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He wrote a magazine paper on the zoology of the Lombardic pillars in Verona, very Ruskinian, very scornful of modern motive. He visited every part of the peninsula, but he gave the greater part of his time to North Italy, and in Venice he met the young girl whom he followed to Florence.
Yet in that weakness one could trace no delusions, none of the mental break-down which was taken for granted. If he gave an opinion it was clear and sound enough; of course with the old Ruskinian waywardness of idea which always puzzled his public. But he knew what he was about, and knew what was going on.
"Don Calixto is astonished that when he has done the Castrians the honour to make them loans at eighty or ninety percent, they are not fond of him. After the garden we saw the house; I won't tell you anything about it, I don't want you to accuse me again of being a Ruskinian. "When we reached the dining-room Don Calixto said: 'I am going to present you to my family.
They were crude rather than incorrect, but they were largely responded to by our public; they were destructive of the old rather than informing of the new, and leaned on nature rather than art. The art-loving public was full of Ruskinian enthusiasm, and what strength I had shown was in that vein.
Nothing more ghastly and abominable than the whole thing can be conceived, and it seemed to me the fit type of the abandoned Venice which produced it; for one even less Ruskinian than I might have fancied that in the sculptured countenance could be seen the dismay of the pleasure-wasted harlot of the sea when, from time to time, death confronted her amid her revels.
These latter are numerous and deeply to be deplored; but to admit that they have spoiled Venice would be to admit that Venice may be spoiled an admission pregnant, as it seems to us, with disloyalty. Fortunately one reacts against the Ruskinian contagion, and one hour of the lagoon is worth a hundred pages of demoralised prose. This queer late-coming prose of Mr.
They remembered their Ruskinian youth, and the confidence with which they would once have condemned it; and they had a sense of recreance in now admiring it; but they certainly admired it, and it remained for them the supreme expression of that time-soul, mundane, courtly, aristocratic, flattering, which once influenced the art of the whole world, and which had here so curiously found its apotheosis in a city remote from its native place and under a rule sacerdotally vowed to austerity.
If we prefer to use the famous terms employed by Ruskin in Modern Painters, we have been considering the penetrative, associative and contemplative types of imagination. But these Ruskinian names, however brilliantly and suggestively employed by the master, are dangerous tools for the beginner in the study of poetry.
It would be improper here to attack or to defend his views, but it is part of the historian's duty to say that, for good or for ill, they have, though in forms different from his and doubtless by no means always meeting his approval, made constant headway, and that much legislation and still more agitation on the extreme Liberal side, and not there only, may be said to represent, with very slight transformation, Ruskinian doctrine applied, now and then, to very anti-Ruskinian purposes.
If Ruskin had written music-criticism, he might have amplified the meaning of his once-famous phrase, the "pathetic fallacy," for I consider it a pathetic fallacy though not in the Ruskinian sense in criticism to be over-shadowed by the fear that, because some of our critical predecessors misjudged Wagner or Manet or Ibsen, we should be too merciful in criticising our contemporaries.
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