an-\\nother message, in the great rain of his\\nstrength, rain of trial, sweeping away ill-\\nset foundations. Then his robe is not\\nspread softly over the whole heaven, as a\\nveil, but sweeps back from his shoulders,\\nponderous, oblique, terrible leaving his\\nsword-arm free.\\nThe approach of trial-storm, hurricane-\\nstorm, is indeed in its vastness as the\\nclouds of the softer rain. But it is not\\nslow nor horizontal, but swift and steep:\\nswift with passion of ravenous winds, steep\\nas slope of some dark, hollowed hill. The\\nfronting clouds come leaning forward, one", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0128.jp2"}, "127": {"fulltext": "SKY AND CLOUD. 123\\nthrusting the other aside, or on impatient,\\nponderous, impendent, like globes of rock,\\ntossed of Titans Ossa on Olympus but\\nhurled forward all, in one wave of cloud-\\nlava-cloud whose throat is as a sepulchre.\\nFierce behind them rages the oblique\\nwrath of the rain, white as ashes, dense as\\nshowers of driven steel the pillars of it full\\nof ghastly life: Rain- Furies, shrieking as\\nthey fly: scourging, as with whips of scor-\\npions the earth ringing and trembling\\nunder them, heaven wailing wildly, the\\ntrees stooped blindly down, covering their\\nfaces, quivering in every leaf with horror,\\nruins of their branches flying by them like\\nblack stubble.\\nNevertheless, the rain-cloud was, on\\nthe whole, looked upon by the Greeks as\\nbeneficent, so that it is boasted of in the\\nCEdipus Coloneus for its perpetual feed-\\ning of the springs of Cephisus, and else-\\nwhere often and the opening song of the\\nrain-cloud in Aristophanes is entirely beau-\\ntiful.\\nThese heavens, then, declare the\\nglory of God that is, the light of God, the\\neternal glory, stable and changeless.\\nAnd the firmament showeth His handi-\\nwork?", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0129.jp2"}, "128": {"fulltext": "I2 4 NATURE STUDIES.\\nThe clouds, prepared by the hand of God\\nfor the help of man, varied in their minis-\\ntration veiling the inner splendor show,\\nnot His eternal glory, but His daily handi-\\nwork. Remember that thou magnify\\nHis work which men behold.\\nModern Painters, Vol. V, Part VII, Chap. IV, pp. 180-197.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0130.jp2"}, "129": {"fulltext": "ABOUT THE EARTH.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0131.jp2"}, "130": {"fulltext": "Rise up actively on the earth; learn what there is in\\nit, know its color and form, and the full measure and\\nmake of it.\\nModern Painters, Vol. IV, Part V, Chap. Ill, p. 60.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0132.jp2"}, "131": {"fulltext": "IV.\\nABOUT THE EARTH.\\nGod has lent us the Earth for our life; it\\nis a great entail.\\nSeven Lamps of Architecture Chap. VI, p. 176.\\nI hope the children of this generation may\\nknow more than their fathers, and that the\\nstudy of the Earth, which hitherto has shown\\nthem little more than the monsters of a\\nchaotic past, may at last interpret for them\\nthe beautiful work of the creative present,\\nand lead them day by day to find a loveliness,\\ntill then unthought of, in the rock, and a\\nvalue, till then uncounted, in the gem.\\nIn Montibus Sanctis^ Chap. I, p. 122.\\nThere are, broadly, three great dem-\\nonstrable periods of the Earth s history.\\nThat in which it was crystallized; that in\\nwhich it was sculptured and that in which\\nit is now being unsculptured, or deformed.\\nThese three periods interlace with each\\nother, and gradate into each other, as the\\nperiods of human life do. Something dies\\nin the child on the day that it is born,\\n127", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0133.jp2"}, "132": {"fulltext": "128 NATURE STUDIES,\\nsomething is born in the man on the day\\nthat he dies nevertheless, his life is broadly\\ndivided into youth, strength, and decrepitude.\\nIn such clear sense, the Earth has its three\\nages of their length we know as yet nothing,\\nexcept that it has been greater than any man\\nhad imagined. \u00e2\u0080\u0094Deucalion, Vol. I, Chap. I, p. 22.\\nThe fruit of Earth, and its waters, and its\\nlight such as the strength of the pure rock\\ncan grow such as the unthwarted sun in\\nhis season brings these are your inherit-\\nance. Fors Clavigcra, Vol. I, Letter XVI, p. 219.\\nAnd God said, Let the waters which are\\nunder the heavens be gathered together unto\\none place, and let the dry land appear.\\nWe do not, perhaps, often enough con-\\nsider the deep significance of this sentence.\\nWe are too apt to receive it as the descrip-\\ntion of an event vaster only in its extent, not\\nin its nature, than the compelling the Red\\nSea to draw back, that Israel might pass by.\\nWe imagine the Deity in like manner rolling\\nthe waves of the greater ocean together on\\na heap, and setting bars and doors to them\\neternally. But there is a far deeper mean-\\ning than this in the solemn words of Genesis,\\nand in the correspondent verse of the Psalm,", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0134.jp2"}, "133": {"fulltext": "ABOUT THE EARTH. 129\\nHis hands prepared the dry land. Up to\\nthat moment the earth had been void, for it\\nhad been without form. The command that\\nthe waters should be gathered was the com-\\nmand that the earth should be sculp tiered.\\nThe sea was not driven to his place in sud-\\ndenly restrained rebellion, but withdrawn to\\nhis place in perfect and patient obedience.\\nThe dry land appeared, not in level sands,\\nforsaken by the surges, which those surges\\nmight again claim for their own: but in\\nrange beyond range of swelling hill and iron\\nrock, forever to claim kindred with the firma-\\nment, and be companioned by the clouds of\\nheaven.\\nWhat space of time was in reality occupied\\nby the day of Genesis, is not at present,\\nof any importance for us to consider. By\\nwhat furnaces of fire the adamant was melted,\\nand by what wheels of earthquake it was\\ntorn, and by what teeth of glacier and weight\\nof sea-waves it was engraven and finished\\ninto its perfect form, we may perhaps en-\\ndeavor to conjecture: but here, as in few\\nwords the work is summed by the historian,\\nso in few broad thoughts it should be com-\\nprehended by us and as we read the mighty\\nsentence, Let the dry land appear, we\\nshould try to follow the finger of God, as", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0135.jp2"}, "134": {"fulltext": "130 NATURE STUDIES.\\nit engraved upon the stone tables of the\\nearth the letters and the law of its ever-\\nlasting form: as, gulf by gulf, the channels\\nof the deep were ploughed; and, cape by\\ncape, the lines were traced, with Divine fore-\\nknowledge of the shores that were to limit\\nthe nations; and, chain by chain, the moun-\\ntain walls were lengthened forth, and their\\nfoundations fastened forever; and the com-\\npass was set upon the face of the depth, and\\nthe fields, and the highest part of the dust\\nof the world were made and the right hand\\nof Christ first strewed the snow on Lebanon,\\nand smoothed the slopes of Calvary.\\nIt is not, I repeat, always needful, in\\nmany respects it is not possible, to con-\\njecture the manner, or the time, in which\\nthis work was done but it is deeply neces-\\nsary for all men to consider the magnifi-\\ncence of the accomplished purpose, and\\nthe depth of the wisdom and love which\\nare manifested in the ordinances of the\\nhills. For observe, in order to bring the\\nworld into the form which it now bears, it\\nwas not mere sculpture that was needed;\\nthe mountains could not stand for a day\\nunless they were formed by materials alto-\\ngether different from those which consti-\\ntute the lower hills and the surfaces of the", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0136.jp2"}, "135": {"fulltext": "ABOUT THE EARTH. 131\\nvalleys. A harder substance had to be\\nprepared for every mountain chain yet\\nnot so hard but that it might be capable\\nof crumbling down into earth fit to nour-\\nish the alpine forest and the alpine flower;\\nnot so hard but that, in the midst of the\\nutmost majesty of its enthroned strength,\\nthere should be seen on it the seal of\\ndeath, and the writing of the same sen-\\ntence that had gone forth against the hu-\\nman frame, Dust thou art, and unto dust\\nthou shalt return. And with this perish-\\nable substance the most majestic forms\\nwere to be framed that were consistent\\nwith the safety of man; and the peak was\\nto be lifted, and the cliff rent, as high and\\nas steeply as was possible, in order to per-\\nmit the shepherd to feed his flocks upon\\nthe slope, and the cottage to nestle be-\\nneath their shadow.\\nAnd observe, two distinct ends were to\\nbe accomplished in the doing this. It was,\\nindeed, absolutely necessary that such emi-\\nnences should be created, in order to fit the\\nearth in anywise for human habitation for\\nwithout mountains the air could not be puri-\\nfied, nor the flowing of the rivers sustained,\\nand the earth must have become for the\\nmost part desert plain, or stagnant marsh.\\nModern Painters, Vol. IV, Part V, Chap. VII, pp. 122-124.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0137.jp2"}, "136": {"fulltext": "i 3 2 NATURE STUDIES.\\nWhat infinite wonderfulness there is in\\nvegetation, considered, as indeed it is, as the\\nmeans by which the earth becomes the com-\\npanion of man his friend and his teacher!\\nIn the conditions which we have traced in\\nits rocks, there could only be seen prepara-\\ntion for his existence; the characters which\\nenable him to live on it safely, and to work\\nwith it easily in all these it has been in-\\nanimate and passive; but vegetation is to\\nit as an imperfect soul, given to meet the\\nsoul of man. The earth in its depths must\\nremain dead and cold, incapable except of\\nslow crystalline change; but at its surface,\\nwhich human beings look upon and deal\\nwith, it ministers to them through a veil of\\nstrange intermediate being which breathes,\\nbut has no voice; moves, but cannot leave its\\nappointed place passes through life without\\nconsciousness, to death without bitterness;\\nwears the beauty of youth, without its pas-\\nsion; and declines to the weakness of age,\\nwithout its regret.\\nAnd in this mystery of intermediate being,\\nentirely subordinate to us, with which we\\ncan deal as we choose, having just the\\ngreater power as we have the less respon-\\nsibility for our treatment of the unsuffering\\ncreature, most of the pleasures which we", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0138.jp2"}, "137": {"fulltext": "ABOUT THE EARTH. 133\\nneed from the external world are gathered,\\nand most of the lessons we need are written,\\nall kinds of precious grace and teaching\\nbeing united in this link between the Earth\\nand Man wonderful in universal adaptation\\nto his need, desire and discipline; God s\\ndaily preparation of the earth for him, with\\nbeautiful means of life. First a carpet to\\nmake it soft for him then, a colored fantasy\\nof embroidery thereon; then, tall spreading\\nfoliage to shade him from sunheat, and shade\\nalso the fallen rain, that it may not dry\\nquickly back into the clouds, but stay to\\nnourish the springs among the moss. Stout\\nwood to bear this leafage; easily to be cut,\\nyet tough and light, to make houses for him,\\nor instruments (lance-shaft, or plough-handle,\\naccording to his temper) useless it had been,\\nif harder; useless, if less fibrous; useless, if\\nless elastic. Winter comes, and the shade\\nof leafage falls away, to let the sun warm the\\nearth the strong boughs remain, breaking\\nthe strength of winter winds. The seeds\\nwhich are to prolong the race, innumerable\\naccording to the need, are made beautiful\\nand palatable, varied into infinitude of\\nappeal to the fancy of man, or provision\\nfor his service; cold juice, or glowing spice,\\nor balm, or incense, softening oil, preserving", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0139.jp2"}, "138": {"fulltext": "i 3 4 NATURE STUDIES.\\nresin, medicine of styptic, febrifuge or lull-\\ning charm and all these presented in forms\\nof endless change. Fragility or force, soft-\\nness and strength, in all degrees and aspects;\\nunerring uprightness, as of temple pillars,\\nor undivided wandering of feeble tendrils\\non the ground; mighty resistances of rigid\\narm and limb to the storms of ages, or wav-\\nings to and fro with faintest pulse of sum-\\nmer streamlet. Roots cleaving the strength\\nof rock, or binding the transience of the\\nsand; crests basking in sunshine of the des-\\nert, or hiding by dripping spring and light-\\nless cave; foliage far tossing in entangled\\nfields beneath every wave of ocean cloth-\\ning with variegated, everlasting films, the\\npeaks of the trackless mountains or minister-\\ning at cottage doors to every gentlest pas-\\nsion and simplest joy of humanity.\\nModern Painters^ Vol. V, Part VI, Chap. I, pp. 22-24.\\nBy truth of earth, we mean the faithful\\nrepresentation of the facts and forms of the\\nbare ground, considered as entirely divested\\nof vegetation, through whatever disguise, or\\nunder whatever modification the clothing\\nof the landscape may occasion.\\nThe laws of the organization of the\\nEarth are distinct and fixed as those of the\\nanimal frame, simpler and broader, but", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0140.jp2"}, "139": {"fulltext": "ABOUT THE EARTH. 135\\nequally authoritative and inviolable.\\nThey are in the landscape the foundation\\nof all other truths the most necessary,\\ntherefore, even if they were not in them-\\nselves attractive; but they are as beautiful\\nas they are essential.\\nWe find, according to this its internal\\nstructure that the Earth may be con-\\nsidered as divided into three great classes\\nof formation, which geology has already\\nnamed for us. Primary the rocks, which,\\nthough in position lower than all others,\\nrise to form the central peaks, or interior\\nnuclei of all mountain ranges. Secondary\\nthe rocks, which are laid in beds above\\nthese, and which form the greater propor-\\ntion of all hill scenery. Tertiary the\\nlight beds of sand, gravel, and clay, which\\nare strewed upon the surface of all, form-\\ning plains and habitable territory for man.\\nModern Painters, Vol. II, Part II, Sect. IV, Chap. I, pp. 25-30.\\nMountains are, to the rest of the body\\nof the earth, what violent muscular action\\nis to the body of man. The muscles and\\ntendons of its anatomy are in the moun-\\ntain, brought out with fierce and convul-\\nsive energy, full of expression, passion and\\nstrength; the plains and the lower hills", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0141.jp2"}, "140": {"fulltext": "136 NATURE STUDIES.\\nare the repose and the effortless motion\\nof the frame, when its muscles lie dormant\\nand concealed beneath the lines of its\\nbeauty, yet ruling those lines in their every\\nundulation. This, then, is the first grand\\nprinciple of the truth of the earth.\\nThe spirit of the hills is action, that of\\nthe lowlands, repose and between them\\nthere is to be found every variety of mo-\\ntion and of rest: from the inactive plain,\\nsleeping like the firmament, with cities for\\nstars, to the fiery peaks, which, with heav-\\ning bosoms and exulting limbs, with the\\nclouds drifting like hair from their bright\\nforeheads, lift up their Titan hands to\\nHeaven, saying, I live forever!\\nBut there is this difference between the\\naction of the earth, and that of a living\\ncreature, that while the exerted limbs mark\\nits bones and tendons through the flesh,\\nthe excited earth casts off the flesh alto-\\ngether, and its bones come out from be-\\nneath. Mountains are the bones of the\\nearth, their highest peaks are invariably\\nthose parts of its anatomy which in the\\nplains lie buried under five and twenty\\nthousand feet of solid thickness of super-\\nincumbent soil, and which spring up in the\\nmountain ranges in vast pyramids or wedges,", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0142.jp2"}, "141": {"fulltext": "ABOUT THE EARTH. 137\\nflinging their garment of earth away from\\nthem on each side. The masses of the\\nlower hills are laid over and against their\\nsides, like the masses of lateral masonry\\nagainst the skeleton arch of an unfinished\\nbridge, except that they slope up to and\\nlean against the central ridge; and finally,\\nupon the slopes of these lower hills are\\nstrewed the level beds of sprinkled gravel,\\nsand, and clay, which form the extent of\\nthe champaign. Here then is another\\ngrand principle of the truth of earth, that\\nthe mountains must come from under all,\\nand be the support of all, and that every-\\nthing else must be laid in their arms, heap\\nabove heap, the plains being the upper-\\nmost. Such being the structure of the\\nframework of the earth, it is next to be\\nremembered, that all soil whatsoever, wher-\\never it is accumulated in greater quantity\\nthan is sufficient to nourish the moss of the\\nwall-flower, has been so, either by the direct\\ntransporting agency of water, or under the\\nguiding influence and power of water.\\nModern Painters, Vol. II, Part II, Sect. IV, pp. 27, 28.\\nThe Earth, as a tormented and trembling\\nball, may have rolled in space for myriads of\\nages before humanity was formed from its", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0143.jp2"}, "142": {"fulltext": "138 NATURE STUDIES.\\ndust; and as a devastated ruin it may con-\\ntinue to roll, when all that dust shall again\\nhave been mingled with ashes that never\\nwere warmed by life, or polluted by sin.\\nBut for us the intelligible and substantial\\nfact is that the Earth has been brought, by\\nforces we know not of, into a form fitted for\\nour habitation on that form a gradual, but\\ndestructive, change is continually taking\\nplace. But in the hand of the great\\nArchitect time and decay are as much\\nthe instruments of His purpose as the forces\\nby which He first led forth the troops of\\nhills in leaping flocks: the lightning and\\nthe torrent and the wasting and weariness of\\ninnumerable ages, all bear their part in the\\nworking out of one consistent plan and the\\nBuilder of the temple forever stands beside\\nHis work, appointing the stone that is to\\nfall, and the pillar that is to be abased, and\\nguiding all the seeming wildness of chance\\nand change, into ordained splendors and\\nforeseen harmonies.\\nModern Painters, Vol. IV, Part V, Chap. XII, pp. 183, 185.\\nThese are the two essential instincts of\\nhumanity: the love of Order, and the love\\nof Kindness. By the love of order the moral\\nenergy is to deal with the earth, and to dress\\nit and keep it. \u00e2\u0080\u0094Lectures on Art, Lecture III, p. 251.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0144.jp2"}, "143": {"fulltext": "ABOUT THE EARTH, 139\\nThe fulfilment of all human liberty -is in\\nthe peaceful inheritance of the earth, with\\nits herb yielding seed, and fruit tree yield-\\ning fruit after his kind; the pasture or\\narable land, and the blossoming, or wooded\\nand fruited, land uniting the final elements\\nof life and peace, for body and soul.\\nAnd as the work of war and sin has always\\nbeen the devastation of this blossoming\\nearth, whether by spoil or idleness, so the\\nwork of peace and virtue is also that of the\\nfirst day of Paradise, to Dress it and to\\nkeep it. And that will always be the song\\nof perfectly accomplished Liberty, in her\\nindustry, and rest, and shelter from troubled\\nthoughts in the calm of the fields.\\nTime and Tide, Letter XXIV, pp. 227, 228.\\nEarth, meant to be nourishing for you\\nand bloSSOming. \u00e2\u0080\u0094Fors Clavigera, Vol. I, Letter V, p. 69.\\nWhat hinders us from covering as much\\nof the world as we like with pleasant shade,\\nand pure blossom, and goodly fruit? Who\\nforbids its valleys to be covered over with\\ncorn, till they laugh and sing? Who pre-\\nvents its dark forests, ghostly and uninhab-\\nitable, from being changed into infinite\\norchards, wreathing the hills with frail-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0145.jp2"}, "144": {"fulltext": "140 NATURE STUDIES.\\nfloretted snow, far away to the half-lighted\\nhorizon of April, and flushing the face of\\nall the autumnal earth with glow of clustered\\nfood Modern Painters, Vol. V, Chap. I, p. 22.\\nDo you remember the questioning to\\nJob Hath the rain a father and who\\nhath begotten the drops of dew, the hoary\\nfrost of heaven who hath gendered it?\\nThat rain and frost of heaven; and the\\nearth which they loose and bind these,\\nand the labor of your hands to divide\\nthem, and subdue, are your wealth.\\nThe fruit of Earth, and its waters, and\\nits light such as the strength of the\\npure rock can grow such as the un-\\nthwarted sun in his season brings these\\nare your inheritance.\\nFors Clavigera, Vol. I, Letter XVI, p. 219.\\nAs the first laws of line may best be\\nlearned in the lines of the Earth, so also the\\nfirst laws of light may best be learned in\\nthe light of the Earth. Not the hawthorn\\nblossom, nor the pearl, nor the grain of\\nmustard or manna, not the smallest round\\nthing that lies as the hoar-frost on the\\nground but around it, and upon it, are\\nilluminated the laws that bade the Evening", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0146.jp2"}, "145": {"fulltext": "ABOUT THE EARTH. 141\\nand the Morning be the first day. What-\\never the position of the Sun, and whatever\\nthe rate of motion of any point on the\\nEarth through the minutes, hours, or days\\nof twilight, the meeting of the margins of\\nnight and day is always constant in the\\nbreadth of its zone of gradually expiring\\nlight; and that in relation to the whole\\nmass of the globe, that passage from glow\\nto gloom is as trenchant and swift as\\nbetween the crescent of the new moon and\\nthe dimness of the Auld mune in her\\nairmS. The Laws of Fesole, Chap. X, p. 1 18.\\nThe simple fact that the sky is brighter\\nthan the Earth, is not a precious truth, un-\\nless the Earth itself be first understood.\\nDespise the Earth, or slander it; fix your\\neyes on its gloom and forget its loveliness;\\nand we do not thank you for your languid\\nor despairing perception of brightness in\\nheaven. \u00e2\u0080\u0094Modern Painters^ Vol. IV, Chap. Ill, p. 60.\\nI feel more strongly every day, that no\\nevidence to be collected within historical\\nperiods can be accepted as any clue to the\\ngreat tendencies of geological change: but\\nthat the great laws which never fail, and to\\nwhich all change is subordinate, appear such", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0147.jp2"}, "146": {"fulltext": "i 4 2 NATURE STUDIES.\\nas to accomplish a gradual advance to love-\\nlier order, and more calmly, yet more deeply,\\nanimated Rest. Nor has this conviction\\never fastened itself upon me more distinctly,\\nthan during my endeavor to trace the laws\\nwhich govern the lowly framework of the\\ndust. For, through all the phases of tran-\\nsition and dissolution, there seems to be a\\ncontinual effort to raise itself into a higher\\nstate: and a measured gain, through the\\nfierce revulsion and slow renewal of the\\nearth s frame, in beauty, and order, and\\npermanence. The soft white sediments of\\nthe sea draw themselves, in process of time,\\ninto smooth knots of sphered symmetry;\\nburdened and strained under increase of\\npressure, they pass into a nascent marble;\\nscorched by fervent heat, they brighten and\\nblanch into the snowy rock of Paros and\\nCarrara. The dark drift of the inland river,\\nor stagnant slime of inland pool and lake,\\ndivides, or resolves itself as it dries, into\\nlayers of its several elements: slowly puri-\\nfying each by the patient withdrawal of it\\nfrom the anarchy of the mass in which\\nit was mingled. Contracted by increasing\\ndraught, till it must shatter into fragments,\\nit infuses continually a finer ichor into the\\nopening veins, and finds in its weakness the", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0148.jp2"}, "147": {"fulltext": "ABOUT THE EARTH. 143\\nfirst rudiments of a perfect strength. Rent\\nat last, rock from rock, nay, atom from atom,\\nand tormented in lambent fire, it knits,\\nthrough the fusion, the fibres of a perennial\\nendurance and, during countless subsequent\\ncenturies, declining, or rather let me say,\\nrising to repose, finishes the infallible lustre\\nof its crystalline beauty, under harmonies of\\nlaws which are wholly beneficent, because\\nwholly inexorable.\\nThe Ethics of the Dust, Chap. X, pp. 139, 140.\\nAbout 500 B.C. at that culminating\\nperiod of the Greek religion we find, under\\none governing Lord of all things, four sub-\\nordinate elemental forces, and four spiritual\\npowers living in them, and commanding\\nthem. The elements are of course the well-\\nknown four of the ancient world the\\nEarth, the waters, the fire, and the air.\\nThey are the rulers of the Earth that we\\ntread upon, and the air that we breathe.\\nThe rule of the first spirit, Demeter, the\\nEarth Mother, is over the Earth, first, as\\nthe origin of all life the dust from whence\\nwe were taken.\\nSecondly, as the receiver of all things\\nback at last into silence Dust thou art,\\nand unto dust shalt thou return.\\nThe Queen of the Air, Chap. I, p. 242.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0149.jp2"}, "148": {"fulltext": "i 4 4 NATURE STUDIES.\\nIn the children of noble races, trained\\nby surrounding art, and at the same time\\nin the practice of great deeds, there is an\\nintense delight in the landscape of their\\ncountry as memorial a sense not taught\\nto them, nor teachable to any others; but\\nin them, innate; and the seal and reward\\nof persistence in great national life: the\\nobedience and the peace of ages having\\nextended gradually the glory of the re-\\nvered ancestors also to the ancestral land\\nuntil the Motherhood of the dust, the mys-\\ntery of the Demeter from whose bosom we\\ncame, and to whose bosom we return, sur-\\nrounds and inspires, everywhere, the local\\nawe of field and fountain the sacredness\\nof landmark that none may remove, and\\nof men that none may pollute, while rec-\\nords of proud days, and of dear persons,\\nmake every rock monumental with ghostly\\ninscription, and every path lovely with\\nnoble deSOlateneSS. Lectures on Art, Inaugural, p. 212.\\nWherever there are high mountains,\\nthere are hard rocks. Earth, at its strong-\\nest, has difficulty in sustaining itself above\\nthe clouds and could not hold itself in\\nany noble height, if knitted infirmly.\\nDeucalion, Chap. XV, p. 153.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0150.jp2"}, "149": {"fulltext": "ABOUT THE EARTH. 145\\nThe present conformation of the earth\\nappears dictated by supreme wisdom and\\nkindness. And yet its former state must\\nhave been different from what it is now;\\nas its present one from that which it must\\nassume hereafter. Is this, therefore, the\\nearth s prime into which we are born; or\\nis it, with all its beauty, only the wreck of\\nParadise\\nModern Painters, Vol. IV, Part V, Chap. XII, p. 182.\\nEarth and Air: The deep of air that\\nsurrounds the earth enters into union with\\nthe earth at its surface, and with its waters;\\nso as to be the apparent cause of their as-\\ncending into life. First, it warms them, and\\nshades, at once, staying the heat of the sun s\\nrays in its own body, but warding their force\\nwith its clouds.\\nIt warms and cools at once, with traffic of\\nbalm and frost; so that the white wreaths\\nare withdrawn from the field of the Swiss\\npeasant by the glow of Libyan rock. It\\ngives its own strength to the sea forms and\\nfills every cell of its foam sustains the\\nprecipices, and designs the valleys of its\\nwaves; gives the gleam to their moving\\nunder the night, and the white fire to their\\nplains under sunrise lifts their voices along", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0151.jp2"}, "150": {"fulltext": "146 NATURE STUDIES.\\nthe rocks, bears above them the spray of\\nbirds, pencils through them the dimpling of\\nunfooted sands. It gathers out of them a\\nportion in the hollow of its hand dyes, with\\nthat, the hills into dark blue, and their gla-\\nciers with dying rose inlays with that, for\\nsapphire, the dome in which it has to set\\nthe cloud; shapes out of that the heavenly\\nflocks: divides them, numbers, cherishes,\\nbears them on its bosom, calls them to their\\njourneys, waits by their rest; feeds them\\nfrom the brooks that cease not, and strews\\nwith them the dews that cease. It spins\\nand weaves their fleece into wild tapestry,\\nrends it, and renews; and flits and flames,\\nand whispers, among the golden threads,\\nthrilling them with a plectrum of strange\\nfire that traverses them to and fro, and is\\nenclosed in them like life.\\nIt enters into the surface of the earth, sub-\\ndues it, and falls together with it into fruitful\\ndust, from which can be moulded flesh:\\nit joins itself, in dew, to the substance of\\nadamant; and becomes the green leaf out\\nof the dry ground it enters into the sepa-\\nrated shapes of the earth it has tempered,\\ncommands the ebb and flow of the current\\nof their life, fills their limbs with its own\\nlightness, measures their existence by its in-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0152.jp2"}, "151": {"fulltext": "ABOUT THE EARTH. 147\\ndwelling pulse, moulds upon their lips the\\nwords by which one soul can be known to\\nanother is to them the hearing of the ear,\\nand the beating of the heart; and, passing\\naway, leaves them to the peace that hears\\nand moves no more.\\nThe Queen of the Air Essay II, pp. 305, 306.\\nYou all probably know that the ochreous\\nstain, which, perhaps, is often thought to\\nspoil the basin of your spring, is iron in a\\nstate of rust. It is not a fault in the iron,\\nbut a virtue, to be so fond of getting rusted,\\nfor in that condition it fulfils its most im-\\nportant functions in the universe, and most\\nkindly duties to mankind. Nay, in a cer-\\ntain sense, and almost a literal one, we may\\nsay that iron rusted is Living; but when\\npure or polished, Dead.\\nYou all probably know that in the mixed\\nair we breathe, the part of it essentially\\nneedful to us is called oxygen and that this\\nsubstance is to all animals, in the most ac-\\ncurate sense of the word, breath of life.\\nNow it is this very same air which the iron\\nbreathes when it gets rusty. It takes the\\noxygen from the atmosphere as eagerly as\\nwe do, though it uses it differently. The\\niron keeps all that it gets; we, and other", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0153.jp2"}, "152": {"fulltext": "148 NATURE STUDIES.\\nanimals, part with it again; but the metal\\nabsolutely keeps what it has once received\\nof this aerial gift; and the ochreous dust\\nwhich we so much despise is, in fact, just so\\nmuch nobler than pure iron, in so far as it\\nis iron and the air. Nobler, and more use-\\nful for indeed, the main service of this\\nmetal, and of all other metals, to us, is\\nin making the ground we feed from, and\\nnearly all the substances first needful to our\\nexistence. For these are all nothing but\\nmetals and oxygen metals with breath put\\ninto them.\\nSand, lime, clay, and the rest of the\\nearths potash and soda, and the rest of\\nthe alkalies are all of them metals which\\nhave undergone this, so to speak, vital\\nchange, and have been rendered fit for the\\nservice of man by permanent unity with the\\npurest air which he himself breathes.\\nYou think, perhaps, that your iron\\nis wonderfully useful in a pure form, but\\nhow would you like the world, if all your\\nmeadows, instead of grass, grew nothing\\nbut iron wire if all your arable ground,\\ninstead of being made of sand and clay,\\nwere suddenly turned into flat surfaces of\\nsteel if the whole earth, instead of its\\ngreen and glowing sphere, rich with forest", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0154.jp2"}, "153": {"fulltext": "ABOUT THE EARTH, 149\\nand flower, showed nothing, but the image\\nof the vast furnace of a ghastly engine a\\nglobe of black, lifeless, excoriated metal\\nIt would be that, probably it was once\\nthat but assuredly it would be, were it not\\nthat all the substance of which it is made\\nsucks and breathes the brilliancy of the at-\\nmosphere and as it breathes, softening from\\nits merciless hardness, it falls into fruitful\\nand beneficent dust gathering itself again\\ninto the earths from which we feed, and the\\nstones from which we build into the rocks\\nthat frame the mountains, and the sands\\nthat bind the sea.\\nHence it is impossible for you to take up\\nthe most insignificant pebble at your feet,\\nwithout being able to read, if you like, this\\ncurious lesson in it. You look upon it at first\\nas if it were earth only, Nay it answers,\\nI am not earth I am earth and air in one\\npart of that blue heaven which you love, and\\nlong for, is already in me it is all my life\\nwithout it I should be nothing, and able for\\nnothing: I could not minister to you, nor\\nnourish you I should be a cruel and help-\\nless thing; but, because there is, according\\nto my need and place in creation, a kind of\\nsoul in me, I have become capable of good,\\nand helpful in the circles of vitality.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0155.jp2"}, "154": {"fulltext": "i S o NATURE STUDIES.\\nThus far the same interest attaches to all\\nthe earths, and all the metals of which they\\nare made but a deeper interest, and larger\\nbeneficence belong to that ochreous earth\\nof iron which stains the marble of your\\nsprings. It stains much besides that marble.\\nIt stains the great earth wheresoever you\\ncan see it, far and wide it is the coloring\\nsubstance appointed to color the globe for\\nthe sight, as well as subdue it to the service\\nof man.\\nYou have just seen your hills covered with\\nsnow, and, perhaps, have enjoyed, at first,\\nthe contrast of their fair white with the dark\\nblocks of pine woods; but have you ever\\nconsidered how you would like them always\\nwhite not pure white, but dirty white\\nthe white of thaw with all the chill of snow\\nin it, but none of its brightness? That is\\nwhat the color of the earth would be without\\nits iron that would be its color, not here or\\nthere only, but in all places, and at all times.\\nFollow out that idea till you get it in some\\ndetail. Think first of your pretty gravel\\nwalks in your gardens, yellow and fine, like\\nplots of sunshine between the flower-beds;\\nfancy them all suddenly turned to the color\\nof ashes. That is what they would be with-\\nout iron ochre. Think of your winding", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0156.jp2"}, "155": {"fulltext": "ABOUT THE EARTH. 151\\nwalks over the common, as warm to the eye\\nas they are dry to the foot, and imagine them\\nall laid down suddenly with gray cinders.\\nThen pass beyond the common into the\\ncountry, and pause at the first ploughed\\nfield that you see sweeping up the hill sides\\nin the sun, with its deep brown furrows, and\\nwealth of ridges, all a-glow, heaved aside by\\nthe ploughshare, like deep folds of a mantle of\\nrusset velvet fancy it all changed suddenly\\ninto grisly furrows in a field of mud. That\\nis what it would be without iron. Pass on,\\nin fancy, over hill and dale, till you reach\\nthe bending line of the sea shore go down\\nupon its breezy beach watch the white\\nfoam flashing among the amber of it, and all\\nthe blue sea embayed in belts of gold then\\nfancy those circlets of far sweeping shore\\nsuddenly put into mounds of mourning\\nall those golden sands turned into gray slime,\\nthe fairies no more able to call to each other,\\nCome unto these yellow sands, but Come\\ninto these drab sands. That is what they\\nwould be, without iron. Thus far we\\nhave only been considering the use and\\npleasantness of iron in the common earth\\nof clay. But there are three kinds of earth\\nwhich in mixed mass and prevalent quantity,\\nform the world. Those are in common Ian-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0157.jp2"}, "156": {"fulltext": "t$t NATURE STUDIES.\\nguage, the earths of clay, of lime, and of flint.\\nMany other elements are mingled with these\\nin sparing quantities; but the great frame\\nand substance of the earth is made of these\\nthree, so that wherever you stand on solid\\nground, in any country of the globe, the\\nthing that is mainly under your feet will be\\neither clay, limestone, or some condition of\\nthe earth of flint, mingled with both.\\nThese being what we have usually to deal\\nwith, Nature seems to have set herself to\\nmake these three substances as interesting\\nto us, and as beautiful for us, as she can.\\nThe clay, being a soft and changeable sub-\\nstance, she doesn t take much pains about,\\ntill it is baked; she brings the color into\\nit only when it receives a permanent form.\\nBut the limestone and flint she paints, in\\nher own way, in their native state and her\\nobject in painting them seems to be much the\\nsame as in her painting of flowers to draw\\nus, careless and idle human creatures, to\\nwatch her a little, and see what she is about\\nthat being on the whole good for us,\\nher children. For Nature is always carry-\\ning on very strange work with this lime-\\nstone and flint of hers laying down beds of\\nthem at the bottom of the sea; building\\nislands out of the sea; filling chinks and", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0158.jp2"}, "157": {"fulltext": "ABOUT THE EARTH. 153\\nveins in mountains with curious treasures;\\npetrifying mosses, and trees, and shells in\\nfact carrying. on all sorts of business, sub-\\nterranean or submarine, which it would be\\nhighly desirable for us, who profit and live\\nby it, to notice as it goes on. And ap-\\nparently to lead us to do this, she makes\\npicture-books for us of limestone and flint\\nand tempts us, like foolish children as\\nwe are, to read her books by the pretty\\ncolors in them. The pretty colors in her\\nlimestone-books form those variegated\\nmarbles which all mankind have taken de-\\nlight to polish and build with from the\\nbeginning of time and the pretty colors in\\nher flint-books form those agates, jaspers,\\ncornelians, bloodstones, onyxes, cairngorms,\\nchrysoprases, which men have in like man-\\nner taken delight to cut, and polish, and\\nmake ornaments of, from the beginning of\\ntime and yet, so much of babies are they,\\nand so fond of looking at the pictures in-\\nstead of reading the book, that I question\\nwhether, after six thousand years of cutting\\nand polishing, there are above two or three\\npeople out of any given hundred, who know,\\nor care to know, how a bit of agate or a bit\\nof marble was made, or painted.