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Ruskin put his criticism into imaginative prose, and is superb in his changes and contradictions; and Browning put his into blank verse and made painter and poet yield us their secret; and M. Renan uses dialogue, and Mr.
I mentioned this project to Mr. Ruskin, who said that he avoided travelling in countries where he could not be sure of ordinary comforts, such as a white table-cloth and a clean knife and fork; still, he would put up with a great deal of inconvenience to be near a mountain.
How account for the violent changes in popular taste? Martin suffered from too great early success. The star of Turner was in the ascendant. John Ruskin denied merit to the mezzotinter, and so it is to-day that if you go to our print-shops you will seldom find one of his big or little plates.
This remark shows Ruskin once again as a true reader in nature's book. Looking with childlike openness and intensity of participation into the world of the senses, he allows nature's phenomena to impress themselves upon his mind without giving any preconceived preference to one kind or another.
But for merit there is a recompense in sneers, and a benefit in sarcasms, and a compensation in hate; for when these things get too pronounced a champion appears. And so it was with Turner. Next to having a Boswell write one's life, what is better than a Ruskin to uphold one's cause!
"The head of Hercules," says Ruskin, "was always represented as covered with a lion's skin, with the claws joining under the chin, to show that when we had conquered our misfortunes they became a help to us." One of the greatest hindrances to obedience is a false pride.
During this controversy, and just before the summer tour of 1838 to Scotland, John Ruskin was introduced to Miss Charlotte Withers, a young lady who was as fond of music as he was of drawing.
In it the author, as mentor, leads an imaginary disciple up and down the land, pointing out to him the "bold, upholsterrific blunders" to be found in the architecture of the day, and commenting on them in a caustic, colloquial style large, loose, discursive a blend of Ruskin, Carlyle and Whitman, yet all Mr. Sullivan's own.
Newland Archer prided himself on his knowledge of Italian art. His boyhood had been saturated with Ruskin, and he had read all the latest books: John Addington Symonds, Vernon Lee's "Euphorion," the essays of P. G. Hamerton, and a wonderful new volume called "The Renaissance" by Walter Pater. He talked easily of Botticelli, and spoke of Fra Angelico with a faint condescension.
Ruskin himself, who would certainly have scored through all the eulogies in passionate red ink and declared that his dear friend had selected for admiration the very parts of his work which were vile, brainless, and revolting. That, however, was merely Ruskin's humour, and one of the deepest disappointments with Mr.
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