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Title: Index of the Project Gutenberg Works of John Ruskin Author: John Ruskin Editor: David Widger Release Date: April 29, 2019 [EBook #59392] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK INDEX OF THE PG WORKS OF RUSKIN *** Produced by David Widger INDEX OF THE PROJECT GUTENBERG WORKS OF JOHN RUSKIN Compiled by David Widger CONTENTS ## THE KING OF THE GOLDEN RIVER ## THE KING OF THE GOLDEN RIVER (Illustrated) RUSKIN LILIES ## THE ETHICS OF THE DUST ## MORNINGS IN FLORENCE ## THE TWO PATHS ## VAL D'ARNO ## THE QUEEN OF THE AIR ## PROSERPINA, Vol. 1 PROSERPINA, Vol. 2 ## SELECTIONS FROM RUSKIN ## THE PLEASURES OF ENGLAND ## THE POETRY OF ARCHITECTURE ## LOVE'S MEINIE GIOTTO AND HIS WORKS IN PADUA ## LECTURES ON ART ## A JOY FOR EVER ## LECTURES ON LANDSCAPE ## THE STORM-CLOUD OF THE NINETEENTH CENTURY ## ON THE OLD ROAD, VOL. 2 (of 2) ## THE HARBOURS OF ENGLAND ## HORTUS INCLUSUS ## LECTURES ON ARCHITECTURE ## BIBLE OF AMIENS ## ARATRA PENTELICI, SEVEN LECTURES ## THE CROWN OF WILD OLIVE ## ARIADNE FLORENTINA ## SAINT URSULA ## THE ELEMENTS OF DRAWING ## STONES OF VENICE [INTRODUCTIONS] ## THE STONES OF VENICE, Vol. I (of III) ## THE STONES OF VENICE, Vol. II ## THE STONES OF VENICE, Vol. III (of III) ## FRONDES AGRESTES ## TIME AND TIDE BY WEARE AND TYNE ## THE SEVEN LAMPS OF ARCHITECTURE ## UNTO THIS LAST AND OTHER POLITICAL ESSAYS ## THE EAGLE'S NEST OF VULGARITY ## RUSKIN RELICS ## ARROWS OF THE CHACE, Vol. 1 (of 2) ## ARROWS OF THE CHACE, Vol. 2 (of 2) ## MODERN PAINTERS Vol. I (of V) ## MODERN PAINTERS Vol. II (of V) ## MODERN PAINTERS Vol. III (of V) ## MODERN PAINTERS Vol. IV (of V) ## MODERN PAINTERS Vol. V (of V) TABLES OF CONTENTS OF VOLUMES The King of the Golden River By John Ruskin CONTENTS CHAPTER I HOW THE AGRICULTURAL SYSTEM OF THE BLACK BROTHERS WAS INTERFERED WITH BY SOUTHWEST WIND, ESQUIRE CHAPTER II OF THE PROCEEDINGS OF THE THREE BROTHERS AFTER THE VISIT OF SOUTHWEST WIND, ESQUIRE; AND HOW LITTLE GLUCK HAD AN INTERVIEW WITH THE KING OF GOLDEN RIVER CHAPTER III HOW MR. HANS SET OFF ON AN EXPEDITION TO THE GOLDEN RIVER, AND HOW HE PROSPERED THEREIN CHAPTER IV HOW MR. SCHWARTZ SET OFF ON AN EXPEDITION TO THE GOLDEN RIVER, AND HOW HE PROSPERED THEREIN CHAPTER V HOW LITTLE GLUCK SET OFF ON AN EXPEDITION TO THE GOLDEN RIVER, AND HOW HE PROSPERED THEREIN, WITH OTHER MATTERS OF INTEREST THE KING OF THE GOLDEN RIVER OR THE BLACK BROTHERS A Legend of Stiria By John Ruskin Illustrated by Richard Doyle CONTENTS CHAPTER I. HOW THE AGRICULTURAL SYSTEM OF THE BLACK BROTHERS WAS INTERFERED WITH BY SOUTH-WEST WIND, ESQUIRE 9 CHAPTER II. OF THE PROCEEDINGS OF THE THREE BROTHERS AFTER THE VISIT OF SOUTH-WEST WIND, ESQUIRE; AND HOW LITTLE GLUCK HAD AN INTERVIEW WITH THE KING OF THE GOLDEN RIVER 28 CHAPTER III. HOW MR. HANS SET OFF ON AN EXPEDITION TO THE GOLDEN RIVER, AND HOW HE PROSPERED THEREIN 40 CHAPTER IV. HOW MR. SCHWARTZ SET OFF ON AN EXPEDITION TO THE GOLDEN RIVER, AND HOW HE PROSPERED THEREIN 51 CHAPTER V. HOW LITTLE GLUCK SET OFF ON AN EXPEDITION TO THE GOLDEN RIVER, AND HOW HE PROSPERED THEREIN; WITH OTHER MATTERS OF INTEREST 56 LIST OF ILLUSTRATIONS Designed And Drawn On Wood By Richard Doyle SUBJECTS. ENGRAVERS. PAGE South-West Wind, Esq., knocking at the Black Brothers' door C. Thurston Thompson Frontispiece. The Treasure Valley C. Thurston Thompson Title Initial Letter, and Mountain Range G. and E. Dalziel 9 South-West Wind, Esq., seated on the hob G. and E. Dalziel 18 South-West Wind, Esq., bowing to the Black Brothers H. Orrin Smith 21 Storm Scene G. and E. Dalziel 25 Card of South-West Wind, Esq. H. Orrin Smith 27 Initial Letter, and Cottage in the Treasure Valley Isabel Thompson 28 The Black Brothers drinking and Gluck working C. S. Cheltnam 30 Gluck looking out at the Golden River H. D. Linton 32 The Golden Dwarf appearing to Gluck G. and E. Dalziel 36 Gluck looking up the Chimney H. Orrin Smith 39 The Black Brothers beating Gluck C. S. Cheltnam 40 Hans and Schwartz fighting H. Orrin Smith 41 Schwartz before the Magistrate C. S. Cheltnam 42 Hans and the Dog H. Orrin Smith 47 The Black Stone G. and E. Dalziel 50 Initial Letter—Gluck releasing Schwartz G. and E. Dalziel 51 Schwartz ascending the Mountain H. Orrin Smith 53 Initial Letter—Gluck ascending the Mountain H. Orrin Smith 56 Priest giving Gluck Holy Water G. and E. Dalziel 57 Gluck and the Child C. S. Cheltnam 59 THE ETHICS OF THE DUST Ten Lectures To Little Housewives On The Elements Of Crystallization By John Ruskin, LL.D., CONTENTS DEDICATION. PERSONAE PREFACE TO THE SECOND EDITION. PREFACE TO THE SECOND EDITION. PREFACE. LECTURE 1. — THE VALLEY OF DIAMONDS LECTURE 2. — THE PYRAMID BUILDERS LECTURE 3. — THE CRYSTAL LIFE LECTURE 4. — THE CRYSTAL ORDERS LECTURE 5. — CRYSTAL VIRTUES LECTURE 6. — CRYSTAL QUARRELS LECTURE 7. — HOME VIRTUES LECTURE 8. — CRYSTAL CAPRICE LECTURE 9. — CRYSTAL SORROWS LECTURE 10. NOTES. NOTE I. NOTE II. NOTE III. NOTE IV. NOTE V. NOTE VI. NOTE TO SECOND EDITION MORNINGS IN FLORENCE By John Ruskin CONTENTS MORNINGS IN FLORENCE. THE FIRST MORNING. THE SECOND MORNING. THE THIRD MORNING. THE FOURTH MORNING. THE FIFTH MORNING. THE SIXTH MORNING. THE TWO PATHS By John Ruskin CONTENTS THE TWO PATHS. PREFACE. THE TWO PATHS LECTURE I. — THE DETERIORATIVE POWER OF CONVENTIONAL ART OVER NATIONS. LECTURE II. — THE UNITY OF ART. LECTURE III. — MODERN MANUFACTURE AND DESIGN. LECTURE IV. — INFLUENCE OF IMAGINATION IN ARCHITECTURE LECTURE V. — THE WORK OF IRON, IN NATURE, ART, AND POLICY. APPENDICES. APPENDIX II. APPENDIX III. APPENDIX IV. APPENDIX V. VAL D'ARNO By John Ruskin CONTENTS VAL D'ARNO LECTURE I. NICHOLAS THE PISAN. LECTURE II. JOHN THE PISAN. LECTURE III. SHIELD AND APRON. LECTURE IV. PARTED PER PALE. LECTURE V. PAX VOBISCUM. LECTURE VI. MARBLE COUCHANT. LECTURE VII. MARBLE RAMPANT. LECTURE VIII. FRANCHISE. LECTURE IX. THE TYRRHENE SEA. LECTURE X. FLEUR DE LYS. THE QUEEN OF THE AIR Being a Study of the Greek Myths of Cloud and Storm By John Ruskin, LL.D. CONTENTS TABLE OF CONTENTS PREFACE THE QUEEN OF THE AIR. I. — ATHENA CHALINITIS. (Athena in the Heavens.) II. — ATHENA KERAMITIS. (Athena in the Earth.) III. — ATHENA ERGANE. (Athena in the Heart.) PROSERPINA. VOLUME I. Studies of Wayside Flowers By John Ruskin, CONTENTS OF VOL. PAGE INTRODUCTION 1 CHAPTER I. MOSS 12 CHAPTER II. THE ROOT 26 CHAPTER III. THE LEAF 40 CHAPTER IV. THE FLOWER 64 CHAPTER V. PAPAVER RHOEAS 86 CHAPTER VI. THE PARABLE OF JOASH 106 CHAPTER VII. THE PARABLE OF JOTHAM 117 CHAPTER VIII. THE STEM 127 CHAPTER IX. OUTSIDE AND IN 151 CHAPTER X. THE BARK 170 CHAPTER XI. GENEALOGY 176 CHAPTER XII. CORA AND KRONOS 205 CHAPTER XIII. THE SEED AND HUSK 219 CHAPTER XIV. THE FRUIT GIFT 227 INDEX I. DESCRIPTIVE NOMENCLATURE 239 INDEX II. ENGLISH NAMES 255 INDEX III. LATIN OR GREEK NAMES 258 SELECTIONS FROM THE WORKS OF JOHN RUSKIN Edited With Introduction And Notes By Chauncey B. Tinker CONTENTS INTRODUCTION The Life of Ruskin The Unity of Ruskin's Writings Ruskin's Style SELECTIONS FROM MODERN PAINTERS The Earth-Veil The Mountain Glory Sunrise on the Alps The Grand Style Of Realization Of the Novelty of Landscape Of the Pathetic Fallacy Of Classical Landscape Of Modern Landscape The Two Boyhoods SELECTIONS FROM THE STONES OF VENICE The Throne St. Mark's Characteristics of Gothic Architecture SELECTIONS FROM THE SEVEN LAMPS OF ARCHITECTURE The Lamp of Memory The Lamp of Obedience SELECTIONS FROM LECTURES ON ART Inaugural The Relation of Art to Morals The Relation of Art to Use ART AND HISTORY TRAFFIC LIFE AND ITS ARTS BIBLIOGRAPHICAL NOTE THE PLEASURES OF ENGLAND. Lectures given in Oxford. By John Ruskin CONTENTS LECTURE I. THE PLEASURES OF LEARNING. Bertha to Osburga 5 LECTURE II. THE PLEASURES OF FAITH. Alfred to the Confessor 31 LECTURE III. THE PLEASURES OF DEED. Alfred to Cour de Lion 61 LECTURE IV. THE PLEASURES OF FANCY. Cour de Lion to Elizabeth 91 POETRY OF ARCHITECTURE SEVEN LAMPS OF ARCHITECTURE By John Ruskin CONTENTS INTRODUCTION 1 PART I.—THE COTTAGE. I. THE LOWLAND COTTAGE—ENGLAND AND FRANCE 7 II. THE LOWLAND COTTAGE—ITALY 15 III. THE MOUNTAIN COTTAGE—SWITZERLAND 25 IV. THE MOUNTAIN COTTAGE—WESTMORELAND 35 V. A CHAPTER ON CHIMNEYS 45 VI. THE COTTAGE—CONCLUDING REMARKS 57 PART II.—THE VILLA. I. THE MOUNTAIN VILLA—LAGO DI COMO 67 II. THE MOUNTAIN VILLA—LAGO DI COMO (CONTINUED) 80 III. THE ITALIAN VILLA (CONCLUDED) 94 IV. THE LOWLAND VILLA—ENGLAND 104 V. THE ENGLISH VILLA—PRINCIPLES OF COMPOSITION 113 VI. THE BRITISH VILLA.—PRINCIPLES OF COMPOSITION. (THE CULTIVATED, OR BLUE COUNTRY, AND THE WOODED, OR GREEN COUNTRY) 126 VII. THE BRITISH VILLA.