\\nHow it was made, may not be always very", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0159.jp2"}, "158": {"fulltext": "154 NATURE STUDIES.\\neasy to say; but with what it was painted\\nthere is no manner of question. All those\\nbeautiful violet veinings and variegations of\\nthe marbles of Sicily and Spain, the glowing\\norange and amber colors of those of Siena,\\nthe deep russet of that Rosso antico, and the\\nblood-color of all the precious jaspers that\\nenrich the temples of Italy and finally, all\\nthe lovely transitions of tint in the pebbles\\nof Scotland and the Rhine, which form,\\nthough not the most precious, by far the\\nmost interesting portion of our modern\\njewellers work; all these are painted by\\nNature with this one material only, variously\\nproportioned and applied the oxide of\\niron.\\nBut this is not all, nor the best part of the\\nwork of iron. Its service in producing these\\nbeautiful stones is only rendered to rich\\npeople, who can afford to quarry and polish\\nthem. But Nature paints for all the world,\\npoor and rich together and while, there-\\nfore, she thus adorns the innermost rocks\\nof her hills, to tempt your investigation, or\\nindulge your luxury, she paints far more\\ncarefully the outsides of the hills, which are\\nfor the eyes of the shepherd and the plough-\\nman Have you ever considered, in\\nspeaking as we do so often of distant blue", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0160.jp2"}, "159": {"fulltext": "ABOUT THE EARTH. 155\\nhills, what it is that makes them blue To\\na certain extent it is distance but distance\\nalone will not do it. Many hills look white,\\nhowever distant. That lovely dark purple\\ncolor of our Welch and Highland hills is\\nowing, not to their distance merely, but to\\ntheir rocks. Some of their rocks are, indeed,\\ntoo dark to be beautiful, being black or ashy\\ngray; owing to imperfect and porous struc-\\nture. But when you see this dark color\\ndashed with russet and blue, and coming\\nout in masses among the green ferns, so\\npurple that you can hardly tell at first\\nwhether it is rock or heather, then you\\nmust thank your old friend, the oxide of\\niron.\\nBut this is not all. It is necessary for the\\nbeauty of hill scenery that Nature should\\ncolor not only her soft rocks, but her hard\\nones; and she colors them with the same\\nthing, only more beautifully. Perhaps you\\nhave wondered at my use of the word\\npurple so often of stones: but the Greeks,\\nand still more the Romans, who had pro-\\nfound respect for purple, used it of stone\\nlong ago. You have all heard of porphyry\\nas among the most precious of the harder\\nmassive stones. The color which gave it\\nthat noble name, as well as that which gives", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0161.jp2"}, "160": {"fulltext": "i 5 6 NATURE STUDIES.\\nthe flush to all the rosy granite of Egypt\\nyes, and to the rosiest summits of the Alps\\nthemselves is still owing to the same sub-\\nstance your humble oxide of iron.\\nThe Two Paths Lecture V, pp. 104- in.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0162.jp2"}, "161": {"fulltext": "JEWELS OF THE EARTH.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0163.jp2"}, "162": {"fulltext": "The history of a mineral is not given by ascertain-\\nment of the number or the angles of the planes of\\nits crystals, but by ascertaining the manner in which\\nthose crystals originate, increase, and associate.\\nIn Montibus Sanctis^ Chap. I, p. 116.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0164.jp2"}, "163": {"fulltext": "JEWELS OF THE EARTH.\\nIn the handful of shingle which you\\ngather from the sea-beach, which the indis-\\ncriminate sea, with equality of eternal form,\\nhas only educated to be, every one, round,\\nyou will see little difference between the\\nnoble and mean stones. But the jewel-\\nler s trenchant education of them will tell\\nyou another story. Even the meanest will\\nbe better for it, but the noblest so much\\nbetter that you can class the two together\\nno more. The fair veins and colors are all\\nclear now, and so stern is Nature s intent\\nregarding this, that not only will the polish\\nshow which is best, but the best will take the\\nmost polish. You shall not merely see they\\nhave more virtue than the others, but see\\nthat more of virtue more clearly; and the less\\nvirtue there is, the more dimly you shall see\\nwhat there is Of it\u00e2\u0080\u0094 Time and Tide, Letter XXV, p. 230.\\nPebble or crystal in Scotland the main\\nquestions respecting these two main forms of\\nsilica are put to us, with a close solicitude,\\nby the beautiful conditions of agate, and\\nthe glowing colors of the Cairngorm, which\\n159", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0165.jp2"}, "164": {"fulltext": "160 NATURE STUDIES.\\nhave always variegated and illuminated the\\nfavorite jewelry of Scottish laird and lassie.\\nMay I hope, with especial reference to the\\nfavorite gem\\nOf Scotland s mountain diadem,\\nto prevail on some Scottish mineralogist to\\ntake up the subject of the relation of\\ncolor in minerals to their state of substance\\nwhy, for instance, large and well-developed\\nquartz crystals are frequently topaz color or\\nsmoke color, never rose-color; while mas-\\nsive quartz may be rose-color, and pure white\\nor gray, but never smoke color again, why\\namethyst quartz may continually, be infinitely\\ncomplex and multiplex in crystallization, but\\nnever warped; while smoky quartz may\\nbe continually found warped, but never, in\\nthe amethystine way, multiplex why, again,\\nsmoky quartz and Cairngorm are continu-\\nally found in short crystals, but never in\\nlong slender ones, as, to take instance in\\nanother mineral, white beryl is usually short\\nor even tabular, and green beryl long, almost\\nin proportion to its purity?\\nIn Montibus Sanctis Chap. I, p. 112.\\nA sapphire is the same stone as a ruby\\nboth are the pure earth of clay crystallized.\\nNo one knows why one is red and the other", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0166.jp2"}, "165": {"fulltext": "JEWELS OF THE EARTH. 161\\nblue. A diamond is pure coal crystallized.\\nAn opal, pure flint in a state of fixed jelly.\\nHortus Inclusus, p. 66.\\nPick up the ruby and look carefully\\nat the beautiful hexagonal lines which\\ngleam on its surface. I do not know\\nwhat is the exact method of a ruby s con-\\nstruction but you see by these lines, what\\nfine construction there is, even in this hard-\\nest of stones (after the diamond,) which\\nusually appears as a massive lump or knot.\\nThere is therefore no real mineralogical dis-\\ntinction between needle crystals and knotted\\ncrystals, but, practically crystallized masses\\nthrow themselves into one of three groups\\nand appear either as Needles, as Folia,\\nor as Knots; when they are in needles (or\\nfibres) they make the stones or rocks formed\\nout of them fibrous when they are in\\nfolia, they make them foliated when they\\nare in knots (or grains) granular. Fibrous\\nrocks are comparatively rare, in mass; but\\nfibrous minerals are innumerable.\\nCrystals have a limited, though a\\nstern, code of morals and their essential\\nvirtues are but two the first is to be pure,\\nand the second to be well shaped.\\nPure! Does that mean clear trans-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0167.jp2"}, "166": {"fulltext": "162 NATURE STUDIES.\\nparent No unless in the case of a\\ntransparent substance. You cannot have\\na transparent crystal of gold; but you may\\nhave a perfectly pure one.\\nI call their shape only their second\\nvirtue, because it depends on time and acci-\\ndent, and things which the crystal cannot\\nhelp. If it is cooled too quickly, or shaken,\\nit must take what shape it can but it seems\\nas if, even then, it had in itself the power of\\nrejecting impurity, if it has crystalline life\\nenough.\u00e2\u0080\u0094 The Ethics of the Dust, Lecture IV, p. 53, V, p. 57.\\nIt is seldom that any mineral crystallises\\nalone. Usually two or three, under quite\\ndifferent crystalline laws, form together.\\nThey do this absolutely without flaw or fault,\\nwhen they are in fine temper: and observe\\nwhat this signifies. It signifies that the two,\\nor more, minerals of different natures agree,\\nsomehow, between themselves, how much\\nspace each will want agree which of them\\nshall give away to the other at their junction\\nor in what measure each will accommodate\\nitself to the other s shape They show\\nexactly the same varieties of temper that\\nhuman creatures might. Sometimes they\\nyield the required place with perfect grace\\nand courtesy; forming fantastic, but ex-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0168.jp2"}, "167": {"fulltext": "JEWELS OF THE EARTH. 163\\nquisitely finished groups and sometimes\\nthey will not yield at all but fight furiously\\nfor their places, losing all shape and honor,\\nand even their own likeness, in the contest.\\nThere is, in reality, more likeness to some\\nconditions of human feeling among stones\\nthan among plants. There is a far greater\\ndifference between kindly-tempered and ill-\\ntempered crystals of the same mineral than\\nbetween any two specimens of the same\\nflower and the friendships and wars of crys-\\ntals depend more definitely and curiously\\non their varieties of disposition, than any\\nassociation of flowers. Here, for instance,\\nis a good garnet, living with good mica one\\nrich red, and the other silver white; the mica\\nleaves exactly room enough for the garnet to\\ncrystallise comfortably in and the garnet\\nlives happily in its little white house fitted\\nto it, like a pholas in its cell. But here are\\nwicked garnets living with wicked mica.\\nSee what ruin they make of each other!\\nYou cannot tell which is which the garnets\\nlook like dull red stains on the crumbling\\nStones. The Ethics of the Dust, Chap. VI, pp. 71, 72.\\nIf you want to see the gracefullest and\\nhappiest caprices of which dust is capable\\nyou must go to the Hartz; whether the", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0169.jp2"}, "168": {"fulltext": "1 64 NATURE STUDIES.\\nmountains be picturesque or not the tricks\\nwhich the goblins (as I am told) teach the\\ncrystals in them, are incomparably pretty.\\nThey work chiefly on the mind of a docile,\\nbluish -colored, carbonate of lime; which\\ncomes out of a grey limestone. The gob-\\nlins take the greatest possible care of its\\neducation, and see that nothing happens to\\nit to hurt its temper and when it may be\\nsupposed to have arrived at the crisis which\\nis, to a well brought up mineral, what pres-\\nentation at court is to a young lady after\\nwhich it is expected to set fashions there s\\nno end to its pretty ways of behaving. First\\nit will make itself into pointed darts as fine\\nas hoar-frost; here, it is changed into a white\\nfur as fine as silk here into little crowns\\nand circlets, as bright as silver as if for the\\ngnome princesses to wear; here it is in beau-\\ntiful little plates, for them to eat off; pres-\\nently it is in towers which they might be\\nimprisoned in; presently in caves and cells,\\nwhere they may make nun-gnomes of them-\\nselves, and no gnome ever hear of them\\nmore here is some of it in sheaves, like\\ncorn here, some in drifts, like snow here,\\nsome in rays, like stars and, though these\\nare, all of them, necessarily, shapes that the\\nmineral takes in other places, they are all", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0170.jp2"}, "169": {"fulltext": "JEWELS OE THE EARTH. 165\\ntaken here with such a grace that you recog-\\nnise the high caste and breeding of the\\ncrystals wherever you meet them and know\\nat once they are Hartz-born.\\nThe Ethics of the Bttst, Lecture VIII, pp. 101, 102.\\nToday I ve found a very soft purple agate,\\nthat looks as if it were nearly melted away\\nwith pity for birds and flies and another\\npiece of hard wooden agate with only a little\\nragged sky of blue here and there and\\na group of crystals with grass of Epidote\\ninside.\\nI am delighted with your lovely gift.\\nThe perfection of the stone, its exquisite\\ncolor, and flawless clearness, and the delicate\\ncutting, which makes the light flash from it\\nlike a wave of the Lake, make it a per-\\nfect mineralogical and heraldic jewel.\\nHortus Inclususy pp. 47, 48.\\nAgates, I think of all stones, confess most\\nof their past history. Observe, first, you\\nhave the whole mass of the rock in motion,\\neither contracting itself, and so gradually\\nwidening the cracks; or being compressed,\\nand thereby closing them, and crushing their\\nedges and if one part of its substance be\\nsofter, at the given temperature, than another,", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0171.jp2"}, "170": {"fulltext": "1 66 NATURE STUDIES.\\nprobably squeezing that softer substance out\\ninto the veins. Then the veins themselves,\\nwhen the rock leaves them open by its contrac-\\ntion, act with various power of suction upon\\nits substance: by capillary attraction when\\nthey are fine, by that of pure vacuity when\\nthey are larger, or by changes in the constitu-\\ntion and condensation of the mixed gases\\nwith which they have been originally filled.\\nThose gases themselves may be supplied in\\nall variation of volume and power from below;\\nor slowly, by the decomposition of the rocks\\nthemselves; and, at changing temperatures,\\nmust exert relatively changing forces of de-\\ncomposition and combination on the walls\\nof the veins they fill; while water, at every\\ndegree of heat and pressure (from beds of\\neverlasting ice, alternate with cliffs of native\\nrock, to volumes of red-hot, or white hot,\\nsteam), congeals, and drips, and throbs, and\\nthrills, from crag to crag and breathes from\\npulse to pulse of foaming or fiery arteries,\\nwhose beating is felt through chains of the\\ngreat islands of the Indian seas, as your own\\npulses lift your bracelets, and makes whole\\nkingdoms of the world quiver in deadly\\nearthquake, as if they were light as aspen\\nleaves. And, remember, the poor little\\ncrystals have to live their lives, and mind", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0172.jp2"}, "171": {"fulltext": "JEWELS OF THE EARTH, 167\\ntheir own affairs, in the midst of all this, as\\nbest they may. They are wonderfully like\\nhuman creatures, forget all that is going\\non if they don t see it, however dreadful and\\nnever think what is to happen to-morrow.\\nThey are spiteful or loving, and indolent or\\npainstaking, and orderly or licentious, with\\nno thought whatever of the lava or the flood\\nwhich may break over them any day; and\\nevaporate them into air-bubbles, or wash\\nthem into a solution of salts. And you may\\nlook at them, once understanding the sur-\\nrounding conditions of their fate, with an\\nendless interest. You will see crowds of\\nunfortunate little crystals, who have been\\nforced to constitute themselves in a hurry,\\ntheir dissolving element being fiercely\\nscorched away you will see them doing\\ntheir best, bright and numberless, but tiny.\\nThen you will find indulged crystals, who\\nhave had centuries to form themselves in,\\nand have changed their mind and ways con-\\ntinually; and have been tired, and taken\\nheart again; and have been sick, and got\\nwell again; and thought they would try a\\ndifferent diet, and then thought better of it,\\nand made but a poor use of their advantages,\\nafter all. And others you will see, who have\\nbegun life as wicked crystals and then have", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0173.jp2"}, "172": {"fulltext": "1 68 NATURE STUDIES.\\nbeen impressed by alarming circumstances,\\nand have become converted crystals, and be-\\nhaved amazingly for a little while, and fallen\\naway again, and ended, but discreditably,\\nperhaps, even in decomposition so that one\\ndoesn t know what will become of them.\\nAnd sometimes you will see deceitful\\ncrystals, that look as soft as velvet, and are\\ndeadly to all near them and sometimes you\\nwill see deceitful crystals, that seem flint-\\nedged, and are endlessly gentle and true\\nwherever gentleness and truth are needed.\\nAnd sometimes you will see little child-\\ncrystals put to school like school-girls, and\\nmade to stand in rows and taken the great-\\nest care of, and taught how to hold them-\\nselves up and behave; and sometimes you\\nwill see unhappy little child-crystals left to\\nlie about in the dirt, and pick up their\\nliving, and learn manners, where they can.\\nAnd, sometimes you will see fat crystals eat-\\ning up thin ones, like great capitalists and\\nlittle laborers and politico-economic crystals\\nteaching the stupid ones how to eat each\\nother, and cheat each other; and foolish\\ncrystals getting in the way of wise ones;\\nand impatient crystals spoiling the plans of\\npatient ones, irreparably; just as things go\\non in the world.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0174.jp2"}, "173": {"fulltext": "JEWELS OE THE EARTH. 169\\nAnd sometimes you may see hypocritical\\ncrystals taking the shape of others, though\\nthey are nothing like in their minds; and\\nvampire crystals eating out the hearts of\\nothers and hermit-crab crystals living in the\\nshells of others; and all these, besides the\\ntwo great companies of war and peace, who\\nally themselves, resolutely to attack, or reso-\\nlutely to defend. And for the close, you see\\nthe broad shadow and deadly force of inevit-\\nable fate, above all this you see the multi-\\ntudes of crystals whose time has come not a\\nset time, as with us, but yet a time, sooner or\\nlater, when they must all give up their crystal\\nghosts when the strength by which they\\ngrew, and the breath given them to breathe,\\npass away from them and they fail, and are\\nconsumed, and vanish away; and another gen-\\neration is brought to life, framed out of their\\nashes. The Ethics of the Dust t Chap. IX, pp. 1 18-120.\\nPerhaps the best, though the most famil-\\niar example we could take of the nature and\\npower of consistence, will be that of the\\npossible changes in the dust we tread on.\\nExclusive of animal decay, we can hardly\\narrive at a more absolute type of impurity\\nthan the mud or slime of a damp over-\\ntrodden path, in the outskirts of a manu-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0175.jp2"}, "174": {"fulltext": "i 7 o NATURE STUDIES.\\nfacturing town. I do not say mud of the\\nroad, because that is mixed with animal\\nrefuse; but take merely an ounce or two\\nof the blackest slime of a beaten footpath\\non a rainy day, near a large manufacturing\\ntown.\\nThat slime we shall find in most cases,\\ncomposed of clay (or brickdust, which is\\nburnt clay) mixed with soot, a little sand,\\nand water. All these elements are at helpless\\nwar with each other, and destroy recipro-\\ncally each other s nature and power, com-\\npeting and fighting for place at every tread\\nof your foot sand squeezing out clay, and\\nclay squeezing out water, and soot meddling\\neverywhere and defiling the whole.\\nLet us suppose that this ounce of mud is\\nleft in perfect rest, and that its elements\\ngather together, like to like, so that their\\natoms may get into the closest relations\\npossible.\\nLet the clay begin. Ridding itself of all\\nforeign substance, it gradually becomes a\\nwhite earth, already very beautiful and fit,\\nwith help of congealing fire, to be made\\ninto finest porcelain, and painted on, and be\\nkept in kings palaces. But such artificial\\nconsistence is not its best. Leave it still\\nquiet to follow its own instincts of unity, and", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0176.jp2"}, "175": {"fulltext": "JEWELS OF THE EARTH. 171\\nit becomes not only white, but clear; not\\nonly clear, but hard not only clear and hard,\\nbut so set that it can deal with light in a\\nwonderful way, and gather out of it the\\nloveliest blue rays only, refusing the rest.\\nWe call that a sapphire.\\nSuch being the consummation of the clay,\\nwe give similar permission of quiet to the\\nsand. It also becomes, first, a white earth,\\nthen proceeds to grow clear and hard, and\\nat last arranges itself in mysterious, infi-\\nnitely fine, parallel lines, which have the\\npower of reflecting not merely the blue\\nrays, but the blue, green, purple, and red\\nrays in the greatest beauty in which they\\ncan be seen through any hard material\\nwhatsoever.\\nWe call it then an opal.\\nIn next order the soot sets to work it\\ncannot make itself white at first, but instead\\nof being discouraged, tries harder and\\nharder, and comes out clear at last, and the\\nhardest thing in the world; and for the\\nblackness that it had, obtains in exchange\\nthe power of reflecting all the rays of the\\nsun at once in the vividest blaze that any\\nsolid thing can shoot. We call it then a\\ndiamond.\\nModern Painters, Vol. V, Part VIII, Chap. I, pp. 205, 206.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0177.jp2"}, "176": {"fulltext": "I 7 2\\nNATURE STUDIES.\\nThe black thing, which is one of the pret-\\ntiest of the very few pretty black things in\\nthe world, is called Tourmaline. It may\\nbe transparent, and green or red as well as\\nblack, but this is the commonest state of\\nit, opaque, and as black as jet.\\nEthics of the Dust y Lecture IX, p. in.\\nSeize firmly that first idea of the manna,\\nas the type of the bread which is the Word\\nof God; and then look on for the English\\nword crystal in Job, of Wisdom. It can-\\nnot be valued with the gold of Ophir, with\\nthe precious onyx, or the sapphire the gold\\nand the crystal shall not equal it, neither\\nshall it be valued with pure gold in\\nEzekiel, firmament of the terrible crystal,\\nor in the Apocalypse, A sea of glass like\\nunto crystal, water of life, clear as crystal,\\nlight of the city like a stone most pre-\\ncious, even like a jasper stone, clear as\\ncrystal. Your understanding the true\\nmeaning of all these passages depends on\\nyour distinct conception of the permanent\\nclearness and hardness of the Rock-crystal.\\nThe three substances named here in the\\nfirst account of Paradise, stand generally as\\ntypes the Gold of all precious metals the\\nCrystal of all clear precious stones prized", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0178.jp2"}, "177": {"fulltext": "JEWELS OF THE EARTH. 173\\nfor lustre the Onyx of all opaque precious\\nstones prized for colour.\\nNow note the importance of this grouping.\\nThe Gold, or precious metal, is significant\\nof all that the power of the beautiful earth,\\ngold, and of the strong earth, iron, has done\\nfor and against man.\\nThe Crystal is significant of all the power\\nthat jewels, from diamonds down through\\nevery Indian gem to the glass beads which\\nwe now make for ball-dresses, have had over\\nthe imagination and economy of men and\\nwomen from the day that Adam drank of\\nthe water of the crystal river till this hour.\\nThe Onyx is the type of all stones ar-\\nranged in bands of different colours it means\\nprimarily, nail-stone showing a separation\\nlike the white half-crescent at the root of the\\nfinger-nail not without some idea of its sub-\\njection to the laws of life. Of these stones,\\npart, which are flinty, are the material used\\nfor cameos and all manner of engraved work\\nand pietra dura; but in the great idea of\\nbanded or belted stones, they include the\\nwhole range of marble, and especially ala-\\nbaster, giving the name to the alabastra, or\\nvases used especially for the containing of\\nprecious unguents, themselves more precious:\\nso that this stone, as best representative of", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0179.jp2"}, "178": {"fulltext": "174 NATURE STUDIES.\\nall others, is chosen to be the last gift of men\\nto Christ, as gold is their first; incense with\\nboth; at His birth, gold and frankincense; at\\nHis death, alabaster and spikenard.\\nThe two sources of the material wealth of\\nall nations were thus offered to the King\\nof men in their simplicity. But their power\\namong civilized nations has been owing to\\ntheir workmanship. And if we are to ask\\nwhether the gold and the stones are to be\\nholy, much more have we to ask if the\\nworker in gold, and the worker in stone, are\\nto be conceived as exercising holy function.\\nNow, as we ask of a stone, to know what\\nit is, what it can do, or suffer, so of a human\\ncreature, to know what it is, we ask what\\nit can do or suffer. So that we have two\\nscientific questions put to us in this matter:\\nhow the stones came to be what they are\\nor the law of Crystallization: and how the\\njewellers came to be what they are or the\\nlaw of Inspiration.\\nThe same tradition, whatever its\\nvalue, which gave us the commands we pro-\\nfess to obey for our moral law, implies also\\nthe necessity of inspired instruction for the\\nproper practice of the art of jewellery; and\\nconnects the richness of the earth in gold\\nand jewels with the pleasure of Heaven that", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0180.jp2"}, "179": {"fulltext": "JEWELS OF THE EARTH.\\n75\\nwe should use them under its direction.\\nThe scientific mind will of course draw back\\nin scorn from the idea of such possibility;\\nbut then, the scientific mind can neither\\ndesign, itself, nor perceive the power of de-\\nsign, in others. And practically you will\\nfind that all noble designs in jewellery what-\\nsoever, from the beginning of the world till\\nnow, has been either instinctive, done, that\\nis to say, by tutorship of nature, with the\\ninnocent felicity and security of purely\\nanimal art, Etruscan, Irish, Indian, or Peru-\\nvian gold being interwoven with a fine and\\nunerring grace of industry, like the touch of\\nthe bee on its cell, and of the bird on her\\nnest, or else, has been wrought into its\\nfiner forms, under the impulse of religion in\\nsacred service, in crosier, chalice, and lamp\\nand that the best beauty of its profane ser-\\nvice has been debased from these. And the\\nthree greatest masters of design in jewellery,\\nthe facile principes of the entire European\\nSchool, are centrally, the one who defi-\\nnitely worked always with appeal for inspira-\\ntion Angelico of Fesole and on each side\\nof him, the two most earnest reformers of\\nthe morals of the Christian Church Hol-\\nbein and Sandro Botticelli.\\nI have first answered the question how", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0181.jp2"}, "180": {"fulltext": "176 NATURE STUDIES.\\nmen come to be jewellers. Next how do\\nstones come to be jewels It seems that by\\nall religious, no less than all profane, teach-\\ning or tradition these substances are asserted\\nto be precious useful to man, and sacred\\nto God.\\nThere are three great laws by which they,\\nand the metals they are to be set in, are\\nprepared for us and at present all these\\nare mysteries to us.\\nThe first, the mystery by which, surely\\nthere is a vein for the silver and a place for\\nthe gold whence they find it\\nThe second mystery is that of crystalli-\\nzation by which, obeying laws no less arbi-\\ntrary than those by which the bee builds\\nher cell the water produced by the sweet\\nmiracles of cloud and spring freezes into the\\nhexagonal stars of the hoar-frost the flint,\\nwhich can be melted and diffused like water,\\nfreezes also, like water, into these hexagonal\\ntowers of everlasting ice, and the clay, which\\ncan be dashed on the potter s wheel as it\\npleaseth the potter to make it, can be frozen\\nby the touch of Heaven into the hexagonal\\nstar of Heaven s own colour the sapphire.\\nThe third mystery, the gathering of crys-\\ntals themselves into ranks or bands, by\\nwhich Scotch pebbles are made.\\nDeucalion, Vol. I, Chap. VII, pp. 66-71.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0182.jp2"}, "181": {"fulltext": "JEWELS OF THE EARTH. 177\\nThere are no natural objects out of which\\nmore can be learned than stones. They\\nseem to have been created especially to re-\\nward a patient observer. Nearly all other\\nobjects in Nature can be seen to some ex-\\ntent, without patience, and are pleasant even\\nin being half seen. Trees, clouds and rivers\\nare enjoyed even by the careless but the\\nstone under his foot has for carelessness\\nnothing in it but stumbling: no pleasure is\\nlanguidly to be had out of it, nor food, nor\\ngood of any kind nothing but symbolism\\nof the hard heart and the unfatherly gift.\\nAnd yet, do but give it some reverence and\\nwatchfulness, and there is bread of thought\\nin it, more than in any other lowly feature\\nof all the landscape.\\nFor a stone, when it is examined, will be\\nfound a mountain in miniature. The fine-\\nness of Nature s work is so great, that, in a\\nslight block, a foot or two in diameter, she\\ncan compress as many changes of form and\\nstructure, on a small scale, as she needs for\\nher mountains on a large one and taking\\nmoss for forests, and grains of crystal for\\ncrags, the surface of a stone, in by far the plu-\\nrality of instances, is more interesting than\\nthe surface of an ordinary hill, more fantastic\\nin form and incomparably richer in color.\\n\u00e2\u0080\u0094Modern Painters, Vol. IV, Part V, Chap. XVIII, pp. 376, 377.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0183.jp2"}, "182": {"fulltext": "", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0184.jp2"}, "183": {"fulltext": "THE MOUNTAIN KINGDOM.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0185.jp2"}, "184": {"fulltext": "The mountain kingdom of which I claim possession\\nby the law of love. Pra terita Vol. Ill, Chap. II, p. 412.\\nYour power of seeing mountains cannot be devel-\\noped either by your vanity, your curiosity, or your\\nlove of muscular exercise. It depends on the culti-\\nvation of the instrument of sight itself, and of the\\nsoul that uses it. Deucalion^ Vol. I, Chap. I, p. II.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0186.jp2"}, "185": {"fulltext": "VI.\\nTHE MOUNTAIN KINGDOM.\\nThe glory of a cloud without its wane\\nThe stillness of the earth but not its gloom\\nThe loveliness of life without its pain\\nThe peace but not the hunger of the tomb\\nYe Pyramids of God around whose bases\\nThe sea foams noteless in his narrow cup\\nAnd the unseen movements of the earth send up\\nA murmur which your lulling snow effaces\\nLike the deer s footsteps. Thrones imperishable\\nAbout whose adamantine steps the breath\\nOf dying generations vanisheth,\\nLess cognizable than clouds.\\nPoems The Alps p. 310.\\nThe feeding of the rivers and the purify-\\ning of the winds are the least of the services\\nappointed to the hills. To fill the thirst of\\nthe human heart for the beauty of God s\\nworking to startle its lethargy with the\\ndeep and pure agitation of astonishment\\nare their higher missions. They are as a\\ngreat and noble architecture; first giving\\nshelter, comfort, and rest; and covered also\\nwith mighty sculpture and painted legend.\\nIt is impossible to examine in their con-\\nnected system the features of even the most\\ni8x", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0187.jp2"}, "186": {"fulltext": "i82 NATURE STUDIES.\\nordinary mountain scenery, without con-\\ncluding that it has been prepared in order\\nto unite, as far as possible, and in the clos-\\nest compass, every means of delighting and\\nsanctifying the heart of man. As far as\\npossible that is, as far as is consistent with\\nthe fulfilment of the sentence of condem-\\nnation on the whole earth. Death must be\\nupon the hills and the cruelty of the tem-\\npests smite them, and the brier and thorn\\nspring up upon them: but they so smite, as\\nto bring their rocks into the fairest forms;\\nand so spring, as to make the very desert\\nblossom as the rose. Even among our\\nown hills of Scotland and Cumberland,\\nthough often too barren to be perfectly\\nbeautiful, and always too low to be per-\\nfectly sublime, it is strange how many deep\\nsources of delight are gathered into the\\ncompass of their glens and vales and how,\\ndown to the most secret cluster of their\\nfar-away flowers, and the idlest leap of\\ntheir straying streamlets, the whole heart of\\nNature seems still thirsting to give, and\\nstill to give, shedding forth her everlasting\\nbeneficence with a profusion so patient, so\\npassionate, that our utmost observance and\\nthankfulness are but, at last, neglect of her\\nnobleness, and apathy to her love.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0188.jp2"}, "187": {"fulltext": "THE MOUNTAIN KINGDOM. 183\\nBut among the true mountains of the\\ngreater orders the Divine purpose of appeal\\nat once to all the faculties of the human\\nspirit becomes still more manifest. Inferior\\nhills ordinarily interrupt, in some degree,\\nthe richness of the valleys at their feet.\\nBut the great mountains lift the low-\\nlands on their sides. Let the reader imagine,\\nfirst, the appearance of the most varied plain\\nof some richly cultivated country; let him\\nimagine it dark with graceful woods, and\\nsoft with deepest pastures; let him fill the\\nspace of it, to the utmost horizon, with in-\\nnumerable and changeful incidents of scen-\\nery and life; leading pleasant streamlets\\nthrough its meadows, strewing clusters of\\ncottages beside their banks, tracing sweet\\nfootpaths through its avenues, and animat-\\ning its fields with happy flocks, and slow\\nwandering spots of cattle and when he has\\nwearied himself with endless imagining, and\\nleft no space without some loveliness of its\\nown, let him conceive all this great plain,\\nwith its infinite treasures of natural beauty\\nand happy human life, gathered up in God s\\nhands from one edge of the horizon to the\\nother, like a woven garment; and shaken\\ninto deep falling folds, as the robes droop\\nfrom a king s shoulders all its bright rivers", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0189.jp2"}, "188": {"fulltext": "184 NATURE STUDIES.\\nleaping into cataracts along the hollows\\nof its fall, and all its forests rearing them-\\nselves aslant against its slopes, as a rider\\nrears himself back when his horse plunges\\nand all its villages nestling themselves into\\nthe new windings of its glens; and all its\\npastures thrown into steep waves of green-\\nsward, dashed with dew along the edges of\\ntheir folds, and sweeping down into endless\\nslopes, with a cloud here and there lying\\nquietly, half on the grass, half in the air;\\nand he will have as yet, in all this lifted\\nworld, only the foundation of one of the\\ngreat Alps. And whatever is lovely in the\\nlowland scenery becomes lovelier in this\\nchange; the trees which grew heavily and\\nstiffly from the level line of plain assume\\nstrange curves of strength and grace as they\\nbend themselves against the mountain side\\nthey breathe more freely, and toss their\\nbranches more carelessly as each climbs\\nhigher, looking to the clear light above the\\ntopmost leaves of its brother tree the flow-\\ners which on the arable plain fell before the\\nplough, now find out for themselves unap-\\nproachable places, where year by year they\\ngather into happier fellowship, and fear no\\nevil and the streams which in the level\\nland crept in dark eddies by unwholesome", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0190.jp2"}, "189": {"fulltext": "THE MOUNTAIN KINGDOM. 185\\nbanks, now move in showers of silver, and\\nare clothed with rainbows, and bring health\\nand life wherever the glance of their waves\\ncan reach.\\nAnd although this beauty seems at first,\\nin its wildness, inconsistent with the service\\nof man, it is in fact more necessary to his\\nhappy existence than all the level and easily\\nsubdued land which he rejoices to possess.\\nIt may not be profitless to review\\nbriefly the nature of the three great offices\\nwhich mountain ranges are appointed to\\nfulfil, in order to preserve the health and\\nincrease the happiness of mankind.\\nTheir first use is of course to give motion\\nto (fresh) water.\\nThe second great use of mountains is to\\nmaintain a constant change in the currents\\nand nature of the air.\\nThe third great use of mountains is to\\ncause perpetual change in the soils of the\\nearth.\\nAnd it is not, in reality, a degrading,\\nbut a true, large, and ennobling view of the\\nmountain ranges of the world, if we compare\\nthem to heaps of fertile and fresh earth,\\nlaid up by a prudent gardener beside his\\ngarden beds, whence, at intervals, he casts\\non them some scattering of new and virgin", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0191.jp2"}, "190": {"fulltext": "186 NATURE STUDIES.\\nground. That which we so often lament\\nas convulsion or destruction is nothing else\\nthan the momentary shaking of the dust\\nfrom the spade.\\nI have not spoken of the local and pecul-\\niar utilities of mountains I do not count the\\nbenefit of the supply of summer streams\\nfrom the moors of the higher ranges of the\\nvarious medicinal plants which are nested\\namong their rocks of the delicate pastur-\\nage which they furnish for cattle of the\\nforests in which they bear timber for ship-\\nping the stones they supply for building,\\nor the ores of metal which they collect into\\nspots open to discovery, and easy for work-\\ning. All these benefits are of a secondary\\nor a limited nature. But the three great\\nfunctions those of giving motion and\\nchange to water, air, and earth are indis-\\npensable to human existence they are oper-\\nations to be regarded with as full a depth\\nof gratitude as the laws which bid the tree\\nbear fruit, or the seed multiply itself in the\\nearth. And thus those desolate and threat-\\nening ranges of dark mountains, which, in\\nnearly all ages of the world, men have\\nlooked upon with aversion or with terror,\\nand shrunk back from as if they were\\nhaunted by perpetual images of death, are,", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0192.jp2"}, "191": {"fulltext": "THE MOUNTAIN KINGDOM. 187\\nin reality, sources of life and happiness far\\nfuller and more beneficent than all the\\nbright fruitfulness of the plain.