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He had not foreseen the possibility of their usefulness being a temptation to his wife in so handy a receptacle. Seeking once a volume of Ruskin’s Miscellanies, he discovered that it had been employed to support the dismantled leg of a dressing bureau.
Great respect for this “lion in the path” was a natural result and “at least a two years’ study” of these problems was thought necessary before practical work in art could commence. Mr. Ruskin’s fling at the perspective labyrinth would have been more authoritative than it proved, had he not too often lessened our faith by the cry of wolf when it proved a false alarm.
It is the apt correlation of the arts which accounts for the acknowledgment by an English story writer that she got her style from Ruskin’s “Principles of Drawing”; and of a landscape painter that to sculpture he owed his discernment of the forest secrets, by daily observing the long lines of statues in the corridor of the Royal Academy; or by the composer of pictures to the composer of music; or by the preacher that suggestions to discourse had come to him through the pictorial processes of the painter.
Ruskin’s indignation, are surely too frank an idealization to be misleading; and since popular chorus is one of the most effective elements of the opera, we can hardly object to lyric rustics in elegant laced boddices and picturesque motley, unless we are prepared to advocate a chorus of colliers in their pit costume, or a ballet of charwomen and stocking-weavers.
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