—PRINCIPLES OF COMPOSITION. (THE HILL, OR BROWN COUNTRY) 145 LIST OF PLATES Facing Page Fig. 1. Old Windows; from an early sketch by the Author 13 " 2. Italian Cottage Gallery, 1846 20 Cottage near la Cité, Val d'Aosta, 1838 21 " 3. Swiss Cottage, 1837. (Reproduced from the Architectural Magazine) 28 " 4. Cottage near Altorf, 1835 29 " 5. Swiss Châlet Balcony, 1842 32 " 6. The Highest House in England, at Malham 42 " 7. Chimneys. (Eighteen sketches redrawn from the Architectural Magazine) 48 " 8. Coniston Hall, from the Lake near Brantwood, 1837. (Reproduced from the Architectural Magazine) 50 " 9. Chimney at Neuchatel; Dent du Midi and Mont Blanc in the distance 20 " 10. Petrarch's Villa, Arquà, 1837. (Redrawn from the Architectural Magazine) 98 " 11. Broken Curves. (Three diagrams, redrawn from the Architectural Magazine) 101 " 12. Old English Mansion, 1837. (Reproduced from the Architectural Magazine) 116 " 13. Windows. (Three designs, reproduced from the Architectural Magazine) 122 " 14. Leading Lines of Villa-Composition. (Diagram redrawn from the Architectural Magazine) 164 LOVE'S MEINIE. THREE LECTURES ON GREEK AND ENGLISH BIRDS. By John Ruskin CONTENTS. PREFACEv LECTURE I. THE ROBIN1 LECTURE II. THE SWALLOW25 LECTURE III. THE DABCHICKS52 APPENDIX107 LECTURES ON ART. Delivered Before The University Of Oxford In Hilary Term, 1870. CONTENTS LECTURE I. INAUGURAL 1 LECTURE II. THE RELATION OF ART TO RELIGION 24 LECTURE III. THE RELATION OF ART TO MORALS 46 LECTURE IV. THE RELATION OF ART TO USE 66 LECTURE V. LINE 86 LECTURE VI. LIGHT 102 LECTURE VII. COLOUR 123 "A JOY FOR EVER" (AND ITS PRICE IN THE MARKET) Two Lectures On The Political Economy Of Art By John Ruskin CONTENTS. LECTURE I. PAGE THE DISCOVERY AND APPLICATION OF ART 1 A Lecture delivered at Manchester, July 10th, 1857. LECTURE II. THE ACCUMULATION AND DISTRIBUTION OF ART 70 Continuation of the previous Lecture; delivered July 13th, 1857. ADDENDA. Note 1.—"FATHERLY AUTHORITY" 151 " 2.—"RIGHT TO PUBLIC SUPPORT" 159 " 3.—"TRIAL SCHOOLS" 169 " 4.—"PUBLIC FAVOUR" 180 " 5.—"INVENTION OF NEW WANTS" 183 " 6.—"ECONOMY OF LITERATURE" 187 " 7.—"PILOTS OF THE STATE" 189 " 8.—"SILK AND PURPLE" 193 ——— SUPPLEMENTARY ADDITIONAL PAPERS. EDUCATION IN ART 213 ART SCHOOL NOTES 229 SOCIAL POLICY 240 INDEX. LECTURES ON LANDSCAPE DELIVERED AT OXFORD IN LENT TERM, 1871. By John Ruskin CONTENTS. LECTURE I. Outline 1 LECTURE II. Light and Shade 16 LECTURE III. Color 32 LIST OF PLATES Vesuvius in Eruption, by J.M.W. Turner 2 Near Blair Athol, by J.M.W. Turner 19 Dumblane Abbey, by J.M.W. Turner 20 Madonna and Child, by Filippo Lippi 33 The Lady with the Brooch, by Sir Joshua Reynolds 35 Æsacus and Hesperie, by J.M.W. Turner 45 Mill near Grande Chartreuse, by J.M.W. Turner 47 L'Aiguillette; Valley of Cluses, by J.M.W. Turner 48 THE STORM-CLOUD OF THE NINETEENTH CENTURY TWO LECTURES DELIVERED AT THE LONDON INSTITUTION CONTENTS. Preface iii Lecture I. (February 4) 1 Lecture II. (February 11) 31 ON THE OLD ROAD A Collection Of Miscellaneous Essays And Articles On Art And Literature. Vol. II. (of II.) CONTENTS PICTURE GALLERIES. Parliamentary Evidence:— National Gallery Site Commission. 1857 3 Select Committee on Public Institutions. 1860 25 The Royal Academy Commission 50 A Museum or Picture Gallery 71 MINOR WRITINGS UPON ART. The Cavalli Monuments, Verona. 1872 89 Verona and its Rivers (with Catalogue). 1870 99 Christian Art and Symbolism. 1872 118 Art Schools of Mediæval Christendom. 1876 121 The Extension of Railways. 1876 125 The Study of Beauty. 1883 132 NOTES ON NATURAL SCIENCE. The Color of the Rhine. 1834 141 The Strata of Mont Blanc. 1834 143 The Induration of Sandstone. 1836 145 The Temperature of Spring and River Water. 1836. 148 Meteorology. 1839 153 Tree Twigs. 1861 158 Stratified Alps of Savoy. 1863 162 Intellectual Conception and Animated Life. 1871 168 LITERATURE. Fiction—fair and Foul. 1880-81 175 Fairy Stories. 1868 290 ECONOMY. Home, and Its Economies. 1873 299 Usury. A Reply and a Rejoinder. 1880 314 Usury. A Preface. 1885 340 THEOLOGY. Notes on the Construction of Sheepfolds. 1851 347 The Lord's Prayer and the Church. 1879-81. (Letters and Epilogue.) 382 The Nature and Authority of Miracle. 1873 418 AN OXFORD LECTURE. 1878 429 THE HARBORS OF ENGLAND. CONTENTS EDITOR'S PREFACE.v AUTHOR'S ORIGINAL PREFACE. xi THE HARBORS OF ENGLAND.1 Dover34 Ramsgate36 Plymouth38 Catwater40 Sheerness41 Margate43 Portsmouth46 Falmouth49 Sidmouth51 Whitby52 Deal54 Scarborough56 HORTUS INCLUSUS MESSAGES FROM THE WOOD TO THE GARDEN, SENT IN HAPPY DAYS TO THE SISTER LADIES OF THE THWAITE, CONISTON. CONTENTS PREFACE. v INTRODUCTION. vii PREFACE TO THE THIRD EDITION. ix HORTUS INCLUSUS. 1 THE SACRISTANS CELL. 2 THE LOST CHURCH IN THE CAMPAGNA. 7 REGRETS. 9 FRONDES AGRESTES. 10 HOW HE FELL AMONG THIEVES. 10 IN PARADISE. 12 FOAM OF TIBER. 13 WHARFE IN FLOOD. 18 FRONDES. 19 WASP STINGS. 20 BOLTON STRID. 21 ST. URSULA. 25 ST. MARK'S DOVES. 26 ST. MARK'S REST. 28 SAINTS AND FLOWERS. 29 TO MISS BEEVER. 39 TO MISS BEEVER. 53 MISCELLANEOUS. 61 TO MISS BEEVER. 67 SUSIE'S LETTERS. 93 ABOUT WRENS. 100 HISTORY OF A BLACKBIRD. 101 LECTURES ON ARCHITECTURE AND PAINTING Delivered At Edinburgh In November, 1853. CONTENTS. PAGE Prefacev LECTURE I. Architecture1 LECTURE II. Architecture34 Addenda to Lectures I. and II.56 LECTURE III. Turner and his Works75 LECTURE IV. Pre-Raphaelitism100 Addenda to Lecture IV.123 LIST OF PLATES. Plate I. Figs. 1. 3. and 5. Illustrative diagrams 3 " II. " 2. Windows in Oakham Castle 5 " III. " 4. and 6. Spray of ash-tree, and improvement of the same on Greek principles 10 " IV. " 7. Window in Dunblane Cathedral 15 " V. " 8. Mediæval turret 20 " VI. " 9. and 10. Lombardic towers 22 " VII. " 11. and 12. Spires at Coutances and Rouen 25 " VIII. " 13. and 14. Illustrative diagrams 39 " IX. " 15. Sculpture at Lyons 40 " X. " 16. Niche at Amiens 41 " XI. " 17. and 18. Tiger's head, and improvement of the same on Greek principles 44 " XII. " 19. Garret window in Hotel de Bourgtheroude 51 " XIII. " 20. and 21. Trees, as drawn in the 13th century 81 " XIV. " 22. Rocks, as drawn by the school of Leonardo da Vinci 83 " XV. " 23. Boughs of trees, after Titian 84 THE BIBLE OF AMIENS CONTENTS PREFACE. iii Chapter I. — By the Rivers of Waters 1 Chapter II. — Under the Drachenfels 26 Chapter III. — The Lion Tamer 58 Chapter IV. — Interpretations 88 Appendix I. — Chronological List of Principal Events referred to in the 'Bible of Amiens' 143 Appendix II. — References Explanatory of Photographs to Chapter IV 144 Appendix III. — General Plan of 'Our Fathers have told us' 153 INDEX 157 PLATES Plate I. — The Dynasties of France 9 Plate II. — The Bible of Amiens, Northern Porch before Restoration 27 Plate III. — Amiens, Jour Des Trépassés, 1880 58 St. Mary 131 Plan of the West Porches 140 ARATRA PENTELICI. SEVEN LECTURES ON THE ELEMENTS OF SCULPTURE Given Before The University Of Oxford In Michaelmas Term, 1870 CONTENTS PAGE Preface v LECTURE I. Of the Division of Arts 1 LECTURE II. Idolatry 20 LECTURE III. Imagination 39 LECTURE IV. Likeness 67 LECTURE V. Structure 90 LECTURE VI. The School of Athens 114 LECTURE VII. The Relation Between Michael Angelo and Tintoret 132 LIST OF PLATES Facing Page I. Porch of San Zenone, Verona 14 II. The Arethusa of Syracuse 15 III. The Warning to the Kings, San Zenone, Verona 15 IV. The Nativity of Athena 46 V. Tomb of the Doges Jacopo and Lorenzo Tiepolo 49 VI. Archaic Athena of Athens and Corinth 50 VII. Archaic, Central and Declining Art of Greece 72 VIII. The Apollo of Syracuse, and the Self-made Man 84 IX. Apollo Chrysocomes of Clazomenæ 85 X. Marble Masonry in the Duomo of Verona 100 XI. The First Elements of Sculpture. Incised outline and opened space 101 XII. Branch of Phillyrea 109 XIII. Greek Flat relief, and sculpture by edged incision 111 XIV. Apollo and the Python. Heracles and the Nemean Lion 119 XV. Hera of Argos. Zeus of Syracuse 120 XVI. Demeter of Messene. Hera of Cnossus 121 XVII. Athena of Thurium. Siren Ligeia of Terina 121 XVIII. Artemis of Syracuse. Hera of Lacinian Cape 122 XIX. Zeus of Messene. Ajax of Opus 124 XX. Greek and Barbarian Sculpture 127 XXI. The Beginnings of Chivalry 129 THE CROWN OF WILD OLIVE Also, Munera Pulveris, Pre-Raphaelitism-aratra Pentelici, The Ethics Of The Dust, Fiction, Fair And Foul, The Elements Of Drawing John Ruskin CONTENTS. THE CROWN OF WILD OLIVE. PAGE LECTURE I. Work, 17 LECTURE II. Traffic, 44 LECTURE III. War, 66 MUNERA PULVERIS. Preface, 97 CHAP. I. Definitions, 111 II. Store-Keeping, 125 III. Coin-Keeping, 151 IV. Commerce, 170 V. Government, 181 VI. Mastership, 204 Appendices, 222 PRE-RAPHAELITISM. Preface, 235 Pre-Raphaelitism, 237 ARATRA PENTELICI. Preface, 283 LECTURE I. Of the Division of Arts, 287 II. Idolatry, 304 III. Imagination, 322 IV. Likeness, 350 V. Structure, 372 VI. The School of Athens, 395 The Future of England, 415 Notes on Political Economy of Prussia, 435 LIST OF ILLUSTRATIONS. PLATES FACING PAGE I. Porch of San Zenone. Verona, 300 II. The Arethusa of Syracuse, 302 III. The Warning to the Kings, 302 IV. The Nativity of Athena, 308 V. Tomb of the Doges Jacopo and Lorenzo Tiepolo, 333 VI. Archaic Athena of Athens and Corinth, 334 VII. Archaic, Central and Declining Art of Greece, 355 VIII. The Apollo of Syracuse and the Self-made Man, 366 IX. Apollo Chrysocomes of Clazomenæ, 368 X. Marble Masonry in the Duomo of Verona, 381 XI. The First Elements of Sculpture, 382 XII. Branch of Phillyrea. Dark Purple, 390 XIII. Greek Flat Relief and Sculpture by Edged Incision, 392 XIV. Apollo and the Python. Heracles and the Nemean Lion, 400 XV. Hera of Argos. Zeus of Syracuse, 401 XVI. Demeter of Messene. Hera of Crossus, 402 XVII. Athena of Thurium. Sereie Ligeia of Terina, 402 XVIII. Artemis of Syracuse. Hera of Lacinian Cape, 404 XIX. Zeus of Messene. Ajax of Opus, 405 XX. Greek and Barbarian Sculpture, 407 XXI. The Beginnings of Chivalry, 409 FIGURE PAGE 1. Specimen of Plate, 293 2. Woodcut, 323 3. Figure on Greek Type of Vases, 326 4. Early Drawing of the Myth, 330 5. Cut, "Give It To Me," 332 6. Engraving on Coin, 335 7. Drawing of Fish. By Turner, 362 8. Iron Bar, 379 9. Diagram of Leaf, 391 ARIADNE FLORENTINA SIX LECTURES ON WOOD AND METAL ENGRAVING GIVEN BEFORE THE UNIVERSITY OF OXFORD, IN MICHAELMAS TERM, 1872. CONTENTS. DEFINITION OF THE ART OF ENGRAVING 1 THE