\\nThe valleys only feed the mountains\\nfeed and guard and strengthen us. We\\ntake our ideas of fearfulness and sublimity\\nalternately from the mountains and the sea\\nbut we associate them unjustly. The sea\\nwave, with all its beneficence, is yet devour-\\ning and terrible, but the silent mass of the\\nblue mountain is lifted toward heaven in\\na stillness of perpetual mercy; and the one\\nsurge, unfathomable in its darkness, the\\nother, unshaken in its faithfulness, forever\\nbear the seal of their appointed symbolism,\\nThy Justice is like the Great Mountains\\nThy Judgments are a great Deep.\\nIn Montibus Sanctis, Chap. II, pp. 130-139.\\nModern Painters, Vol. IV, Chap. VII.\\nIn approaching any large mountain range,\\nthe ground over which the spectator passes,\\nif he examine it with any intelligence, will\\nalmost always arrange itself in his mind\\nunder three great heads. There will be,\\nfirst, the ground of the plains or valleys he\\nis about to quit, composed of sand, clay,\\ngravel, rolled stones, and variously mingled\\nsoils.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0193.jp2"}, "192": {"fulltext": "1 88 NATURE STUDIES.\\nAs he advances yet farther into the hill\\ndistrict, he finds the rocks around him as-\\nsuming a gloomier apd more majestic con-\\ndition. Their tint darkens their outlines\\nbecome wild and irregular; and whereas\\nbefore they had only appeared at the road-\\nside in narrow ledges among the turf, or\\nglanced out from among the thickets above\\nthe brooks in white walls and fantastic tow-\\ners, they now rear themselves up in solemn\\nand shattered masses far and near; softened,\\nindeed, with strange harmony of clouded\\ncolors, but possessing the whole scene with\\ntheir iron spirit and rising, in all proba-\\nbility, into eminences as much prouder in\\nactual elevation than those of the inter-\\nmediate rocks, as more powerful in their\\ninfluence over every minor feature of the\\nlandscape.\\nAnd when the traveller proceeds to ob-\\nserve closely the materials of which these\\nnobler ranges are composed, he finds also\\na complete change in their internal struc-\\nture. They are no longer formed of delicate\\nsand or dust each particle of that dust the\\nsame as every other, and the whole mass\\ndepending for its hardness merely on their\\nclosely cemented unity; but they are now\\nformed of several distinct substances visibly", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0194.jp2"}, "193": {"fulltext": "THE MOUNTAIN KINGDOM. 189\\nunlike each other; and not pressed, but\\ncrystallized into one mass crystallized into\\na unity far more perfect than that of the\\ndusty limestone, but yet without the least\\nmingling of their several natures with each\\nother.\\nThere is one lesson evidently in-\\ntended to be taught by the different char-\\nacters of these rocks, which we must not\\nallow to escape us. We have to observe,\\nfirst, the state of perfect powerlessness, and\\nloss of all beauty, exhibited in those beds\\nof earth in which the separate pieces or\\nparticles are entirely independent of each\\nother, more especially in the gravel whose\\npebbles have all been rolled into one shape\\nsecondly, the greater degree of permanence,\\npower, and beauty, possessed by the rocks\\nwhose component atoms have more affec-\\ntion and attraction for each other, though\\nall of one kind and lastly, the utmost form\\nand highest beauty of the rocks in which\\nthe several atoms have all different shapes,\\ncharacters, and offices but are inseparably\\nunited by some fiery or baptismal process\\nwhich has purified them all.\\nAll these orders of substance agree\\nin one character, that of being more or less\\nfrangible or soluble.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0195.jp2"}, "194": {"fulltext": "i 9 o NATURE STUDIES,\\nPerfect permanence and absolute se-\\ncurity were evidently in no wise intended.\\nIt would have been as easy for the Creator\\nto have made mountains of steel as of gran-\\nite, of adamant as of lime; but this was\\nclearly no part of the Divine counsels\\nmountains were to be destructible and\\nfrail to melt under the soft lambency of\\nthe streamlet, to shiver before the subtle\\nwedge of the frost, to wither with untraceable\\ndecay in their own substance and yet,\\nunder all these conditions of destruction,\\nto be maintained in magnificent eminence\\nbefore the eyes of men.\\nIn Montibus Sanctis, Chap. Ill, pp. 140-146.\\nModern Painters, Part V, the beginning of Chap. VIII.\\nThe higher mountains have their scenes\\nof power and vastness, their blue precipices\\nand cloud -like snows; why should they\\nalso have the best and fairest colors given\\nto their foreground rocks, and overburden\\nthe human mind with wonder; while the less\\nmajestic scenery, tempting us to the observ-\\nance of details for which amidst the higher\\nmountains we had no admiration left, is yet,\\nin the beauty of those very details, as infe-\\nrior as it is in the scale of magnitude\\nI believe the answer must be, simply, that", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0196.jp2"}, "195": {"fulltext": "THE MOUNTAIN KINGDOM. 191\\nit is not good for man to live among what\\nis most beautiful: that he is a creature\\nincapable of satisfaction by anything upon\\nearth; and that to allow him habitually to\\npossess, in any kind whatsoever, the utmost\\nthe earth can give, is the surest way to cast\\nhim into lassitude or discontent.\\nModern Painters, Vol. IV, Part V, Chap. XI, p. 172.\\nAll mountains, in some degree, but es-\\npecially those which are composed of soft\\nor decomposing substance, are delicately\\nand symmetrically furrowed by the descent\\nof streams. The traces of their action com-\\nmence at the very summits, fine as threads\\nand multitudinous, like the uppermost\\nbranches of a delicate tree. They unite in\\ngroups as they descend, concentrating\\ngradually into dark undulating ravines, into\\nwhich the body of the mountain descends\\non each side, at first in a convex curve, but\\nat the bottom with the same uniform slope\\non each side which it assumes in its final\\ndescent to the plain, unless the rock be very\\nhard.\\nModern Painters, Vol. II, Part II, Sect. IV, Chap. Ill, p. 51.\\nI might devote half a volume to a descrip-\\ntion of the fantastic and incomprehensible", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0197.jp2"}, "196": {"fulltext": "192 NATURE STUDIES.\\narrangement of these rocks (slaty crystal-\\nlines) and their veins, but all that is necessary\\nfor the general reader to know or remember,\\nis this broad fact of the undulation of their\\nwhole substance. For there is something, it\\nseems to me, inexpressibly marvellous in this\\nphenomenon, largely looked at. It is to be\\nremembered that these are the rocks which,\\non the average, will be oftenest observed by\\nthe human race. The central granites are\\ntoo far removed, the lower rocks too common,\\nto be carefully studied; these slaty crystal-\\nlines form the noblest hills that are easily\\naccessible, and seem to be thus calculated\\nespecially to attract observation, and reward\\nit. Well, we begin to examine them; and\\nfirst we find a notable hardness in them, and\\na thorough boldness of general character,\\nwhich makes us regard them as very types\\nof perfect rocks. They have nothing of the\\nlook of dried earth about them, nothing\\npetty or limited in the display of their bulk.\\nWhere they are, they seem to form the\\nworld no mere bank of a river here, or of a\\nlane there, peeping out among the hedges or\\nforests: but from the lowest valley to the\\nhighest clouds, all is theirs one adaman-\\ntine dominion and rigid authority of rock.\\nWe yield ourselves to the impression of", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0198.jp2"}, "197": {"fulltext": "THE MOUNTAIN KINGDOM. 193\\ntheir eternal, unconquerable stubbornness of\\nstrength their mass seem the least yield-\\ning, least to be softened, or in anywise dealt\\nwith by external force, of all earthly sub-\\nstance. And, behold, as we look farther\\ninto it, it is all touched and troubled, like\\nwaves by a summer breeze rippled, far more\\ndelicately than seas or lakes are rippled;\\nthey only undulate along their surface\\nthis rock trembles through its every fibre,\\nlike the chords of an ^Eolian harp like the\\nstillest air of spring with the echoes of a\\nchild s voice. Into the heart of all those\\ngreat mountains, through every tossing of\\ntheir boundless crests, and deep beneath all\\ntheir unfathomable defiles, flows that strange\\nquivering of their substance. Other and\\nweaker things seem to express their subjec-\\ntion to an Infinite power only by momentary\\nterrors as the weeds bow down before the\\nfeverish wind, and the sound of the going in\\nthe tops of the taller trees passes on before\\nthe clouds, and the fitful opening of pale\\nspaces on the dark water as if some invisible\\nhand were casting dust abroad upon it, gives\\nwarning of the anger that is to come, we\\nmay well imagine that there is indeed a fear\\npassing upon the grass, and leaves, and\\nwaters, at the presence of some great spirit", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0199.jp2"}, "198": {"fulltext": "i 9 4 NATURE STUDIES.\\ncommissioned to let the tempest loose but\\nthe terror passes, and their sweet rest is\\nperpetually restored to the pastures and the\\nwaves. Not so to the mountains. They,\\nwhich at first seemed strengthened beyond\\nthe dread of any violence or change, are yet\\nalso ordained to bear upon them the symbol\\nof a perpetual Fear the tremor which fades\\nfrom the soft lake and gliding river is sealed,\\nto all eternity, upon the rock; and while\\nthings that pass visibly from birth to death\\nmay sometimes forget their feebleness, the\\nmountains are made to possess a perpetual\\nmemorial of their infancy, that infancy\\nwhich the prophet saw in his vision I\\nbeheld the earth, and lo, it was without\\nform, and void, and the heavens, and they\\nhad no light. I beheld the mountains, and\\nlo, they trembled, and all the hills moved\\nlightly.\\nThus far may we trace the apparent typi-\\ncal signification of the structure of those\\nnoble rocks. The material uses of this\\nstructure are not less important. These sub-\\nstances of the higher mountains, it is always\\nto be remembered, seem to be so hard as to\\nenable them to be raised into, and remain\\nin, the most magnificent forms.\\nModern Painters,Vo\\\\. IV, Part V, Chap. IX, pp. 156-158.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0200.jp2"}, "199": {"fulltext": "THE MOUNTAIN KINGDOM. 195\\nThe rocks which are destitute of mica,\\nor in which the mica lies irregularly, or in\\nwhich it is altogether absent, I shall call\\nCompact Crystallines. Under this head\\nare embraced the large group of the gran-\\nites, syenites, and porphries rocks which\\nall agree in variety of color. The\\nmethod of their composition out of different\\nsubstances necessitates their being all more\\nor less spotted or dashed with various col-\\nors; there being generally a prevalent ground\\ncolor, with other subordinate hues broken\\nover it, forming for the most part, tones of\\nsilver grey, of warm, but subdued red, or\\npurple. Now there is in this a very mar-\\nvellous provision for the central ranges.\\nOther rocks, placed lower among the hills\\nreceive color upon their surfaces from all\\nkinds of minute vegetation: but these\\nhigher and more exposed rocks are liable to\\nbe in many parts barren and the wild forms\\ninto which they are thrown necessitate their\\nbeing often freshly broken, so as to bring\\ntheir pure color, untempered in anywise,\\nfrankly into sight. Hence it is appointed\\nthat this color shall not be raw or monoto-\\nnous, but composed as all beautiful colors\\nmust be composed by mingling of many\\nhues in one. Not that there is any aim at", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0201.jp2"}, "200": {"fulltext": "i 9 6 NATURE STUDIES.\\nattractive beauty in these rocks; they are\\nintended to constitute solemn and desolate\\nscenes; and there is nothing delicately or\\nvariously disposed in their colors. Such\\nbeauty would have been inconsistent with\\ntheir expression of power and terror, and\\nit is reserved for the marble and other rocks\\nof inferior office. But their color is grave\\nand perfect; closely resembling in many\\ncases, the sort of hue reached by cross-\\ncheckering in the ground of fourteenth-\\ncentury manuscripts, and peculiarly calcu-\\nlated for distant effects of light; being for\\nthe most part, slightly warm in tone, so as\\nto receive with full advantage the red and\\norange rays of sunlight. This warmth is\\nalmost always farther aided by a glowing\\norange color, derived from the decompo-\\nsition of the iron which, though in small\\nquantity, usually is an essential element in\\nthem: the orange hue forms itself in un-\\nequal veins and spots upon the surfaces\\nwhich have been long exposed, more or less\\ndarkening them; and a very minute black\\nlichen, so minute as to look almost like\\nspots of black paint a little opposed and\\nwarmed by the golden Lichen geographicus,\\nstill farther subdues the paler hues of the\\nhighest granite rocks. Now, when a surface", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0202.jp2"}, "201": {"fulltext": "THE MOUNTAIN KINGDOM. 197\\nof this kind is removed to a distance of four\\nor five miles, and seen under warm light\\nthrough soft air, the orange becomes russet,\\nmore or less inclining to pure red, accord-\\ning to the power of the rays but the black\\nof the lichens becomes pure dark blue and\\nthe result of their combination is that pecul-\\niar reddish purple which is so strikingly the\\ncharacteristic of the rocks of the higher\\nAlps. This second characteristic is a\\ntough hardness a grave hardness, which\\nwill bear many blows before it yields.\\nModern Painters, Vol. IV, Part V, Chap. VIII, p. 145.\\nNature gives us in these mountains a\\nclear demonstration of her will. She is here\\ndriven to make fracture the law of being.\\nShe cannot tuft the rock-edges with moss,\\nor round them by water, or hide them with\\nleaves and roots. She is bound to produce a\\nform admirable to human beings, by contin-\\nual breaking away of substance. And behold\\nso soon as she is compelled to do this she\\nchanges the law of fracture itself. Growth,\\nshe seems to say, is not essential to my\\nwork, nor concealment, nor softness, but cur-\\nvature is and if I must produce my forms\\nby breaking them, the fracture itself shall\\nbe in curves. If, instead of dew and sun-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0203.jp2"}, "202": {"fulltext": "198 NATURE STUDIES.\\nshine, the only instruments I am to use are\\nthe lightning and the frost, then their forked\\ntongues and crystal wedges shall still work\\nout my laws of tender line. Devastation\\ninstead of nurture may be the task of all my\\nelements, and age after age may only pro-\\nlong the unrenovated ruin but the appoint-\\nments of typical beauty which have been\\nmade over all creatures shall not therefore\\nbe abandoned and the rocks shall be ruled\\nin their perpetual perishing, by the same\\nordinances that direct the bending of the\\nreed and the blush of the rose.\\nModern Painters, Vol. IV, Part V, Chap. XIV, p. 246.\\nAs we pass beneath the hills which have\\nbeen shaken by earthquake and torn by\\nconvulsion, we find that periods of perfect\\nrepose succeeded those of destruction. The\\npools of calm water lie clear beneath their\\nfallen rocks, the water-lilies gleam, and the\\nreeds whisper among their shadows the vil-\\nlage rises again over the forgotten graves,\\nand its church-tower, white through the\\nstorm-twilight, proclaims a renewed appeal\\nto His protection in whose hand are all the\\ncorners of the earth, and the strength of the\\nhills is His also. There is no loveliness\\nof Alpine valley that does not teach the", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0204.jp2"}, "203": {"fulltext": "THE MOUNTAIN KINGDOM. 199\\nsame lesson. It is just where the moun-\\ntain falling cometh to naught and the rock\\nis removed out of his place, that, in process\\nof years, the fairest meadows bloom between\\nthe fragments, the clearest rivulets murmur\\nfrom their crevices among the flowers, and\\nthe clustered cottages, each sheltered be-\\nneath some strength of mossy stone, now\\nto be removed no more, and with their pas-\\ntured flocks around them, safe from the\\neagle s stoop, and the wolf s ravin, have\\nwritten upon their fronts, in simple words,\\nthe mountaineers faith in the ancient prom-\\nise Neither shalt thou be afraid of destruc-\\ntion when it cometh.\\nModern Painters, Vol. IV, Part V, Chap. XVIII, p. 391.\\nThe best image which the world can give\\nof Paradise is in the slope of the meadows,\\norchards, and corn-fields on the sides of a\\ngreat Alp, with its purple rocks and eternal\\nsnows above; this excellence not being in\\nany wise referable to feeling, or individual\\npreferences, but demonstrable by calm enu-\\nmeration of the number of lovely colors on\\nthe rocks, the varied grouping of the trees,\\nand quantity of noble incidents in stream,\\ncrag, or cloud, presented to the eye at any\\ngiven moment\\nModern Painters, Vol. IV, Part V, Chap. XX, p. 427.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0205.jp2"}, "204": {"fulltext": "2oo NATURE STUDIES.\\nI do not know any district possessing more\\npure or uninterrupted fulness of mountain\\ncharacter (and that of the highest order), or\\nwhich appears to have been less disturbed\\nby foreign agencies, than that which borders\\nthe course of the Trient between Valorsine\\nand Martigny. The paths which lead to it\\nout of the valley of the Rhone, rising at first\\nin steep circles among the walnut trees, like\\nwinding stairs among the pillars of a Gothic\\ntower, retire over the shoulders of the hills\\ninto a valley almost unknown, but thickly\\ninhabited by an industrious and patient\\npopulation. Along the ridges of the rocks,\\nsmoothed by old glaciers into long, dark,\\nbillowy swellings, like the backs of plunging\\ndolphins, the peasant watches the slow color-\\ning of the tufts of moss and roots of herb\\nwhich, little by little, gather a feeble soil\\nover the iron substance; then, supporting the\\nnarrow strip of clinging ground with a few\\nstones, he subdues it to the spade; and in\\na year or two a little crest of corn is seen\\nwaving upon the rocky casque. The irregu-\\nlar meadows run in and out like inlets\\nof lake among these harvested rocks, sweet\\nwith perpetual streamlets, that seem always\\nto have chosen the steepest places to come\\ndown, for the sake of the leaps, scattering", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0206.jp2"}, "205": {"fulltext": "THE MOUNTAIN KINGDOM. 201\\ntheir handfuls of crystal this way and that,\\nas the wind takes them, with all the grace,\\nbut with none of the formalism, of fountains;\\ndivided into fanciful change of dash and\\nspring, yet with the seal of their granite\\nchannels upon them, as the lightest play of\\nhuman speech may bear the seal of a past\\ntoil, and closing back out of their spray to\\nlave the rigid angles, and brighten with\\nsilver fringes and glassy films each lower\\nand lower step of sable stone until at last,\\ngathered all together again, except, per-\\nhaps, some chance drops caught on the\\napple-blossom, where it has budded a little\\nnearer the cascade than it did last spring,\\nthey find their way down to the turf, and\\nlose themselves in that silently; with quiet\\ndepth of clear water furrowing among the\\ngrass blades, and looking only like their\\nshadow, but presently emerging again in\\nlittle startled gushes and laughing hurries,\\nas if they had remembered suddenly that the\\nday was too short for them to get clown the\\nhill.\\nGreen field, and glowing rock, and glanc-\\ning streamlet, all slope together in the sun-\\nshine towards the brows of the ravines,\\nwhere the pines take up their own dominion\\nof saddened shade and with everlasting roar", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0207.jp2"}, "206": {"fulltext": "202 NATURE STUDIES.\\nin the twilight, the stronger torrents thunder\\ndown pale from the glaciers, filling all their\\nchasms with enchanted cold, beating them-\\nselves to pieces against the great rocks\\nthat they have themselves cast down, and\\nforcing fierce way beneath their ghastly\\npoise.\\nThe mountain paths stoop to these glens\\nin forky zigzags, leading to some gray and\\nnarrow arch, all fringed under its shuddering\\ncurves with the ferns that fear the light: a\\ncross of rough-hewn pine, iron-bound to its\\nparapet, standing dark against the lurid fury\\nof the foam. Far up the glen, as we pause\\nbeside the cross, the sky is seen through the\\nopenings in the pines, thin with excess of\\nlight: and in its clear consuming flame\\nof white space, the summits of the rocky\\nmountains are gathered into solemn crowns\\nand circlets, all flushed in that strange, faint\\nsilence of possession by the sunshine which\\nhas in it so deep a melancholy full of power,\\nyet as frail as shadows, lifeless like the walls\\nof a sepulchre, yet beautiful in tender fall of\\ncrimson folds, like the veil of some sea-spirit,\\nthat lives and dies as the foam flashes fixed\\non a perpetual throne, stern against all\\nstrength, lifted above all sorrow, and yet\\neffaced and melted utterly into the air by", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0208.jp2"}, "207": {"fulltext": "THE MOUNTAIN KINGDOM. 203\\nthat last sunbeam that has crossed to them\\nfrom between the two golden clouds.\\nModern Painters, Vol. IV, Part V, Chap. XIX, pp. 393-395.\\nThe footmark of a glacier is just as easily\\nrecognizable as the trail of any well-known\\nanimal.\\nIts universal effect is to round and soften\\nthe contours of the mountains subjected to\\nit; so that a glacier may be considered as\\na vast instrument of friction, a white sand-\\npaper, applied slowly but irresistibly to all\\nthe roughnesses of the hill which it covers.\\nAnd this effect is of course greatest when\\nthe ice flows fastest, and contains more em-\\nbedded stones that is to say, greater toward\\nthe lower part of a mountain than near its\\nsummit\\nModern Painters, Vol. IV, Part V, Chap. XIII, pp. 217, 218.\\nI suppose that my readers must be gener-\\nally aware that glaciers are masses of ice\\nin slow motion, at the rate of from ten to\\ntwenty inches a day, and that the stones\\nwhich are caught between them and the\\nrocks over which they pass, or which are\\nembedded in the ice and dragged along by\\nit over those rocks, are of course subjected\\nto a crushing and grinding power altogether", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0209.jp2"}, "208": {"fulltext": "2o 4 NATURE STUDIES.\\nunparalleled by any other force in constant\\naction. The dust to which these stones are\\nreduced by the friction is carried down by\\nthe streams which flow from the melting\\nglacier, so that the water which in the morn-\\ning may be pure, owing what little strength\\nit has chiefly to the rock springs, is in\\nthe afternoon not only increased in volume,\\nbut whitened with the dissolved dust of\\ngranite, in proportion to the heat of the pre-\\nceding hours of the day, and to the power\\nand size of the glacier which feeds it.\\nModern Painters^ Vol. IV, Part V, Chap. XII, pp. 179, 180.\\nOf the visible glaciers couched upon the\\nvisible Alps two great facts are very clearly\\nascertainable. The first great fact to be\\nrecognized concerning them is that they are\\nFluid bodies. Sluggishly fluid, indeed, but\\ndefinitely and completely so; and therefore,\\nthey do not scramble down, nor tumble\\ndown, nor crawl down, nor slip down, but\\nflow down. They do not move like leeches,\\nnor like caterpillars, nor like stones, but like,\\nwhat they are made of, water.\\nThe second fact is that last summer I was\\nable to cross the dry bed of a glacier, which\\nI had seen flowing two hundred feet deep,\\nover the same spot, forty years ago. And", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0210.jp2"}, "209": {"fulltext": "THE MOUNTAIN KINGDOM. 205\\nthen I saw, what I had before suspected, that\\nmodern glaciers, like modern rivers, were\\nnot cutting their beds deeper but filling\\nthem up. These, then, are the two facts I\\nwish to lay distinctly before you first that\\nglaciers are fluent: and secondly, that they\\nare filling up their beds, not cutting them\\ndeeper. \u00e2\u0080\u0094Deucalion, Chap. Ill, pp. 28, 30.\\nSculpture by streams, or by gradual\\nweathering, is the finishing work by which\\nNature brings her mountain forms into the\\nstate in which she intends us generally to\\nobserve and love them. The violent con-\\nvulsion or disruption by which she first\\nraises and separates the masses, may fre-\\nquently be intended to produce impressions\\nof terror rather than of beauty but the laws\\nwhich are in constant operation on all noble\\nand enduring scenery must assuredly be in-\\ntended to produce results grateful to men.\\nModern Painters, Vol. IV, Part V, Chap. XVII, p. 327.\\nOne of the principal charms of mountain\\nscenery is its solitude another feeling\\nwith which one is impressed during a moun-\\ntain ramble is humility.\\nPoetry of Architecture, pp. 34, 35.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0211.jp2"}, "210": {"fulltext": "206 NATURE STUDIES,\\nIt makes no difference to some men\\nwhether a natural object be large or small,\\nwhether it be strong or feeble. But loveli-\\nness of color, perfectness of form, endlessness\\nof change, wonderfulness of structure, are\\nprecious to all undiseased human minds;\\nand the superiority of the mountains in these\\nthings to the lowland is, I repeat, as measur-\\nable as the richness of a painted window\\nmatched with a white one, or the wealth of\\na museum compared with that of a simply\\nfurnished chamber. They seem to have\\nbeen built for the human race, as at once\\ntheir schools and cathedrals full of treasures\\nof illuminated manuscript for the scholar,\\nkindly in simple lessons to the worker, quiet\\nin pale cloisters for the thinker, glorious in\\nholiness for the worshipper. And of these\\ngreat cathedrals of the earth, with their gates\\nof rock, pavements of cloud, choirs of stream\\nand stone, altars of snow, and vaults of\\npurple traversed by the continual stars,\\nof these, it was written not long ago, by\\none of the best of the poor human race for\\nwhom they were built, wondering in himself\\nfor whom their Creator could have made\\nthem, and thinking to have entirely dis-\\ncerned the Divine intent in them They\\nare inhabited by the Beasts", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0212.jp2"}, "211": {"fulltext": "THE MOUNTAIN KINGDOM, 207\\nWas it then indeed thus with us, and so\\nlately? Had mankind offered no worship\\nin their mountain churches Was all that\\ngranite sculpture and floral painting done by\\nthe angels in vain\\nNot so. It will need no prolonged thought\\nto convince us that in the hills the purposes of\\ntheir Maker have indeed been accomplished\\nin such measure as, through the sin or folly\\nof men, He ever permits them to be accom-\\nplished. It may not seem, from the general\\nlanguage held concerning them, or from any\\ndirect traceable results, that mountains have\\nhad serious influence on human intellect:\\nbut it will not, I think, be difficult to show\\nthat their occult influence has been both\\nconstant and essential to the progress of the\\nrace. Consider, first, whether we can justly\\nrefuse to attribute to their mountain scenery\\nsome share in giving the Greeks and Italians\\ntheir intellectual lead among the nations of\\nEurope. There is not a single spot of land\\nin either of these countries from which\\nmountains are not discernible: almost always\\nthey form the principal feature of the scenery.\\nNor would it be difficult to show that\\nevery great writer of either of those nations,\\nhowever little definite regard he might mani-\\nfest for the landscape of his country, has", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0213.jp2"}, "212": {"fulltext": "2 o8 NATURE STUDIES.\\nbeen mentally formed and disciplined by it,\\nso that even such enjoyment as Homer s of\\nthe ploughed ground and popular groves\\nowes its intensity and delicacy to the excite-\\nment of the imagination produced without\\nhis own consciousness, by other and grander\\nfeatures of the scenery to which he had been\\naccustomed from a child.\\nMountains have always possessed the\\npower, first, of exciting religious enthusiasm\\nsecondly, of purifying religious faith. These\\ntwo operations are partly contrary to one\\nanother for the faith of enthusiasm is apt to\\nbe z/^pure; and the mountains, by exciting\\nmorbid conditions of the imagination, have\\ncaused in great part the legendary and\\nromantic form of belief; on the other hand,\\nby fostering simplicity of life and dignity\\nof morals, they have purified by action what\\nthey falsified by imagination. But, even in\\ntheir first and most dangerous influence, it\\nis not the mountains that are to blame, but\\nthe human heart. While we mourn over the\\nfictitious shape given to the religious visions\\nof the anchorite, we may envy the sin-\\ncerity and the depth of the emotion from\\nwhich they spring; in the deep feeling, we\\nhave to acknowledge the solemn influences\\nof the hills but for the erring modes or", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0214.jp2"}, "213": {"fulltext": "THE MOUNTAIN KINGDOM. 209\\nforms of thought, it is human wilfulness, sin\\nand false teaching that are answerable.\\nAnd, in fact, much of the apparently\\nharmful influence of hills on the religion of\\nthe world is nothing else than their general\\ngift of exciting the poetical and inventive\\nfaculties, in peculiarly solemn tones of mind.\\nTheir terror leads into devotional casts of\\nthought: their beauty and wildness prompt\\nthe invention at the same time and where\\nthe mind is not gifted with stern reasoning\\npowers, or protected by purity of teaching,\\nit is sure to mingle the invention with its\\ncreed and the vision with its prayer. Strictly\\nspeaking, we ought to consider the super-\\nstitions of the hills, universally, as a form of\\npoetry; regretting only that men have not\\nyet learned how to distinguish poetry from\\nwell-founded faith.\\nMark the significance of the earliest\\nmention of mountains in the Mosaic books\\nat least of those in which some Divine ap-\\npointment or command is stated respecting\\nthem. They are first brought before us as\\nrefuges for God s people from the two judg-\\nments of water and fire. The ark rests upon\\nthe mountains of Ararat and man, hav-\\ning passed through that great baptism unto\\ndeath, kneels upon the earth first where it", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0215.jp2"}, "214": {"fulltext": "2io NATURE STUDIES.\\nis nearest heaven, and mingles with the\\nmountain clouds the smoke of his sacrifice\\nof thanksgiving. Again: from the midst of\\nthe first judgment by fire, the command\\nof the Deity to His servant is, Escape to\\nthe mountain.\\nThe third mention, in way of ordinance,\\nis a far more solemn one Abraham lifted\\nup his eyes, and saw the place afar off.\\nThe Place, the Mountain of Myrrh, or of\\nbitterness chosen to fulfil to all the seed of\\nAbraham, far off and near, the inner mean-\\ning of promise regarded in that vow I\\nwill lift up mine eyes unto the hills, from\\nwhence cometh mine help. And the fourth,\\nis the delivery of the law on Sinai.\\nIt seemed, then, to the monks, that the\\nmountains were appointed by their Maker\\nto be to man, refuges from Judgments, signs\\nof Redemption, and altars of Sanctification\\nand obedience; and they saw them after-\\nwards connected, in the manner the most\\ntouching and gracious, with the death, after\\nhis task had been accomplished, of the first\\nanointed Priest: the death in like manner,\\nof the first inspired Lawgiver; and, lastly,\\nwith the assumption of His office by the\\nEternal Priest, Lawgiver, and Saviour.\\nObserve the connection of these three", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0216.jp2"}, "215": {"fulltext": "THE MOUNTAIN KINGDOM. 211\\nevents Try to realize that going forth\\nof Aaron from the midst of the congrega-\\ntion. Try if you cannot walk, in thought,\\nwith those two brothers, and the son, as\\nthey passed the outmost tents of Israel, and\\nturned, while yet the dew lay round about\\nthe camp, towards the slopes of Mount Hor\\ntalking together for the last time, as step by\\nstep, they felt the steeper rising of the rocks,\\nand hour after hour, beneath the ascend-\\ning sun, the horizon grew broader as they\\nclimbed, and all the folded hills of Idumea,\\none by one subdued, showed amidst their\\nhollows in the haze of noon, the winding\\nof that long desert journey, now at last\\nto close. But who shall enter into the\\nthoughts of the High Priest, as his eyes\\nfollowed those paths of ancient pilgrimage\\nand through the silence of the arid and\\nendless hills, stretching even to the dim\\npeak of Sinai, the whole history of those\\nforty years was unfolded before him, and\\nthe mystery of his own ministries revealed\\nto him and that other Holy of Holies, of\\nwhich the mountain peaks were the altars,\\nand the mountain clouds the veil, the fir-\\nmament of his Father s dwelling, opened to\\nhim still more brighter and infinitely as he\\ndrew nearer his death until at last, on the", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0217.jp2"}, "216": {"fulltext": "212 NATURE STUDIES.\\nshadeless summit from him on whom sin\\nwas to be laid no more from him, on\\nwhose heart the names of sinful nations\\nwere to press their graven fire no longer,\\nthe brother and the son took breastplate\\nand ephod, and left him to his rest.\\nThere is indeed a secretness in this calm\\nfaith and deep restraint of sorrow, into which\\nit is difficult for us to enter but the death of\\nMoses himself is more easily to be conceived:\\nand had in it circumstances still more touch-\\ning, as far as regards the influence of the\\nexternal scene. For forty years Moses had\\nnot been alone. The care and burden of all\\nthe people, the weight of their woe and\\nguilt, and death, had been upon him con-\\ntinually and now, at last, the command\\ncame, Get thee up into this mountain. The\\nweary hands that had been so long stayed\\nup against the enemies of Israel, might lean\\nagain upon the Shepherd s staff, and fold\\nthemselves for the Shepherd s prayer for\\nthe Shepherd s slumber. Not strange to his\\nfeet, though forty years unknown, the rough-\\nness of the bare mountain-path, as he\\nclimbed from ledge to ledge of Abarim\\nnot strange to his aged eyes the scattered\\nclusters of the mountain herbage, and the\\nbroken shadows of the cliffs, indented far", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0218.jp2"}, "217": {"fulltext": "THE MOUNTAIN KINGDOM. 213\\nacross the silence of the uninhabited ravines\\nscenes such as those among which, with\\nnone, as now, beside him but God, he had\\nled his flocks so often; and which he had\\nleft, how painfully! taking upon him the\\nappointed power, to make of the fenced city\\na wilderness, and to fill the desert with songs\\nof deliverance. It was not to embitter the\\nlast hours of his life that God restored to\\nhim, for a day, the beloved solitudes he had\\nlost and breathed the peace of the perpetual\\nhills around him, and cast the world in which\\nhe had labored and sinned far beneath his\\nfeet, in that mist of dying blue; all sin,\\nall wandering, soon to be forgotten forever\\nthe Dead Sea a type of God s anger\\nunderstood by him, of all men, most clearly,\\nwho had seen the earth open her mouth, and\\nthe sea his depth, to overwhelm the com-\\npanies of those who contended with his\\nMaster lay waveless beneath him: and\\nbeyond it, the fair hills of Judah, and the\\nsoft plains and banks of Jordan, purple in\\nthe evening light as with the blood of\\nredemption, and fading in their distant ful-\\nness into mysteries of promise and love.\\nThere, with his unabated strength, his un-\\ndimmed glance, lying down upon the utmost\\nrocks, with angels waiting near to contend", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0219.jp2"}, "218": {"fulltext": "2i4 NATURE STUDIES.\\nfor the spoils of his spirit, he put off his\\nearthly armor. We do deep reverence to his\\ncompanion prophet, for whom the chariot of\\nfire came down from heaven: but was his\\ndeath less noble, whom his Lord Himself\\nburied in the vales of Moab, keeping, in the\\nsecrets of the eternal counsels, the knowl-\\nedge of a sepulchre, from which he was to\\nbe called, in the fulness of time, to talk with\\nthat Lord, upon Hermon, of the death that\\nHe should accomplish at Jerusalem\\nAnd lastly, let us turn our thoughts for\\na few moments to the cause of the resurrec-\\ntion of these two prophets. Consider,\\ntherefore, the Transfiguration as it relates to\\nthe human feelings of our Lord. It was the\\nfirst definite preparation for His death. He\\nhad foretold it to His disciples six days\\nbefore; then takes with Him the three\\nchosen ones into an high mountain apart.\\nFrom an exceeding high mountain, at the\\nfirst taking on Him the ministry of life, He\\nhad beheld, and rejected the kingdoms of\\nthe earth, and their glory now on a high\\nmountain, He takes upon Him the ministry\\nof death.\\nThe tradition is, that the Mount of\\nTransfiguration was the summit of Tabor:\\nbut Tabor is neither a high mountain, nor", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0220.jp2"}, "219": {"fulltext": "THE MOUNTAIN KINGDOM. 215\\nwas it in any sense a mountain apart\\nbeing in those years both inhabited and\\nfortified. All the immediately preceding\\nministries of Christ had been at Cesarea\\nPhilippi. There is no mention of travel\\nsouthward in the six days that intervened\\nbetween the warning given to His disciples,\\nand the going up into the hill. What other\\nhill could it be than the southward slope\\nof that goodly mountain, Hermon; the\\nmount of fruitfulness, from which the\\nsprings of Jordan descended to the valleys\\nof Israel.\\nAlong its mighty forest avenues, until\\nthe grass grew fair with the mountain lilies,\\nHis feet dashed in the dew of Hermon, He\\nmust have gone to pray His first recorded\\nprayer about death. And as He prayed,\\ntwo men stood by Him. One, from that\\ntomb under Abarim which His own hand\\nhad sealed so long ago the other from the\\nrest into which he had entered without see-\\ning corruption. There stood by Him Moses\\nand Elias, and spake of His decease.