RELATION OF ENGRAVING TO OTHER ARTS IN FLORENCE 22 THE TECHNICS OF WOOD ENGRAVING 42 THE TECHNICS OF METAL ENGRAVING 61 DESIGN IN THE GERMAN SCHOOLS OF ENGRAVING (HOLBEIN AND DÜRER) 81 DESIGN IN THE FLORENTINE SCHOOLS OF ENGRAVING (SANDRO BOTTICELLI) 108 APPENDIX ARTICLE I. NOTES ON THE PRESENT STATE OF ENGRAVING IN ENGLAND 143 II. DETACHED NOTES 157 LIST OF PLATES Diagram 27 The Last Furrow (Fig. 2). Facsimile from Holbein's woodcut 47 The Two Preachers (Fig. 3). Facsimile from Holbein's woodcut 48 I. Things Celestial and Terrestrial, as apparent to the English mind 56 II. Star of Florence 62 III. "At evening from the top of Fésole" 72 IV. "By the Springs of Parnassus" 77 V. "Heat considered as a Mode of Motion." Florentine Natural Philosophy 92 VI. Fairness of the Sea and Air. In Venice and Athens 95 The Child's Bedtime (Fig. 5). Facsimile from Holbein's woodcut 103 "He that hath ears to hear let him hear" (Fig. 6). Facsimile from Holbein's woodcut 105 VII. For a time, and times 130 VIII. The Nymph beloved of Apollo (Michael Angelo) 131 IX. In the Woods of Ida 132 X. Grass of the Desert 135 XI. "Obediente Domino voci hominis" 145 XII. The Coronation in the Garden 158 SAINT URSULA By John Ruskin Contents PREFACE THE STORY OF ST. URSULA THE DREAM OF ST. URSULA THE ELEMENTS OF DRAWING IN THREE LETTERS TO BEGINNERS CONTENTS. page Preface ix LETTER I. On First Practice 1 LETTER II. Sketching from Nature 65 LETTER III. On Color and Composition 106 APPENDIX I. Illustrative Notes 183 APPENDIX II. Things to be Studied 188 STONES OF VENICE By John Ruskin CONTENTS THE STONES OF VENICE PREFACE. THE STONES OF VENICE CHAPTER I. — THE QUARRY. CHAPTER II. — THE THRONE. CHAPTER III. — TORCELLO. CHAPTER IV. — ST. MARK'S. CHAPTER V. — THE DUCAL PALACE. NOTE. THE STONES OF VENICE VOLUME I. (of III) THE FOUNDATIONS CONTENTS. page Preface, iii CHAPTER I. The Quarry, 1 CHAPTER II. The Virtues of Architecture, 36 CHAPTER III. The Six Divisions of Architecture, 47 CHAPTER IV. The Wall Base, 52 CHAPTER V. The Wall Veil, 58 CHAPTER VI. The Wall Cornice, 63 CHAPTER VII. The Pier Base, 71 CHAPTER VIII. The Shaft, 84 CHAPTER IX. The Capital, 105xii CHAPTER X. The Arch Line, 122 CHAPTER XI. The Arch Masonry, 132 CHAPTER XII. The Arch Load, 144 CHAPTER XIII. The Roof, 148 CHAPTER XIV. The Roof Cornice, 155 CHAPTER XV. The Buttress, 166 CHAPTER XVI. Form of Aperture, 174 CHAPTER XVII. Filling of Aperture, 183 CHAPTER XVIII. Protection of Aperture, 195 CHAPTER XIX. Superimposition, 200 CHAPTER XX. The Material of Ornament, 211 CHAPTER XXI. Treatment of Ornament, 236xiii CHAPTER XXII. The Angle, 259 CHAPTER XXII. The Angle, 259 CHAPTER XXIII. The Edge and Fillet, 267 CHAPTER XXIV. The Roll and Recess, 276 CHAPTER XXV. The Base, 281 CHAPTER XXVI. The Wall Veil and Shaft, 294 CHAPTER XXVII. The Cornice and Capital, 305 CHAPTER XXVIII. The Archivolt and Aperture, 333 CHAPTER XXIX. The Roof, 343 CHAPTER XXX. The Vestibule, 349 APPENDIX. 1. Foundation of Venice, 359 2. Power of the Doges, 360 3. Serrar del Consiglio, 360 4. Pietro di Castello, 361xiv 5. Papal Power in Venice, 362 6. Renaissance Ornament, 369 7. Varieties of the Orders, 370 8. The Northern Energy, 371 9. Wooden Churches of the North, 381 10. Church of Alexandria, 381 11. Renaissance Landscape, 381 12. Romanist Modern Art, 384 13. Mr. Fergusson’s System, 388 14. Divisions of Humanity, 394 15. Instinctive Judgments, 399 16. Strength of Shafts, 402 17. Answer to Mr. Garbett, 403 18. Early English Capitals, 411 19. Tombs near St. Anastasia, 412 20. Shafts of the Ducal Palace, 413 21. Ancient Representations of Water, 417 22. Arabian Ornamentation, 429 23. Varieties of Chamfer, 429 24. Renaissance Bases, 431 25. Romanist Decoration of Bases, 432 LIST OF PLATES. Facing Page Plate 1. Wall Veil Decoration, Ca’ Trevisan and Ca’ Dario, 13 " 2. Plans of Piers, 100 " 3. Arch Masonry, 134 " 4. Arch Masonry, 137 " 5. Arch Masonry, Bruletto of Como, 141 " 6. Types of Towers, 207 " 7. Abstracts Lines, 222 " 8. Decorations by Disks, Ca’ Badoari, 241 " 9. Edge Decoration, 268 " 10. Profiles of Bases, 283 " 11. Plans of Bases, 288 " 12. Decorations of Bases, 289 " 13. Wall Veil Decorations, 295 " 14. Spandril Decorations, Ducal Palace, 298 " 15. Cornice Profiles, 306 " 16. Cornice Decorations, 311 " 17. Capitals—Concave, 323 " 18. Capitals—Convex, 327 " 19. Archivolt Decoration, Verona, 333 " 20. Wall Veil Decoration, Ca’ Trevisan, 369 " 21. Wall Veil Decoration, San Michele, Lucca, 378 THE STONES OF VENICE VOLUME II. (of III) THE SEA STORIES CONTENTS FIRST, OR BYZANTINE, PERIOD. CHAPTER I. page The Throne, 1 CHAPTER II. Torcello, 11 CHAPTER III. Murano, 27 CHAPTER IV. St. Mark’s, 57 CHAPTER V. Byzantine Palaces, 118 SECOND, OR GOTHIC, PERIOD. CHAPTER VI. The Nature of Gothic, 151 CHAPTER VII. Gothic Palaces, 231 CHAPTER VIII. The Ducal Palace, 281 APPENDIX. 1. The Gondolier’s Cry, 375 2. Our Lady of Salvation, 378 3. Tides of Venice and Measures at Torcello, 378 4. Date of the Duomo of Torcello, 380 5. Modern Pulpits, 380 6. Apse of Murano, 382 7. Early Venetian Dress, 383 8. Inscriptions at Murano, 384 9. Shafts of St. Mark’s, 384 10. Proper Sense of the Word Idolatry, 388 11. Situations of Byzantine Palaces, 391 12. Modern Paintings on Glass, 394 LIST OF PLATES. Facing Page Plate 1. Plans of Torcello and Murano, 14 " 2. The Acanthus of Torcello, 15 " 3. Inlaid Bands of Murano, 40 " 4. Sculptures of Murano, 42 " 5. Archivolt in the Duomo of Murano, 45 " 6. The Vine, Free and in Service, 96 " 7. Byzantine Capitals—Convex Group, 131 " 8. Byzantine Capitals—Concave Group, 132 " 9. Lily Capital of St. Mark’s, 136 " 10. The Four Venetian Flower Order, 137 " 11. Byzantine Sculptures, 138 " 12. Linear and Surface Gothic, 224 " 13. Balconies, 247 " 14. The Orders of Venetian Arches, 248 " 15. Windows of the Second Order, 254 " 16. Windows of the Fourth Order, 257 " 17. Windows of the Early Gothic Palaces, 259 " 18. Windows of the Fifth Order, 266 " 19. Leafage of the Vine Angle, 308 " 20. Leafage of the Venetian Capitals, 368 THE STONES OF VENICE VOLUME III. (of III) THE FALL CONTENTS. THIRD, OR RENAISSANCE, PERIOD. CHAPTER I. page Early Renaissance, 1 CHAPTER II. Roman Renaissance, 32 CHAPTER III. Grotesque Renaissance, 112 CHAPTER IV. Conclusion, 166 APPENDIX. 1. Architect of the Ducal Palace, 199 2. Theology of Spenser, 205 3. Austrian Government in Italy, 209 4. Date of the Palaces of the Byzantine Renaissance, 211 5. Renaissance Side of Ducal Palace, 212 6. Character of the Doge Michele Morosini, 213 7. Modern Education, 214 8. Early Venetian Marriages, 222 9. Character of the Venetian Aristocracy, 223 10. Final Appendix, 224 INDICES. I. Personal Index, 263 II. Local Index, 268 III. Topical Index, 271 IV. Venetian Index, 287 LIST OF PLATES. Facing Page Plate 1. Temperance and Intemperance in Ornament, 6 " 2. Gothic Capitals, 8 " 3. Noble and Ignoble Grotesque, 125 " 4. Mosaic of Olive Tree and Flowers, 179 " 5. Byzantine Bases, 225 " 6. Byzantine Jambs, 229 " 7. Gothic Jambs, 230 " 8. Byzantine Archivolts, 244 " 9. Gothic Archivolts, 245 " 10. Cornices, 248 " 11. Tracery Bars, 252 " 12. Capitals of Fondaco de Turchi, 304 FRONDES AGRESTES READINGS IN 'MODERN PAINTERS By John Ruskin Chosen At Her Pleasure, By The Author's Friend, The Younger Lady Of The Thwaite, Coniston. CONTENTS PREFACE. FRONDES AGRESTES. SECTION I. PRINCIPLES OF ART. SECTION II. POWER AND OFFICE OF IMAGINATION. SECTION III. ILLUSTRATIVE: THE SKY. SECTION IV. ILLUSTRATIVE: STREAMS AND SEA. SECTION V. ILLUSTRATIVE: MOUNTAINS. SECTION VI. ILLUSTRATIVE: STONES. SECTION VII. ILLUSTRATIVE: PLANTS AND FLOWERS. SECTION VIII. EDUCATION. SECTION IX. MORALITIES. TIME AND TIDE BY WEARE AND TYNE TWENTY-FIVE LETTERS TO A WORKING MAN OF SUNDERLAND ON THE LAWS OF WORK CONTENTS PAGE Preface ix LETTER I. Co-operation 1 The two kinds of Co-operation.—In its highest sense it is not yet thought of. II. Contentment 4 Co-operation, as hitherto understood, is perhaps not expedient. III. Legislation 7 Of True Legislation.—That every Man may be a Law to himself. IV. Expenditure 11 The Expenses for Art and for War. V. Entertainment 13 The Corruption of Modern Pleasure.—(Covent Garden Pantomime.) VI. Dexterity 18 The Corruption of Modern Pleasure.—(The Japanese Jugglers.) VII. Festivity 20 Of the Various Expressions of National Festivity. VIII. Things Written 22 The Four Possible Theories respecting the Authority of the Bible. IX. Thanksgiving 27 The Use of Music and Dancing under the Jewish Theocracy, compared with their Use by the Modern French. X.[Pg vi] Wheat-Sifting 32 The Meaning, and Actual Operation, of Satanic or Demoniacal Influence. XI. The Golden Bough 38 The Satanic Power is mainly Twofold: the Power of causing Falsehood and the Power of causing Pain. The Resistance is by Law of Honor and Law of Delight. XII. Dictatorship 41 The Necessity of Imperative Law to the Prosperity of States. XIII. Episcopacy and Dukedom 45 The Proper Offices of the Bishop and Duke; or, "Overseer" and "Leader." XIV. Trade-Warrant 51 The First Group of Essential Laws.—Against Theft by False Work, and by Bankruptcy.—Necessary Publicity of Accounts. XV. Per-Centage 54 The Nature of Theft by Unjust Profits.