\\nThen, when the prayer is ended, the task\\naccepted, first, since the star paused over\\nHim at Bethlehem, the full glory falls upon\\nHim from heaven, and the testimony is\\nborne to His everlasting Sonship and power.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0221.jp2"}, "220": {"fulltext": "216 NATURE STUDIES.\\nHear ye Him. If, in their remembrance\\nof these things, and if in their endeavor\\nto follow in the footsteps of their Master,\\nreligious men of by-gone days, closing them-\\nselves in the hill solitudes, forgot sometimes,\\nand sometimes feared, the duties they owed\\nto the active world, we may perhaps par-\\ndon them more easily than we ought to\\npardon ourselves, if we neither seek any\\ninfluence for good nor submit to it un-\\nsought, in scenes to which thus all the men\\nwhose writings we receive as inspired, to-\\ngether with their Lord, retired whenever\\nthey had any task or trial laid upon them\\nneeding more than their usual strength of\\nspirit. Nor, perhaps, should we have un-\\nprofitably entered into the mind of the\\nearlier ages, if among our other thoughts,\\nas we watch the chains of the snowy moun-\\ntains rise on the horizon, we should some-\\ntimes admit the memory of the hour in\\nwhich their Creator, among their solitudes,\\nentered on His travail for the salvation\\nof our race; and indulge the dream, that\\nas the flaming and trembling mountains\\nof the earth seem to be the monuments of\\nthe manifesting of His terror on Sinai,\\nthese pure and white hills, near to the\\nheaven, and sources of all good to the", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0222.jp2"}, "221": {"fulltext": "THE MOUNTAIN KINGDOM, 217\\nearth, are the appointed memorials of that\\nLight of His Mercy, that fell, snow-like, on\\nthe Mount of Transfiguration.\\nModern Painters, Vol. IV, Part V, Chap. XX, pp. 432-473.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0223.jp2"}, "222": {"fulltext": "", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0224.jp2"}, "223": {"fulltext": "ABOUT WATER.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0225.jp2"}, "224": {"fulltext": "Murmuring voices melt along the shore\\nThe plash of waves comes softly.\\nPoems, p. 183 Saltzburg I,\\nThe great Rivers that move like His eternity.\\nModern Painters^ Vol. II, Part III, Sect. I, Chap. I, p. 222.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0226.jp2"}, "225": {"fulltext": "VII.\\nABOUT WATER.\\nOf all inorganic substances, acting in their\\nown proper nature, and without assistance or\\ncombination, water is the most wonderful.\\nIf we think of it as the source of all the\\nchangefulness and beauty which we have\\nseen in clouds: then as the instrument by\\nwhich the earth we have contemplated\\nwas modelled into symmetry, and its crags\\nchiselled into grace then as, in the form of\\nsnow, it robes the mountains it has made,\\nwith that transcendent light which we could\\nnot have conceived if we had not seen then\\nas it exists in the form of the torrent in\\nthe iris which spans it, in the morning mist\\nwhich rises from it, in the deep crystalline\\npools which mirror its hanging shore, in the\\nbroad lake and glancing river: finally, in\\nthat which is to all human minds the best\\nemblem of unwearied, unconquerable power,\\nthe wild, various, fantastic, tameless unity\\nof the sea; what shall we compare to this\\nmighty, this universal element, for glory, and\\nfor beauty? or how shall we follow its eternal\\nchangefulness of feeling? It is like trying\\nto paint a soul.\\nModern Painters, Vol. II, Part II, Sect. V, Chap. I, p. 92.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0227.jp2"}, "226": {"fulltext": "222 NATURE STUDIES.\\nEvery fountain and river, from the inch-\\ndeep streamlet that crosses the village lane in\\ntrembling clearness, to the massy and silent\\nmarch of the everlasting multitude of waters\\nin Amazon or Ganges, owe their play, and\\npurity, and power, to the ordained elevations\\nof the Earth. Gentle or steep, extended or\\nabrupt, some determined slope of the earth s\\nsurface is of course necessary, before any\\nwave can so much as overtake one sedge\\nin its pilgrimage; and how seldom do we\\nenough consider, as we walk beside the\\nmargins of our pleasant brooks, how beauti-\\nful and wonderful is that ordinance, of which\\nevery blade of grass that waves in their clear\\nwater is a perpetual sign that the dew and\\nrain fallen on the face of the earth shall find\\nno resting-place shall find, on the contrary,\\nfixed channels traced for them, from the\\nravines of the central crests down which they\\nroar in sudden ranks of foam, to the dark\\nhollows beneath the banks of lowland pas-\\ntures, round which they must circle slowly\\namong the stems and beneath the leaves of\\nthe lilies paths prepared for them, by which,\\nat some appointed rate of journey, they must\\nevermore descend, sometimes slow and some-\\ntimes swift, but never pausing: the daily\\nportion of the earth they have to glide over", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0228.jp2"}, "227": {"fulltext": "ABOUT WATER. 223\\nmarked for them at each successive sunrise,\\nthe place which has known them knowing\\nthem no more, and the gateways of guarding\\nmountains opened for them in cleft and\\nchasm, none letting them in their pilgrim-\\nage and, from far off, the great heart of the\\nsea calling them to itself! Deep calleth\\nunto deep. I know not which of the two\\nis the more wonderful, that calm, gradated,\\ninvisible slope of the champaign land, which\\ngives motion to the stream or that passage\\ncloven for it through the ranks of hill, which,\\nnecessary for the health of the land imme-\\ndiately around them, would yet, unless so\\nsupernaturally divided, have fatally inter-\\ncepted the flow of the waters from far-off\\ncountries. When did the great spirit of\\nthe river first knock at those adamantine\\ngates When did the porter open to it, and\\ncast his keys away forever, lapped in whirl-\\ning sand? I am not satisfied no one\\nshould be satisfied with that vague answer,\\nthe river cut its way. Not so. The river\\nfound its way. I do not see that rivers,\\nin their own strength, can do much in cut-\\nting their way; they are nearly as apt to choke\\ntheir channels up, as to carve them out.\\nOnly give a river some little sudden power\\nin a valley, and see how it will use it. Cut", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0229.jp2"}, "228": {"fulltext": "224 NATURE STUDIES.\\nitself a bed Not so, by any means, but fill\\nup its bed, and look for another, in a wild,\\ndissatisfied, inconsistent manner. Any way,\\nrather than the old one, will better please it\\nand even if it is banked up and forced to\\nkeep to the old one, it will not deepen, but\\ndo all it can to raise it, and leap out of it.\\nAnd although, wherever water has a steep\\nfall, it will swiftly cut itself a bed deep into\\nthe rock or ground, it will not, when the\\nrock is hard, cut a wider channel than it\\nactually needs so that if the existing river\\nbeds, through ranges of mountain, had in\\nreality been cut by the streams, they would\\nbe found, wherever the rocks are hard, only in\\nthe form of narrow and profound ravines\\nlike the well-known channel of the Niagara,\\nbelow the fall; not in that of extended\\nValleys. In Moniibus Sanctis, Chap. II, pp. 133, 134.\\nModern Painters, Vol. IV, Chap. VII.\\nThe sources of a river are usually half lost\\namong moss and pebbles, and its first move-\\nments doubtful in direction but, as the cur-\\nrent gathers force, its banks are determined,\\nand its branches are numbered.\\nThe Stones of Venice, Vol. I, Chap. VI, p. 77.\\nIt is strange how seldom rivers have been\\nnamed from their depth. Mostly they take", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0230.jp2"}, "229": {"fulltext": "ABOUT WATER. 225\\nat once some dear, companionable name;\\nand become gods, or at least living creat-\\nures, to their refreshed people; if not thus\\nPagan-named, they are noted by their color,\\nor their purity, White River, Black River,\\nRio Verde, Aqua Dolce, Fiume di Latte;\\nbut scarcely ever, Deep River.\\nSt. Mark s Rest, Chap. Ill, p. 30.\\nAll rivers, small or large, agree in one\\ncharacter, they like to lean a little on one\\nside: they cannot bear to have their chan-\\nnels deepest in the middle, but will always,\\nif they can, have one bank to sun them-\\nselves upon, and another to get cool under\\none shingly shore to play over, where they\\nmay be shallow, and foolish, and childlike,\\nand another steep shore, under which they\\ncan pause, and purify themselves, and get\\ntheir strength of waves fully together for\\ndue occasion. Rivers in this way are just\\nlike wise men, who keep one side of their\\nlife for play, and another for work: and\\ncan be brilliant, and chattering, and trans-\\nparent, when they are at ease, and yet take\\ndeep counsel on the other side when they\\nset themselves to the main purpose. And\\nrivers are just in this divided, also, like\\nwicked and good men; the good rivers", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0231.jp2"}, "230": {"fulltext": "226 NATURE STUDIES.\\nhave serviceable deep places all along their\\nbanks, that ships can sail in but the wicked\\nrivers go scooping by irregularly under their\\nbanks until they get full of strangling\\neddies, which no boat can row over with-\\nout being twisted against the rocks; and\\npools like wells, which no one can get out\\nof but the water-kelpie that lives at the\\nbottom: but wicked or good, the rivers all\\nagree in having two kinds of sides.\\nThe Elements of Drawings Letter III, pp. 365, 366.\\nThe Tweed a beautiful river, flowing\\nbroad and bright over a bed of milk-white\\npebbles, unless where, here and there, it\\ndarkened into a deep pool, overhung by\\nthe birches and alders which had survived\\nthe statelier growth of the primitive for-\\nests. With the murmur, whisper and\\nlow fall of these streamlets, unmatched\\nfor mystery and sweetness, we must re-\\nmember also the variable, but seldom wild,\\nthrilling of the wind among the recesses\\nof the glens.\\nFors Clavigera, Vol. II, Letter XXXII, p. 50.\\nThe far away edge of ocean, where\\nthe surf and the sandbank are mingled\\nwith the Sky. Stones of Venice, Vol. I, Chap. I, p. 8.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0232.jp2"}, "231": {"fulltext": "ABOUT WATER.\\n227\\nOn the other side of the high town\\n(Geneva) the houses stand closer, leaving\\nyet space for a little sycamore-shaded walk,\\nwhence one looks down on the whole\\nsouthern reach of Lake, opening wide to\\nthe horizon, and edged there like the sea,\\nbut in the summer sunshine looking as if\\nit was tlie one well of blue which the sun-\\nbeams drank to make the sky of This\\nwas the view for full noon when the Lake\\nwas brightest and bluest.\\nFor all other rivers there is a surface,\\nwith an underneath, and a vaguely displeas-\\ning idea of the bottom. But the Rhone\\nflows like one lambent jewel its surface is\\nnowhere, its ethereal self is everywhere, the\\niridescent rush and translucent strength of\\nit blue to the shore, and radiant to the\\ndepth.\\nFifteen feet thick, of not flowing, but\\nflying water; not water, neither, melted\\nglacier, rather, one should call it the force\\nof the ice is with it, and the wreathing of\\nthe clouds, the gladness of the sky, and the\\ncontinuance of Time.\\nWaves of clear sea, are, indeed, lovely to\\nwatch, but they are always coming or gone,\\nnever in any taken shape to be seen for a\\nsecond. But here was one mighty wave", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0233.jp2"}, "232": {"fulltext": "228 NATURE STUDIES.\\nthat was always itself, and every fluted swirl\\nof it, constant as the wreathing of a shell.\\nNo wasting away of the fallen foam, no\\npause for gathering of power, no helpless ebb\\nof discouraged recoil: but alike through\\nbright day and lulling night, the never-\\npausing plunge, and never-fading flash, and\\nnever-hushing whisper, and, while the sun\\nwas up, the ever-answering glow of un-\\nearthly aquamarine, ultramarine, violet-blue,\\ngentian-blue, peacock-blue, river-of-paradise\\nblue, glass of a painted window melted in\\nthe sun, and the witch of the Alps flinging\\nthe spun tresses of it forever from her snow.\\nThe innocent way, too, in which the river\\nused to stop to look into every little corner.\\nGreat torrents always seem angry, and\\ngreat rivers too often sullen; but there is\\nno anger, no disdain in the Rhone. It\\nseemed as if the mountain stream was in\\nmere bliss at recovering itself again out of\\nthe lake-sleep, and raced because it rejoiced\\nin racing, fain yet to return and stay. There\\nwere pieces of wave that danced all day as\\nif Perdita were looking on to learn there\\nwere little streams that skipped like lambs\\nand leaped like chamois, there were pools\\nthat shook the sunshine all through them,\\nand were rippled in layers of overlaid ripples,", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0234.jp2"}, "233": {"fulltext": "ABOUT WATER, 229\\nlike crystal sand, there were currents that\\ntwisted the light into golden braids, and\\ninlaid the threads with turquoise enamel:\\nthere were strips of stream that had certainly\\nabove the lake been mill-streams, and were\\nlooking busily for mills to turn again there\\nwere shoots of stream that had once shot\\nfearfully into the air, and now sprang up\\nagain laughing that they had only fallen a\\nfoot or two; and in the midst of all the\\ngay glittering and eddied lingering, the noble\\nbearing by of the midmost depth, so mighty,\\nyet so terrorless and harmless, with its swal-\\nlows skimming, instead of petrels, and the\\ndear old decrepit town as safe in the em-\\nbracing sweep of it, as if it were set in a\\nbrooch of sapphire.\\nPraterita, Vol. II, Chap. V, pp. 260-263.\\nAll plains capable of cultivation are de-\\nposits from some kind of water some from\\nswift and tremendous currents, leaving their\\nsoil in sweeping banks and furrowed ridges\\nothers, and this is in mountain districts\\nalmost invariably the case, by slow deposit\\nfrom a quiet lake in the mountain hollow,\\nwhich has been gradually filled by the soil\\ncarried into it by streams, which soil is of\\ncourse finally left spread at the exact level", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0235.jp2"}, "234": {"fulltext": "230 NATURE STUDIES.\\nof the surface of the former lake, as level as\\nthe quiet water itself.\\nModern Painters, Vol. II, Part II, Sect. IV, Chap. I, p. 28.\\nFew people, comparatively, have ever\\nseen the effect on the sea of a powerful\\ngale continued without intermission for\\nthree or four days and nights, and to those\\nwho have not, I believe it must be unimag-\\ninable, not from the mere force or size of\\nsurge, but from the complete annihilation\\nof the limit between sea and air. The\\nwater from its prolonged agitation is beaten,\\nnot into mere creaming foam, but into\\nmasses of accumulated yeast, which hang\\nin ropes and wreaths from wave to wave,\\nand where one curls over to break, form a\\nfestoon like a drapery, from its edge these\\nare taken up by the wind, not in dissipat-\\ning dust, but bodily, in writhing, hanging,\\ncoiling masses, which make the air white\\nand thick as with snow, only the flakes\\nare a foot or two long each the surges\\nthemselves are full of foam in their very\\nbodies, underneath, making them white all\\nthrough, as the water is under a great cata-\\nract; and their masses, being thus half\\nwater and half air, are torn to pieces by\\nthe wind whenever they rise, and carried", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0236.jp2"}, "235": {"fulltext": "ABOUT WATER. 231\\naway in roaring smoke, which chokes and\\nstrangles like actual water. Add to this,\\nthat when the air has been exhausted of its\\nmoisture by long rain, the spray of the sea\\nis caught by it and covers its surface not\\nmerely with the smoke of finely divided\\nwater, but with boiling mist; imagine\\nalso the low rain-clouds brought down to\\nthe very level of the sea, as I have often\\nseen them, whirling and flying in rags and\\nfragments from wave to wave; and finally,\\nconceive the surges themselves in their ut-\\nmost pitch of power, velocity, vastness and\\nmadness, lifting themselves in precipices\\nand peaks, furrowed with the whirl of as-\\ncent, through all this chaos; and you will\\nunderstand that there is indeed no dis-\\ntinction left between the sea and air, that\\nno object, nor horizon, nor any landmark\\nor natural evidence of position is left: that\\nthe heaven is all spray, and the ocean all\\ncloud, and that you can see no farther in\\nany direction than you could see through\\na cataract.\\nModern Painters, Vol. II, Part II, Sect. V, Chap. Ill,\\npp. 159, 160.\\nLet the reader note that the beryl-co\\\\oxz\\nwater of the Lake of Zurich and the Lim-\\nmat gave, in old days, the perfectest type", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0237.jp2"}, "236": {"fulltext": "2 3 2 NATURE STUDIES.\\nof purity, of all the Alpine streams. The\\ndeeper blue of the Reuss and Rhone\\ngrew dark at less depth, and always gave\\nsome idea of the presence of a mineral\\nelement, causing the color; while the Aar\\nhad soiled itself with clay even before\\nreaching Berne. But the pale aquamarine\\ncrystal of the Lake of Zurich, with the fish\\nset in it, some score of them small and\\ngreat to a cube fathom, and the rapid\\nfall and stainless ripple of the Limmat,\\nthrough the whole of its course under the\\nrocks of Baden to the Reuss, remained,\\nsummer and winter, of a constant, sacred,\\ninviolable, super-natural loveliness.\\nPrceteritd) Vol. Ill, Chap. II, p. 415.\\nScottish streams I know no other waters\\nto be compared with them such streams\\ncan only exist under very subtle concur-\\nrence of rock and climate. There must\\nbe much soft rain, not (habitually) tearing\\nthe hills down with floods and the rocks\\nmust break irregularly and jaggedly.\\nFarther, the loosely-breaking rock\\nmust contain hard pebbles, to give the\\nlevel shore of white shingle through which\\nthe brown water may stray wide, in rippling\\nthreads. The fords even of English", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0238.jp2"}, "237": {"fulltext": "ABOUT WATER, 233\\nrivers have given the names to half our\\nprettiest towns and villages: but the\\npure crystal of the Scottish pebbles, giv-\\ning the stream its gradations of amber\\nto the edge, and the sound as of ravishing\\ndivision to the lute, make the Scottish\\nfords the happiest pieces of all one s day\\nwalk.\\nFors Clavigera, Vol. II, Letter XXXII, p. 49.\\nLet us go down and stand by the beach\\nof the great irregular sea, and count whether\\nthe thunder of it is not out of time. One,\\ntwo: here comes a well-formed wave at\\nlast, trembling a little at the top, but, on the\\nwhole, orderly. So, crash among the shingle,\\nand up as far as this gray pebble now stand\\nby and watch! Another: Ah, careless\\nwave! Why couldn t you have kept your\\ncrest on? it is all gone away into spray,\\nstriking up against the cliffs there I\\nthought as much missed the mark by a\\ncouple of feet! Another: How now, im-\\npatient one! couldn t you have waited till\\nyour friends reflux was done with, instead\\nof rolling yourself up with it in that unseemly\\nmanner? You go for nothing. A fourth,\\nand a goodly one at last. What think we\\nof yonder slow rise, and crystalline hollow,", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0239.jp2"}, "238": {"fulltext": "234 NATURE STUDIES.\\nwithout a flaw? Steady, good wave; not so\\nfast not so fast where are you coming to?\\nBy our architectural word, this is too bad;\\ntwo yards over the mark, and ever so much\\nof you in our face besides and a wave which\\nwe had some hope of, behind there, broken\\nall to pieces out at sea, and laying a great\\nwhite table-cloth of foam all the way to the\\nshore, as if the marine gods were to dine off\\nit Alas, for these unhappy arrow shots of\\nNature; she will never hit her mark with\\nthose unruly waves of hers, nor get one of\\nthem into the ideal shape, if we wait for a\\nthousand years.\\nThe Stones of Venice, Vol. I, Chap. XXX, p. 343.\\nMost people think of waves as rising and\\nfalling. But if they look at the sea carefully,\\nthey will perceive that waves do not rise and\\nfall. They change. Change both place and\\nform, but they do not fall one wave goes on,\\nand on, and still on now lower, now higher,\\nnow tossing its mane like a horse, now build-\\ning itself together like a wall, now shaking,\\nnow steady, but still the same wave, till\\nat last it seems struck by something, and\\nchanges, one knows not how, becomes\\nanother wave.\\nModern Painters, Vol. Ill, Part IV, Chap. XII, p. 211.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0240.jp2"}, "239": {"fulltext": "ABOUT WATER. 235\\nThere is a sublimity and majesty in\\nmonotony which there is not in rapid or\\nfrequent variation. This is true throughout\\nall Nature. The greater part of the sub-\\nlimity of the sea depends on its monotony.\\nThe Stones of Venice, Vol. II, Chap. VI, p. 177.\\nIt is a little valley of soft turf enclosed in\\nits narrow oval, by jutting rocks and broad\\nflakes of nodding fern. From one side of it\\nto the other winds, serpentine, a clear brown\\nstream, dropping into quicker ripple as it\\nreaches the end of the oval field, and then,\\nfirst islanding a purple and white rock with\\nan amber pool, it dashes away into a narrow\\nfall of foam under a thicket of mountain ash\\nand alder. The autumn sun, low but clear,\\nshines on the scarlet ash-berries, and on the\\ngolden birch-leaves, which, fallen here and\\nthere, when the breeze has not caught\\nthem, rest quiet in the crannies of the purple\\nrOCk. Modern Painters, Vol. V, Part IX, Chap. II, p. 264.\\nStand for half an hour beside the fall of\\nSchaffhausen, or the north side where the\\nrapids are long, and watch how the vault of\\nwater first bends, unbroken, in pure, polished\\nvelocity, over the arching rocks at the brow\\nof the cataract, covering them with a dome", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0241.jp2"}, "240": {"fulltext": "236 NATURE STUDIES.\\nof crystal twenty feet thick so swift that its\\nmotion is unseen except when a foam globe\\nfrom above darts over it like a falling star;\\nand how the trees are lighted above it under\\nall their leaves, at the instant that it breaks\\ninto foam and how all the hollows of that\\nfoam burn with green fire like so much shat-\\ntering chrysoprase and how, ever and anon,\\nstartling you with its white flash, a jet of spray\\nleaps hissing out of the fall like a rocket, burst-\\ning in the wind and driven away in dust, fill-\\ning the air with light and how, through the\\ncurdling wreaths of the restless, crashing\\nabyss below, the blue of the water, paled by\\nthe foam in its body, shows purer than the\\nsky through white rain-cloud while the shud-\\ndering iris stoops in tremulous stillness over\\nall, fading and flushing alternately through\\nthe choking spray and shattered sunshine,\\nhiding itself at last among the thick golden\\nleaves which toss to and fro in sympathy with\\nthe wild water their dripping masses lifted\\nat intervals, like sheaves of loaded corn, by\\nsome stronger gush from the cataract, and\\nbowed again upon the mossy rocks as its roar\\ndies away the dew gushing from their thick\\nbranches through drooping clusters of emer-\\nald herbage, and sparkling in white threads\\nalong the dark rocks of the shore, feeding", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0242.jp2"}, "241": {"fulltext": "ABOUT WATER, 237\\nthe lichens which chase and checker them\\nwith purple and silver.\\nModern Painters^ Vol. II, Part II, Sect. V, Chap. II, p. 121.\\nWhenever a nation is in its right mind,\\nit always has a deep sense of divinity in the\\ngift of rain from heaven, filling its heart with\\nfood and gladness and all the more when\\nthat gift becomes gentle and perennial in the\\nflowing Of Springs. Lecture on Art, Lecture IV, p. 268.\\nWhen water, not in very great body, runs\\nin a rocky bed much interrupted by hollows,\\nso that it can rest every now and then in a\\npool as it goes along, it does not acquire\\na continuous velocity of motion. It pauses\\nafter every leap, and curdles about, and rests\\na little, and then goes on again and if in this\\ncomparatively tranquil and rational state of\\nmind it meets with an obstacle, as a rock or\\nstone, it parts on each side of it with a little\\nbubbling foam, and goes around; if it comes\\nto a step in its bed, it leaps it lightly, and\\nthen after a little plashing at the bottom,\\nstops again to take breath. But if its bed be\\non a continuous slope, not much interrupted\\nby hollows, so that it cannot rest, or if its own\\nmass be so increased by flood that its usual\\nresting-places are not sufficient for it, but", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0243.jp2"}, "242": {"fulltext": "238 NATURE STUDIES.\\nthat it is perpetually pushed out of them by\\nthe following current, before it has had time\\nto tranquillize itself, it of course gains veloc-\\nity with every yard that it runs; the impetus\\ngot at one leap is carried to the credit of\\nthe next, until the whole stream becomes\\none mass of unchecked, accelerating motion.\\nNow when water in this state comes to an\\nobstacle, it does not part at it, but clears it\\nlike a race-horse; and when it comes to a\\nhollow, it does not fill it up and run out\\nleisurely at the other side, but it rushes down\\ninto it and comes up again on the other side,\\nas a ship into the hollow of the sea. Hence\\nthe whole appearance of the bed of the stream\\nis changed, and all the lines of the water\\naltered in their nature. The quiet stream is\\na succession of leaps and pools, the leaps are\\nlight and springy, and parabolic, and make\\na great deal of splashing when they tumble\\ninto the pool then we have a space of quiet\\ncurdling water, and another similar leap\\nbelow. But the stream, when it has gained\\nan impetus takes the shape of its bed, never\\nstops, is equally deep and equally swift every-\\nwhere, goes down into every hollow, not with\\na leap, but with a swing, not foaming, nor\\nsplashing, but in the bending line of a strong\\nsea-wave, and comes up again on the other\\nside over rock and ridge, with the ease of a", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0244.jp2"}, "243": {"fulltext": "ABOUT WATER, 239\\nbounding leopard if it meet a rock three\\nor four feet above the level of its bed, it will\\nneither part nor foam, nor express any con-\\ncern about the matter, but clear it in a smooth\\ndome of water, without apparent exertion,\\ncoming down again as smoothly on the other\\nside; the whole surface of the surge being\\ndrawn down into parallel lines by its extreme\\nvelocity, but foamless, except in places where\\nthe form of the bed opposes itself at some\\ndirect angle to such a line of fall, and causes\\na breaker; so that the whole river has the\\nappearance of a deep and raging sea, with\\nthis only difference, that the torrent-waves\\nalways break backwards, and sea-waves for-\\nwards. Thus, then, in the water which has\\ngained an impetus, we have the most ex-\\nquisite arrangements of curved lines, perpetu-\\nally changing from convex to concave, and\\nvice versa following every swell and hollow\\nof the bed with their modulating grace, and\\nall in unison of motion, presenting perhaps\\nthe most beautiful series of inorganic forms\\nwhich Nature can possibly produce for the\\nsea runs too much into similar and concave\\ncurves with sharp edges, but every motion\\nof the torrent is united, and all its curves are\\nmodifications of beautiful life.\\nModern Painters, Vol. II, Part II, Sect. V, Chap. Ill,\\npp. 145, 146.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0245.jp2"}, "244": {"fulltext": "2 4 o NATURE STUDIES.\\nYou recollect Kingsley s expression the\\ncrawling foam of waves advancing on\\nsand. Tennyson has somewhere also used\\nwith equal truth, the epithet, climbing\\nof the spray of breakers against vertical\\nrock. In either instance, the sea action is\\nliterally rampant and the course of a\\ngreat breaker, whether in its first proud\\nlikeness to a rearing horse, or in the humble\\nand subdued gaining of the outmost verge\\nof its foam on the sand, or the intermediate\\nspiral whorl which gathers into lustrous\\nprecision, like that of a polished shell, the\\ngrasping force of a giant, you have the most\\nvivid sight and embodiment of literally ram-\\npant energy. ValD Arno, Lecture VII, p. 318.\\nReflections in Water: Let us stand on\\nthe sea-shore on a cloudless night, with a full\\nmoon over the sea, and a swell on the water.\\nOf course a long line of splendor will be\\nseen on the waves under the moon, reaching\\nfrom the horizon to our very feet. But are\\nthose waves between the moon and us actu-\\nally more illuminated than any other part of\\nthe sea Not one whit. The whole surface\\nof the sea is under the same full light, but\\nthe waves between the moon and us are the\\nonly ones which are in a position to reflect", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0246.jp2"}, "245": {"fulltext": "ABOUT WATER. 241\\nthat light to our eyes. The sea on both\\nsides of that path of light is in perfect dark-\\nness almost black. But is it so from\\nshadow Not so, for there is nothing to\\nintercept the moonlight from it; it is so\\nfrom position, because it cannot reflect any\\nof the rays which fall on it to our eyes, but\\nreflects instead the dark vault of the night\\nsky. Both the darkness and the light on\\nit, therefore and they are as violently con-\\ntrasted as well may be are nothing but\\nreflections, the whole surface of the water\\nbeing under one blaze of moonlight, entirely\\nunshaded by any intervening object what-\\nsoever.\\nNow, then, we can understand the cause\\nof chiaro-scuro of the sea by daylight with\\nlateral sun. Where the sunlight reaches\\nthe water, every ripple, wave, or swell reflects\\nto the eye from some of its planes either the\\nimage of the sun or some portion of the\\nneighboring bright sky. Where the cloud in-\\nterposes between the sun and sea, all these\\nluminous reflections are prevented, and\\nthe raised planes of the waves reflect only\\nthe dark under-surface of the cloud and\\nhence, by the multiplication of the images,\\nspaces of light and shade are produced, which\\nlie on the sea precisely in the position of real", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0247.jp2"}, "246": {"fulltext": "2 42 NATURE STUDIES.\\nor positive lights and shadows correspond-\\ning to the outlines of the clouds laterally\\ncast, and therefore seen in addition to, and\\nat the same time with, the ordinary or direct\\nreflection, vigorously contrasted, the lights\\nbeing often a blaze of gold, and the shadows\\na dark leaden gray; and yet, they are no\\nmore real lights, or real shadows, on the sea,\\nthan the image of a black coat is a shadow\\non a mirror, or the image of white paper a\\nlight upon it.\\nAre there, then, no shadows whatsoever\\nupon the sea? Not so. My assertion is\\nsimply that there are none on clear water\\nnear the eye. I shall briefly state a few of\\nthe circumstances which give rise to real\\nshadow in a distant effect.\\nAny admixture of opaque coloring matter,\\nas of mud, chalk, or powdered granite ren-\\nders water capable of distinct shadow, which\\nis cast on the earthly and solid particles sus-\\npended in the liquid.\\nThere is, however, a peculiarity in the\\nappearance of such shadows which require\\nespecial notice. It is not merely the trans-\\nparency of water, but its polished surface,\\nand consequent reflective power, which\\nrender it incapable of shadow. A perfectly\\nopaque body, if its power of reflection be", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0248.jp2"}, "247": {"fulltext": "ABOUT WATER. 243\\nperfect, receives no shadow, and therefore,\\nin any lustrous body, the incapability of\\nshadow is in proportion to the power of re-\\nflection. Now the power of reflection in\\nwater varies with the angle of the impinging\\nray, being of course greatest when that angle\\nis least and thus, when we look along the\\nwater at a low angle, its power of reflection\\nmaintains its incapability of shadow to a\\nconsiderable extent, in spite of its containing\\nsuspended opaque matter; whereas, when\\nwe look down upon water from a height, as\\nwe then receive from it only rays which have\\nfallen on it at a large angle, a great number\\nof those rays are reflected from the surface,\\nbut penetrate beneath the surface, and are\\nthen reflected from the suspended opaque\\nmatter: thus rendering shadows clearly\\nvisible which, at a small angle, would have\\nbeen altogether unperceived.\\nBut it is not merely the presence of opaque\\nmatter which renders shadows visible on the\\nsea, from a height. The eye, when elevated\\nabove the water, receives rays reflected from\\nthe bottom, of which, when near the water,\\nit is insensible.\\nThe actual color of the sea itself is\\nan important cause of shadow in distant\\neffect.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0249.jp2"}, "248": {"fulltext": "244 NATURE STUDIES.\\nThe sea under shade is commonly of\\na cold gray hue; in the sunlight it is sus-\\nceptible of vivid and exquisite coloring and\\nthus the forms of clouds are traced on its\\nsurface, not by light and shade, but by vari-\\nation of color by grays opposed to greens,\\nblues to rose-tints, etc. All such phenom-\\nena are chiefly visible from a height and a\\ndistance. Local color is, however, the cause\\nof one beautiful kind of chiaro-scuro, visible\\nwhen we are close to the water shadows\\ncast, not on the waves, but through them, as\\nthrough misty air.\\nArrows of the Ckace t Vo\\\\ I, Miscellaneous Letter II, pp. 188, 190.\\nWater, of course, owing to its trans-\\nparency, possesses not a perfectly reflective\\nsurface, like that of speculum metal, but a sur-\\nface whose reflective power is dependent on\\nthe angle at which the rays to be reflected\\nfall. The smaller this angle, the greater\\nare the number of rays reflected. Now,\\naccording to the number of rays reflected\\nis the force of the image of objects above,\\nand according to the number of rays trans-\\nmitted is the perceptibility of objects below\\nthe water. Hence the visible transparency\\nand reflective power of water are in inverse\\nratio.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0250.jp2"}, "249": {"fulltext": "ABOUT WATER. 245\\nIt will be found on observation that under\\na bank suppose with dark trees above\\nshowing spaces of bright sky, the bright sky\\nis reflected distinctly, and the bottom of the\\nwater is in those spaces not seen but in the\\ndark spaces of reflection we see the bottom\\nof the water, and the color of that bottom\\nand of the water itself mingles with and\\nmodifies that of the color of the trees casting\\nthe dark reflection.\\nThis is one of the most beautiful circum-\\nstances connected with water surface, for by\\nthese means a variety of color and a grace\\nand evanescence are introduced in the re-\\nflection otherwise impossible.\\nWater in shade is much more re-\\nflective than water in sunlight.\\nModern Painters^ Vol. II, Part II, Sect. V, Chap. I, pp. 97-99.\\nThere is hardly a roadside pond or pool\\nwhich has not as much landscape in it as\\nabove it. It is not the brown, muddy, dull\\nthing we suppose it to be it has a heart like\\nourselves, and in the bottom of that there\\nare the boughs of the tall trees, and the\\nblades of the shaking grass, and all manner\\nof hues, of variable, pleasant light out of the\\nsky nay, the ugly gutter that stagnates over\\nthe drain bars, in the heart of the foul city,", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0251.jp2"}, "250": {"fulltext": "246 NATURE STUDIES.\\nis not altogether base down in that, if you\\nwill look deep enough, you may see the dark\\nserious blue of far-off sky, and the passing\\nof pure clouds.\\nModern Painters, Vol. II, Part II, Sect. V, Chap. I, p. 94.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0252.jp2"}, "251": {"fulltext": "COLOR STUDIES.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0253.jp2"}, "252": {"fulltext": "Of all God s gifts to the sight of man, color is the\\nholiest, the most divine, the most solemn.\\nThe Stones of Venice, Vol. II, Chap. V, p. 146.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0254.jp2"}, "253": {"fulltext": "VIII.\\nCOLOR STUDIES.\\nThe fact is, we none of us enough appre-\\nciate the nobleness and sacredness of color\\nNothing is more common than to hear it\\nspoken of as a subordinate beauty, nay,\\neven as the mere source of a sensual pleas-\\nure and we might almost believe that we\\nwere daily among men who\\nCould strip, for aught the prospect yields\\nTo them, their verdure from the fields\\nAnd take the radiance from the clouds\\nWith which the sun his setting shrouds.\\nBut it is not so. Such expressions are used\\nfor the most part in thoughtlessness and if\\nthe speakers would only take the pains to\\nimagine what the world and their own exist-\\nence would become, if the blue were taken\\nfrom the sky, and the gold from the sunshine,\\nand the verdure from the leaves, and the\\ncrimson from the blood which is the life of\\nman, the flush from the cheek, the darkness\\nfrom the eye, the radiance from the hair,\\nif they could see but for an instant, white\\nhuman creatures living in a white world,\\nthey would soon feel what they owe to color.\\n249", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0255.jp2"}, "254": {"fulltext": "250 NATURE STUDIES.\\nThe fact is, that, of all God s gifts to the sight\\nof man, color is the holiest, the most divine,\\nthe most solemn. We speak rashly of gay\\ncolor and sad color, for color cannot at once\\nbe grave and gay. All good color is in some\\ndegree pensive, the loveliest is melancholy,\\nand the purest and most thoughtful minds\\nare those which love color the most.\\nI know no law more severely without ex-\\nception than this of the connection of pure\\ncolor with profound and noble thought.\\nNor does it seem difficult to discern a\\nnoble reason for this universal law. In that\\nheavenly circle which binds the statutes of\\ncolor upon the front of the sky, when it be-\\ncame the sign of the covenant of peace, the\\npure hues of divided light were sanctified to\\nthe human heart for ever; nor this, it would\\nseem, by mere arbitrary appointment, but in\\nconsequence of the fore-ordained and marvel-\\nlous constitution of those hues into a seven-\\nfold, or, more strictly still, a threefold order,\\ntypical of the Divine nature itself. Observe\\nalso the name Shem or Splendor, given to\\nthat son of Noah in whom this covenant with\\nmankind was to be fulfilled, and see how that\\nname was justified by every one of the Asiatic\\nraces which descended from him. Not with-\\nout meaning was the love of Israel to his", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0256.jp2"}, "255": {"fulltext": "COLOR STUDIES. 251\\nchosen son expressed by the coat of many\\ncolors not without deep sense of the sacred-\\nness of that symbol of purity, did the lost\\ndaughter of David tear it from her breast\\nWith such robes were the king s daughters\\nthat were virgins apparelled. We know it\\nto have been by Divine command that the\\nIsraelite, rescued from servitude, veiled the\\ntabernacle with its rain of purple and scarlet,\\nwhile the under sunshine flashed through\\nthe fall of the color from its tenons of gold\\nbut was it less by Divine guidance that the\\nMede, as he struggled out of anarchy, encom-\\npassed his king with the sevenfold burning\\nof the battlements of Ecbatana of which\\none circle was golden like the sun, and an-\\nother silver like the moon; and then came\\nthe great sacred chord of color, blue, purple,\\nand scarlet and then a circle white like the\\nday, and another dark, like night: so that\\nthe city rose like a great mural rainbow, a\\nsign of peace amidst the contending of law-\\nless races, and guarded with color and shadow,\\nthat seemed to symbolize the great order\\nwhich rules over Day, and Night, and Time,\\nthe first organization of the mighty statutes,\\nthe law of the Medes and Persians that\\naltereth not.\\nThe Stones of Venice, Vol. II, Chap. V, pp. 145-148.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0257.jp2"}, "256": {"fulltext": "252 NATURE STUDIES.\\nI have already, in the Stones of Venice,\\ninsisted on the sacredness of color, and its\\nnecessary connection with all pure and noble\\nfeeling: but perhaps, I have not yet enough\\ninsisted on the simplest and readiest to hand\\nof all proofs, the way, namely, in which\\nGod has employed color in His creation as\\nthe unvarying accompaniment of all that\\nis purest, most innocent and most precious\\nwhile for things precious only in material\\nuses, or dangerous, common colors are re-\\nserved. Consider for a little while what sort\\nof a world it would be if all flowers were\\ngray, all leaves black, and the sky brown.\\nThen observe how constantly innocent\\nthings are bright in color look at a dove s\\nneck, and compare it with the gray back of\\na viper I have often heard talk of brilliantly\\ncolored serpents: and I suppose there are\\nsuch as there are gay poisons, like the\\nfox-glove and kalmia types of deceit; but\\nall the venomous serpents I have really seen\\nare gray, brick-red or brown, variously mot-\\ntled; and the most awful serpent I have seen,\\nthe Egyptian asp, is precisely of the color of\\ngravel, or only a little grayer. So again, the\\ncrocodile and alligator are gray, but the inno-\\ncent lizard green and beautiful. I do not\\nmean that this rule is invariable, otherwise", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0258.jp2"}, "257": {"fulltext": "COLOR STUDIES. 253\\nit would be more convincing than the lessons\\nof the natural universe are intended ever to\\nbe there are beautiful colors on the leopard\\nand tiger, and in the berries of the night-\\nshade: and there is nothing very notable\\nin the brilliancy of color either in sheep or\\ncattle but take a wider view of Nature,\\nand compare generally rainbows, sunrises,\\nroses, violets, butterflies, birds, goldfish,\\nrubies, opals, and corals, with alligators, hip-\\npopotami, lions, wolves, bears, swine, sharks,\\nslugs, bones, fungi, fogs, and corrupting,\\nstinging, destroying things in general, and\\nyou will feel then how the question stands\\nbetween the colorist and chiaroscurists,\\nwhich of them have Nature and life on their\\nside, and which have sin and death.\\nAll men, completely organized and justly\\ntempered enjoy color: it is meant for the\\nperpetual comfort and delight of the human\\nheart. It is richly bestowed on the highest\\nworks of creation, and the eminent sign and\\nseal of perfection in them being associated\\nwith life in the human body, with light in\\nthe sky, with purity and hardness in the\\nearth, death, night, and pollution of all\\nkinds being colorless.\\nTo color well requires real talent and\\nearnest study, and to color perfectly is the", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0259.jp2"}, "258": {"fulltext": "254 NATURE STUDIES.\\nrarest and most precious power an artist can\\npossess. Every other gift may be errone-\\nously cultivated, but this will guide to all\\nhealthy, natural and forcible truth; the\\nstudent may be led into folly by philoso-\\nphers, and into falsehoods by purists; but\\nhe is always safe if he holds the hands of a\\ncolorist.\\nModern Painters^ Vol. IV, Part V, Chap. Ill, pp. 75-80.\\nAll the primary and secondary colors\\nare capable of infinitely various degrees of\\nintensity or depression they pass through\\nevery degree of increasing light, to perfect\\nlight, or white and of increasing shade, to\\nperfect absence of light, or black. And\\nthese are essential in the harmony required\\nby sight so that no group of colors can be\\nperfect that has not white in it, nor any\\nthat has not black or else the abatement or\\nmodesty of them, in the tertiary gray. So\\nthat these three form the limiting angles of\\nthe field, or cloudy ground of the rainbow.\\nI do set my bow in the cloud.\\nAnd the nine colors of which you here\\nsee the essential group, have, as you know,\\nbeen the messenger Iris\\nThe names of these colors in ordinary\\nshields of knighthood are those given oppo-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0260.jp2"}, "259": {"fulltext": "COLOR STUDIES. 255\\nsite, in the left hand column. The names\\ngiven them in blazoning the shields of\\nnobles, are those of the correspondent\\ngems:\\nThe Primary Colors.\\n1 Or Topaz\\n2 Gules Ruby\\n3 Azure Sapphire\\nThe Secondary Colors.\\n4 Ecarlate Jasper\\n5 Vert Emerald\\n6 Purpure Hyacinth\\nThe Tertiary Colors.\\n7 Argent Carbuncle\\n8 Sable Diamond\\n9 Colombin Pearl\\nI. Or. Stands between the light and dark-\\nness as the Sun, who, rejoiceth as a strong\\nman to run his course, between the morning\\nand the evening.\\nII. Gules (rose color) from the Persian\\nword gul, for the rose. It is the exactly\\ncentral hue between the dark red, and pale\\nred, or wild-rose. It is the color of love, the\\nfulfilment of the joy and of the love of life\\nupon the earth. The stone of it is the\\nRuby.\\nIII. Azure. The color of the blue sky in", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0261.jp2"}, "260": {"fulltext": "256 NATURE STUDIES.\\nthe height of it, at noon type of the fulfil-\\nment of all joy and love in heaven, as the\\nrose-color, of the fulfilment of all joy and\\nlove in earth. And the stone of this is the\\nSapphire and because the loves of Earth\\nand Heaven are in truth one, the ruby and\\nsapphire are indeed the same stone and they\\nare colored as if by enchantment, how, or\\nwith what, no chemist has yet shown, the\\none azure and the other rose.\\nIV. ficarlate (scarlet). I use the French\\nword because all other heraldic words for\\ncolours are Norman French. The color\\nmeant Carnation; zVzcarnation the color\\nof the body of man in its beauty of the\\nmaid s scarlet blush in noble love; of the\\nyouth s scarlet glow in noble war; the dye\\nof the earth into which heaven has breathed\\nits spirit: incarnate strength incarnate\\nmodesty. The stone of it is the Jasper,\\nwhich is colored with the same iron that\\ncolors the human blood.\\nV. Vert (viridis) from the same root as\\nthe words virtue and virgin, the color\\nof the green rod in budding spring; the\\nnoble life of youth, born in the spirit, as\\nthe scarlet means, the life of noble youth, in\\nflesh. It is seen most perfectly in clear air\\nafter the sun has set, the blue of the upper", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0262.jp2"}, "261": {"fulltext": "COLOR STUDIES. 257\\nsky brightening down into it and the stone\\nof it is the Emerald.\\nVI. Purpure. The true purple of the\\nTabernacle, blue, purple, and scarlet\\nthe kingly color, retained afterwards in all\\nmanuscripts of the Greek Gospels. It\\nis rose color darkened or saddened with\\nblue; the color of love in noble or divine\\nsorrow. Its stone is the Jacinth, Hya-\\ncinth, or Amethyst, like to that sable\\nflower inscribed with woe.\\nIn these six colors, then, you have the\\nrainbow, or angelic iris, of the light and\\ncovenant of life.\\nVII. Argent. Silver, or snow-color; of\\nthe hoar-frost on the earth, or the star of\\nthe morning\\nVIII. Sable, (sable, sabulum) the color\\nof sand of the great hour-glass of the world,\\noutshaken. Its stone is the diamond,\\nnever yet, so far as I know, found but in\\nthe sand.\\nIX. Gray. (When deep, the second violet,\\ngiving Dante s full chord of the seven colors.)\\nThe abatement of light, the abatement of the\\ndarkness, the color of the turtle-dove,\\nwith the message that the waters are abated.\\nIts stone is the Pearl.\\nDeucalion Chap. VII, pp. 75-80.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0263.jp2"}, "262": {"fulltext": "258 NATURE STUDIES.\\nPerhaps the great monotone grey of\\nNature and of Time is a better color than\\nany that the human hand can give.\\nStones of Venice Vol. II, Chap. IV, p. 94.\\nWe have been speaking of what is con-\\nstant and necessary in Nature, of the\\nordinary effects of daylight on ordinary\\ncolors, and we repeat, that no gorgeousness\\nof the palette can reach even these. But it\\nis a widely different thing when Nature her-\\nself takes a coloring fit, and does something\\nextraordinary, something really to exhibit\\nher power. She has a thousand ways and\\nmeans of rising above herself, but incom-\\nparably the noblest manifestations of her\\ncapability of color are in these sunsets\\namong the high clouds. I speak especially\\nof the moment before the sun sinks, when\\nhis light turns pure rose-color, and when\\nthis light falls upon a zenith covered with\\ncountless cloud-forms of inconceivable deli-\\ncacy, threads and flakes of vapor, which\\nwould in common daylight be pure snow\\nwhite, and which give therefore fair field to\\nthe tone of light. There is then no limit\\nto the multitude, and no check to the inten-\\nsity of the hues assumed. The whole sky\\nfrom the zenith to the horizon becomes one", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0264.jp2"}, "263": {"fulltext": "COLOR STUDIES. 259\\nmolten, mantling sea of color and fire every\\nblack bar turns into massy gold, every ripple\\nand wave into unsullied, shadowless, crim-\\nson, and purple, and scarlet, and colors for\\nwhich there are no words in language, and\\nno ideas in the mind, things which can\\nonly be conceived while they are visible,\\nthe intense hollow blue of the upper sky\\nmelting through it all, showing here deep,\\nand pure, and lightless, there, modulated by\\nthe filmy, formless body of the transparent\\nvapor till it is lost imperceptibly in its crim-\\nson and gold.\\n\u00e2\u0080\u0094Modern Pointers Vo\\\\. I, Part II, Sect. II, Chap. II, pp. 262, 263.\\nIt is with interest and reverence to be\\nnoted as a physical truth that in a state of joy-\\nful and healthy excitement the eye becomes\\nmore highly sensitive to the beauty of color,\\nand especially to the blue and red rays, while\\nin depression and disease all colors become\\ndim tO US. The Art of England, Lecture VI, p. 351\\nNature herself produces all her loveliest\\ncolours in some kind of solid or liquid glass\\nor crystal. The rainbow is painted on a\\nshower of melted glass, and the colours of\\nthe opal are produced in vitreous flint mixed\\nwith water the green and blue, and golden", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0265.jp2"}, "264": {"fulltext": "2 6o NATURE STUDIES.\\nor amber brown of flowing water is in its\\nsurface glossy, and in motion, splendidior\\nvitro And the loveliest colours ever\\ngranted to human sight those of morning\\nand evening clouds before or after rain\\nare produced on minute particles of finely-\\ndivided water, or perhaps sometimes, ice.\\nBut more than this. If you examine with\\na lens some of the richest colours of flowers,\\nas, for instance, those of the gentian and\\ndianthus, you will find their texture is pro-\\nduced by a crystalline or sugary frost-work\\nupon them. In the lychnis of the high Alps,\\nthe red and white have a kind of sugary\\nbloom, as rich as it is delicate. It is inde-\\nscribable: but if you can fancy very pow-\\ndery and crystalline snow mixed with the\\nsoftest cream, and then dashed with car-\\nmine, it may give you some idea of the\\nlook of it. There are no colours, either in\\nthe nacre of shells, or the plumes of birds\\nand insects, which are so pure as those\\nof clouds, opal, or flowers but the force of\\npurple and blue in some butterflies, and the\\nmethods of clouding, and strength of bur-\\nnished lustre, in plumage like the peacock s,\\ngive them more universal interest in some\\nbirds, also, as in our own kingfisher, the\\ncolour nearly reaches a floral preciousness.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0266.jp2"}, "265": {"fulltext": "COLOR STUDIES. 261\\nThe lustre in most, however, is metallic,\\nrather than vitreous; and the vitreous al-\\nways gives the purest hue. Entirely com-\\nmon and vulgar compared with these, yet\\nto be noticed as completing the crystalline\\nor vitreous system, we have the colours of\\ngems. The green of the emerald is the\\nbest of these; but at its best is as vulgar\\nas house-painting beside the green of birds\\nplumage or of clear water. No diamond\\nshows colour so pure as a dewdrop the ruby\\nis like the pink of an ill-dyed and half-\\nwashed-out print, compared to the dianthus\\nand the carbuncle is usually quite dead\\nunless set with a foil, and even then is not\\nprettier than the seed of a pomegranate.\\nThe opal is, however, an exception. When\\npure and uncut in its native rock, it pre-\\nsents the most lovely colours that can be\\nseen in the world, except those of clouds.\\nLectures on Art., Lecture VII, pp. 311, 312.\\nYou see the broad blue sky every day\\nover your heads but you do not for that\\nreason determine blue to be less or more\\nbeautiful than you did at first; you are un-\\naccustomed to see stones as blue as the\\nsapphire, but you do not for that reason\\nthink the sapphire less beautiful than other", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0267.jp2"}, "266": {"fulltext": "262 NATURE STUDIES.\\nstones. The blue color is everlastingly\\nappointed by the Deity to be a source of\\ndelight; and whether seen perpetually over\\nyour head, or crystallised once in a thou-\\nsand years into a single and incomparable\\nstone, your acknowledgment of its beauty\\nis equally natural, simple and instantaneous.\\nLectures on Architecture and Paintings Lecture I, p. 228.\\nAn entirely perfect summer light\\nDivine beauty of western color on thyme\\nand rose then twilight of clearest warm\\namber far into night, of pale amber all\\nnight long; hills dark-clear against it. And\\nso it continued, growing more intense in\\nblue and sunlight, all day and so it went\\nglowing on finally, new moon like a\\nlime-light reflected on breeze-struck water\\ntraces, across dark calm, of reflected hills.\\nThe Storm-Cloud of the Nineteenth Century, p. 388.\\nA color, in association with other colors,\\nis different from the same color seen by it-\\nself. It has a distinct and peculiar power,\\nupon the retina dependent on its associ-\\nations. Consequently the color of any ob-\\nject is not more dependent upon the nature\\nof the object itself, and the eye beholding\\nit, than on the color of the objects near it.\\nModern Painters, VoL I, Part II, Sect. I, Chap. V, p. 150.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0268.jp2"}, "267": {"fulltext": "COLOR STUDIES. 263\\nA heavy rain-cloud raced us and stooped\\nover us, stealing the blue inch by inch, till\\nit had left only a strip of amber-blue behind\\nthe Apennines, the near hills thrown into\\ndark purple shade, the snow behind them,\\nfirst blazing the only strong light in the\\npicture then in shade, dark against the\\npure sky; the gray above, warm and lurid\\na little washed with rain in parts below, a\\ncopse of willow coming against the dark\\npurples, nearly pure Indian yellow, a little\\ntouched with red. Then came a lovely bit\\nof aqueduct, with coats of shattered mosaic,\\nthe hills seen through its arches, and pieces\\nof bright green meadow mixing with the\\nyellow of the willows.\\nPraterita,Vo\\\\, II, Chap. Ill, pp. 231, 232.\\nThere is not a leaf in the world which has\\nthe same color, visible over its whole surface\\nit has a white high light somewhere and in\\nproportion as it curves to or from that focus,\\nthe color is brighter or grayer. Pick up a\\ncommon flint from the roadside, and count,\\nif you can, its changes and hues of color.\\nEvery bit of bare ground under your feet\\nhas in it a thousand such the gray pebbles,\\nthe warm ochre, the green of incipient vege-\\ntation, the grays and blacks of its reflexes", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0269.jp2"}, "268": {"fulltext": "264 NATURE STUDIES.\\nand shadows, might keep a painter at work\\nfor a month, if he were obliged to follow\\nthem touch for touch.\\nModern Painters, Vol. I, Part II, Sect. II, Chap. II, p. 271.\\nThe best image which the world can give\\nof Paradise is in the slope of the meadows,\\norchards, and corn-fields on the sides of a\\ngreat Alp, with its purple rocks and eternal\\nsnows above; this excellence not being in\\nany wise a matter referable to feeling, or\\nindividual preference, but demonstrable by\\ncalm enumeration of the number of lovely\\ncolors on the rocks, the varied grouping of\\nthe trees, and quantity of noble incidents in\\nstream, crag, or cloud, presented to the eye\\nat any given moment. For consider the dif-\\nference produced in the whole tone of land-\\nscape color by the introduction of purple,\\nviolet, and deep ultramarine blue, which we\\nowe to mountains. In the ordinary lowland\\nlandscape we have the blue of the sky the\\ngreen of grass the green of trees and cer-\\ntain elements of purple, far more rich and\\nbeautiful than we generally should think, in\\ntheir bark and shadows (bare hedges and\\nthickets, or tops of trees, in subdued after-\\nnoon sunshine, are nearly perfect purple, and\\nof an exquisite tone), as well as in ploughed", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0270.jp2"}, "269": {"fulltext": "COLOR STUDIES. 265\\nfields, and dark ground in general. But\\namong mountains, in addition to all this,\\nlarge unbroken spaces of pure violet and\\npurple are introduced in their distances;\\nand even near, by films of cloud passing over\\nthe darkness of ravines or forests, blues are\\nproduced of the most subtle tenderness;\\nthese azures and purples passing into rose-\\ncolor of otherwise wholly unattainable deli-\\ncacy among the upper summits, the blue of\\nthe sky being at the same time purer and\\ndeeper than in the plains. Nay, in some\\nsense, a person who has never seen the rose-\\ncolor of the rays of dawn crossing a blue\\nmountain twelve or fifteen miles away, can\\nhardly be said to know what tenderness in\\ncolor means at all bright tenderness he may,\\nindeed, see in the sky or in a flower, but this\\ngrave tenderness of the far-away hill-purples\\nhe cannot conceive.\\nTogether with this great source of pre-\\neminence in mass of color, we have to esti-\\nmate the influence of the finished inlaying\\nand enamel-work of the color-jewelry on\\nevery stone; and that of the continual variety\\nin species of flower; most of the mountain\\nflowers being, besides, separately lovelier\\nthan the lowland ones.\\nModern Painters^ Vol. IV, Part V, Chap. XX, pp. 427, 429.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0271.jp2"}, "270": {"fulltext": "266 NATURE STUDIES.\\nRespecting the various rocks out of\\nthem we may obtain almost every color\\npleasant to human sight, not the less so for\\nbeing generally a little softened or saddened.\\nThus we have the beautifully subdued reds,\\nreaching tones of deep purple, in the porphy-\\nries, and of pale rose color, in the granites\\nevery kind of silver and leaden gray, passing\\ninto purple, in the slates; deep green, and\\nevery hue of greenish gray, in the volcanic\\nrocks and serpentines; rich orange, and\\ngolden brown in the gneiss; black in the\\nlias limestones and all these, together with\\npure white, in the marbles. One color only\\nwe hardly ever get in an exposed rock that\\ndull brown which we noticed in speaking of\\ncolor generally, as the most repulsive of all\\nhues every approximation to it is softened\\nby nature, when exposed to the atmosphere,\\ninto a purple gray. All this can hardly be\\notherwise interpreted, than as prepared for\\nthe delight and recreation of man; and I\\ntrust that the time may soon come when\\nthese beneficent and beautiful gifts of color\\nmay be rightly felt and wisely employed, and\\nwhen the variegated fronts of our houses\\nmay render the term stone-color as little\\ndefinite in the mind of the architect as that of\\nflower-color would be to the horticulturist.\\nModern Painters, Vol. IV, Part V, Chap. XI, p. 178.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0272.jp2"}, "271": {"fulltext": "COLOR STUDIES. 267\\nScarlet color, or pure red, intensified\\nby expression of light, is, of all the three\\nprimitive colors, that which is most distinc-\\ntive. Yellow is of the nature of simple light\\nblue, connected with simple shade but red\\nis an entirely abstract color. It is red to\\nwhich the color-blind are blind, as if to show\\nus that it was not necessary merely for the\\nservice or comfort of man, but that there was\\na special gift or teaching in this color. Ob-\\nserve, farther, that it is this color which the\\nsunbeams take in passing through the earth s\\natmosphere. The rose of dawn and sunset\\nis the hue of the rays passing close over the\\nearth. It is also concentrated in the blood\\nof man.\\nModern Painters, Vol. V, Part IX, Chap. XI, p. 399.\\nColor is, in brief terms, the type of love.\\nHence it is especially connected with the\\nblossoming of the earth and again, with its\\nfruits also, with the spring and fall of the\\nleaf, and with the morning and evening of\\nthe day, in order to show the waiting of love\\nabout the birth and death of man.\\nModern Painters, Vol. V, Part IX, Chap. XI, p. 405.\\nThe Greek liked purple, as a general source\\nof enjoyment better than any other color, and", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0273.jp2"}, "272": {"fulltext": "268 NATURE STUDIES.\\nso all healthy persons who have eye for color,\\nand are unprejudiced about it do.\\nModern Painters, Vol. Ill, Part IV, Chap. XIV, p. 280.\\nSome three arrowflights further up into\\nthe wood we come to a tall tree, which is at\\nfirst barren, but, after some little time, visibly\\nopens into flowers, of a color less than that\\nof roses, but more than that of violets. It\\ncertainly would not be possible, in words,\\nto come nearer to the definition of the exact\\nhue which Dante meant that of the apple-\\nblossom. Had he employed any simple color-\\nphrase, as a pale pink or violet pink or\\nany such combined expression, he still could\\nnot have completely got at the delicacy of\\nthe hue he might perhaps have indicated its\\nkind, but not its tenderness but by taking\\nthe rose-leaf as the type of the delicate red,\\nand then enfeebling this with the violet gray,\\nhe gets, as closely as language can carry him,\\nto the complete rendering of the vision,\\nthough it is evidently felt by him to be in\\nits perfect beauty ineffable; and rightly so\\nfelt, for of all lovely things which grace the\\nspring time in our fair temperate zone, I am\\nnot sure but this blossoming of the apple-\\ntree is the fairest. At all events, I find it\\nassociated in my mind with four other kinds", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0274.jp2"}, "273": {"fulltext": "COLOR STUDIES. 269\\nof color, certainly principal among the gifts\\nof the northern earth, namely:\\n1st. Bell gentians growing close together,\\nmixed with lilies of the valley, on the Jura\\npastures.\\n2d. Alpine roses with dew upon them,\\nunder low rays of morning sunshine, touch-\\ning the tops of the flowers.\\n3d. Bell heather in mass, in full light, at\\nsunset.\\n4th. White narcissus (red centered) in\\nmass, on the Vevay pastures, in sunshine\\nafter rain.\\nAnd I know not where in the group to\\nplace the wreaths of apple-blossoms in the\\nVevay orchards, with the far-off blue of the\\nLake of Geneva seen between the flowers.\\n\u00e2\u0080\u0094Modern Painters, Vol. Ill, Part IV, Chap. XIV, pp. 281, 282.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0275.jp2"}, "274": {"fulltext": "", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0276.jp2"}, "275": {"fulltext": "TREES AND THEIR MINISTRY.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0277.jp2"}, "276": {"fulltext": "If human life be cast among trees at all, the love\\nborne to them is a sure test of its purity.\\nModern Painters, Vol. V, Part VI, Chap. I, p. 24.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0278.jp2"}, "277": {"fulltext": "IX.\\nTREES AND THEIR MINISTR V.\\nBeing prepared for us in all ways, and\\nmade beautiful, and good for food and\\nfor building, and for instruments of our\\nhands, this race of plants, (trees) de-\\nserving boundless affection and admiration\\nfrom us, become in proportion to their\\nobtaining it, a nearly perfect test of our\\nbeing in right temper of mind and way of\\nlife, so that no one can be far wrong in\\neither who loves the trees enough, and every\\none is assuredly wrong in both, who does\\nnot love them, if his life has brought them\\nin his way. It is clearly possible to do with-\\nout them, for the great companionship of\\nthe sea and sky are all that sailors need\\nand many a noble heart has been taught the\\nbest it had to learn between dark stone walls.\\nStill if human life be cast among trees at\\nall, the love borne to them is a sure test of\\nits purity. And sometimes I cannot but\\nthink of the trees of the earth as capable\\nof a kind of sorrow, in that imperfect life of\\ntheirs, as they opened their innocent leaves\\nin the warm spring-time in vain for men\\nModern Painters, Vol. V, Part VI, Chap. I, pp. 24-26.\\n273", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0279.jp2"}, "278": {"fulltext": "274 NATURE STUDIES.\\nAs you draw trees more and more in their\\nvarious states of health and hardship, you\\nwill be every day more struck by the beauty\\nof the types they present of the truths most\\nessential for mankind to know, and you will\\nsee what this vegetation of the earth, which\\nis necessary to our life, first, as purifying\\nthe air for us and then as food, and just as\\nnecessary to our joy in all places of the earth,\\nwhat these trees and leaves, I say, are\\nmeant to teach us as we contemplate them,\\nand read or hear their lovely language,\\nwritten or spoken for us, not in frightful\\nblack letters, nor in dull sentences, but in\\nfair green and shadowy shapes of waving\\nwords, and blossomed brightness of odorif-\\nerous wit, and sweet whispers of unintrusive\\nwisdom, and playful morality.\\nTht Elements of Draiuing) Letter III, p. 380.\\nA very old forest tree is a thing subject\\nto the same laws of nature as ourselves;\\nit is an energetic being, liable to and ap-\\nproaching death its age is written on every\\nspray; and because we see it susceptible of\\nlife and annihilation, like our own, we imag-\\nine it must be capable of the same feelings,\\nand possess the same faculties, and, above\\nall others, memory: it is always telling us", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0280.jp2"}, "279": {"fulltext": "TREES AND THEIR MINISTRY. 275\\nabout the past, never pointing to the future\\nwe appeal to it, as to a thing which has seen\\nand felt during a life similar to our own,\\nthough of ten times its duration, and there-\\nfore receive from it a perpetual impression\\nof antiquity. This being the case, it is\\nevident that the chief feeling induced by\\nwoody country is one of reverence for its\\nantiquity. There is a quiet melancholy\\nabout the decay of the patriarchal trunks,\\nwhich is enhanced by the green and elastic\\nvigour of the young saplings the noble form\\nof the forest aisles, and the subdued light\\nwhich penetrates their entangled boughs,\\ncombine to add to the impression; and the\\nwhole character of the scene is calculated\\nto excite conservative feeling.\\nThe Poetry of Architecture Chap. I, p. 56.\\nThroughout all the freedom of her wildest\\nfoliage, Nature is resolved on expressing an\\nencompassing limit: and marking a unity in\\nthe whole tree, caused not only by the rising\\nof its branches from a common root, but by\\ntheir joining in one work, and being bound\\nby a common law.\\nElements of Drawing, Letter III, p. 377.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0281.jp2"}, "280": {"fulltext": "276 NATURE STUDIES.\\nBuilding Plants. These will not live on\\nthe ground, but eagerly raise edifices above\\nit. Each works hard with solemn fore-\\nthought all its life. Perishing, it leaves its\\nwork in the form which will be most useful\\nto its successors its own monument and\\ntheir inheritance. These architectural edi-\\nfices we call Trees. In questioning the\\ntrue builders as to their modes of work, I\\nfind that they are divisible into two great\\nclasses Builders with the shield and\\nBuilders with the sword. Builders with\\nthe shield have expanded leaves, more or less\\nresembling shields, partly in shape, but still\\nmore in office for under their lifted shadow\\nthe young bud of the next year is kept from\\nharm. These are the gentlest of the builders,\\nand live in pleasant places, providing food\\nand shelter for man. Builders with the sword,\\non the contrary, have sharp leaves in the\\nshape of swords, and the young buds, instead\\nof being as numerous as the leaves, crouch-\\ning each under a leaf-shadow, are few in\\nnumber, and grow fearlessly, each in the\\nmidst of a sheaf of swords. These builders\\nlive in savage places, are sternly dark in\\ncolor, and though they give much health to\\nman by their merely physical strength, they\\n(with few exceptions) give him no food, and", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0282.jp2"}, "281": {"fulltext": "TREES AND THEIR MINISTRY. 277\\nimperfect shelter. Their mode of building is\\nruder than that of the shield-builders, and\\nthey in many ways resemble the pillar-plants\\nof the opposite order. We call them gener-\\nally Pines. The chief mystery of vege-\\ntation, so far as respects external form, is\\namong the fair shield-builders.\\nModern Painters, Vol. V, Part VI, Chap. I, pp. 29, 31.\\nIf you gather in summer time an outer\\nspray of any shield-leaved tree, you will find\\nit consists of a slender rod, throwing out\\nleaves, perhaps on every side, perhaps on two\\nsides only, with usually a cluster of closer\\nleaves at the end. If you look close you\\nwill see small projecting points at the roots of\\nthe leaves. These represent buds. Whether\\nyou find them or not, they are there visible,\\nor latent, does not matter. Every leaf has\\nassuredly an infant bud to take care of, laid\\ntenderly, as in a cradle, just where the leaf-\\nstalk forms a safe niche between it and the\\nmain stem. The child-bud is thus fondly\\nguarded all summer but its protecting leaf\\ndies in the autumn and then the boy-bud\\nis put out to rough winter schooling, by\\nwhich he is prepared for personal entrance\\ninto public life in the spring.\\nModern Painters, Vol. V, Chap. Ill, pp. 32, 33.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0283.jp2"}, "282": {"fulltext": "278 NATURE STUDIES.\\nHaving now some clear idea of the posi-\\ntion of the bud, we have now to examine the\\nforms and structure of its shield the leaf\\nwhich guards it. You will form the best\\ngeneral idea of the flattened leaf of shield-\\nbuilders by thinking of it as you would of a\\nmast and a sail. To some extent, indeed,\\nit has yards also, ribs branching from the in-\\nnermost one only the yards of the leaf will\\nnot run up and down, which is one essential\\nfunction of a sail-yard.\\nThe analogy will, however, serve one step\\nmore. As the sail must be on one side of\\nthe mast, so the expansion of a leaf is on one\\nside of its central rib, or of its system of\\nribs. It is laid over them as if it were\\nstretched over a frame, so that on the upper\\nsurface it is comparatively smooth; on the\\nlower, barred.\\nThe leaves are the feeders of the plant.\\nTheir own orderly habits of succession must\\nnot interfere with their main business of\\nrinding food. Where the sun and air are,\\nthe leaf must go, whether it be out of order\\nor not. So, therefore, in any group, the first\\nconsideration with the young leaves is much\\nlike that of young bees, how to keep out of\\neach other s way, that every one may at once\\nleave its neighbors as much free-air pasture", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0284.jp2"}, "283": {"fulltext": "TREES AND THEIR MINISTRY. 279\\nas possible, and obtain a relative freedom for\\nitself. This would be a quite simple matter\\nand produce other simply balanced forms, if\\neach branch, with open air all round it, had\\nnothing to think of but reconcilement of\\ninterests among- its own leaves. But every\\nbranch has others to meet or to cross, shar-\\ning with them, in various advantage, what\\nshade or sun, or rain is to be had. Hence\\nevery single leaf-cluster presents the general\\naspect of a little family, entirely at unity\\namong themselves, but obliged to get their\\nliving by various shifts, concessions, and in-\\nfringements of the family rules, in order not\\nto invade the privileges of other people in\\ntheir neighborhood.\\nAnd in the arrangement of these conces-\\nsions there is an exquisite sensibility among\\nthe leaves. They do not grow each to his\\nown liking, till they run against one another,\\nand then turn back sulkily; but by a watch-\\nful instinct, far apart, they anticipate their\\ncompanion s courses, as ships at sea, and in\\nevery unfolding of their edged tissue, guide\\nthemselves by the sense of each other s re-\\nmote presence, and by a watchful penetration\\nof leafy purpose in the far future. So that\\nevery shadow which one casts on the next,\\nand every glint of sun which each reflects to", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0285.jp2"}, "284": {"fulltext": "2 8o NATURE STUDIES.\\nthe next, and every touch which in toss of\\nstorm each receives from the next, aid or\\narrest the development of their advancing\\nform, and direct, as will be safest and best,\\nthe curve of every fold and the current of\\nevery vein.\\nModern Painters Vol. V, Part VI, Chap. IV, pp. 43-57.\\nIt is evident that the more leaves the\\nstalk has to sustain, the more strength it\\nrequires. It might appear, therefore, not\\nunadvisable, that every leaf should as it\\ngrew, pay a small tax to the stalk for its\\nsustenance; so that there might be no fear\\nof any number of leaves being too oppres-\\nsive to their bearer. Which, accordingly,\\nis just what the leaves do. Each, from the\\nmoment of his complete majority, pays a\\nstated tax to the stalk that is to say, collects\\nfor it a certain quantity of wood, or materials\\nfor wood, and sends this wood, or what ulti-\\nmately will become wood, down the stalk to\\nadd to its thickness.\\nDown the stalk Yes, and down a\\ngreat way farther. For, as the leaves, if they\\ndid not thus contribute to their own support,\\nwould soon be too heavy for the spray, so\\nif the spray, with its family of leaves, con-\\ntributed nothing to the thickness of the", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0286.jp2"}, "285": {"fulltext": "TREES AND THEIR MINISTRY. 281\\nbranch, the leaf-families would soon break\\ndown their sustaining branches. And, simi-\\nlarly, if the branches gave nothing to the\\nstem, the stem would soon fall under its\\nboughs. Therefore, as each leaf adds to the\\nthickness of the shoot, so each shoot to the\\nbranch, so each branch to the stem, and that\\nwith so perfect an order and regularity of\\nduty, that from every leaf in all the count-\\nless crowd at the tree s summit, one slender\\nfibre, or at least fibre s thickness of wood, de-\\nscends through shoot, through spray, through\\nbranch, and through stem and having thus\\nadded, in its due proportion, to form the\\nstrength of the tree, labors yet farther, and\\nmore painfully to provide for its security:\\nand thrusting forward into the root, loses\\nnothing of its mighty energy, until, mining\\nthrough the darkness, it has taken hold in\\ncleft of rock or depth of earth, as extended\\nas the sweep of its green crest in the free\\nair. Such, at least, is the mechanical aspect\\nof the tree. The work of its construc-\\ntion, considered as a branch tower, partly\\npropped by buttresses, partly lashed by\\ncables, is thus shared in by every leaf.\\nBut considering it as a living body to be\\nnourished, it is probably an inaccurate anal-\\nogy to speak of the leaves being taxed for", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0287.jp2"}, "286": {"fulltext": "282 NATURE STUDIES.\\nthe enlargement of the trunk. Strictly\\nspeaking the trunk enlarges by sustaining\\nthem. For each leaf, however far removed\\nfrom the ground, stands in need of nour-\\nishment derived from the ground, as well\\nas of that which it finds in the air; and it\\nsimply sends its root down along the stem\\nof the tree, until it reaches the ground and\\nobtains the necessary mineral elements.