—Crime can finally be arrested only by Education. XVI. Education 59 Of Public Education irrespective of Class distinction. It consists essentially in giving Habits of Mercy, and Habits of Truth. (Gentleness and Justice.) XVII. Difficulties 66 The Relations of Education to Position in Life. XVIII. Humility 68 The harmful Effects of Servile Employments. The possible Practice and Exhibition of sincere Humility by Religious Persons. XIX. Broken Reeds 73 The General Pressure of Excessive and Improper Work, in English Life. XX. Rose-gardens 78 Of Improvidence in Marriage in the Middle Classes; nd of the advisable Restrictions of it. XXI.[Pg vii] Gentillesse 83 Of the Dignity of the Four Fine Arts; and of the Proper System of Retail Trade. XXII. The Master 88 Of the Normal Position and Duties of the Upper Classes. General Statement of the Land Question. XXIII. Landmarks 93 Of the Just Tenure of Lands; and the Proper Functions of high Public Officers. XXIV. The Rod and Honeycomb 101 The Office of the Soldier. XXV. Hyssop 108 Of inevitable Distinction of Rank, and necessary Submission to Authority. The Meaning of Pure-Heartedness. Conclusion. APPENDICES. APPENDIX PAGE I. Expenditure on Science and Art 119 II. Legislation of Frederick the Great 120 III. Effect of Modern Entertainments on the Mind of Youth 124 IV. Drunkenness as the Cause of Crime 124 V. Abuse of Food 126 VI. Regulations of Trade 128 VII. Letter to the Editor of the Pall Mall Gazette 130 THE SEVEN LAMPS OF ARCHITECTURE LECTURES ON ARCHITECTURE AND PAINTING The Study of Architecture By John Ruskin CONTENTS. SEVEN LAMPS OF ARCHITECTURE. PAGE Preface 5 Introduction 9 CHAPTER I. The Lamp of Sacrifice 15 CHAPTER II. The Lamp of Truth 34 CHAPTER III. The Lamp of Power 69 CHAPTER IV. The Lamp of Beauty 100 CHAPTER V. The Lamp of Life 142 CHAPTER VI. The Lamp of Memory 167 CHAPTER VII. The Lamp of Obedience 188 Notes 203 LECTURES ON ARCHITECTURE AND PAINTING. Preface 213 Lecture I. 217 Lecture II. 248 Addenda to Lectures I. and II. 270 Lecture III. Turner and his Works 287 Lecture IV. Pre-Raphaelitism 311 Addenda to Lecture IV. 334 THE STUDY OF ARCHITECTURE. An Inquiry into the Study of Architecture 339 LIST OF ILLUSTRATIONS. SEVEN LAMPS OF ARCHITECTURE PLATE PAGE I. Ornaments from Rouen, St. Lo, and Venice 33 II. Part of the Cathedral of St. Lo, Normandy 55 III. Traceries from Caen, Bayeux, Rouen and Beavais 60 IV. Intersectional Mouldings 66 V. Capital from the Lower Arcade of the Doge's Palace, Venice 88 VI. Arch from the Facade of the Church of San Michele at Lucca 90 VII. Pierced Ornaments from Lisieux, Bayeux, Verona, and Padua 93 VIII. Window from the Ca' Foscari, Venice 95 IX. Tracery from the Campanile of Giotto, at Florence. Frontispiece. X. Traceries and Mouldings from Rouen and Salisbury 122 XI. Balcony in the Campo, St. Benedetto, Venice 131 XII. Fragments from Abbeville, Lucca, Venice and Pisa 149 XIII. Portions of an Arcade on the South Side of the Cathedral of Ferrara 161 XIV. Sculptures from the Cathedral of Rouen 165 UNTO THIS LAST AND OTHER ESSAYS ON POLITICAL ECONOMY By John Ruskin CONTENTS. PART I. PAGE THE POLITICAL ECONOMY OF ART 7 Lecture I. 11 1. Discovery 23 2. Application 28 Lecture II. 46 3. Accumulation 46 4. Distribution 65 Addenda 86 Note 1.—"Fatherly Authority" 86 " 2.—"Right to Public Support" 90 " 3.—"Trial Schools" 95 " 4.—"Public Favour" 101 " 5.—"Invention of new wants" 102 " 6.—"Economy of Literature" 104 " 7.—"Pilots of the State" 106 " 8.—"Silk and Purple" 107 PART II. PAGE UNTO THIS LAST 117 Essay I.—The Roots of Honour 127 II.—The Veins of Wealth 143 III.—"Qui Judicatis Terram" 156 IV.—Ad Valorem 173 PART III. PAGE ESSAYS ON POLITICAL ECONOMY[A] I.—Maintenance of Life: Wealth, Money and Riches 207 Section 1. Wealth 214 " 2. Money 219 " 3. Riches 222 II.—Nature of Wealth, Variations of Value, The National Store, Nature of Labour, Value and Price, The Currency 225 III.—The Currency-holders and Store-holders, The Disease of Desire 252 IV.—Laws and Governments: Labour And Riches 278 [A] These Essays were afterwards revised and amplified, and published with others under the title "Munera Pulveris." THE EAGLE'S NEST TEN LECTURES ON THE RELATION OF NATURAL SCIENCE TO ART GIVEN BEFORE THE UNIVERSITY OF OXFORD, IN LENT TERM, 1872 By John Ruskin CONTENTS LECTURE I. February 8, 1872. Page THE FUNCTION IN ART OF THE FACULTY CALLED BY THE GREEKS oio?a 1 LECTURE II. February 10, 1872. THE FUNCTION IN SCIENCE OF THE FACULTY CALLED BY THE GREEKS oio?a 25 LECTURE III. February 15, 1872. THE RELATION OF WISE ART TO WISE SCIENCE 46 LECTURE IV. February 17, 1872. THE FUNCTION IN ART AND SCIENCE OF THE VIRTUE CALLED BY THE GREEKS ouonio?ic 74 LECTURE V. February 22, 1872. THE FUNCTION IN ART AND SCIENCE OF THE VIRTUE CALLED BY THE GREEKS a?oan?a?a 89 LECTURE VI. February 24, 1872. THE RELATION TO ART OF THE SCIENCE OF LIGHT 114 LECTURE VII. February 29, 1872. THE RELATION TO ART OF THE SCIENCES OF INORGANIC FORM 138 LECTURE VIII. March 2, 1872. THE RELATION TO ART OF THE SCIENCES OF ORGANIC FORM 161 LECTURE IX. March 7, 1872. INTRODUCTION TO ELEMENTARY EXERCISES IN PHYSIOLOGIC ART. THE STORY OF THE HALCYON 188 LECTURE X. March 9, 1872. INTRODUCTION TO ELEMENTARY EXERCISES IN HISTORIC ART. THE HERALDIC ORDINARIES 225 RUSKIN RELICS By W. G. Collingwood Author Of "The Life Of John Ruskin With Fifty Illustrations By John Ruskin And Others CONTENTS CHAPTER PAGE I. Ruskin's Chair 1 II. Ruskin's "Jump" 13 III. Ruskin's Gardening 29 IV. Ruskin's Old Road 45 V. Ruskin's "Cashbook" 63 VI. Ruskin's Ilaria 83 VII. Ruskin's Maps 105 VIII. Ruskin's Drawings 119 IX. Ruskin's Hand 133 X. Ruskin's Music 149 XI. Ruskin's Jewels 165 XII. Ruskin's Library 179 XIII. Ruskin's Bibles 193 XIV. Ruskin's "Isola" 213 Index 299 ILLUSTRATIONS Page Ruskin's Study at Brantwood 5 Brantwood Harbour in the Seventies 17 Coniston Hall and Boathouse 18 Ruskin's "Jump" adrift off Brantwood 19 The Ruskin Museum, Coniston 22 Trial Model for the Jumping Jenny 25 The Waterfall at Brantwood Door 33 Ruskin's Reservoir, Brantwood 37 Ruskin's Moorland Garden 41 On Ruskin's Old Road, between Morez and Les Rousses, 1882 53 Lake of Geneva and Dent d'Oches under the Smoke-cloud 57 The Gorge of Monnetier and Buttresses of the Salève, 1882 61 Mont Blanc clearing; Sallenches, Sept. 1882 67 The Head of the Lake of Annecy 71 The Mont Cenis Tunnel in Snow, Nov. 11, 1882 75 A Savoy Town in Snow, Nov. 1882 79 The Palace of Paolo Guinigi, Lucca 87 Ilaria del Carretto; head of the Effigy 91 Thunderstorm clearing, Lucca 95 The Marble Mountains of Carrara from the Lucca Hills 99 Ruskin's first Map of Italy 108 Geology on the Old Road, by John Ruskin 109 Sketch of Spain, by John Ruskin 112 Physical Sketch of Savoy, by John Ruskin 113 [x]The History of France, by John Ruskin 117 Early Journal at Coniston, by John Ruskin 137 Ruskin's Handwriting in 1836 139 Ruskin's Handwriting in 1837 141 Notes for "Stones of Venice," by John Ruskin 143 Ruskin's Handwriting in 1875 145 Ruskin's Piano in Brantwood Drawing-room 153 John Ruskin in the Seventies, by Prof. B. Creswick 157 At Marmion's Grave; air by John Ruskin (two pages of Music) 160 "Trust Thou Thy Love," facsimile of music by John Ruskin 163 Gold as it Grows 169 Native Silver, by John Ruskin 170 Page from an early Mineral Catalogue, by John Ruskin 171 Letter on Snow Crystals, by John Ruskin 174 Diamond Diagrams, by John Ruskin 175 Ruskin's Swiss Figure 185 His "Nuremberg Chronicle" and Pocket "Horace" 189 The Bible from which John Ruskin learnt in Childhood 197 Sermon-book written by Ruskin as a Boy 199 Greek Gospels with Annotations by Ruskin 201 King Hakon's Bible, owned by Ruskin 203 An Illuminated Page of King Hakon's Bible 207 Lady Mount Temple, portrait by Edward Clifford 217 Lady Mount Temple, chalk drawing by G. F. Watts, R.A 221 Lady Mount Temple, 1886 223 Lady Mount Temple, 1889 224 ARROWS OF THE CHACE BEING A COLLECTION OF SCATTERED LETTERS PUBLISHED CHIEFLY IN THE DAILY NEWSPAPERS 1840-1880 VOLUME I. LETTERS ON ART AND SCIENCE CONTENTS OF VOLUME I. PAGE Author's Preface ix Editor's Preface xviii Chronological List of the Letters in Volume I xviii Letters on Art: I. Art Criticism and Art Education. "Modern Painters;" a Reply. 1843 3 Art Criticism. 1843 10 The Arts as a Branch of Education. 1857 24 Art-Teaching by Correspondence. 1860 32 II. Public Institutions and the National Gallery. Danger to the National Gallery. 1847 37 The National Gallery. 1852 45 The British Museum. 1866 52 On the Purchase of Pictures. 1880 55 III. Pre-raphaelitism. The Pre-Raphaelite Brethren. 1851 (May 13) 59 The Pre-Raphaelite Brethren. 1851 (May 30) 63 "The Light of the World," Holman Hunt. 1854{vi} 67 "The Awakening Conscience," Holman Hunt. 1854 71 Pre-Raphaelitism in Liverpool. 1858 73 Generalization and the Scotch Pre-Raphaelites. 1858 74 IV. Turner. The Turner Bequest. 1856 81 [Turner's Sketch Book. 1858 86, note] The Turner Bequest and the National Gallery. 1857 86 The Turner Sketches and Drawings. 1858 88 [The Liber Studiorum. 1858 97, note] The Turner Gallery at Kensington. 1859 98 Turner's Drawings. 1876 (July 5) 100 Turner's Drawings. 1876 (July 19) 104 Copies of Turner's Drawings. 1876 105 [Copies of Turner's Drawings—Extract. 1857 105, note] [Copy of Turner's Fluelen ibid.] "Turners," False and True. 1871. 106 The Character of Turner. 1857. 107 [Thornbury's Life of Turner. 1861. 108] V. Pictures and Artists. John Leech's Outlines. 1872. 111 Ernest George's Etchings. 1873. 113 The Frederick Walker Exhibition. 1876. 116 VI. Architecture and Restoration. Gothic Architecture and the Oxford Museum. 1858. 125 Gothic Architecture and the Oxford Museum. 1859. 131 The Castle Rock (Edinburgh). 1857 (Sept. 14) 145 Edinburgh Castle. 1857 (Sept. 27) 147 Castles and Kennels. 1871 (Dec. 22) 151 Verona v. Warwick. 