\\nThe trunk has been therefore called by\\nsome botanists a bundle of roots but I\\nthink inaccurately. It is rather a messen-\\nger to the roots. A root, properly so called,\\nis a fibre, spongy, or absorbent at the ex-\\ntremity, which secretes certain elements\\nfrom the earth. The stem is by this defini-\\ntion, no more a cluster of roots than a clus-\\nter of leaves, but a channel of intercourse\\nbetween the roots and the leaves.\\nModern Painters, Vol. V, Part VI, Chap. VI, pp. 68, 69,\\nSo far as you can watch a tree, it is pro-\\nduced throughout by repetitions of the same\\nprocess, which repetitions, however, are arbi-\\ntrarily directed so as to produce one effect at\\none time, and another at another time. A\\nyoung sapling has his branches as much as\\nthe tall tree. He does not shoot up in a\\nlong thin rod, and begin to branch when he", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0288.jp2"}, "287": {"fulltext": "TREES AND THEIR MINISTRY. 283\\nis ten or fifteen feet high. The young\\nsapling conducts himself with all the dignity\\nof a tree from the first,\u00e2\u0080\u0094 only he so manages\\nhis branches as to form a support for his\\nfuture life, in a strong straight trunk, that\\nwill hold him well off the ground. Prudent\\nlittle sapling! but how does he manage\\nthis? how keep the young branches from\\nrambling about, till the proper time, or on\\nwhat plea dismiss them from his service if\\nthey will not help his provident purpose?\\nSo again, there is no difference in mode of\\nconstruction between the trunk of a pine and\\nits branch. But external circumstances so\\nfar interfere with the results of this repeated\\nconstruction, that a stone pine rises for a\\nhundred feet like a pillar, and then suddenly\\nbursts into a cloud. It is the knowledge of\\nthe mode in which such change may take\\nplace which forms the true natural history of\\ntrees or more accurately, their moral his-\\ntory. An animal is born with so many limbs,\\nand a head of such a shape. That is, strictly\\nspeaking, not its history, but one fact of its\\nhistory a fact of which no other account can\\nbe given than that it was so appointed. But\\na tree is born without a head. It has got to\\nmake its own head. It is born like a little\\nfamily from which a great nation is to spring;", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0289.jp2"}, "288": {"fulltext": "284 NATURE STUDIES.\\nand at a certain time, under peculiar exter-\\nnal circumstances, this nation, every indi-\\nvidual of which remains the same in nature\\nand temper, yet gives itself a new political\\nconstitution, and sends out branch colonies,\\nwhich enforce forms of law and life entirely\\ndifferent from those of the parent state.\\nThis is the history of the state. It is also\\nthe history of a tree.\\nModern Painters, Vol. V, Part VI, Chap. VII, p. 82.\\nWhat the elm and oak are to England, the\\nolive is to Italy. Its classical associations\\ndouble its importance in Greece and in the\\nHoly Land the remembrances connected\\nwith it are of course more touching than can\\never belong to any other tree of the field.\\nI do not want painters to tell me any\\nscientific facts about olive-trees. But it had\\nbeen well for them to have felt and seen the\\nolive-tree to have loved it for Christ s sake,\\npartly also for the helmed Wisdom s sake\\nwhich was to the heathen in some sort as\\nthat nobler Wisdom which stood at God s\\nright hand, when He founded the earth and\\nestablished the heavens. To have loved it,\\neven to the hoary dimness of its delicate\\nfoliage, subdued and faint of hue, as if the\\nashes of the Gethsemane agony had been cast", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0290.jp2"}, "289": {"fulltext": "TREES AND THEIR MINISTRY. 285\\nupon it forever; and to have traced, line by\\nline, the gnarled writhing of its intricate\\nbranches, and the pointed fretwork of its\\nlight and narrow leaves, inlaid on the blue\\nfield of the sky, and the small rosy-white\\nstars of its spring blossoming, and the beads\\nof sable fruit scattered by autumn along its\\ntopmost boughs the right, in Israel, of the\\nstranger, the fatherless, and the widow, and\\nmore than all, the softness of the mantle,\\nsilver grey, and tender like the down on a\\nbird s breast, with which, far away, it veils\\nthe undulation of the mountains;\\nNow the main characteristics of an olive-\\ntree are these. It has sharp and slender\\nleaves of a greyish green, nearly grey on the\\nunder surface, and resembling, but somewhat\\nsmaller than, those of our common willow.\\nIts fruit, when ripe, is black and lustrous\\nbut of course so small, that unless in great\\nquantity, it is not conspicuous upon the tree.\\nIts trunk and branches are peculiarly fantas-\\ntic in their twisting, showing their fibres at\\nevery turn and the trunk is often hollow,\\nand even rent into many divisions like sepa-\\nrate stems, but the extremities are exquisitely\\ngraceful, especially in the setting out of the\\nleaves, and the notable and characteristic\\neffect of the tree in the distance is of a", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0291.jp2"}, "290": {"fulltext": "286 NATURE STUDIES.\\nrounded and soft mass or ball of downy\\nfoliage.\\nThe Stones of Venice* Vol. III. Conclusion, pp. 175, 177.\\nIt may be said to be a universal law with\\nrespect to the boughs of all trees that they\\nincline their extremities more to the ground\\nin proportion as they are lower on the trunk,\\nand that the higher their point of insertion\\nis, the more they share in the upward ten-\\ndency of the trunk itself. But yet there is\\nnot a single group of boughs in any one tree\\nwhich does not show exception to this rule,\\nand present boughs lower in insertion, and\\nyet steeper in inclination than their neigh-\\nbors. Nor is this defect or deformity, but\\nthe result of the constant habit of Nature to\\ncarry variety into her very principles, and\\nmake the symmetry and beauty of her laws\\nthe more felt by the grace and accidentalism\\nwith which they are carried out. No one\\nfamiliar with foliage could doubt for an\\ninstant of the necessity of giving evidence\\nof this downward tendency in the boughs;\\nbut it would be nearly as great an offence\\nagainst truth to make the law hold good with\\nevery individual branch, as not to exhibit its\\ninfluence on the majority.\\nModern PaiHters Vol. II, Part II, Sect. IV, Chap. II, p. 51.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0292.jp2"}, "291": {"fulltext": "TREES AND THEIR MINISTRY. 287\\nGetting into a cart-road among some\\nyoung trees, where there was nothing to see\\nbut the blue sky through thin branches I lay\\ndown on the bank by the road-side to see if I\\ncould sleep. But I couldn t, and the branches\\nagainst the blue sky began to interest me.\\nFeeling gradually somewhat livelier I\\ntook out my sketch-book and began to draw\\na little aspen tree, on the other side of the\\ncart-road. Languidly, but not idly, I\\nbegan to draw it; and as I drew, the languor\\npassed away the beautiful lines insisted on\\nbeing traced, without weariness. More and\\nmore beautiful they became, as each rose out\\nof the rest, and took its place in the air.\\nWith wonder increasing every instant, I saw\\nthat they composed themselves, by finer\\nlaws than any known of men. At last, the\\ntree was there, and everything that I had\\nthought before about trees, nowhere.\\nThe woods, which I had only looked on as\\nwilderness, fulfilled I then saw,in their beauty,\\nthe same laws which guided the clouds, di-\\nvided the light, and balanced the wave. He\\nhath made everything beautiful, in his time\\nbecame for me thenceforward the interpreta-\\ntion of the bond between the human mind\\nand all visible things; and I returned along\\nthe wood-road feeling that it had led me far", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0293.jp2"}, "292": {"fulltext": "288 NATURE STUDIES.\\nfarther than ever fancy had reached, or\\ntheodolite measured.\\nPr zterita Vol. II, Chap. IV, pp. 251, 253.\\nForms which can be no otherwise ac-\\ncounted for may often be explained by refer-\\nence to the natural features of the country,\\nor to anything which habit must have ren-\\ndered familiar, and therefore delightful.\\nAnd to the force of this vital instinct we\\nhave farther to add the influence of natural\\nscenery and chiefly of the groups and wil-\\ndernesses of the tree which is to the German\\nmind what the olive or palm is to the South-\\nern, the spruce fir. The eye which has once\\nbeen habituated to the continual serration\\nof the pine forest, and to the multiplication\\nof its infinite pinnacles, is not easily offended\\nby the repetition of similar forms, nor easily\\nsatisfied by the simplicity of flat or massive\\noutlines. Add to the influence of the pine,\\nthat of the poplar, more especially in the\\nvalleys of France but think of the spruce\\nchiefly, and meditate on the difference of\\nfeeling with which the Northman would be\\ninspired by the frost-work wreathed upon its\\nglittering point, and the Italian by the dark\\ngreen depth of sunshine on the broad table\\nof the stone-pine (and consider by the way", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0294.jp2"}, "293": {"fulltext": "TREES AND THEIR MINISTRY. 289\\nwhether the spruce fir be a more heavenly-\\nminded tree than those dark canopies of the\\nMediterranean isles).\\nStones of Venice Vol. I, Chap. XIII, p. 156.\\nOf the many marked adaptations of nature\\nto the mind of man, it seems one of the most\\nsingular that trees intended especially for the\\nadornment of the wildest mountains should\\nbe in broad outline the most formal of trees.\\nThe vine, which is to be the companion\\nof man, is waywardly docile in its growth,\\nfalling into festoons beside his corn-fields,\\nor roofing his garden-walls, or casting its\\nshadow all summer upon his door. Associ-\\nated always with the trimness of cultivation,\\nit introduces all possible elements of sweet\\nwildness. The pine, placed nearly always\\namong scenes disordered and desolate, brings\\ninto them all possible elements of order and\\nprecision. Lowland trees may lean to this\\nside and that, though it is but a meadow\\nbreeze that bends them, or a bank of cowslips\\nfrom which their trunks lean aslope. But\\nlet storm and avalanche do their worst, and\\nlet the pine find only a ledge of vertical\\nprecipice to cling to, it will nevertheless grow\\nstraight. Thrust a rod from its last shoot\\ndown the stem it shall point to the centre\\nof the earth as long as the tree lives.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0295.jp2"}, "294": {"fulltext": "290 NATURE STUDIES.\\nAlso it may be well for lowland branches\\nto reach hither and thither for what they\\nneed, and to take all kinds of irregular shape\\nand extension. But the pine is trained to\\nneed nothing, and to endure everything. It\\nis resolvedly whole, self-contained, deserving\\nnothing but Tightness, content with restricted\\ncompletion. Tall or short, it will be straight.\\nSmall or large, it will be round. It may be\\npermitted also to these soft lowland trees\\nthat they should make themselves gay with\\nshow of blossom, and glad with pretty chari-\\nties of fruitfulness. We builders with the\\nsword have harder work to do for man,\\nand must do it in close-set troops. To stay\\nthe sliding of the mountain snows which\\nwould bury him: to hold in divided drops,\\nat our sword-points the rain, which would\\nsweep him from his treasure-fields to nurse\\nin shade among our brown fallen leaves the\\ntricklings that feed the brooks in drought:\\nto give massive shield against the winter\\nwind, which shrieks through the bare\\nbranches of the plain: such service must\\nwe do him steadfastly while we live. Our\\nbodies, also, are at his service softer than\\nthe bodies of other trees, though our toil is\\nharder than theirs. Let him take them as\\npleases him, for his houses and ships. So", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0296.jp2"}, "295": {"fulltext": "TREES AND THEIR MINISTRY. 291\\nalso it may be well for these timid lowland\\ntrees to tremble with all their leaves, to turn\\ntheir paleness to the sky, if but a rush of rain\\npasses by them or to let fall their leaves at\\nlast, sick and sere. But we pines must live\\ncarelessly amidst the wrath of clouds. We\\nonly wave our branches to and fro when the\\nstorm pleads with us, as men toss their arms\\nin a dream.\\nAnd finally, these weak lowland trees may\\nstruggle fondly for the last remnants of life,\\nand send up feeble saplings again from their\\nroots when they are cut down. But we\\nbuilders with the sword perish boldly; our\\ndying shall be perfect and solemn, as our\\nwarning we give up our lives without reluc-\\ntance and forever.\\nI wish the reader to fix his attention for a\\nmoment on these two great characters of the\\npine, its straightness and rounded perfect-\\nness: both wonderful, and in their issue\\nlovely. I say, first, its straightness.\\nOther trees, tufting crag or hill, yield to the\\nform and sway of the ground, clothe it, with\\nsoft compliance, are partly its subjects, partly\\nits flatterers, partly its comforters. But the\\npine rises in serene resistance, self-contained\\nnor can I ever without awe stay long under\\na great Alpine cliff, far from all house or", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0297.jp2"}, "296": {"fulltext": "292 NATURE STUDIES.\\nwork of men, looking up to its companies of\\npine, as they stand on the inaccessible juts\\nand perilous ledges of the enormous wall, in\\nquiet multitudes, each like the shadow of the\\none beside it upright, fixed, spectral, as\\ntroops of ghosts standing on the walls of\\nHades, not knowing each other dumb for-\\never. You cannot reach them, cannot cry-\\nto them: those trees never heard human\\nvoice they are far above all sound but of\\nthe winds. No foot ever stirred fallen leaf\\nof theirs. All comfortless they stand, be-\\ntween the two eternities of the Vacancy and\\nthe Rock yet with such iron will, that the\\nrock itself looks bent and shattered before\\nthem fragile, weak, inconsistent, compared\\nto their dark energy of delicate life, and\\nmonotony of enchanted pride unnumbered,\\nunconquerable.\\nThen note, farther, their perfectness. The\\nimpression on most people s minds must\\nhave been received more from pictures than\\nreality, so far as I can judge: so ragged\\nthey think the pine whereas its chief char-\\nacter in health is green and full roundness.\\nIt stands compact, like one of its own cones,\\nslightly curved on its side, finished and quaint\\nas a carved tree in some Elizabethan garden;\\nand instead of being wild in expression, forms", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0298.jp2"}, "297": {"fulltext": "TREES AND THEIR MINISTR Y. 293\\nthe softest of all forest scenery; for other\\ntrees show their trunks and twisting boughs\\nbut the pine, growing either in luxuriant\\nmass or in happy isolation, allows no branch\\nto be seen. Summit behind summit rise its\\npyramidal ranges, or down to the very grass\\nsweep the circlets of its boughs so that\\nthere is nothing but green cone and green\\ncarpet. Nor is it only softer, but in one\\nsense more cheerful than other foliage: for\\nit casts only a pyramidal shadow. Lowland\\nforest arches overhead, and chequers the\\nground with darkness but the pine, growing\\nin scattered groups, leaves the glades be-\\ntween emerald-bright. Its gloom is all its\\nown narrowing into the sky, it lets the sun-\\nshine strike down to the dew.\\nThe third character which I want you to\\nnotice in the pine is its exquisite fineness.\\nOther trees rise against the sky in dots and\\nknots, but this in fringes. You never see\\nthe edges of it, so subtle are they. It\\nseems as if these trees, living always among\\nthe clouds, had caught part of their glory\\nfrom them: and themselves the darkest of\\nvegetation, could yet add splendor to the\\nsun itself.\\nModern Painters^ Vol. V, Part VI, Chap. IX, pp. 114-119.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0299.jp2"}, "298": {"fulltext": "294 NATURE STUDIES.\\nPagan sculptors seem to have perceived\\nlittle beauty in the stems of trees they were\\nlittle less than timber to them. But with\\nChristian knowledge came a peculiar regard\\nfor the forms of vegetation, from the root\\nupwards. The actual representation of the\\nentire trees required in many scripture sub-\\njects, as in the most frequent of Old Testa-\\nment subjects, the Fall: familiarised the\\nsculptors of bas-relief to the beauty of forms\\nbefore unknown while the symbolical name\\ngiven to Christ by the Prophets, the Branch,\\nand the frequent expressions referring to this\\nimage throughout every scriptural descrip-\\ntion of conversion gave an especial interest to\\nthe Christian mind to this portion of vegeta-\\ntive structure.\\nThe Stones of Venice^ Vol. I, Chap. XX, p. 230.\\nThe green rod, or springing bough of a\\ntree the type of perfect human strength,\\nboth in the use of it in the Mosaic story, when\\nit becomes a serpent, or strikes the rock or\\nwhen Aaron s bears its almonds and in the\\nmetaphorical expression, the Rod out of\\nthe stem of Jesse, and the Man whose\\nname is the Branch and so on. And the\\nessential idea of real virtue is that of a vital\\nhuman strength, which instinctively, con-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0300.jp2"}, "299": {"fulltext": "TREES AND THEIR MINISTRY. 295\\nstantly, and without motive, does what is\\nright. You must train men to this by habit,\\nas you would the branch of a tree.\\nThe Ethics of the Dust, Lecture VII, p. 90.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0301.jp2"}, "300": {"fulltext": "", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0302.jp2"}, "301": {"fulltext": "PLANTS AND FLOWERS\\nFOR\\nCOMFORT AND DELIGHT,", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0303.jp2"}, "302": {"fulltext": "Lovely flowers growing in the open air, are the\\nproper guides of men to the places which their Maker\\nintended them to inhabit. Proserpina^ Chap. IV, p. 63.\\nI m scarcely able to look at one flower because of\\nthe two on each side, in my garden just now, I want\\nto have bees eyes, there are so many lovely things.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0304.jp2"}, "303": {"fulltext": "X.\\nPLANTS AND FLOWERS.\\nFlowers, like everything else that is lovely\\nin the visible world, are only to be seen\\nrightly with the eyes which the God who\\nmade them gave us and neither with micro-\\nscopes nor spectacles. The use of the\\ngreat mechanical powers may indeed some-\\ntimes be compatible with the due exercise\\nof our own but the use of instruments for\\nexaggerating the powers of sight necessarily\\ndeprives us of the best pleasures of sight. A\\nflower is to be watched as it grows, in its\\nassociation with the earth, the air, and the\\ndew its leaves are to be seen as they expand\\nin sunshine its colors, as they embroider the\\nfield, or illumine the forest. Dissect or mag-\\nnify them, and all you discover or learn at\\nlast will be that oaks, roses, and daisies, are\\nall made of fibres and bubbles; and these,\\nagain, of charcoal and water but for all their\\npeeping and probing, nobody knows how.\\nPrceterita, Vol. II, Chap. X, p. 348.\\nSome fifty years ago the poet Goethe dis-\\ncovered that all the parts of plants had a\\n299", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0305.jp2"}, "304": {"fulltext": "3\u00c2\u00b0\u00c2\u00b0\\nNATURE STUDIES.\\nkind of common nature, and would change\\ninto each other. Now this was a true dis-\\ncovery, and a notable one and you will find,\\nthat, in fact, all plants are composed of essen-\\ntially two parts the leaf and root one lov-\\ning the light, the other darkness one liking\\nto be clean, the other to be dirty; one lik-\\ning to grow for the most part up, the other\\nfor the most part down; and each having\\nfaculties and purposes of its own. But the\\npure one, which loves the light, has, above all\\nthings, the purpose of being married to an-\\nother leaf, and having child-leaves, and chil-\\ndren s children of leaves, to make the earth\\nfair forever. And when the leaves marry,\\nthey put on wedding-robes, and are more\\nglorious than Solomon in all his glory, and\\nthey have feasts of honey, and we call them\\nFlowers. Fors Clavigera, Vol. I, Letter V, p. 62.\\nWhat we especially need at present for\\neducational purposes is to know, not the\\nanatomy of plants, but their biography\\nhow and where they live and die, their tem-\\npers, benevolences, malignities, distresses, and\\nvirtues. We want them drawn from their\\nyouth to their age, from bud to fruit. We\\nought to see the various forms of their di-\\nminished but hardy growth in cold climates,", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0306.jp2"}, "305": {"fulltext": "PLANTS AND FLOWERS. 301\\nor poor soils; and their rank or wild luxu-\\nriance, when full-fed, and warmly nursed.\\nAnd all this we ought to have drawn so\\naccurately, that we might at once compare\\nany given part of a plant with the same part\\nof any other, drawn on the like conditions.\\nLectures on Art Lecture IV, p. 262.\\nYour garden is to enable you to obtain\\nsuch knowledge of plants as you may best\\nuse in the country in which you live, by com-\\nmunicating it to others and teaching them\\nto take pleasure in the green herb, given for\\nmeat, and the coloured flower, given for joy.\\nFors Clavigera, Vol. II, Letter XLVI, p. 285.\\nTo dress it and to keep it.\\nThat, then, was to be our work. Alas!\\nwhat work have we set ourselves upon in-\\nstead! How have we ravaged the garden\\ninstead of kept it feeding our war-horses\\nwith flowers, and splintering its trees into\\nspear-shafts\\nAnd at the East a flaming sword.\\nIs its flame quenchless? and are those\\ngates that keep the way indeed passable no\\nmore or is it not rather that we no more\\ndesire to enter? For what can we conceive\\nof that first Eden which we might not yet", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0307.jp2"}, "306": {"fulltext": "3\u00c2\u00b0\\nNATURE STUDIES.\\nwin back, if we chose It was a place full\\nof flowers, we say. Well: the flowers are\\nalways striving to grow wherever we suffer\\nthem and the fairer, the closer. There may\\nindeed have been a Fall of Flowers, as a\\nFall of Man but assuredly creatures such\\nas we are can now fancy nothing lovelier\\nthan roses and lilies, which would grow for\\nus side by side, leaf overlapping leaf, till the\\nEarth was white and red with them, if we\\ncared to have it so.\\nModern Painters, Vol. V, Part VI, Chap. I, p. 21.\\nRome, Whit Monday.\\nOn the quiet road leading from under the\\nPalatine to the little church of St. Nereo\\nand Achilleo, I met, yesterday morning,\\ngroup after group of happy peasants in\\nWhit-Sunday dress and the women all\\nwith bright artificial roses in their hair.\\nAnd the thing that struck me most in the\\nlook of it was not so much the cheerfulness,\\nas the dignity in a true sense, the becom-\\ningness and decorousness of the ornament.\\nAmong the ruins of the dead city, and the\\nworse desolation of the work of its modern\\nrebuilders, here was one element at least\\nof honour and order; and, in these, of\\ndelight.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0308.jp2"}, "307": {"fulltext": "PLANTS AND FLOWERS. 303\\nAnd these are the real significances of the\\nflower itself. It is the utmost purification of\\nthe plant, and the utmost discipline. Where\\nits tissue is blanched fairest, dyed purest, set\\nin strictest rank, appointed to most chosen\\noffice, there and created by the fact of this\\npurity and function is the flower.\\nBut created, observe, by the purity and\\norder, more than by the function. The\\nflower exists for its own sake not for the\\nfruit s sake. The production of the fruit is\\nan added honour to it is a granted conso-\\nlation to us for its death. But the flower is\\nthe end of the seed,\u00e2\u0080\u0094 not the seed of the\\nflower. You are fond of cherries, perhaps;\\nand think that the use of cherry blossom is\\nto produce cherries. Not at all. The use\\nof cherries is to produce cherry blossoms;\\njust as the use of bulbs is to produce hya-\\ncinths,\u00e2\u0080\u0094 not of hyacinths to produce bulbs.\\nNay, that the flower can multiply by bulb, or\\nroot, or slip, as well as by seed, may show\\nyou at once how immaterial the seed-forming\\nfunction is to the flower s existence. A\\nflower is to the vegetable substance what a\\ncrystal is to the mineral. Dust of sap-\\nphire, writes my friend Dr. John Brown to\\nme, of the wood hyacinths of Scotland in the\\nspring. Yes, that is so, each bud more", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0309.jp2"}, "308": {"fulltext": "3 o4 NATURE STUDIES.\\nbeautiful, itself, than perfectest jewel this,\\nindeed, jewel of purest ray serene but,\\nobserve you, the glory is in the purity, the\\nserenity, the radiance, not in the mere con-\\ntinuance of the creature.\\nIt is because of its beauty that its continu-\\nance is worth Heaven s while. The glory of\\nit is in being, not in begetting and in the\\nspirit and substance, not the change.\\nFasten well in your mind, then, the con-\\nception of order and purity, as the essence\\nof the flower s being, no less than of the\\ncrystal s. A ruby is not made bright to\\nscatter round it child-rubies nor a flower,\\nbut in collateral and added honour, to give\\nbirth to other flowers. Two main facts,\\nthen, you have to study in every flower the\\nsymmetry and order of it, and the perfection\\nof its substance; first the manner in which\\nthe leaves are placed for beauty of form;\\nthen the spinning and weaving and blanch-\\ning of their tissue, for the reception of purest\\ncolour, or refining to richest surface.\\nFirst, the order, the proportion, and\\nanswering to each other, of the parts; for\\nthe study of which it becomes necessary to\\nknow what its parts are; and that a flower\\nconsists essentially of Well, I really don t\\nknow what it consists essentially of. For", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0310.jp2"}, "309": {"fulltext": "PLANTS AND FLOWERS. 305\\nsome flowers have bracts, and stalks, and\\ntoruses, and calices, and corollas, and discs,\\nand stamens, and pistils, and ever so many-\\nodds and ends of things besides, of no use at\\nall, seemingly and others have no bracts, and\\nno stalks, and no toruses, and no calices, and\\nno corollas, and nothing recognizable for\\nstamens or pistils, only when they come\\nto be reduced to this kind of poverty one\\ndoesn t call them flowers; they get together in\\nknots, and one calls them catkins, or the like,\\nor forgets their existence altogether.\\nAnd for farther embarrassment, a flower\\nnot only is without essential consistence of a\\ngiven number of parts, but it rarely consists,\\nalone, of itself. One talks of a hyacinth as\\nof a flower but a hyacinth is any number of\\nflowers. One does not talk of a heather\\nwhen one says heath, one means the whole\\nplant, not the blossom, because heath-bells,\\nthough they grow together for company s\\nsake, do so in a voluntary sort of way, and\\nare not fixed in their places and yet, they\\ndepend on each other for effect, as much as\\na bunch of grapes.\\nProserpina Vol. I, Chap. IV, pp. 48-50.\\nPerhaps few people have ever asked them-\\nselves why they admire a rose so much more", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0311.jp2"}, "310": {"fulltext": "306 NATURE STUDIES.\\nthan all other flowers. If they consider,\\nthey will find, first that red is, in a delicately\\ngradated state, the loveliest of all pure\\ncolors and secondly, that in the rose there\\nis no shadow, except what is composed of\\nColor. \u00e2\u0080\u0094Modern Painters, Vol. IV, Part V, Chap. IV, p. 69.\\nYou may at least earnestly believe, that\\nthe presence of the spirit which culminates\\nin your own life, shows itself in dawning\\nwherever the dust of the earth begins to\\nassume any orderly and lovely state.\\nTake the nearest, most easily examined\\ninstance the life of a flower. Notice what\\na different degree and kind of life there is in\\nthe calyx and the corolla. The calyx is\\nnothing but the swaddling clothes of the\\nflower the child-blossom is bound up in it,\\nhand and foot guarded in it, restrained by\\nit, till the time of birth. The shell is hardly\\nmore subordinate to the germ in the egg,\\nthan the calyx to the blossom. It bursts at\\nlast; but it never lives as the corolla does.\\nIt may fall at the moment its task is fulfilled,\\nas in the poppy or wither gradually, as in\\nthe buttercup; or persist in a ligneous\\napathy, after the flower is dead, as in the\\nrose or harmonise itself so as to share in\\nthe aspect of the real flower, as in the lily", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0312.jp2"}, "311": {"fulltext": "PLANTS AND FLOWERS. 307\\nbut it never shares in the corolla s bright\\npassion of life.\\nThe Ethics of the Dust, Lecture X, p. 130.\\nThe first joy of the year its snowdrops,\\nthe second, and cardinal one the al-\\nmond bloSSOm. \u00e2\u0080\u0094Prceterita, Vol. I, Chap. I, p. 44.\\nA child s division of plants is into trees\\nand flowers. If, however, we were to take\\nhim in spring, after he had gathered his lap\\nfull of daisies, from the lawn into the orchard,\\nand ask him how he would call those wreaths\\nof richer floret, whose frail petals tossed their\\nfoam of promise between him and the sky,\\nhe would at once see the need of some inter-\\nmediate name, and call them, perhaps, tree-\\nflowers. If, then, we took him to a birch-\\nwood, and showed him that catkins were\\nflowers, as well as cherry-blossoms, he might,\\nwith a little help, reach so far as to divide all\\nflowers into two classes; one, those that grew\\non ground and another, those that grew on\\ntrees. The botanist might smile at such a\\ndivision but an artist would not. To him,\\nas the child, there is something specific and\\ndistinctive in those rough trunks that carry\\nthe higher flowers. To him it makes the\\nmain difference between one plant and an-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0313.jp2"}, "312": {"fulltext": "3 o8 NATURE STUDIES.\\nother, whether it is to tell as a light upon\\nthe ground, or as a shade upon the sky.\\nPlants are, indeed, broadly referable to two\\ngreat classes. The first we may, perhaps,\\nnot inexpediently call Tented Plants. They\\nlive in encampments, on the ground, as lilies;\\nor on surfaces of rock, or stems of other\\nplants, as lichens and mosses. They live\\nsome for a year, some for many years, some\\nfor myriads of years: but, perishing they\\npass on as the tented Arab passes; they\\nleave no memorials of themselves, except the\\nseed, or bulb, or root, which is to perpetuate\\nthe race.\\nThe other great class of plants we may\\nperhaps best call Building Plants. These\\nwill not live on the ground, but eagerly raise\\nedifices above it. Each works hard with\\nsolemn forethought all its life. Perishing,\\nit leaves its work in the form which will be\\nmost useful to its successors its own monu-\\nment, and their inheritance. These archi-\\ntectural edifices we call Trees.\\nModern Painters, Vol. V, Part VI, Chap. II, p. 29.\\nThe flowering part of a plant shoots out\\nor up, in some given direction, until, at a\\nstated period, it opens or branches into per-\\nfect form by a law just as fixed, and just", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0314.jp2"}, "313": {"fulltext": "PLANTS AND FLOWERS. 309\\nas inexplicable, as that which numbers the\\njoints of an animal s skeleton, and puts the\\nhead on its right joint. In many forms of\\nflowers fox-glove, aloe, hemlock, or blos-\\nsom of maize the structure of the flower-\\ning part so far assimilates itself to that of a\\ntree, that we not unnaturally think of a tree\\nonly as a large flower, or large remnant of\\nflower, run to seed.\\nModern Painters, Vol. V, Part VI, Chap. VII, p. 81.\\nWithout entering at all into the history\\nof its fruitage, the life and death of the blos-\\nsom itself is always an eventful romance,\\nThe grouping given to the various states of\\nform between bud and flower is always the\\nmost important part of the design of the\\nplant; and in the modes of its death are\\nsome of the most touching lessons, or sym-\\nbolisms, connected with its existence. The\\nutter loss and far scattered ruin of the cistus\\nand wild rose, the dishonoured and dark\\ncontortions of the convolvulus, and the\\npale wasting of the crimson heath of Apen-\\nnine, are strangely opposed by the quiet\\nclosing of the brown bells of the ling, each\\nmaking of themselves a little cross as they\\ndie and so enduring into the days of winter.\\nThis grouping, then, and way of treating", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0315.jp2"}, "314": {"fulltext": "3 io NATURE STUDIES.\\neach other in their gathered company, is the\\nfirst and most subtle condition of form in\\nflowers and observe I don t mean, the\\nappointed and disciplined grouping, but the\\nwayward and accidental.\\nProserpina^ Vol. I, Chap. IX, pp. 51, 52.\\nNote, for a little bye piece of botany that\\nin Val D Arno lilies grow among the corn\\ninstead of poppies. The purple gladiolus\\nglows through all its green fields in early\\nSpring. Val D Arno, Lecture VI, p. 324.\\nThe families of all the beautiful flowers\\nprepared for the direct service and delight of\\nman are constructed on these two primary\\nschemes,-\u00e2\u0080\u0094 the rose representing the cinq-\\nfold radiation, and the lily the sixfold while\\nthe fourfold, or cruciform, are on the whole\\nrestricted to more servile utility. One plant\\nonly, that I know of, in the Rose family,\\nthe tormentilla subdues itself to the cruci-\\nform type with a grace in its simplicity which\\nmakes it, in mountain pastures, the fitting\\ncompanion of the heathbell and thyme.\\nThe Laws of Fesole, Chap. V, p. 49.\\nWith a little steady application, I suppose\\nwe might soon know more than we do now", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0316.jp2"}, "315": {"fulltext": "PLANTS AND FLOWERS. 311\\nabout the colors of flowers. Perhaps also\\nin due time we may give some account of\\nthat true gold (the only gold of intrinsic\\nvalue) which gilds buttercups; and under-\\nstand how the spots are laid, in painting a\\npansy.\u00e2\u0080\u0094 Modern Painters, Vol. V, Part IV, Chap. X, p. 125.\\nI have in my hand a small red poppy\\nwhich I gathered on Whit Sunday on the\\npalace of the Caesars. It is an intensely\\nsimple, intensely floral, flower. All silk and\\nflame a scarlet cup, perfect-edged all round,\\nseen among the wild grass far away, like a\\nburning coal fallen from Heaven s altars.\\nYou cannot have a more complete, a more\\nstainless, type of flower absolute inside and\\noutside all flower. No sparing of colour\\nanywhere no outside coarseness no in-\\nterior secrecies: open as the sunshine that\\ncreates it; fine-finished on both sides, down\\nto the extremest point of insertion on its\\nnarrow stalk.\\nA pure cup that much at least you\\ncannot but remember, of poppy-form among\\nthe corn-field: and it is best, in beginning,\\nto think of every flower as essentially a cup.\\nThere are flat ones, but you will find that\\nmost of these are really groups of flowers,\\nnot single blossoms and there are out-of-the-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0317.jp2"}, "316": {"fulltext": "3 i2 NATURE STUDIES.\\nway and quaint ones, very difficult to define\\nas of any shape but even these have a cup to\\nbegin with, deep down in them. You had\\nbetter take the idea of a cup or vase, as the\\nfirst, simplest, and most general form of true\\nflower. The botanists call it a corolla, which\\nmeans a garland, or a kind of crown.\\nProserpina, Vol. I, Chap. IV, pp. 52, 53.\\nWe usually think of the poppy as a coarse\\nflower; but it is the most transparent and\\ndelicate of all the blossoms of the field. The\\nrest nearly all of them depend on the\\ntexture of their surfaces for colour. But\\nthe poppy is painted glass it never glows so\\nbrightly as when the sun shines through it.\\nWherever it is seen against the light or\\nwith the light always, it is a flame, and\\nwarms the wind like a blown ruby.\\nProserpina, Vol. I, Chap. IV, p. 56.\\nOf the outward seemings and expressions\\nof plants, there are few but are in some way\\ngood and therefore beautiful, as of humility,\\nand modesty, and love of places and things,\\nin the reaching out of their arms, and clasp-\\ning of their tendrils and energy of resistance,\\nand patience of suffering, and beneficence\\none towards another in shade and protection.\\nModern Painters, Vol. II, Part III, Sect. I, Chap. XII, p. 336.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0318.jp2"}, "317": {"fulltext": "PLANTS AND FLOWERS, 313\\nFlowers in a London ball-room are a\\nluxury in a botanical garden, a delight of\\nthe intellect; and in their native fields both.\\nA Joy Forever Addenda, 245.\\nI believe that there is often something in\\nthe spring which weakens one by its very\\ntenderness the violets in the wood send one\\nhome sorrowful that one isn t worthy to see\\nthem, or else that one isn t one of them.\\nThe oleanders are coming out and\\ngolden corn like Etruscan jewelry over all\\nthe fields.\\nIt is one of my pet discoveries that Homer\\nmeans the blue iris by the word translated\\nviolet.\\nThe Lychnis it is the kind of flower\\nthat gives me pleasure and health and mem-\\nory and hope\\nHortus Znclusus, Miscellaneous, pp. 65-68.\\nFlowers seem intended for the solace\\nof ordinary humanity children love them\\nquiet, tender, contented ordinary people love\\nthem as they grow luxurious and disorderly\\npeople rejoice in them gathered. They are\\nthe cottager s treasure and in the crowded\\ntown, mark, as with a little broken fragment\\nof rainbow, the windows of the workers in", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0319.jp2"}, "318": {"fulltext": "3H NATURE STUDIES,\\nwhose heart rests the covenant of peace.\\nPassionate or religious minds contemplate\\nthem with fond, feverish intensity the affec-\\ntion is seen severely calm in the works of\\nmany old religious painters, and mixed with\\nmore open and true country sentiment in\\nthose of our own pre-Raphaelites. To the\\nchild and the girl, the peasant and the\\nmanufacturing operative, to the grisette and\\nthe nun, the lover and monk, they are pre-\\ncious always. But to the men of supreme\\npower and thoughtfulness, precious only at\\ntimes; symbolically and pathetically often to\\nthe poets, but rarely for their own sake.\\nModern Painters, Vol. V, Part VI, Chap. X, p. 129.\\nI don t know any more tiresome flower in\\nthe borders than your especially modest\\nsnowdrop which one always has to stoop\\ndown and take all sorts of tiresome trouble\\nwith, and nearly break its poor little head\\noff, before you can see it and then, half of\\nit is not worth seeing. Girls should be like\\ndaisies nice and white, with an edge of red,\\nif you look close, making the ground bright\\nwherever they are.\\nThe Ethics of the Dust, Chap. VII, p. 84.\\nThe Spirit in the plant,\u00e2\u0080\u0094 that is to say,\\nits power of gathering dead matter out of the", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0320.jp2"}, "319": {"fulltext": "PLANTS AND FLOWERS. 315\\nwreck round it, and shaping it into its own\\nchosen shape, is of course strongest at\\nthe moment of its flowering, for it then not\\nonly gathers, but forms, with the greatest\\nenergy.\\nAnd where this Life is in it at full power,\\nits form becomes invested with aspects that\\nare chiefly delightful to our own human\\npassions; namely, first, with the loveliest\\noutlines of shape; and, secondly, with the\\nmost brilliant phases of the primary colours,\\nblue, yellow, and red or white, the unison of\\nall and, to make it all more strange, this\\ntime of peculiar and perfect glory is associ-\\nated with relations of the plants or blossoms\\nto each other, correspondent to the joy of\\nlove in human creatures, and having the\\nsame object in the continuance of the\\nrace.\\nThe main fact, then, about a flower is that\\nit is the part of the plant s form developed\\nat the moment of its intensest life and this\\ninner rapture is usually marked externally for\\nus by the flush of one or more of the pri-\\nmary colours. What the character of the\\nflower shall be, depends entirely upon the\\nportion of the plant into which this rapture\\nof spirit has been put. Sometimes the life\\nis put into its outer sheath, and then the", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0321.jp2"}, "320": {"fulltext": "3 i6 NATURE STUDIES.\\nouter sheath becomes white and pure, and\\nfull of strength and grace sometimes the\\nlife is put into the common leaves, just\\nunder the blossom, and they become scarlet\\nor purple sometimes the life is put into the\\nstalks of the flower, and they flush blue\\nsometimes into its outer enclosure or calyx\\nmostly into its inner cup; but, in all cases,\\nthe presence of the strongest life is asserted\\nby characters in which the human sight\\ntakes pleasure, and which seem prepared\\nwith distinct reference to us, or rather, bear,\\nin being delightful, evidence of having been\\nproduced by the power of the same spirit\\nas OUr OWn. The Queen of the Air, II, pp. 281, 282.\\nA snowdrop was to me, as to Wordsworth,\\npart of the Sermon on the Mount.\\nPrcetcrita, Vol. I, Chap. XVI, p. 183.\\nWhat is a weed? A plant in the\\nwrong place.\\nIt is entirely true that a weed is a plant\\nthat has got into a wrong place. But\\nsome plants never do!\\nWho ever saw a wood anemone or a heath\\nblossom in the wrong place Who ever saw\\na nettle or hemlock in a right one And\\nyet, the difference between flower and weed", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0322.jp2"}, "321": {"fulltext": "PLANTS AND FLOWERS. 317\\ncertainly does not consist merely in the\\nflower being innocent, and the weed sting-\\ning and venomous. We do not call the\\nnightshade a weed in our hedges, nor the\\nscarlet agaric in our woods. But we do\\nthe corncockle in our fields.\\nWhat is it, then, this temper in some\\nplants malicious as it seems intrusive, at\\nall events, or erring, which brings them out\\nof their places thrusts them where they\\nthwart us and offend? Primarily, it is mere\\nhardihood and coarseness of make. A plant\\nthat can live anywhere, will often live where\\nit is not wanted. But the delicate and tender\\nones keep at home. You have no trouble in\\nkeeping down the spring gentian. It re-\\njoices in its own Alpine home, and makes\\nthe earth as like heaven as it can, but yields\\nas softly as the air, if you want it to give\\nplace.\\nBut a plant may be hardy, and coarse of\\nmake, and able to live anywhere, and yet be\\nno weed. Nevertheless, mere coarseness of\\nstructure, indiscriminate hardihood, is at least\\na point of some unworthiness in a plant.\\nThat it should have no choice of home, no\\nlove of native land, is ungentle; much more\\nif such discrimination as it has, be immodest,\\nand incline it, seemingly, to open on much-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0323.jp2"}, "322": {"fulltext": "318 NATURE STUDIES.\\ntraversed places, where it may be continually\\nseen of strangers.\\nThe tormentilla gleams in showers along\\nthe mountain turf; her delicate crosslets are\\nseparate, though constellate, as the rubied\\ndaisy. But the king-cup (blessings be upon\\nit always no less) crowds itself sometimes\\ninto too burnished flame of inevitable gold.\\nI don t know if there was anything in the\\ndarkness of this last spring to make it\\nbrighter in resistance; but I never saw any\\nspace of full warm yellow, in natural colour,\\nso intense as the meadows; nor did I\\nknow perfectly what purple and gold meant,\\ntill I saw a field of park land embroidered a\\nfoot deep with king-cup and clover.\\nProserpina^ Vol. I, Chap. VI, pp. 77, 80.\\nOn fine days when the grass was dry I\\nused to lie down on it, and draw the blades\\nas they grew, with the ground herbage of\\nbuttercups or hawkweed mixed among them,\\nuntil every square foot of meadow or mossy\\nbank, became an infinite picture and posses-\\nsion to me, and the grace and adjustment\\nto each other of growing leaves, a subject of\\nmore curious interest to me than the com-\\nposition of any painter s masterpiece.\\nPr zterita Vol. II, Chap. X, p. 348.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0324.jp2"}, "323": {"fulltext": "PLANTS AND FLOWERS. 319\\nEvery kind of knowledge may be sought\\nfrom ignoble motives, and for ignoble ends\\nand in those who so possess it, it is ignoble\\nknowledge; while the very same knowledge\\nis in another mind an attainment of the\\nhighest dignity, and conveying the greatest\\nblessing. This is the difference between the\\nmere botanist s knowledge of plants and the\\ngreat poet s or painter s knowledge of them.\\nThe one notes their distinctions for the sake\\nof swelling his herbarium, the other, that he\\nmay render them vehicles of expression and\\nemotion. The one counts the stamens, and\\naffixes a name, and is content; the other\\nobserves every character of the plant s color\\nand form considering each of its attributes\\nas an element of expression, he seizes on its\\nlines of grace or energy, rigidity or repose\\nnotes the feebleness or the vigor, the seren-\\nity or tremulousness of its hues observes its\\nlocal habits, its love or fear of peculiar places,\\nits nourishment or destruction by particular\\ninfluences; he associates it in his mind with\\nall the features of the situation it inhabits,\\nand the ministering agencies necessary to its\\nsupport. Thenceforward the flower is to\\nhim a living creature, with histories written\\non its leaves, and passions breathing in its\\nmotion. Its occurrence in his picture is no", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0325.jp2"}, "324": {"fulltext": "3 2o NATURE STUDIES,\\nmere point of color, no meaningless spark\\nof light. It is a voice rising from the earth,\\na new chord of the mind s music.\\nModern Painters^ Vol. I, Preface, pp. 37, 38.\\nThough I would fain hold, if I might,\\nthe faith that every flower enjoys the air it\\nbreathes, neither do I ever crush or gather\\none without some pain, yet our feeling for\\nthem has in it more of sympathy than of\\nactual love, as receiving from them in delight\\nfar more than we can give for love, I think\\nchiefly grows in giving, at least its essence\\nis the desire of doing good, or giving happi-\\nness, and we cannot feel the desire of that of\\nwhich we cannot conceive, so that if we con-\\nceive not of a plant as capable of pleasure,\\nwe cannot desire to give it pleasure, that\\nis, we cannot love it in the entire sense of the\\nterm. Nevertheless, the sympathy of very\\nlofty and sensitive minds usually reaches so\\nfar as to the conception of life in the plant,\\nand so to love, as with Shelley, of the sensi-\\ntive plant, and Shakespeare always, as he has\\ntaught us in the sweet voices of Ophelia and\\nPerdita, and Wordsworth always, as of the\\ndaffodils, and the celandine.\\nIt doth not love the shower, nor seek the cold,\\nThis neither is its courage nor its choice,\\nBut its necessity in being old,", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0326.jp2"}, "325": {"fulltext": "PLANTS AND FLOWERS. 321\\nand so all other great poets (that is to say,\\ngreat seers nor do I believe that any mind,\\nhowever rude, is without some slight per-\\nception or acknowledgment of joyfulness in\\nbreathless things, as most certainly there\\nare none but feel instinctive delight in the\\nappearance of such enjoyment.\\nFor it is a matter of easy demonstration,\\nthat setting the characters of typical beauty\\naside, the pleasure afforded by every organic\\nform is in proportion to its appearance of\\nhealthy vital energy; as in a rose-bush, set-\\nting aside all considerations of gradated\\nflushing of color and fair folding of line,\\nwhich it shares with the cloud or the snow-\\nwreath, we find in and through all this, cer-\\ntain signs pleasant and acceptable as signs\\nof life and enjoyment in the particular indi-\\nvidual plant itself. Every leaf and stalk is\\nseen to have a function, to be constantly\\nexercising that function, and as it seems\\nsolely for the good and enjoyment of the\\nplant It is true that reflection will show us\\nthat the plant is not living for itself alone,\\nthat its life is one of benefaction, that it gives\\nas well as receives, but no sense of this\\nwhatsoever mingles with our perception of\\nphysical beauty in its forms. Those forms\\nwhich appear to be necessary to its health,", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0327.jp2"}, "326": {"fulltext": "322 NATURE STUDIES.\\nthe symmetry of its leaflets, the smoothness\\nof its stalks, the vivid green of its shoots, are\\nlooked upon by us as signs of the plant s own\\nhappiness and perfection they are useless\\nto us except as they give us pleasure in our\\nsympathizing with that of the plant, and if\\nwe see a leaf withered or shrunk or worm-\\neaten, we say it is ugly, and feel it to be\\nmost painful, not because it hurts us, but\\nbecause it seems to hurt the plant, and con-\\nveys to us an idea of pain and disease and\\nfailure of life in it\\n\u00e2\u0080\u0094Modern Painters, Vol. II, Part III, Sect. I, Chap. I, pp. 326, 327.\\nThe leaves of the herbage at our feet take\\nall kind of strange shapes, as if to invite us\\nto examine them. Star-shaped, heart-shaped,\\nspear-shaped, arrow-shaped, fretted, fringed,\\ncleft, furrowed, serrated, sinuated in whorls,\\nin tufts, in spires, in wreaths, endlessly ex-\\npressive, deceptive, fantastic, never the same\\nfrom footstalk to blossom; they seem per-\\npetually to tempt our watchfulness, and take\\ndelight in outstripping our wonder.\\nModern Painters, Vol. V, Part VI, Chap. VIII, p. 130.\\nWood hyacinths flakes of blue fire\\nThe wood hyacinth is the best representative\\nof the tribe of flowers which the Gauls called\\nAsphodel. Fors Clavigera, Vol. I, Letter VI, p. 76.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0328.jp2"}, "327": {"fulltext": "PLANTS AND FLOWERS. 323\\nCompare Milton s flowers in Lycidas with\\nPerdita s. In Milton it happens, I think,\\ngenerally, in the case before us most cer-\\ntainly, that the imagination is mixed and\\nbroken with fancy, and so the strength of\\nthe imagery is part of iron and part of clay.\\nBring the rathe primrose, that forsaken dies,\\nThe tufted crow-toe, and pale jessamine,\\nThe white pink, and the pansy freaked with jet\\nThe glowing violet,\\nThe musk rose, and the well-attired woodbine,\\nWith cowslips wan, that hang the pensive head,\\nAnd every flower that sad embroidery wears.\\nThen hear Perdita:\\nO Proserpina\\nFor the flowers now, that frighted thou let st fall\\nFrom Dis s wagon. Daffodils\\nThat come before the swallow dares and take\\nThe winds of March with beauty. Violets, dim,\\nBut sweeter than the lids of Juno s eyes\\nOr Cytherea s breath pale primroses\\nThat die unmarried, ere they can behold\\nBright Phoebus in his strength, a malady\\nMost incident to maids.\\nObserve how the imagination in these last\\nlines goes into the very inmost soul of every\\nflower, after having touched them all at first\\nwith that heavenly timidness, the shadow\\nof Proserpine s and gilded them with celes-\\ntial gathering, and never stops on their spots,", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0329.jp2"}, "328": {"fulltext": "324 NATURE STUDIES.\\nor their bodily shape, while Milton sticks in\\nthe stains upon them, and puts us off with\\nthat unhappy freak of jet in the very flower\\nthat without this bit of paper-staining would\\nhave been the most precious to us of all.\\nThere is pansies, that s for thoughts.\\nModern Painters^ Vol. II, Part III, Sect. II, Chap. Ill, p. 418.\\nJust as distinctly as the daisy and butter-\\ncup are meadow flowers, the violet is a bank\\nflower, and would fain grow always on a\\nsteep slope, towards the sun. And it is so\\npoised on its stem that it shows, when grow-\\ning on a slope, the full space and opening of\\nits flower, not at all, in any strain of mod-\\nesty, hiding itself, though it may easily be,\\nby grass or mossy stone, half hidden,\\nbut to the full showing itself, and intending\\nto be lovely and luminous, as fragrant, to the\\nuttermost of its soft power.\\nThe native color of the violet is violet;\\nand the white and yellow kinds, though\\npretty in their place and way, are not to\\nbe thought of in generally meditating the\\nflowers quality or power. A white violet\\nis to black ones what a black man is to\\nwhite ones; and the yellow varieties are, I\\nbelieve, properly pansies, but the true vio-\\nlet which I have just now called black", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0330.jp2"}, "329": {"fulltext": "PLANTS AND FLOWERS. 325\\nwith gerarde, the blacke or purple violet\\nhave a great prerogative above others and\\nall the nobler species of the pansy itself are\\nof full purple, inclining, however, in the\\nordinary wild violet to blue.\\nThe reader must remember that he\\ncannot know what violet colour really is, un-\\nless he watch the flower in its early growth.\\nIt becomes dim in age, and dark when it is\\ngathered at least when it is tied in bunches\\nbut I am under the impression that the\\ncolour actually deadens also, at all events,\\nno other single flower of the same quiet\\ncolour lights up the ground near it as a\\nviolet will. The bright hounds-tongue looks\\nmerely like a spot of bright paint; but a\\nyoung violet glows like painted glass.\\nProserpina, Vol. II, Chap. I, pp. 166-170.\\nThe vervain is the ancient flower sacred\\nto domestic purity and cheerful service.\\nThe dianthus means, translating that Greek\\nname Flower of God and it is of all\\nthe wild flowers in Greece the brightest and\\nrichest in its divine beauty.\\nFors Clavigera, Vol. Ill, Letter LXXIV, p. 379.\\nQueen Violet, Sweet Violet. I believe\\nit is the earliest of its race, sometimes called", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0331.jp2"}, "330": {"fulltext": "326 NATURE STUDIES.\\nMartia, March Violet. It is the queen\\nnot only of the violet tribe, but of all low-\\ngrowing flowers, in sweetness of scent vari-\\nously applicable and serviceable in domestic\\neconomy the scent of the lily of the valley\\nseems less capable of preservation or use\\nOphelia s Pansy The wild heart s-ease\\nof Europe: its proper color an exquisitely\\nclear purple in the upper petals, gradated\\ninto deep blue in the lower ones the centre,\\ngold. Not larger than a violet, but perfectly\\nformed, and firmly set in all its petals.\\nQuite one of the most lovely things that\\nHeaven has made.\\nThe old English names of Violets are\\nmany Love in Idleness making Lys-\\nander, as Titania, much wandering in mind\\nand for a time mere kits run the street\\n(or run the wood?) Call me to you\\nwith Herb Trinity from its three colors\\npurple, blue and gold, variously blended in\\ndifferent countries Three faces under a\\nhood describes the English variety only.\\nSaid to be the ancestress of all the florists\\npansies.\\nMy Viola aurea is the Rock-violet of\\nthe Alps one of the bravest, brightest, and\\ndearest of little flowers.\\nWhat the colors of flowers, or of birds,", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0332.jp2"}, "331": {"fulltext": "PLANTS AND FLOWERS. 327\\nor of precious stones, or of the sea and air,\\nand the blue mountains, and the evening and\\nthe morning, and the clouds of Heaven were\\ngiven for they only know who can see\\nthem and can feel, and who pray that the\\nsight and the love of them may be prolonged,\\nwhere cheeks will not fade, nor sunset die.\\nAnd now, to close, let me give you some\\nfuller account of the reasons for the naming\\nof the order to which the violet belongs,\\nCytherides.\\nYou see that the Uranides are, as far as I\\ncould so gather them, of the pure blue of the\\nsky: but the Cytherides of altered blue:\\nthe first, Viola, typically purple the second,\\nVeronica, pale blue with a peculiar light; the\\nthird, Giulietta, deep blue, passing strangely\\ninto a subdued green before and after the\\nfull life of the flower.\\nAll these three flowers have great strange-\\nnesses in them and weaknesses the Veronica\\nmost wonderful in its connection with the\\npoisonous tribe of the foxgloves; the Giu-\\nlietta, alone among flowers in the action of\\nthe shielding leaves and the Viola, grotesque\\nand inexplicable in its hidden structure, but\\nthe most sacred of all flowers to earthly and\\ndaily Love, both in its scent and glow.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0333.jp2"}, "332": {"fulltext": "328 NATURE STUDIES.\\nNow, therefore, let us look completely for\\nthe meaning of the two leading lines,\\nSweeter than the lids of Juno s eyes,\\nOr Cytherea s breath.\\nI may refer my readers to the first chapter\\nof the Queen of the Air for the explana-\\ntion of the way in which all great myths\\nare founded, partly on physical, partly on\\nmoral fact, so that it is not possible for\\npersons who neither know the aspect of\\nnature nor the constitution of the human\\nsoul, to understand a word of them.\\nNaming the Greek Gods, therefore, you\\nhave first to think of the physical power\\nthey represent. When Horace calls Vulcan,\\nAvidus, he thinks of him as the power\\nof Fire when he speaks of Jupiter s red\\nright hand, he thinks of him as the power\\nof rain with lightning; and when Homer\\nspeaks of Juno s dark eyes, you have to\\nremember that she is the softer form of the\\nrain power, and to think of the fringes of\\nthe rain cloud across the light of the horizon.\\nGradually the idea becomes personal and\\nhuman in the Dove s eyes within thy locks,\\nand Dove s eyes by the rivers of water of\\nthe Song of Solomon.\\nOr Cytherea s breath, the two thoughts\\nof softest glance, and softest kiss, being thus", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0334.jp2"}, "333": {"fulltext": "PLANTS AND FLOWERS. 329\\ntogether associated with the flower but note\\nespecially that the Island of Cythera was\\ndedicated to Venus because it was the chief,\\nif not the only Greek island, in which the\\npurple fishery of Tyne was established and\\nin our own minds should be marked not\\nonly as the most southern fragment of true\\nGreece, but the virtual continuation of the\\nchain of mountains which separate the Spar-\\ntan from the Argive territories, and are the\\nnatural home of the brightest Spartan and\\nArgive beauty which is symbolized in Helen.\\nAnd, lastly, in accepting for the order this\\nname of Cytherides, you are to remember the\\nnames of Viola and Giulietta, its two limit-\\ning families, as those of Shakespeare s two\\nmost loving maids the two who love sim-\\nply and to the death as distinguished from\\nthe greater natures in whom earthly Love\\nhas its due part and no more and farther\\nstill from the greatest, in whom the earthly\\nlove is quiescent, or subdued, beneath the\\nthoughts of duty and immortality.\\nViola and Juliet. Love the ruling\\npower in the entire character: wholly vir-\\nginal and pure, but quite earthly, and recog-\\nnizing no other life than his own. Viola is,\\nhowever far the noblest. Juliet will die un-\\nless Romeo loves her: Viola is ready to", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0335.jp2"}, "334": {"fulltext": "330 NATURE STUDIES.\\ndie for the happiness of the man who does not\\nlove her enough if maids know by\\nProserpina s help, what Shakespeare meant\\nby the dim, and Milton by the glowing, violet.\\nProserpina, Vol. II, Chap. I, pp. 181-194.\\nIf any pretty young Proserpina, escaped\\nfrom the durance of London, cares to\\ncome and walk on the Coniston hills in a\\nsummer morning, when the eyebright is out\\non the high fields, she may gather, with a\\nlittle help from Brantwood garden, a bou-\\nquet of the entire Foxglove tribe in flower,\\nas it is at present defined, and may see what\\nthey are like, altogether.\\nShe shall gather first, the Euphrasy, which\\nmakes the turf on the brow of the hill glitter\\nas if with new-fallen manna then, from one\\nof the blue clusters on the top of the garden\\nwall, the common bright blue Speedwell;\\nand, from the garden bed beneath, a dark\\nblue spire of Veronica Spicata then, at the\\nnearest opening into the wood, a little fox-\\nglove in its first delight of shaking out its\\nbells then what next does the Doctor say\\na snap-dragon? we must go back into\\nthe garden for that here is a goodly crim-\\nson one, but what the little speedwell will\\nthink of him for a relative I can t think a", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0336.jp2"}, "335": {"fulltext": "PLANTS AND FLOWERS. 331\\nmullein? that we must do without for the\\nmoment; a monkey flower? that we will\\ndo without altogether; a lady s slipper?\\nsay rather a goblin s with the gout but, such\\nas the flower-cobbler has made it, here is\\none of the kind that people praise, out of\\nthe greenhouse, and yet a figwort we must\\nhave, too; which I see on referring to Lou-\\ndon, may be balm-leaved, hemp-leaved,\\ntansy-leaved, nettle-leaved, wing-leaved, heart-\\nleaved, ear-leaved, spear-leaved, or lyre-\\nleaved. I think I can find a balm-leaved\\none. I ll put a bit of Teucrium Scoro-\\ndonia in, to finish: and now how will my\\nyoung Proserpina arrange her bouquet, and\\nrank the family relations to their content-\\nment?\\nShe has only one kind of flowers in her\\nhand, as botanical classification stands at\\npresent: and whether the system be more\\nrational, or in any human sense more scien-\\ntific, which puts calceolaria and speedwell\\ntogether, and foxglove and euphrasy: and\\nruns them on one side into the mints, and\\non the other into the nightshades nam-\\ning them, meanwhile, some from diseases,\\nsome from vermin, some from blockheads,\\nand the rest anyhow; or the method I\\nam pleading for, which teaches us, watchful", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0337.jp2"}, "336": {"fulltext": "332 NATURE STUDIES.\\nof their seasonable return and chosen abid-\\ning places, to associate in our memory the\\nflowers which truly resemble, or fondly com-\\npanion, or, in time kept by the signs of\\nHeaven, succeed, each other: and to name\\nthem in some historical connection with the\\nloveliest fancies and most helpful faiths of\\nthe ancestral world Proserpina be judge;\\nwith every maid that sets flower on brow or\\nbreast from Thule to Sicily.\\nProserpina, Vol. II, Chap. Ill, p. 206.\\nI found the loveliest blue asphodel I ever\\nsaw in my life yesterday a spire two feet\\nhigh, of more than two hundred stars, the\\nstalks of them all deep blue, as well as the\\nflowers. Heaven send all honest people\\nthe gathering of the like, in Elysian fields,\\nSOme day \u00e2\u0080\u0094Proserpina, Introduction, p. 12.\\nThe vast family of plants which, under rain\\nmake the earth green for man, and, under\\nsunshine, give him bread, and, in their spring-\\ning in the early year, mixed with their native\\nflowers, have given us the thought and word\\nof spring, divide themselves broadly into\\nthree great groups the grasses, sedges, and\\nrushes. The grasses are essentially a cloth-\\ning for healthy and pure ground, watered by", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0338.jp2"}, "337": {"fulltext": "PLANTS AND FLOWERS. 333\\noccasional rain, but in itself dry, and fit for\\nall cultivated pasture and corn. They are\\ndistinctively plants with round and jointed\\nstems, which have long green flexible leaves,\\nand heads of seed, independently emerging\\nfrom them. The sedges are essentially the\\nclothing of waste and more or less poor or\\nuncultivable soils, coarse in their structure,\\nfrequently triangular in stem hence called\\nacute by Virgil and with their heads of\\nseed not extricated from their leaves. Now,\\nin both the sedges and grasses, the blossom\\nhas a common structure, though unde-\\nveloped in the sedges, but composed always\\nof groups of double [husks, which have\\nmostly a spinous process in the centre,\\nsometimes projecting into a long awn or\\nbeard; this central process being charac-\\nteristic also of the ordinary leaves of mosses,\\nas if a moss were a kind of ear of corn\\nmade permanently green on the ground, and\\nwith a new and distinct fructification. But\\nthe rushes differ wholly from the sedge and\\ngrass in their blossom structure. It is not\\na dual cluster, but a twice threefold one, so\\nfar separate from the grasses, and so closely\\nconnected with a higher order of plants,\\nthat I think you will find it convenient to\\ngroup the rushes with that higher order,", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0339.jp2"}, "338": {"fulltext": "334 NATURE STUDIES.\\nto which, let me give the general name Dro-\\nsidae, or dew-plants.\\nThese Drosidae, then, are plants delight-\\ning in interrupted moisture moisture which\\ncomes either partially or at certain seasons\\ninto dry ground. They are often re-\\nquired to retain moisture or nourishment\\nfor the future blossom through long times\\nof drought and this they do in bulbs under\\nground, of which some become a rude and\\nsimple, but most wholesome food for man.\\nThe Drosidae are divided into five great\\norders lilies, asphodels, amaryllids, irids,\\nand rushes. No tribe of flowers have had\\nso great, so varied, or so healthy an influence\\non man depending, not so much on the\\nwhiteness of some of their blossoms, or the\\nradiance of others, as on the strength and\\ndelicacy of the substance of their petals:\\nenabling them to take forms of faultless elas-\\ntic curvature, either in cups, as the crocus,\\nor expanding bells, as the true lily, or heath-\\nlike bells, as the hyacinth, or bright and per-\\nfect stars, like the star of Bethlehem, or, when\\nthey are affected by the strange reflex of the\\nserpent nature which forms the labiate group\\nof all flowers, closing into forms of exqui-\\nsitely fantastic symmetry in the gladiolus.\\nPut by their side their Nereid sisters, the", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0340.jp2"}, "339": {"fulltext": "PLANTS AND FLOWERS. 335\\nwater-lilies, and you have in them the origin\\nof the loveliest forms of ornamental design,\\nand the most powerful floral myths yet recog-\\nnized among human spirits, born by the\\nstreams of Ganges, Nile, Arno and Avon.\\nFor consider a little what each of these\\nfive tribes have been to the spirit of man.\\nFirst in their nobleness the Lilies gave the\\nlily of the Annunciation: the Asphodels,\\nthe flower of the Elysian fields the Irids, the\\nfleur-de-lys of chivalry: and the Amaryllids,\\nChrist s lily of the field: while the rush,\\ntrodden always under foot, became the em-\\nblem of humility. Then take each of the\\ntribes and consider the extent of their lower\\ninfluence. Perdita s The crown imperial,\\nlilies of all kinds, are the first tribe which,\\ngiving the type of perfect purity in the\\nMadonna s lily, have, by their lovely form,\\ninfluenced the entire decorative design of\\nItalian sacred art; while ornament of war\\nwas continually enriched by the curves of\\nthe triple petals of the Florentine giglio,\\nand French fleur-de-lys so that it is impos-\\nsible to count their influence for good in the\\nmiddle ages, partly as a symbol of womanly\\ncharacter, and partly of the utmost bright-\\nness and refinement of chivalry in the city\\nwhich was the flower of cities.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0341.jp2"}, "340": {"fulltext": "336 NATURE STUDIES.\\nAfterwards, the group of the turban-lilies,\\nor tulips, did some mischief, (their splendid\\nstains having made them the favourite caprice\\nof florists;) but they may be pardoned all\\nsuch guilt for the pleasure they have given\\nin cottage gardens, and are yet to give, when\\nlowly life may be again possible among us\\nand the crimson bars of the tulips in their\\ntrim beds, with their likeness in crimson bars\\nof morning above them, and its dew glitter-\\ning heavy, globed in their glossy cups, may\\nbe loved better than the gray nettles of the\\nash-heap, under gray sky, unveined by ver-\\nmilion or by gold.\\nThe next group, of the Asphodels, divides\\nitself also into two principal families; one,\\nin which the flowers are like stars, and clus-\\ntered characteristically in balls, though open-\\ning sometimes into looser heads and the\\nother, in which the flowers are in long bells,\\nopening suddenly at the lips, and clustered\\nin spires on a long stem, or drooping from\\nit, when bent by their weight. The star-\\ngroup, of the squills, garlics, and onions, has\\nalways caused me great wonder. I cannot\\nunderstand why its beauty, and serviceable-\\nness, should have been associated with the\\nrank scent which has been really among the\\nmost powerful means of degrading peasant", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0342.jp2"}, "341": {"fulltext": "PLANTS AND FLOWERS. 337\\nlife, and separating it from that of the higher\\nclasses.\\nThe belled group, of the hyacinth and con-\\nvallaria, is as delicate as the other is coarse\\nthe unspeakable azure light along the ground\\nof the wood hyacinth in English spring; the\\ngrape hyacinth, which is in South France, as\\nif a cluster of grapes and a hive of honey had\\nbeen distilled and compressed together into\\none small boss of celled and beaded blue the\\nlilies of the valley everywhere, in each sweet\\nand wild recess of rocky lands count the\\ninfluence of these on childish and innocent\\nlife then measure the mythic power of the\\nhyacinth and asphodel as connected with\\nGreek thoughts of immortality finally take\\ntheir useful and nourishing power in ancient\\nand modern peasant life, and it will be strange\\nif you do not feel what fixed relation exists\\nbetween the agency of the creating spirit in\\nthese, and in us who live by them. It is im-\\npossible to bring into any tenable compass\\nfor our present purpose, even hints of the\\nhuman influence of the two remaining orders\\nof Amaryllids and Irids only note this gen-\\nerally that while these in northern countries\\nshare with the Primulas the fields of spring,\\nit seems that in Greece, the primulaceae are\\nnot an extended tribe, while the crocus, nar-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0343.jp2"}, "342": {"fulltext": "338 NATURE STUDIES.\\ncissus and Amaryllis lutea, the lily of the\\nfield, (I suspect also that the flower whose\\nname we translate violet was in truth an\\nIris) represented to the Greek the first com-\\ning of the breath of life on the renewed herb-\\nage. Later in the year, the dianthus\\n(which, though belonging to an entirely\\ndifferent race of plants, has yet a strange\\nlook of having been made out of the grasses\\nby turning the sheath-membrane at the root\\nof their leaves into a flower) seems to scatter,\\nin multitudinous families its crimson stars\\nfar and wide. But the golden lily and crocus,\\ntogether with the asphodel, retain always the\\nold Greek s fondest thoughts they are only\\ngolden flowers that are to burn on the\\ntrees, and float on the stream of paradise.\\nThere is one great tribe of plants\\nseparate from the rest, and of which the\\ninfluence seems shed upon the rest in dif-\\nferent degrees, and these would give the\\nimpression, not so much of having been\\ndeveloped by change, as of being stamped\\nwith a character of their own, more or less\\nserpentine or dragon-like. You may take\\nfor their principal types the Foxglove, Snap-\\ndragon, and Calceolaria, and you will find\\nthey all agree in a tendency to decorate\\nthemselves by spots, and with bosses or", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0344.jp2"}, "343": {"fulltext": "PLANTS AND FLOWERS. 339\\nswollen places in their leaves, as if they had\\nbeen touched by poison. Then the spirit\\nof these Draconidae seems to pass more or\\nless into other flowers, whose forms are\\nproperly pure vases; but it affects some of\\nthem slightly, others not at all. It never\\nstrongly affects the heaths: never once the\\nroses; but it enters like an evil spirit into\\nthe buttercup, and turns it into a larkspur,\\nwith a black, spotted, grotesque center, and\\na strange, broken blue, gorgeous and intense,\\nyet impure, glittering on the surface as if it\\nwere strewn with broken glass, and stained\\nor darkening irregularly into red. And then\\nat last the serpent charm changes the ranun-\\nculus into monkshood and makes it poison-\\nous. It enters into the forget-me-not, and\\nthe star of heavenly turquoise is corrupted\\ninto the viper s bugloss, darkened with the\\nsame strange red as the larkspur, and fretted\\ninto a fringe of thorn, it enters together with\\na strange insect-spirit, into the asphodels,\\nand they change into spotted orchideae; it\\ntouched the poppy, it becomes a fumaria,\\nthe iris, and it pouts into a gladiolus the\\nlily, and it chequers itself into a snake s-head,\\nand secretes in the deep of its bell, drops not\\nof venom indeed, but honey-dew, as if it were\\na healing serpent. For there is an /Escula-", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0345.jp2"}, "344": {"fulltext": "34o NATURE STUDIES.\\npian as well as evil serpentry among the\\nDraconidae and behold, instantly a vast\\ngroup of herbs for healing full of various\\nbalm, and warm strength for healing, yet all\\nof them without splendid honor or perfect\\nbeauty, ground ivies, richest when crushed\\nunder the foot; the best sweetness and gentle\\nbrightness of the robes of the field, thyme,\\nand marjoram, and Euphrasy.\\nThe QueeH of the Air t Chap. II, pp. 292-298.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0346.jp2"}, "345": {"fulltext": "GRASS, MOSS AND LICHEN.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0347.jp2"}, "346": {"fulltext": "The meadow grass, meshed with fairy rings, is bet-\\nter than the wood pavement cut in hexagons.\\nStones of Venice, Vol. I, Chap. XXX, p. 346.\\nWas this grass of the earth made green for your\\nshroud only, not for your bed and can you never lie\\ndown upon it, but only under it\\nCrown of Wild Olives Preface, p. 15.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0348.jp2"}, "347": {"fulltext": "XI.\\nGRASS, MOSS AND LICHEN.\\nThe Greek delighted in the grass for its\\nusefulness the mediaeval, as also we moderns,\\nfor its color and beauty. Consider a little\\nwhat a depth there is in this great instinct\\nof the human race. Gather a single blade of\\ngrass, and examine for a minute, quietly, its\\nnarrow sword-shaped strip of fluted green.\\nNothing, as it seems there, of notable good-\\nness or beauty. A very little strength, and\\na very little tallness, and a few delicate long\\nlines meeting in a point, not a perfect\\npoint neither, but blunt and unfinished, by\\nno means a creditable or apparently much\\ncared for example of Nature s workmanship;\\nmade, as it seems, only to be trodden on\\nto-day, and to-morrow to be cast into the\\noven; and a little pale and hollow stalk,\\nfeeble and flaccid, leading down to the dull\\nbrown fibres of roots. And yet, think of it\\nwell, and judge whether of all the gorgeous\\nflowers that beam in summer air, and of all\\nstrong and goodly trees, pleasant to the eyes\\nand good for food, stately palm and pine,\\nstrong ash and oak, scented citron, burdened\\nvine, there be any by man so deeply loved,\\n343", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0349.jp2"}, "348": {"fulltext": "344 NATURE STUDIES.\\nby God so highly graced, as that narrow\\npoint of feeble green. It seems to me not\\nto have been without a peculiar significance,\\nthat our Lord, when about to work the\\nmiracle which, of all that He showed, appears\\nto have been felt by the multitude as the\\nmost impressive, the miracle of the loaves,\\ncommanded the people to sit down by\\ncompanies upon the green grass. He was\\nabout to feed them with the principal prod-\\nuce of earth and the sea, the simplest repre-\\nsentations of the food of mankind. He gave\\nthem the seed of the herb He bade them sit\\ndown upon the herb itself, which was as\\ngreat a gift, in its fitness for their joy and\\nrest, as its perfect fruit, for their sustenance\\nthus, in this single order and act, when\\nrightly understood, indicating for evermore\\nhow the Creator had entrusted the comfort,\\nconsolation, and sustenance of man, to the\\nsimplest and most despised of all the leafy\\nfamilies of the earth. And well does it ful-\\nfil its mission. Consider what we owe merely\\nto the meadow grass, to the covering of the\\ndark ground by that glorious enamel, by\\nthe companies of those soft and countless,\\nand peaceful spears. The fields Follow\\nbut forth for a little time the thought of all\\nthat we ought to recognize in those words.