1871 (Dec. 24){vii} 152 Notre Dame de Paris. 1871 153 Mr. Ruskin's Influence—A Defence. 1872 (March 15) 154 Mr. Ruskin's Influence—A Rejoinder. 1872 (March 21) 156 Modern Restorations. 1877 157 Ribbesford Church. 1877 158 Circular relating to St. Mark's, Venice. 1879. 159 [Letters relating to St. Mark's, Venice. 1879. 169, note.] Letters on Science: I. Geological. The Conformation of the Alps, 1864 173 Concerning Glaciers. 1864. 175 English versus Alpine Geology. 1864 181 Concerning Hydrostatics. 1864 185 James David Forbes: His Real Greatness. 1874. 187 II. Miscellaneous. On Reflections in Water. 1844 191 On the Reflection of Rainbows. 1861 201 A Landslip Near Giagnano. 1841 202 On the Gentian. 1857 204 On the Study of Natural History (undated) 204 CHRONOLOGICAL LIST OF THE LETTERS CHRONOLOGICAL LIST OF THE LETTERS CONTAINED IN THE FIRST VOLUME. Note.--In the second and third columns the bracketed words and figures are dating of more or less certainly conjectured; whilst those unbracketed give the actual the letter. Title of Letter. Where Written. When Written. Where and when First Published. Page. A Landslip near Giagnano Naples February 7, 1841 Proceedings of the Ashmolean Society 202 Modern Painters: a Reply [Denmark Hill About Sept. 17, 1843] The Weekly Chronicle, Sept. 23, 1843 3 Art Criticism [Denmark Hill December, 1843] The Artist and Amateur's Magazine, 1844 10 On Reflections in Water [Denmark Hill January, 1844] The Artist and Amateur's Magazine, 1844 191 Danger to the National Gallery [Denmark Hill] January 6 [1847] The Times, January 7, 1847 37 The Pre-Raphaelite Brethren, I. Denmark Hill May 9 [1851] The Times, May 13, 1851 59 The Pre-Raphaelite Brethren, II. Denmark Hill May 26 [1851] The Times, May 30, 1851 63 The National Gallery Herne Hill, Dulwich December 27 [1852] The Times, December 29, 1852 45 "The Light of the World" Denmark Hill May 4 [1854] The Times, May 15, 1854 67 "The Awakening Conscience" [Denmark Hill May 24 [1854] The Times, May 25, 1854 71 The Turner Bequest Denmark Hill October 27 [1856] The Times, October 28, 1856 81 On the Gentian Denmark Hill February 10 [1857] The Athenæum, February 14, 1857 204 The Turner Bequest & National Gallery [Denmark Hill July 8, 1857] The Times, July 9, 1857 86 The Castle Rock (Edinburgh) Dunbar 14th September, 1857 The Witness (Edinburgh), Sept. 16, 1857 145 The Arts as a Branch of Education Penrith September 25, 1857 "New Oxford Examinations, etc.," 1858 24 Edinburgh Castle Penrith 27th September [1857] The Witness (Edinburgh), Sept. 30, 1857 147 The Character of Turner [ 1857] Thornbury's Life of Turner. Preface, 1861 107 Pre-Raphaelitism in Liverpool [ January, 1858] The Liverpool Albion, January 11, 1858 73 Generalization & Scotch Pre-Raphaelites [ March. 1858] The Witness (Edinburgh), March 27, 1858 74 Gothic Architecture & Oxford Museum, I. [ June, 1858] "The Oxford Museum," 1859. 125 The Turner Sketches and Drawings [ November, 1858] The Literary Gazette, Nov. 13, 1858 88 Turner's Sketch Book (extract) [ ] 1858 List of Turner's Drawings, Boston, 1874 86 n. The Liber Studiorum (extract) [ ] 1858 List of Turner's Drawings, Boston, 1874 97 n. Gothic Architecture & Oxford Museum, II. [ January 20, 1859 "The Oxford Museum," 1859 131 The Turner Gallery at Kensington Denmark Hill October 20 [1859] The Times, October 21, 1859 98 Mr. Thornbury's "Life of Turner" (extract) Lucerne December 2, 1861 Thornbury's Life of Turner. Ed. 2, Pref. 108 Art Teaching by Correspondence Denmark Hill November, 1860 Nature and Art, December 1, 1866 32 On the Reflection of Rainbows [ ] 7th May, 1861 The London Review, May 16, 1861 201 The Conformation of the Alps Denmark Hill 10th November, 1864 The Reader, November 12, 1864 173 Concerning Glaciers Denmark Hill November 21 [1864] The Reader, November 26, 1864 175 English versus Alpine Geology Denmark Hill 29th November [1864] The Reader, December 3, 1864 181 Concerning Hydrostatics Norwich 5th December [1864] The Reader, December 10, 1864 185 The British Museum Denmark Hill Jan. 26 [1866] The Times, January 27, 1866 52 Copies of Turner's Drawings (extract) [ ] 1867 List of Turner's Drawings, Boston, 1874 105 n. Notre Dame de Paris [Denmark Hill January 18, 1871] The Daily Telegraph, January 19, 1871 153 "Turners" False and True Denmark Hill January 23 [1871] The Times, January 24, 1871 106 Castles and Kennels Denmark Hill December 20 [1871] The Daily Telegraph, December 22, 1871 151 Verona v. Warwick Denmark Hill, S. E. 24th (for 25th) Dec. [1871] The Daily Telegraph, December 25, 1871 152 Mr. Ruskin's Influence: a Defence Denmark Hill March 15 [1872] The Pall Mall Gazette, March 16, 1872 154 Mr. Ruskin's Influence: a Rejoinder Denmark Hill March 21 [1872] The Pall Mall Gazette, March 21, 1872 156 John Leech's Outlines [ 1872] The Catalogue to the Exhibition, 1872 111 Ernest George's Etchings [Denmark Hill December, 1873] The Architect, December 27, 1873 113 James David Forbes: his Real Greatness [ 1874] "Rendu's Glaciers of Savoy," 1874 187 The Frederick Walker Exhibition [ January, 1876] The Times, January 20, 1876 116 Copies of Turner's Drawings Peterborough April 23 [1876] The Times, April 25, 1876 105 Turner's Drawings, I. Brantwood July 3 [1876] The Daily Telegraph, July 5, 1876 100 Turner's Drawings, II. Brantwood, Coniston, Lancashire July 16 [1876] The Daily Telegraph, July 19, 1876 104 Modern Restoration Venice 15th April, 1877 The Liverpool Daily Post, June 9, 1877 157 Ribbesford Church Brantwood, Coniston, Lancashire July 24, 1877 The Kidderminster Times, July 28, 1877 158 St. Mark's Venice--Circular relating to [Brantwood Winter 1879] See the Circular 159 St. Mark's Venice--Letters [Brantwood Winter 1879] Birmingham Daily Mail, Nov. 27, 1879 169 On the Purchase of Pictures [Brantwood January 1880] Leicester Chronicle, January 31, 1880 55 Copy of Turner's "Fluelen" London 20th March, 1880 Lithograph copy issued by Mr. Ward, 1880 105 n. The Study of Natural History [ ] Undated Letter to Adam White [unknown] 204 ARROWS OF THE CHACE BEING A COLLECTION OF SCATTERED LETTERS PUBLISHED CHIEFLY IN THE DAILY NEWSPAPERS 1840-1880 VOLUME II. LETTERS ON POLITICS, ECONOMY, AND MISCELLANEOUS MATTERS CONTENTS OF VOLUME II. PAGE Chronological List of the Letters contained in Vol. II. x Letters on Politics and War: The Italian Question. 1859. Three letters: June 6 3 June 15 8 August 1 13 The Foreign Policy of England. 1863 15 The Position of Denmark. 1864 17 The Jamaica Insurrection. 1865 20 The Franco-Prussian War. 1870. Two letters: October 6 22 October 7 25 Modern Warfare. 1876 29 Letters on Political Economy: The Depreciation of Gold. 1863 37 The Law of Supply and Demand. 1864. Three letters: October 26 39 October 29 40 November 2 43 Mr. Ruskin and Professor Hodgson. 1873. Two letters: November 8 44 November 15 46[Pg vi] Strikes v. Arbitration. 1865 48 Work and Wages. 1865. Five letters: April 20 50 April 22 52 April 29 54 May 4 59 May 20 62 The Standard of Wages. 1867 65 How the Rich spend their Money. 1873. Three letters: January 23 66 January 28 67 January 30 68 Commercial Morality. 1875 70 The Definition of Wealth. 1875 71 The Principles of Property. 1877 71 On Co-operation. 1879-80. Two letters: August, 1879 73 April 12, 1880 73 Miscellaneous Letters: I. The Management of Railways. Is England Big Enough? 1868 79 The Ownership of Railways. 1868 81 Railway Economy. 1868 83 Our Railway System. 1865 88 Railway Safety. 1870 89 II. Servants and Houses. Domestic Servants—Mastership. 1865 93 Domestic Servants—Experience. 1865 95[Pg vii] Domestic Servants—Sonship and Slavery. 1865 96 Modern Houses. 1865 104 III. Roman Inundations. A King's First Duty. 1871 111 A Nation's Defences. 1871 113 The Waters of Comfort. 1871 115 The Streams of Italy. 1871 116 The Streets of London. 1871 119 IV. Education for Rich and Poor. True Education. 1868 123 The Value of Lectures. 1874 124 The Cradle of Art. 1876 125 St. George's Museum. 1875 126 The Morality of Field Sports. 1870 127 Drunkenness and Crime. 1871 129 Madness and Crime. 1872 130 Employment for the Destitute Poor and Criminal Classes. 1868 131 Notes on the General Principles of Employment for the Destitute and Criminal Classes (a Pamphlet). 1868 132 Blindness and Sight. 1879 139 The Eagle's Nest. 1879 140 Politics in Youth. 1879 141 "Act, Act in the Living Present." 1873 141 "Laborare est Orare." 1874 142 A Pagan Message. 1878 143 The Foundations of Chivalry. 1877-8. Five letters: February 8, 1877 143 February 10, 1877 145 [Pg viii] February 11, 1877 146 February 12, 1877 147 July 3, 1878 148 V. Women: Their Work and Their Dress Woman's Work. 1873 153 Female Franchise. 1870 154 Proverbs on Right Dress. 1862 154 Sad-colored Costumes. 1870 156 Oak Silkworms. 1862 158 VI. Literary Criticism. The Publication of Books. 1875 163 A Mistaken Review. 1875 165 The Position of Critics. 1875 167 Coventry Patmore's "Faithful for Ever." 1860 168 "The Queen of the Air." 1871 171 The Animals of Scripture: a Review. 1856 172 "Limner" and Illumination. 1854 174 Notes on a Word in Shakespeare. 1878. Two letters: September 176 September 29 177 "The Merchant of Venice." 1880 179 Recitations. 1880 186 Appendix. Letter to W. C. Bennett, LL.D. 1852 183 Letter to Thomas Guthrie, D.D. 1853 184 The Sale of Mr. Windus' Pictures. 1859 185 At the Play. 1867 185 An Object of Charity. 1868 186[Pg ix] Excuses from Correspondence. 1868 186 Letter to the Author of a Review. 1872 187 An Oxford Protest. 