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0350.jp2"}, "349": {"fulltext": "GRASS, MOSS AND LICHEN. 345\\nAll spring and summer is in them, the\\nwalks by silent, scented paths, the rests in\\nnoonday heat, the joy of herds and flocks,\\nthe power of all shepherd life and medi-\\ntation, the life of sunlight upon the world,\\nfalling in emerald streaks, and falling in soft\\nblue shadows, where else it would have\\nstruck upon the dark mould, or scorching\\ndust, pastures beside the pacing brooks,\\nsoft banks and knolls of lowly hills, thymy\\nslopes of down overlooked by the blue line\\nof lifted sea, crisp lawns all dim with early\\ndew, or smooth in evening warmth of barred\\nsunshine, dinted by happy feet, and softening\\nin their fall the sound of loving voices; all\\nthese are summed in those simple words;\\nand these are not all. We may not measure\\nto the full the depth of this heavenly gift, in\\nour own land: though still, as we think of\\nit longer, the infinite of that meadow sweet-\\nness, Shakespeare s peculiar joy, would open\\non us more and more, yet we have it but\\nin part. Go out, in the spring-time among\\nthe meadows that slope from the shores of the\\nSwiss lakes to the roots of their lower moun-\\ntains. There, mingled with the taller gen-\\ntians and the white narcissus, the grass grows\\ndeep and free and as you follow the wind-\\ning mountain paths, beneath arching boughs", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0351.jp2"}, "350": {"fulltext": "346 NATURE STUDIES.\\nall veiled and dim with blossom, paths that\\nforever droop and rise over the green banks\\nand mounds sweeping down in scented un-\\ndulation, steep to the blue water, studded\\nhere and there with new mown heaps, filling\\nall the air with fainter sweetness, look up\\ntowards the higher hills, where the waves of\\neverlasting green roll silently into their long\\ninlets among the shadows of the pines and\\nwe may, perhaps, at last know the meaning\\nof those quiet words of the 147th Psalm,\\nHe maketh grass to grow upon the moun-\\ntains. There are also several lessons sym-\\nbolically connected with this subject, which\\nwe must not allow to escape us. Observe\\nthe peculiar characters of the grass, which\\nadapt it especially for the service of man, are\\nits apparent humility, and cheerfulness. Its\\nhumility, in that it seems created only for\\nlowest service, appointed to be trodden on,\\nand fed upon. Its cheerfulness, in that it\\nseems to exult under all kinds of violence and\\nsuffering. You roll it, and it is stronger the\\nnext day you mow it, and it multiplies its\\nshoots, as if it were grateful you tread upon\\nit, and it only sends up richer perfume.\\nSpring comes, and it rejoices with all the\\nearth, glowing with variegated flame of\\nflowers, waving in soft depth of fruitful", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0352.jp2"}, "351": {"fulltext": "GRASS, MOSS AND LICHEN. 347\\nstrength. Winter comes, and though it will\\nnot mock its fellow plants by growing then, it\\nwill not pine and mourn, and turn colorless\\nor leafless as they. It is always green, it is\\nonly the brighter and gayer for the hoar-\\nfrost.\\nAs the grass of the earth, thought of as\\nthe herb yielding seed, leads us to the place\\nwhere our Lord commanded the multitude\\nto sit down by companies upon the green\\ngrass; so the grass of the waters, thought\\nof as sustaining itself among the waters of\\naffliction, leads us to the place where a stem\\nof it was put into our Lord s hand for His\\nsceptre and in the crown of thorns, and the\\nrod of reed, was foreshown the everlasting\\ntruth of the Christian ages that all glory\\nwas to be begun in suffering, and all power\\nin humility.\\nAssembling the images we have traced, and\\nadding the simplest of all, from Isaiah xl, 6,\\nwe find, the grass and flowers are types, in\\ntheir passing, of the passing of human life,\\nand, in their excellence, of the excellence of\\nhuman life; and this in a twofold way: first\\nby their Beneficence, and then, by their en-\\ndurance: the grass of the earth, in giving\\nthe seed of corn, and in its beauty under\\ntread of foot and stroke of scythe; and the", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0353.jp2"}, "352": {"fulltext": "348 NATURE STUDIES,\\ngrass of the waters, in giving its freshness\\nfor our rest, and in its bending before the\\nwave. But understood in the broad human\\nand Divine sense, the herb yielding seed\\n(as opposed to the fruit trees yielding fruit)\\nincludes a third family of plants and fulfils\\na third office to the human race. It includes\\nthe great family of the lints and flaxes, and\\nfulfils thus the three offices of giving food,\\nraiment, and rest. Follow out this fulfil-\\nment; consider the association of the linen\\ngarment and the linen embroidery, with the\\npriestly office, and the furniture of the taber-\\nnacle and consider how the rush has been,\\nin all time, the first natural carpet thrown\\nunder the human foot. Then next observe\\nthe three virtues definitely set forth by the\\nthree families of plants; not arbitrarily or\\nfancifully associated with them, but in all\\nthe three cases marked for us by Scrip-\\ntural words;\\nist. Cheerfulness, or joyful serenity: in\\nthe grass for food and beauty Consider\\nthe lilies of the field, how they grow; they\\ntoil not, neither do they spin.\\n2d. Humility; in the grass for rest, A\\nbruised reed shall He not break.\\n3d. Love; in the grass for clothing (be-\\ncause of its swift kindling) The smoking\\nflax shall He not quench.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0354.jp2"}, "353": {"fulltext": "GRASS, MOSS AND LICHEN. 349\\nAnd then, finally, observe, the confirmation\\nof these last two images in, I suppose, the\\nmost important prophecy, relating to the\\nfuture state of the Christian Church, which\\noccurs in the Old Testament, namely, that\\ncontained in the closing chapters of Ezekiel.\\nThe measures of the Temple of God are to\\nbe taken and because it is only by charity\\nand humility, that those measures ever can\\nbe taken, the angel has a line of flax in his\\nhand, and a measuring reed? The use of\\nthe line was to measure the land, and of the\\nreed to take the dimensions of the buildings\\nso the buildings of the church, or its labors,\\nare to be measured by humility, and its terri-\\ntory or land, by love.\\nModern Painters, Vol. Ill, Part IV, Chap. XIV, pp. 285-291.\\nThe plants which will not work, but only\\nbloom and wander, do not (except the\\ngrasses) bring forth fruit of high service, but\\nonly the seed that prolongs their race, the\\ngrasses alone having great honor put on\\nthem for their humility.\\nThis being so, we find another element of\\nvery complex effect added to the others which\\nexist in tented plants, namely, that of mi-\\nnute, granular, feathery, or downy seed-vessels,\\nmingling quaint brown punctuation, and dusty", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0355.jp2"}, "354": {"fulltext": "35\u00c2\u00b0\\nNATURE STUDIES.\\ntremors of dancing grain, with the bloom of\\nthe nearer fields, and casting a gossamered\\ngrayness and softness of plumy mist along\\ntheir surfaces far away; mysterious evermore,\\nnot only with dew in the morning or mirage\\nat noon, but with the shaking threads of fine\\narborescence, each a little belfry of grain-bells,\\nall a-chime.\\nModern Painters, Vol. V, Part VI, Chap. X, p. 135.\\nTo trace among the grass and weeds those\\nmysteries of invention and combination, by\\nwhich Nature appeals to the intellect to\\nrender the delicate fissure, and descending\\ncurve, the undulating shadow of the moulder-\\ning soil, with gentle and fine finger, like the\\ntouch of the rain itself to find even in all\\nthat appears most trifling or contemptible,\\nfresh evidence of the constant working of\\nthe Divine power for glory and for beauty,\\nand to teach it and to proclaim it to the\\nunthinking and unregardless this as it is\\nthe peculiar province and faculty of the\\nmaster-mind so it is the peculiar duty which\\nis demanded by the Deity.\\nModern Painters, Vol. II, Part II, Sect. IV, Chap. IV, p. 81.\\nWe have found beauty in the tree yielding\\nfruit, and in the herb yielding seed. How", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0356.jp2"}, "355": {"fulltext": "GRASS, MOSS AND LICHEN. 351\\nof the herb yielding no seed, the fruitless,\\nflowerless lichen of the rock\\nLichen, and mosses (though these last in\\ntheir luxuriance are deep and rich as herbage,\\nyet both for the most part humblest of the\\ngreen things that live,) how of these\\nMeek creatures the first mercy of the earth,\\nveiling with hushed softness its dintless\\nrocks; creatures full of pity, covering with\\nstrange and tender honor the scarred dis-\\ngrace of ruin, laying quiet finger on the\\ntrembling stones, to teach them rest. No\\nwords, that I know of, will say what these\\nmosses are. None are delicate enough, none\\nperfect enough, none rich enough. How is\\none to tell of the rounded bosses of furred\\nand beaming green, the starred divisions\\nof rubied bloom, fine-filmed, as if the Rock\\nSpirits could spin porphyry as we do glass,\\nthe traceries of intricate silver, and fringes\\nof amber, lustrous, arborescent, burnished\\nthrough every fibre into fitful brightness and\\nglossy traverses of silken change, yet all sub-\\ndued and pensive, and framed for simplest,\\nsweetest offices of grace. They will not be\\ngathered, like the flowers, for chaplet or love-\\ntoken but of these the wild bird will make\\nits nest, and the weaned child his pillow.\\nAnd, as the earth s first mercy, so they are\\nits last gift to us. When all other service is", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0357.jp2"}, "356": {"fulltext": "352 NATURE STUDIES.\\nvain, from plant and tree, the soft mosses and\\ngray lichen take up their watch by the head-\\nstone. The woods, the blossoms, the gift-\\nbearing grasses, have done their parts for a\\ntime, but these do service forever. Trees\\nfor the builder s yard, flowers for the bride s\\nchamber, corn for the granary, moss for the\\ngrave.\\nYet as in one sense the humblest, in\\nanother they are the most honored of the\\nearth-children. Unfading, as motionless, the\\nworm frets them not, and the autumn wastes\\nnot. Strong in lowliness, they neither blanch\\nin heat nor pine in frost. To them, slow-\\nfingered, constant-hearted, is entrusted the\\nweaving of the dark, eternal, tapestries of\\nthe hills; to them, slow-pencilled, iris-dyed,\\nthe tender framing of their endless imagery.\\nSharing the stillness of the unimpassioned\\nrock, they share also its endurance; and\\nwhile the winds of departing spring scatter\\nthe white hawthorn blossom like drifted\\nsnow, and summer dims on the parched\\nmeadow the drooping of its cowslip-gold,\\nfar above, among the mountains, the silver\\nlichen-spots rest, starlike, on the stone and\\ngathering orange stain upon the edge of\\nyonder western peak reflects the sunsets\\nof a thousand years.\\nModern Painters^ Vol. V, Part VI, Chap. X, pp. 138, 139.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0358.jp2"}, "357": {"fulltext": "GRASS, MOSS AND LICHEN. 353\\nOut of the botanical books I get this gen-\\neral notion of a moss that it has a fine\\nfibrous root, a stem surrounded with spirally\\nset leaves, and produces its fruit in a small\\ncase, under a cap. I fasten especially, how-\\never, on a sentence of Louis Figuier s, about\\nthe particular species, Hypnum:\\nThese mosses, which often form little\\nislets of verdure at the feet of poplars and\\nwillows, are robust vegetable organisms,\\nwhich do not decay.\\nQui ne poursissent point. What do\\nthey do with themselves, then? it imme-\\ndiately occurs to me to ask. And secondly,\\nIf this immortality belongs to the Hypnum\\nonly\\nIt certainly does not, by any means but\\nhowever modified or limited, this immortality\\nis the first thing we ought to take note of in\\nthe mosses. They are, in some degree, what\\nthe everlasting is in flowers.\\nIt seems that the upper part of the\\nmoss fibre is especially z/^decaying among\\nleaves and the lower part, especially decay-\\ning. That, in fact, a plant of moss-fibre is a\\nkind of persistent state of what is, in other\\nplants, annual.\\nThe moss intensifies, and makes\\nperpetual, these two states, bright leaves", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0359.jp2"}, "358": {"fulltext": "354 NATURE STUDIES.\\nabove that never wither, leaves beneath that\\nexist only to wither.\\nWe are all thankful enough so far\\nas we ever are so for green moss and yel-\\nlow moss. But we are never enough grate-\\nful for black moss. The golden would be\\nnothing without it, nor even the grey.\\nProserpina^ Vol. I, Chap. I, pp. 13-19.\\nBy stone-color I suppose we all understand\\na sort of tawny gray, with too much yellow\\nin it to be called cold, and too little to be\\ncalled warm. And it is quite true that over\\nenormous districts of Europe, composed of\\nwhat are technically known as Jura and\\nmountain limestones, and various pale\\nsandstones, such is generally the color of\\nany freshly broken rock which peeps out\\nalong the sides of their gentler hills. It\\nbecomes a little grayer as it is colored by\\ntime, but never reaches anything like the\\nnoble hues of the gneiss and slate; the very\\nlichens which grow upon it are poorer and\\npaler; and although the deep wood mosses\\nwill sometimes bury it altogether in golden\\ncushions, the minor mosses, whose office is\\nto decorate and checker the rocks without\\nconcealing them, are always more meagrely\\nset on these limestones than on the crystal-\\nlines.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0360.jp2"}, "359": {"fulltext": "GXASS, MOSS AND LICHEN. 355\\nI never have had time to examine and\\nthrow into classes the varieties of the mosses\\nwhich grow on the two kinds of rock, nor\\nhave I been able to ascertain whether there\\nare really numerous differences between the\\nspecies, or whether they only grow more\\nluxuriantly on the crystallines than on the\\ncoherents. But this is certain, that on the\\nbroken rocks of the foreground in the crys-\\ntalline groups the mosses seem to set them-\\nselves consentfully and deliberately to the\\ntask of producing the most exquisite har-\\nmonies of color in their power. They will\\nnot conceal the form of the rock, but will\\ngather over it in little brown bosses, like\\nsmall cushions of velvet made of mixed\\nthreads of dark ruby silk and gold, rounded\\nover more subdued films of white and gray,\\nwith lightly crisped and curled edges like\\nhoar-frost on fallen leaves, and minute clus-\\nters of upright orange stalks with pointed\\ncaps, and fibres of deep green, and gold, and\\nfaint purple passing into black, all woven\\ntogether, and following with unimaginable\\nfineness of gentle growth the undulation of\\nthe stone they cherish, until it is charged\\nwith color so that it can receive no more;\\nand instead of looking rugged, or cold, or\\nstern, or anything that a rock is held to be", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0361.jp2"}, "360": {"fulltext": "356 NATURE STUDIES.\\nat heart, it seems to be clothed with a soft,\\ndark leopard skin, embroidered with ara-\\nbesque of purple and silver. But in the\\nlower ranges this is not so. The mosses\\ngrow in more independent spots, not in such\\na clinging and tender way over the whole\\nsurface the lichens are far poorer and fewer,\\nand the color of the stone itself is seen more\\nfrequently.\\nModem Painters, Vol. IV, Part V, Chap. XI, pp. 170, 171.\\nGod paints the clouds and shapes the\\nmoss-fibres, that men may be happy in see-\\ning Him at His work.\\nModern Painters, Vol. Ill, Part IV, Chap. XVII, p. 381.\\nHave you ever considered the infinite\\nfunctions of protection to mountain form\\nexercised by the mosses and lichens?\\nVal D Amo, Lecture VI, p. 309.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0362.jp2"}, "361": {"fulltext": "A CHARM OF BIRDS.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0363.jp2"}, "362": {"fulltext": "What are these blessed feathers Everything\\nthat s best of grass and clouds and chrysoprase.\\nWhat incomparable little creature wears such things\\nor lets fall? \u00e2\u0080\u0094Hortus Inclusus, pp. 85, 86.\\nConsider the art of singing, and the simplest per-\\nfect master of it (up to the limits of his nature) whom\\nyou can find a skylark. From him you may learn\\nwhat it is to sing for joy.\\nLecture on Art Lecture III, p. 239.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0364.jp2"}, "363": {"fulltext": "XII.\\nA CHARM OF BIRDS.\\nYou who care for life as well as literature,\\nand for spirit, even the poor souls of birds,\\nas well as lettering of their classes in\\nbooks, you, with all care, should cherish\\nthe old Saxon-English and Norman-French\\nnames of birds, and ascertain them with the\\nmost affectionate research, never despising\\neven the rudest or most provincial forms all\\nof them will, some day or other, give you\\nclue to historical points of interest.\\nLove s Meinie, Lecture I, p. 161.\\nI am going to invite you to examine, down\\nto almost microscopic detail, the aspect of a\\nsmall bird, and to invite you to do this, as a\\nmost expedient and sure step to your study\\nof the greatest art. Without further pre-\\namble, I will ask you to look more carefully\\nthan usual, at your well-known favourite\\nthe robin and to think about him with\\nsome precision.\\nAnd first, Where does he come from I\\nhave hunted all my books through, and can t\\ntell you how much he is our own, or how far\\n359", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0365.jp2"}, "364": {"fulltext": "360 NATURE STUDIES.\\nhe is a traveller. And, indeed, are not all\\nour ideas obscure about migration itself?\\nYou are broadly told that a bird travels, and\\nhow wonderful it is that it finds its way;\\nbut you are scarcely ever told, or led to think,\\nwhat it really travels for whether for food,\\nfor warmth, or for seclusion and how the\\ntravelling is connected with its fixed home.\\nBirds have not their town and country\\nhouses. The country in which they build\\ntheir nests is their proper home, the coun-\\ntry, that is to say, in which they pass the\\nspring and summer. Then they go south in\\nthe winter, for food and warmth but in what\\nlines, and by what stages? The general\\ndefinition of a migrant in this hemisphere\\nis a bird that goes north to build its nest,\\nand south for the winter; but, then, the\\none essential point to know about it is the\\nbreadth and latitude of the zone it properly\\ninhabits, that is to say, in which it builds\\nits nest; next, its habit of life, and extent and\\nline of southing in the winter; and finally,\\nits manner of travelling.\\nIn none of the old natural history books\\ncan I find any account of the robin as a\\ntraveller, but there is, for once, some suffi-\\ncient reason for their reticence. He has a\\ncurious fancy in his manner of travelling.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0366.jp2"}, "365": {"fulltext": "A CHARM OF BIRDS. 361\\nOf all birds, you would think he was likely\\nto do it in the cheerfulest way, and he does\\nit in the saddest. He always travels in\\nthe night, and alone rests, in the day, wher-\\never day chances to find him sings a little,\\nand pretends he hasn t been anywhere.\\nAlthough there is nothing, or rather be-\\ncause there is nothing, in his plumage, of\\ninterest like that of tropical birds, I think it\\nwill be desirable for you to learn first from\\nthe breast of the robin what a feather is.\\nBut before we come to his feathers, I must\\nask you to look at his bill and his feet.\\nI do not think it is distinctly enough felt\\nby us that the beak of a bird is not only its\\nmouth, but its hand, or rather its two hands.\\nFor, as its arms and hands are turned into\\nwings, all it has to depend upon, in eco-\\nnomical and practical life, is its beak. The\\nbeak, therefore, is at once its sword, its car-\\npenter s tool-box, and its dressing-case partly\\nalso its musical instrument; all this besides\\nits function of seizing and preparing the\\nfood, in which functions alone it has to be a\\ntrap, a carving-knife, and teeth, all in one.\\nIt is this need of the beak s being a me-\\nchanical tool which chiefly regulates the\\nform of a bird s face as opposed to a four-\\nfooted animal s.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0367.jp2"}, "366": {"fulltext": "362 NATURE STUDIES.\\nSince as sword, as trowel, or as pocket-\\ncomb, the beak of the bird has to be pointed,\\nthe collection of seeds may be conveniently\\nintrusted to this otherwise penetrative in-\\nstrument, and such food as can be obtained\\nby parting crevices, splitting open fissures,\\nor neatly and minutely picking things up, is\\nallotted, pre-eminently, to the bird species.\\nYou will find that the robin s beak, then,\\nis a very prettily representative one of gen-\\neral bird power. As a weapon, it is very\\nformidable indeed he can kill an adversary\\nof his own kind with one blow of it in the\\nthroat. But I pass on to one of his more\\nspecial perfections.\\nHe is very notable in the exquisite silence\\nand precision of his movements, as opposed\\nto birds who either creak in flying, or waddle\\nin walking. If you think of it, you will\\nfind one of the robin s very chief ingratiatory\\nfaculties is his dainty and delicate move-\\nment, his footing it featly here and there.\\nWhatever prettiness there may be in his red\\nbreast, at his brightest he can always be out-\\nshone by a brickbat. But if he is rationally\\nproud of anything about him, I should think\\na robin must be proud of his legs. Hun-\\ndreds of birds have longer and more impos-\\ning ones but for real neatness, finish, and", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0368.jp2"}, "367": {"fulltext": "A CHARM OF BIRDS. 363\\nprecision of action, commend me to his fine\\nlittle ankles, and fine little feet; this long\\nstilted process, as you know, corresponding\\nto our ankle-bone. Commend me, I say, to\\nthe robin for use of his ankles he is, of\\nall birds, the pre-eminent and characteristic\\nHopper none other so light, so pert, or so\\nswift. We must not, however, give too\\nmuch credit to his legs in this matter. A\\nrobin s hop is half a flight; he hops very\\nessentially, with wings and tail, as well as\\nwith his feet, and the exquisitely rapid open-\\ning and quivering of the tail-feathers cer-\\ntainly give half the force to his leap.\\nAnd now I return to our main ques-\\ntion, for the robin s breast to answer, What\\nis a feather You know something about it\\nalready that it is composed of a quill, with\\nits lateral filaments, terminating generally,\\nmore or less, in a point that these extremi-\\nties of the quills, lying over each other like\\nthe tiles of a house, allow the wind and rain\\nto pass over them with the least possible\\nresistance, and form a protection alike from\\nthe heat and the cold; which, in structure\\nmuch resembling the scale-armour assumed\\nby man for very different objects, is, in fact,\\nintermediate, exactly between the fur of\\nbeasts and the scales of fishes; having the", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0369.jp2"}, "368": {"fulltext": "364 NATURE STUDIES.\\nminute division of the one, and the armour-\\nlike symmetry and succession of the other.\\nNot merely symmetry, observe, but ex-\\ntreme flatness. Feathers are smoothed\\ndown, as a field of corn by wind with rain\\nonly the swathes laid in beautiful order.\\nThey are fur, so structurally placed as to\\nimply, and submit to, the perpetually swift\\nforward motion. The scientific people\\nwill tell you that a feather is composed of\\nthree parts the down, the laminae, and the\\nshaft. But the common-sense method of\\nstating the matter is that a feather is com-\\nposed of two parts, a shaft with lateral fila-\\nments. For the greater part of the shaft s\\nlength, these filaments are strong and nearly\\nstraight, forming by their attachment, a\\nfinely warped sail, like that of a windmill.\\nBut toward the root of the feather they sud-\\ndenly become weak, and confusedly flexible,\\nand form the close down which immediately\\nprotects the bird s body. The breadth\\nof a robin s breast in brick-red is delicious.\\nNote, however, that the robin s charm\\nis greatly helped by the pretty space of\\ngrey plumage which separates the red from\\nthe brown back, and sets it off to its best\\nadvantage. There is no great brilliancy in\\nit, even so relieved; only the finish of it is\\nexquisite.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0370.jp2"}, "369": {"fulltext": "A CHARM OF BIRDS. 365\\nIf you separate a single feather, you will\\nfind it more like a transparent hollow shell\\nthan a feather, grey at the root, where the\\ndown is, tinged, and only tinged, with red\\nat the part that overlaps and is visible; so\\nthat, when three or four more feathers have\\noverlapped it again, all together, with their\\njoined red, are just enough to give the colour\\ndetermined upon, each of them contributing\\na tinge. Love s Meinie, Lecture I, pp. 165-175.\\nConsider also the Swallow, the bird\\nwhich lives with you in your own houses,\\nand which purifies for you, from its insect\\npestilence, the air that you breathe. Thus\\nthe sweet domestic thing has done, for men,\\nat least these four thousand years. She has\\nbeen their companion, not of the home\\nmerely, but of the hearth, and the threshold\\ncompanion only endeared by departure, and\\nshowing better her loving-kindness by her\\nfaithful return. Type sometimes of the\\nstranger, she has softened us to hospitality\\ntype always of the suppliant, she has en-\\nchanted us to mercy; and in her feeble\\npresence, the cowardice, or the wrath, of\\nsacrilege has changed into the fidelities of\\nsanctuary. Herald of our summer, she", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0371.jp2"}, "370": {"fulltext": "366 NATURE STUDIES.\\nglances through our days of gladness num-\\nberer of our years, she would teach us to\\napply our hearts to wisdom; and yet, so\\nlittle have we regarded her, that this very\\nday, scarcely able to gather from all I can\\nfind told of her enough to explain so much\\nas the unfolding of her wings, I can tell you\\nnothing of her life nothing of her journey-\\ning I cannot learn how she builds, nor how\\nshe chooses the place of her wandering, nor\\nhow she traces the path of her return. Re-\\nmaining thus blind and careless to the true\\nministries of the humble creatures whom\\nGod has really sent to serve us, we in our\\npride, thinking ourselves surrounded by the\\npursuivants of the sky, can yet only invest\\nthem with majesty by giving them the calm\\nof the bird s motion, and shade of the bird s\\nplume and after all, it is well for us, if, when\\neven for God s best mercies, and in His tem-\\nples marble-built, we think that, with angels\\nand arch-angels, and all the company of\\nHeaven we laud and magnify His glorious\\nname well for us, if our attempt be not\\nonly an insult, and His ears open rather to\\nthe inarticulate and unintended praise, of\\nthe Swallow, twittering from her straw-\\nbuilt shed. Love s Meinie, Lecture II, pp. 204, 205.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0372.jp2"}, "371": {"fulltext": "A CHARM OF BIRDS, 367\\nThere is a bird singing outside. Mak-\\ning the air sure it is summer, a dove cooing\\nvery low, and absolutely nothing else to be\\nheard. Fors Clavigera, Vol. II, Letter XLVI, p. 277.\\nThe winter has been long and hard with\\nus. Even the snowdrops are hardly\\nventuring out of the earth. But the birds\\nhave come back, and to-day I hear the wood-\\npeckers knocking at the doors of the old\\ntrees to find a shelter and home for the\\nsummer.\\nBehind the hayfield where the grass\\nin spring grew fresh and deep, there used\\nto be always a corncrake or two in it. Twi-\\nlight after twilight I have hunted that bird,\\nand never once got a glimpse of it the voice\\nwas always at the other side of the field, or\\nin the inscrutable air or earth.\\nPra terita Vol. Ill, Chap. IV, pp. 42S-457*\\nYou cannot so much as once look at the\\nrufHings of the plumes of a pelican pluming\\nitself after it has been in the water, or care-\\nfully draw the contours of the wing either\\nof a vulture or a common swift, or paint the\\nrose and vermilion of that of a flamingo,\\nwithout receiving almost a new conception\\nof the meaning of form and color in creation.\\nLectures on Art Lecture IV, p. 265.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0373.jp2"}, "372": {"fulltext": "368 NATURE STUDIES.\\nNo air is sweet that is silent: it is only\\nsweet when full of low currents of under\\nsound triplets of birds, and murmur and\\nChirp Of insects. \u00e2\u0080\u0094Ad Valorem, Essay IV, p. 224.\\nNote the quivering or vibration of the air\\nfirst, and most intense, in the voice and\\nthroat of the bird which is the air incarnate.\\nIs it not strange to think of the influ-\\nence of this one power. vibration\\nHow much of the repose how much of the\\nwrath, folly, and misery of men, has literally\\ndepended on this one power of the air:\\non the sound of the trumpet and the bell\\non the lark s song, and the bee s murmur.\\nThe Queen of the Air y I, p. 272.\\nSeagulls floating high in the blue, like\\nlittle dazzling boys kites. \u00e2\u0080\u0094Hortusinciusus^.yj.\\nThe sparrows and the robins, if you give\\nthem leave to nest as they choose about your\\ngarden, will have their own opinions about\\nyour garden: some of them will think it well\\nlaid out, others ill. You are not solicitous\\nabout their opinions: but you like them to\\nlove each other; to build their nests without\\nstealing each other s sticks, and to trust you\\nto take care of them.\\nFors Clavigera, Vol. I, Letter XII, p. 162.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0374.jp2"}, "373": {"fulltext": "A CHARM OF BIRDS. 369\\nThe owl, a bird which seems to surpass all\\nother creatures in acuteness of organic per-\\nception, its eye being calculated to observe\\nobjects which to all others are enveloped in\\ndarkness, its ear to hear sounds distinctly,\\nand its nostrils to discriminate effluvia with\\nsuch nicety that it has been deemed pro-\\nphetic from discovering the putridity of\\ndeath even in the first stages of disease.\\nThe Queen of the Air, II, p. 301.\\nWhatever wise people may say of them\\nI at least myself have found the owl s cry\\nprophetic of mischief to me.\\nPrceterita t No\\\\. II, Chap. X, p. 347.\\nWoodcock? Yes, I suppose, and never\\nbefore noticed the sheath of his bill going\\nover the front of the lower mandible, that\\nhe may dig comfortably But the others\\nthe glory of velvet and silk and cloud and\\nlight, and black and tan and gold, and golden\\nsand and dark tresses, and purple shadows,\\nand moors and mists, and night and star-\\nlight, and woods and wilds, and dells and\\ndeeps, and every mystery of heaven and its\\nfingerwork, is in those little birds backs and\\nwingS. Hortus Indusus, p. 57.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0375.jp2"}, "374": {"fulltext": "370 NATURE STUDIES.\\nI have seen the most wonderful of all\\nAlpine birds a gray, fluttering, stealthy\\ncreature, about the size of a sparrow, but of\\ncolder gray and more graceful, which haunts\\nthe sides of the fiercest torrents. There\\nis something more strange in it than in the\\nsea-gull that seems a powerful creature:\\nand the power of the sea, not of a kind so\\nadverse, so hopelessly destructive: but this\\nsmall creature, silent, tender and light, almost\\nlike a moth in its low and irregular flight\\nalmost touching with its wings the crests of\\nthe waves that would overthrow a granite\\nwall, and haunting the hollows of the black,\\ncold, herbless rocks that are continually\\nshaken by their spray, has perhaps the near-\\nest approach to the look of a spiritual exist-\\nence I know in animal life.\\nPrattrita, Vol. II, Chap. XI, p. 356.\\nBroadly birds range with relation to\\ntheir flight into three great classes the\\nsailing birds, who, having given themselves\\nonce a forward impulse, can rest, merely with\\ntheir wings open, on the winds and clouds\\nthe properly so-called flying birds, who must\\nstrike with their wings, no less to sustain\\nthemselves than to advance and lastly, the\\nfluttering birds, who can keep their wings", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0376.jp2"}, "375": {"fulltext": "A CHARM OF BIRDS. 371\\nquivering like those of a fly, and therefore\\npause at will, in one spot in the air, over a\\nflower, or over their nest. And of these\\nthree classes, the first are necessarily large\\nbirds (frigate-bird albatross, condor and\\nthe like) the second of average bird-size,\\nfalling chiefly between the limiting propor-\\ntion of the swallow and seagull for a smaller\\nbird than the swift has not power enough\\nover the air, and a larger one than the sea-\\ngull has not power enough over its wings, to\\nbe a perfect flyer. Finally, the birds of vibra-\\ntory wing are all necessarily minute, repre-\\nsented chiefly by the humming birds; tut\\nsufficiently even by our own smaller and\\nsprightlier pets the robin s quiver of his\\nwing in leaping, for instance, is far too swift\\nto be distinctly seen. These are the three\\nmain divisions of the birds for whom the\\nfunction of the wing is mainly flight.\\nBut to us, human creatures, there is a class\\nof birds more pathetically interesting those\\nin whom the function of the wing is essen-\\ntially, not flight, but the protection of their\\nyoung.\\nOf these, the two most familiar to us are\\nthe domestic fowl and the partridge: and\\nthere is nothing in arrangement of plumage\\napproaching the exquisiteness of that in the", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0377.jp2"}, "376": {"fulltext": "372 NATURE STUDIES.\\nvaulted roof of their expanded covering wings:\\nnor does anything I know in decoration rival\\nthe consummate art of the minute cirrus-\\nclouding of the partridge s breast\\nThe Laws of Fesole Chap. VI, p. 51.\\nThe perfect and simple grace of bird form,\\nin general, has rendered it a favorite subject\\nwith early sculptors, and with these schools\\nwhich loved form more than action.\\nHalf the ornaments, at least, in Byzantine\\narchitecture, and a third of that of Lom-\\nbardic, is composed of birds, either pecking\\nat fruit, or flowers, or standing on either side\\nof a flower or vase, or alone, as generally the\\nsymbolical peacock. But how much of our\\ngeneral sense of grace or power of motion,\\nof serenity, peacefulness, and spirituality, we\\nowe to these creatures it is impossible to con-\\nceive their wings supplying us with almost\\nthe only means of representation of spiritual\\nmotion which we possess and with an orna-\\nmental form of which the eye is never weary,\\nhowever meaningless or endlessly repeated.\\nThe Stones of Venice^ Vol. I, Chap. XX, p. 233.\\nThe Bird. It is little more than the drift\\nof the air brought into form by plumes the\\nair is in all its quills, it breathes through its", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0378.jp2"}, "377": {"fulltext": "A CHARM OF BIRDS. 373\\nwhole frame and flesh, and glows with air in\\nits flying, like blown flame it rests upon the\\nair, subdues it, surpasses it, outraces it is\\nthe air, conscious of itself, conquering itself,\\nruling itself.\\nAlso, into the throat of the bird is given\\nthe voice of the air. All that in the wind\\nitself is weak, wild, useless in sweetness, is\\nknit together in its song. As we may imagine\\nthe wild form of the cloud closed into the\\nperfect form of the bird s wings, so the wild\\nvoice of the cloud into its ordered and com-\\nmanded voice; unwearied, rippling through\\nthe clear heaven in its gladness, interpreting\\nall intense passion through the soft spring\\nnights, bursting into acclaim and rapture of\\nchoir at daybreak, or lisping and twittering\\namong the boughs and hedges through the\\nheat of the day, like little winds that only\\nmake the cowslip bells shake, and ruffle the\\npetals of the wild rose.\\nAlso upon the plumes of the bird are put\\nthe colors of the air on these the gold of the\\ncloud that cannot be gathered by any covet-\\nousness the rubies of the clouds the ver-\\nmilion of the cloud-bar, and the flame of the\\ncloud-crest, and the snow of the cloud, and\\nits shadow, and the melted blue of the deep\\nwells of the sky all these, seized by the", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0379.jp2"}, "378": {"fulltext": "374 NATURE STUDIES,\\ncreating spirit, and woven by Athena herself\\ninto films and threads of plume; with wave\\non wave following, and fading along breast,\\nand throat, and opened wings, infinite as the\\ndividing of the foam and the shifting of the\\nsea-sand; even the white down of the cloud\\nseeming to flutter up between the stronger\\nplumes, seen, but too soft for touch.\\nAnd so the Spirit of the Air is put into,\\nand upon this created form and it becomes,\\nthrough twenty centuries, the symbol of\\ndivine help, descending, as the Fire to speak,\\nbut as the Dove, to bless.\\nThe Queen of the Air, II, p. 284.", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0380.jp2"}, "379": {"fulltext": "", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0381.jp2"}, "380": {"fulltext": "", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0382.jp2"}, "381": {"fulltext": "", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0383.jp2"}, "382": {"fulltext": "", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0384.jp2"}, "383": {"fulltext": "", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0385.jp2"}, "384": {"fulltext": "", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0386.jp2"}, "385": {"fulltext": "", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0387.jp2"}, "386": {"fulltext": "FP\\n22 1900", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0388.jp2"}, "387": {"fulltext": "", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0389.jp2"}, "388": {"fulltext": "Imp\\nII 111\\nI\\nIK\\nS\\nliiiii\\ni IPPi I\\nIII I! I\\nill P\\nIII ipHlililll", "height": "3436", "width": "2219", "jp2-path": "naturestudiessel00rusk_0390.jp2"}}