1874 188 Mr. Ruskin and Mr. Lowe. 1877 189 The Bibliography of Ruskin. 1878. Two letters: September 30 190 October 23 190 The Society of the Rose. 1879 191 Letter to W. H. Harrison. 1865 192 Dramatic Reform. 1880. (Two letters) 193 The Lord Rectorship of Glasgow University. 1880. (Five letters) 195 Epilogue 201 Chronological List of the Letters contained in Both Volumes 204 Index 213 CHRONOLOGICAL LIST OF THE LETTERS CONTAINED IN THE SECOND VOLUME. Note.—In the second and third columns the bracketed words and figures are more or less certainly conjectured; whilst those unbracketed give the actual dating of the letters. Title of Letter. Where Written. When Written. Where and When First Published. Page. Letter To W. C. Bennett, LL.D. Herne Hill, Dulwich December 28th, 1852 "Testimonials of W. C. Bennett," 1871 183 Letter To Dr. Guthrie [Edinburgh] Saturday, 26th [Nov. ?] 1853 "Memoir of Thomas Guthrie, D.D.," (1875) 184 Letter To W. H. Harrison [Herne Hill 1853] The Autographic Mirror, Dec. 23, 1865 192 "Limner" and Illumination [Denmark Hill December 3, 1854] The Builder, Dec. 9, 1854 174 The Animals of Scripture: a Review [Denmark Hill January, 1855] The Morning Chronicle, Jan. 20, 1855 172 The Sale of Mr. Windus' Pictures Denmark Hill March 28 [1859] The Times, March 29, 1859 185 The Italian Question Berlin June 6, 1859 The Scotsman, July 20, 1859 3 " " Berlin June 15 [1859] " July 23, 1859 8 " " Schaffhausen August 1, 1859 " Aug. 6, 1859 13 Coventry Patmore's "Faithful for Ever" Denmark Hill [October 21, 1860] The Critic, Oct. 27, 1860 168 Proverbs on Right Dress Geneva October 20th, 1862 The Monthly Packet, Nov. 1863 154 Oak Silkworms Geneva October 20th [1862] The Times, Oct. 24, 1862 158 The Depreciation of Gold Chamounix October 2 [1863] The Times, Oct. 8, 1863 37 The Foreign Policy of England Zurich October 25th, 1863 The Liverpool Albion, Nov. 2, 1863 15 The Position of Denmark Denmark Hill July 6 [1864] The Morning Post, July 7, 1864 17 The Law of Supply and Demand Denmark Hill October 26 [1864] The Daily Telegraph, Oct. 28, 1864 39 " " " Denmark Hill October 29 [1864] " " Oct. 31, 1864 40 " " " Denmark Hill November 2 [1864] " " Nov. 3, 1864 43 Strikes v. Arbitration [Denmark Hill] Easter Monday, 1865 The Pall Mall Gazette, April 18, 1865 48 Work and Wages Denmark Hill Thursday, April 20 [1865] " " April 21, 1865 50 " " Denmark Hill Saturday, April 22, 1865 " " April 25, 1865 52 " " [Denmark Hill] Saturday, 29th April, 1865 " " May 2, 1865 54 " " Denmark Hill May 4 [1865] " " May 9, 1865 59 " " [Denmark Hill] May 20, 1865 " " May 22, 1865 62 Domestic Servants—Mastership Denmark Hill September 2 [1865] The Daily Telegraph, September 5, 1865 93 " " Experience Denmark Hill September 6 [1865] " " September 7, 1865 95 " " Sonship and Slavery Denmark Hill September 16, 1865] " " September 18, 1865 96 Modern Houses Denmark Hill October 16 [1865] " " October 17, 1865 104 Our Railway System Denmark Hill December 7 [1865] " " December 8, 1865 88 The Jamaica Insurrection Denmark Hill December 19 [1865] " " December 20, 1865 20 At the Play Denmark Hill February 28, 1867 The Pall Mall Gazette, March 1, 1867 185 The Standard of Wages Denmark Hill April 30, 1867 " " May 1, 1867 65 An Object of Charity Denmark Hill, S. January 21, 1868 The Daily Telegraph, January 22, 1868 186 True Education Denmark Hill, S. January 31, 1868 The Pall Mall Gazette, January 31, 1868 123 Excuse from Correspondence Denmark Hill, S. 2d February, 1868 Circular printed by Mr. Ruskin, 1868 186 Is England Big Enough? Denmark Hill July 30 [1868] The Daily Telegraph, July 31, 1868 79 The Ownership of Railways Denmark Hill August 5 [1868] " " August 6, 1868 81 Railway Economy Denmark Hill August 9 [1868] " " August 10, 1868 83 Employment for the Destitute Poor, etc. Denmark Hill, S.E. December 24 [1868] " " December 26, 1868 131 Notes on the Destitute Classes, Etc. [Denmark Hill] Autumn, 1868] Pamphlet for private circulation, 1868 132 The Morality of Field Sports Denmark Hill January 14 [1870] The Daily Telegraph, January 15, 1870 127 Female Franchise Venice 29th May, 1870 Date and place of publication unknown 154 The Franco-Prussian War Denmark Hill, S.E. October 6 [1870] The Daily Telegraph, Oct. 7, 1870 22 " " " [Denmark Hill, S.E.] October 7 [1870] " " Oct. 8, 1870 25 Sad-Colored Costumes Denmark Hill, S.E. 14th October, 1870 Macmillan's Magazine, Nov. 1870 156 Railway Safety Denmark Hill November 29, 1870 The Daily Telegraph, Nov. 30, 1870 89 A King's First Duty [Denmark Hill] January 10 [1871] " " January 12, 1871 111 A Nation's Defences Denmark Hill January 19, 1871 The Pall Mall Gazette, Jan. 19, 1871 113 The Waters of Comfort Oxford February 3 [1871] The Daily Telegraph, Feb. 4, 1871 115 The Streams of Italy Oxford February 3 [1871] " " Feb. 7, 1871 116 Woman's Sphere (extract) [Oxford February 19, 1871] " " Feb. 21, 1871 154 n. The "Queen of the Air" [Denmark Hill] May 18, 1871 The Asiatic, May 23, 1871 171 Drunkenness and Crime Denmark Hill December 9 [1871] The Daily Telegraph, Dec. 11, 1871 129 The Streets of London [Denmark Hill] December 27, 1871 The Pall Mall Gazette, Dec. 28, 1871 119 Madness and Crime Oxford November 2 [1872] " " Nov. 4, 1872 130 Letter to the Author of a Review Oxford Wednesday, Oct. 30 [1872] Liverpool Weekly Albion, Nov. 9, 1872 187 "act, Act in the Living Present" Oxford Christmas Eve, '72 New Year's Address, etc., 1873 141 How the Rich spend their Money Brantwood, Coniston January 23 [1873] The Pall Mall Gazette, Jan. 24, 1873 66 " " " [Brantwood, Coniston] January 28 [1873] " " Jan. 29, 1873 67 " " " Brantwood, Coniston King Charles the Martyr, 1873 " " Jan. 31, 1873 68 Woman's Work [ ] [May, 1873] L'Espérance Genève, May 8, 1873 153 Mr. Ruskin and Professor Hodgson Oxford November 8, 1873 The Scotsman, November 10, 1873 44 " " " Oxford November 15, 1873 " November 18, 1873 46 "Laborare est Orare" Oxford December, 1873 New Year's Address, etc., 1874 142 The Value of Lectures Rome 26th May, 1874 The Glasgow Herald, June 5, 1874 124 An Oxford Protest [Oxford October 29, 1874 The Globe, Oct. 29, 1874 188 A Mistaken Review Brantwood January 10 [1875] The Pall Mall Gazette, January 11, 1875 165 The Position of Critics Brantwood January 18 [1875] " " January 19, 1875 167 Commercial Morality [Herne Hill February, 1875] Date and place of publication unknown 70 The Publication of Books Oxford June 6, 1875 The World, June 9, 1875 163 St. George's Museum Brantwood, Coniston [September, 1875] Sheffield Daily Telegraph, Sept. 6, 1875 126 The Definition of Wealth Oxford 9th November, 1875 The Monetary Gazette, Nov. 13, 1875 71 The Cradle of Art! [Oxford] 18th February, 1876 Date and place of publication unknown 125 Modern Warfare [Brantwood] June, 1876 Fraser's Magazine, July, 1876 29 The Foundations of Chivalry Venice February 8th, 1877 "The Science of Life" (second edit.), 1878 143 " " " Venice February 10th [1877] " " (first edition), 1877 145 " " " Venice 11th February [1877] " " " " 1877 146 " " " Venice 12th February, '77] " " " " 1877 147 Mr. Ruskin and Mr. Lowe Brantwood, Coniston August 24 [1877] The Standard, August 28, 1877 189 The Principles of Property [Brantwood] 10th October, 1877 The Socialist, November, 1887 71 A Pagan Message Herne Hill, London, S. E. 19th December, 1877 New Year's Address, etc., 1878 143 Despair (extract) [Oxford February, 1878] The Times, February 12, 1878 124 n. The Foundations of Chivalry Malham July 3d, 1878 "The Science of Life" (second edit.), 1878 148 Notes on a Word in Shakespeare Brantwood [September, 1878] New Shakspere Soc. Trans. 1878-9 176 " " " Edinburgh 29th September, 1878 " " " " 177 The Bibliography of Ruskin Brantwood, Coniston September 30, 1878 "Bibliography of Dickens" (advt.), 1880 190 " " " Brantwood, Coniston October 23, 1878 " " " " 190 The Society of the Rose [Brantwood Early in 1879] Report of Ruskin Soc., Manchester, 1880 191 Blindness and Sight Brantwood, Coniston 18th July, 1879 The Y. M. A. Magazine, Sept., 1879 139 "The Eagle's Nest" Brantwood, Coniston August 17th, 1879 " " October, 1879 140 On Coöperation. I. Brantwood, Coniston [August, 1879] The Christian Life, December 20, 1879 73 Politics in Youth Sheffield October 19th, 1879 The Y. M. A. Magazine, Nov., 1879 141 The Merchant of Venice (extract) [Herne Hill, S. E.] 6th February, 1880 The Theatre, March, 1880 179 Recitations Sheffield 16th February, 1880 Circular printed by Mr. R. T. Webling 180 Excuse from Correspondence [Brantwood] March, 1880 List of Mr. Ruskin's Writings, Mar., 1880 186 n. On Coöperation. II. Brantwood, Coniston April 12th, 1880 The Daily News, June 19, 1880 73 The Glasgow Lord Rectorship Brantwood, Coniston 10th June, 1880 The Glasgow Herald, Oct. 7, 1880 195 " " " [Brantwood] 10th June, 1880 " " Oct. 7, 1880 195 " " " [Brantwood] 24th June, 1880 " " Oct. 7, 1880 196 " " " Brantwood, Coniston [July, 1880] " " Oct. 12, 1880 196 Dramatic Reform. I. Brantwood July 30th, 1880 Journal of Dramatic Reform, Nov., 1880 193 The Glasgow Lord Rectorship Rouen 28th September, 1880 The Glasgow Herald, Oct. 7, 1880 197 Dramatic Reform. II. Amiens October 12th, 1880 Journal of Dramatic Reform, Nov., 1880 193 MODERN PAINTERS VOLUME I. PART I-II. SYNOPSIS OF CONTENTS. PART I. OF GENERAL PRINCIPLES. SECTION I. OF THE NATURE OF THE IDEAS CONVEYABLE BY ART. Chapter I., Introductory § 1. Public opinion no criterion of excellence, except after long periods of time. 1 § 2. And therefore obstinate when once formed. 4 § 3. The author's reasons for opposing it in particular instances. 5 § 4. But only on points capable of demonstration. 5 § 5. The author's partiality to modern works excusable. 6 Chapter II., Definition of Greatness in Art § 1. Distinction between the painter's intellectual power and technical knowledge. 8 § 2. Painting, as such, is nothing more than language. 8 § 3. "Painter," a term corresponding to "versifier." 9 § 4. Example in a painting of E. Landseer's. 9 § 5. Difficulty of fixing an exact limit between language and thought. 9 § 6. Distinction between decorative and expressive language. 10 § 7. Instance in the Dutch and early Italian schools. 10 § 8. Yet there are certain ideas belonging to language itself. 11 § 9. The definition. 12 Chapter III.Of Ideas of Power § 1. What classes of ideas are conveyable by art. 13 § 2. Ideas of power vary much in relative dignity. 13 § 3. But are received from whatever has been the subject of power. The meaning of the word "excellence." 14 § 4. What is necessary to the distinguishing of excellence.[Page liv] 15 § 5. The pleasure attendant on conquering difficulties is right. 16 Chapter IV. Of Ideas of Imitation § 1. False use of the term "imitation" by many writers on art. 17 § 2. Real meaning of the term. 18 § 3. What is requisite to the sense of imitation. 18 § 4. The pleasure resulting from imitation the most contemptible that can be derived from art. 19 § 5. Imitation is only of contemptible subjects. 19 § 6. Imitation is contemptible because it is easy. 20 § 7. Recapitulation. 20 Chapter V., Of Ideas of Truth § 1. Meaning of the word "truth" as applied to art. 21 § 2. First difference between truth and imitation. 21 § 3. Second difference. 21 § 4. Third difference. 22 § 5. No accurate truths necessary to imitation. 22 § 6. Ideas of truth are inconsistent with ideas of imitation. 24 Chapter VI., Of Ideas of Beauty § 1. Definition of the term "beautiful." 26 § 2. Definition of the term "taste." 26 § 3. Distinction between taste and judgment. 27 § 4. How far beauty may become intellectual. 27 § 5. The high rank and function of ideas of beauty. 28 § 6. Meaning of the term "ideal beauty." 28 Chapter VII., Of Ideas of Relation § 1. General meaning of the term. 29 § 2. ideas are to be comprehended under it. 29 § 3. The exceeding nobility of these ideas. 30 § 4. Why no subdivision of so extensive a class is necessary. 31 SECTION II., OF POWER. Chapter I., General Principles respecting Ideas of Power § 1. No necessity for detailed study of ideas of imitation. 32 § 2. Nor for separate study of ideas of power. 32 § 3. Except under one particular form. 33 § 4. There are two modes of receiving ideas of power, commonly inconsistent.[Page lv] 33 § 5. First reason of the inconsistency. 33 § 6. Second reason for the inconsistency. 34 § 7. The sensation of power ought not to be sought in imperfect art. 34 § 8. Instances in pictures of modern artists. 35 § 9. Connection between ideas of power and modes of execution. 35 Chapter II., Of Ideas of Power, as they are dependent upon Execution § 1. Meaning of the term "execution." 36 § 2. The first quality of execution is truth. 36 § 3. The second, simplicity. 36 § 4. The third, mystery. 37 § 5. The fourth, inadequacy; and the fifth, decision. 37 § 6. The sixth, velocity. 37 § 7. Strangeness an illegitimate source of pleasure in execution. 37 § 8. Yet even the legitimate sources of pleasure in execution are inconsistent with each other. 38 § 9. And fondness for ideas of power leads to the adoption of the lowest. 39 § 10. Therefore perilous. 40 § 11. Recapitulation. 40 Chapter III., Of the Sublime § 1. Sublimity is the effect upon the mind of anything above it. 41 § 2. Burke's theory of the nature of the sublime incorrect, and why. 41 § 3. Danger is sublime, but not the fear of it. 42 § 4. The highest beauty is sublime. 42 § 5. And generally whatever elevates the mind. 42 § 6. The former division of the subject is therefore sufficient. 42 PART II. OF TRUTH. SECTION I. GENERAL PRINCIPLES RESPECTING IDEAS OF TRUTH. Chapter I., Of Ideas of Truth in their connection with those of Beauty and Relation § 1. The two great ends of landscape painting are the representation of facts and thoughts. 44 § 2. They induce a different choice of material subjects.[Page lvi] 45 § 3. The first mode of selection apt to produce sameness and repetition. 45 § 4. The second necessitating variety. 45 § 5. Yet the first is delightful to all. 46 § 6. The second only to a few. 46 § 7. The first necessary to the second. 47 § 8. The exceeding importance of truth. 48 § 9. Coldness or want of beauty no sign of truth. 48 § 10. How truth may be considered a just criterion of all art. 48 Chapter II., That the Truth of Nature is not to be discerned by the Uneducated Senses § 1. The common self-deception of men with respect to their power of discerning truth. 50 § 2. Men usually see little of what is before their eyes. 51 § 3. But more or less in proportion to their natural sensibility to what is beautiful. 52 § 4. Connected with a perfect state of moral feeling. 52 § 5. And of the intellectual powers. 53 § 6. How sight depends upon previous knowledge. 54 § 7. The difficulty increased by the variety of truths in nature. 55 § 8. We recognize objects by their least important attributes. Compare Part I. Sect. I. Chap. 4. 55 Chapter III., Of the Relative Importance of Truths:—First, that Particular Truths are more important than General Ones. § 1. Necessity of determining the relative importance of truths. 58 § 2. Misapplication of the aphorism: "General truths are more important than particular ones." 58 § 3. Falseness of this maxim, taken without explanation. 59 § 4. Generality important in the subject, particularity in the predicate. 59 § 5. The importance of truths of species is not owing to their generality. 60 § 6. All truths valuable as they are characteristic. 61 § 7. Otherwise truths of species are valuable, because beautiful. 61 § 8. And many truths, valuable if separate, may be objectionable in connection with others. 62 § 9. Recapitulation. 63 Chapter IV., Of the Relative Importance of Truths:—Secondly, that Rare Truths are more important than Frequent Ones § 1. No accidental violation of nature's principles should be represented. 64 § 2. But the cases in which those principles have been strikingly exemplified. 65 § 3. Which are comparatively rare. 65 § 4. All repetition is blamable. 65 § 5. The duty of the painter is the same as that of a preacher. 66 Chapter V., Of the Relative Importance of Truths:—Thirdly, that Truths of Color are the least important of all Truths § 1. Difference between primary and secondary qualities in bodies. 67 § 2. The first are fully characteristic, the second imperfectly so. 67 § 3. Color is a secondary quality, therefore less important than form. 68 § 4. Color no distinction between objects of the same species. 68 § 5. And different in association from what it is alone. 69 § 6. It is not certain whether any two people see the same colors in things. 69 § 7. Form, considered as an element of landscape, includes light and shade. 69 § 8. Importance of light and shade in expressing the character of bodies, and unimportance of color. 70 § 9. Recapitulation. 71 Chapter VI. Recapitulation § 1. The importance of historical truths. 72 § 2. Form, as explained by light and shade, the first of all truths. Tone, light, and color, are secondary. 72 § 3. And deceptive chiaroscuro the lowest of all. 73 Chapter VII., General Application of the Foregoing Principle § 1. The different selection of facts consequent on the several aims at imitation or at truth. 74 § 2. The old masters, as a body, aim only at imitation. 74 § 3. What truths they gave. 75 § 4. The principles of selection adopted by modern artists. 76 § 5. General feeling of Claude, Salvator, and G. Poussin, contrasted with the freedom and vastness of nature. 77 § 6. Inadequacy of the landscape of Titian and Tintoret.[Page lviii] 78 § 7. Causes of its want of influence on subsequent schools. 79 § 8. The value of inferior works of art, how to be estimated. 80 § 9. Religious landscape of Italy. The admirableness of its completion. 81 § 10. Finish, and the want of it, how right—and how wrong. 82 § 11. The open skies of the religious schools, how valuable. Mountain drawing of Masaccio. Landscape of the Bellinis and Giorgione. 84 § 12. Landscape of Titian and Tintoret. 86 § 13. Schools of Florence, Milan, and Bologna. 88 § 14. Claude, Salvator, and the Poussins. 89 § 15. German and Flemish landscape. 90 § 16. The lower Dutch schools. 92 § 17. English school, Wilson and Gainsborough. 93 § 18. Constable, Callcott. 94 § 19. Peculiar tendency of recent landscape. 95 § 20. G. Robson, D. Cox. False use of the term "style." 95 § 21. Copley Fielding. Phenomena of distant color. 97 § 22. Beauty of mountain foreground. 99 § 23. De Wint. 101 § 24. Influence of Engraving. J. D. Harding. 101 § 25. Samuel Prout. Early painting of architecture, how deficient. 103 § 26. Effects of age upon buildings, how far desirable. 104 § 27. Effects of light, how necessary to the understanding of detail. 106 § 28. Architectural painting of Gentile Bellini and Vittor Carpaccio. 107 § 29. And of the Venetians generally. 109 § 30. Fresco painting of the Venetian exteriors. Canaletto. 110 § 31. Expression of the effects of age on Architecture by S. Prout. 112 § 32. His excellent composition and color. 114 § 33. Modern architectural painting generally. G. Cattermole. 115 § 34. The evil in an archæological point of view of misapplied invention, in architectural subject. 117 § 35. Works of David Roberts: their fidelity and grace. 118 § 36. Clarkson Stanfield. 121 § 37. J. M. W. Turner. Force of national feeling in all great painters. 123 § 38. Influence of this feeling on the choice of Landscape subject. 125 § 39. Its peculiar manifestation in Turner. 125 § 40. The domestic subjects of the Liber Studiorum. 127 § 41. Turner's painting of French and Swiss landscape. The latter deficient. 129 § 42. His rendering of Italian character still less successful. His large compositions how failing. 130 § 43. His views of Italy destroyed by brilliancy and redundant quantity.[Page lix] 133 § 44. Changes introduced by him in the received system of art. 133 § 45. Difficulties of his later manner. Resultant deficiencies. 134 § 46. Reflection of his very recent works. 137 § 47. Difficulty of demonstration in such subjects. 139 SECTION II. OF GENERAL TRUTHS. Chapter I., Of Truth of Tone § 1. Meanings of the word "tone:"—First, the right relation of objects in shadow to the principal light. 140 § 2. Secondly, the quality of color by which it is felt to owe part of its brightness to the hue of light upon it. 140 § 3. Difference between tone in its first sense and aerial perspective. 141 § 4. The pictures of the old masters perfect in relation of middle tints to light. 141 § 5. And consequently totally false in relation of middle tints to darkness. 141 § 6. General falsehood of such a system. 143 § 7. The principle of Turner in this respect. 143 § 8. Comparison of N. Poussin's "Phocion." 144 § 9. With Turner's "Mercury and Argus." 145 § 10. And with the "Datur Hora Quieti." 145 § 11. The second sense of the word "tone." 146 § 12. Remarkable difference in this respect between the paintings and drawings of Turner. 146 § 13. Not owing to want of power over the material. 146 § 14. The two distinct qualities of light to be considered. 147 § 15. Falsehoods by which Titian attains the appearance of quality in light. 148 § 16. Turner will not use such means. 148 § 17. But gains in essential truth by the sacrifice. 148 § 18. The second quality of light. 148 § 19. The perfection of Cuyp in this respect interfered with by numerous solecisms. 150 § 20. Turner is not so perfect in parts—far more so in the whole. 151 § 21. The power in Turner of uniting a number of tones. 152 § 22. Recapitulation. 153 Chapter II., Of Truth of Color § 1. Observations on the color of G. Poussin's La Riccia. 155 § 2. As compared with the actual scene. 155 § 3. Turner himself is inferior in brilliancy to nature. 157 § 4. Impossible colors of Salvator, Titian. 157 § 5. Poussin, and Claude. 158 § 6. Turner's translation of colors. 160 § 7. Notice of effects in which no brilliancy of art can even approach that of reality. 161 § 8. Reasons for the usual incredulity of the observer with respect to their representation. 162 § 9. Color of the Napoleon. 163 § 10. Necessary discrepancy between the attainable brilliancy of color and light. 164 § 11. This discrepancy less in Turner than in other colorists. 165 § 12. Its great extent in a landscape attributed to Rubens. 165 § 13. Turner scarcely ever uses pure or vivid color. 166 § 14. The basis of gray, under all his vivid hues. 167 § 15. The variety and fulness even of his most simple tones. 168 § 16. Following the infinite and unapproachable variety of nature. 168 § 17. His dislike of purple, and fondness for the opposition of yellow and black. The principles of nature in this respect. 169 § 18. His early works are false in color. 170 § 19. His drawings invariably perfect. 171 § 20. The subjection of his system of color to that of chiaroscuro. 171 Chapter III., Of Truth of Chiaroscuro § 1. We are not at present to examine particular effects of light. 174 § 2. And therefore the distinctness of shadows is the chief means of expressing vividness of light. 175 § 3. Total absence of such distinctness in the works of the Italian school. 175 § 4. And partial absence in the Dutch. 176 § 5. The perfection of Turner's works in this respect. 177 § 6. The effect of his shadows upon the light. 178 § 7. The distinction holds good between almost all the works of the ancient and modern schools. 179 § 8. Second great principle of chiaroscuro. Both high light and deep shadow are used in equal quantity, and only in points. 180 § 9. Neglect or contradiction of this principle by writers on art. 180 § 10. And consequent misguiding of the student. 181 § 11. The great value of a simple chiaroscuro. 182 § 12. The sharp separation of nature's lights from her middle tint. 182 § 13. The truth of Turner. 183 Chapter IV., Of Truth of Space:—First, as Dependent on the Focus of the Eye § 1. Space is more clearly indicated by the drawing of objects than by their hue. 185 § 2. It is impossible to see objects at unequal distances distinctly at one moment. 186 § 3. Especially such as are both comparatively near. 186 § 4. In painting, therefore, either the foreground or distance must be partially sacrificed. 187 § 5. Which not being done by the old masters, they could not express space. 187 § 6. But modern artists have succeeded in fully carrying out this principle. 188 § 7. Especially of Turner. 189 § 8. Justification of the want of drawing in Turner's figures. 189 Chapter V., Of Truth of Space:—Secondly, as its Appearance is dependent on the Power of the Eye § 1. The peculiar indistinctness dependent on the retirement of objects from the eye. 191 § 2. Causes confusion, but not annihilation of details. 191 § 3. Instances in various objects. 192 § 4. Two great resultant truths; that nature is never distinct, and never vacant. 193 § 5. Complete violation of both these principles by the old masters. They are either distinct or vacant. 193 § 6. Instances from Nicholas Poussin. 194 § 7. From Claude. 194 § 8. And G. Poussin. 195 § 9. The imperative necessity, in landscape painting, of fulness and finish. 196 § 10. Breadth is not vacancy. 197 § 11. The fulness and mystery of Turner's distances. 198 § 12. Farther illustrations in architectural drawing. 199 § 13. In near objects as well as distances. 199 § 14. Vacancy and falsehood of Canaletto. 200 § 15. Still greater fulness and finish in landscape foregrounds. 200 § 16. Space and size are destroyed alike by distinctness and by vacancy. 202 § 17. Swift execution best secures perfection of details. 202 § 18. Finish is far more necessary in landscape than in historical subjects. 202 § 19. Recapitulation of the section. 203 SECTION III., OF TRUTH OF SKIES Chapter I., Of the Open Sky. § 1. The peculiar adaptation of the sky to the pleasing and teaching of man. 204 § 2. The carelessness with which its lessons are received. 205 § 3. The most essential of these lessons are the gentlest. 205 § 4. Many of our ideas of sky altogether conventional. 205 § 5. Nature, and essential qualities of the open blue. 206 § 6. Its connection with clouds. 207 § 7. Its exceeding depth. 207 § 8. These qualities are especially given by modern masters. 207 § 9. And by Claude. 208 § 10. Total absence of them in Poussin. Physical errors in his general treatment of open sky. 208 § 11. Errors of Cuyp in graduation of color. 209 § 12. The exceeding value of the skies of the early Italian and Dutch schools. Their qualities are unattainable in modern times. 210 § 13. Phenomena of visible sunbeams. Their nature and cause. 211 § 14. They are only illuminated mist, and cannot appear when the sky is free from vapor, nor when it is without clouds. 211 § 15. Erroneous tendency in the representation of such phenomena by the old masters. 212 § 16. The ray which appears in the dazzled eye should not be represented. 213 § 17. The practice of Turner. His keen perception of the more delicate phenomena of rays. 213 § 18. The total absence of any evidence of such perception in the works of the old masters. 213 § 19. Truth of the skies of modern drawings. 214 § 20. Recapitulation. The best skies of the ancients are, in quality, inimitable, but in rendering of various truth, childish. 215 Chapter II., Of Truth of Clouds:—First, of the Region of the Cirrus. § 1. Difficulty of ascertaining wherein the truth of clouds consists. 216 § 2. Variation of their character at different elevations. The three regions to which they may conveniently be considered as belonging. 216 § 3. Extent of the upper region. 217 § 4. The symmetrical arrangement of its clouds.[Page lxiii] 217 § 5. Their exceeding delicacy. 218 § 6. Their number. 218 § 7. Causes of their peculiarly delicate coloring. 219 § 8. Their variety of form. 219 § 9. Total absence of even the slightest effort at their representation, in ancient landscape. 220 § 10. The intense and constant study of them by Turner. 221 § 11. His vignette, Sunrise on the Sea. 222 § 12. His use of the cirrus in expressing mist. 223 § 13. His consistency in every minor feature. 224 § 14. The color of the upper clouds. 224 § 15. Recapitulation. 225 Chapter III., Of Truth of Clouds:—Secondly, of the Central Cloud Region § 1. Extent and typical character of the central cloud region. 226 § 2. Its characteristic clouds, requiring no attention nor thought for their representation, are therefore favorite subjects with the old masters. 226 § 3. The clouds of Salvator and Poussin. 227 § 4. Their essential characters. 227 § 5. Their angular forms and general decision of outline. 228 § 6. The composition of their minor curves. 229 § 7. Their characters, as given by S. Rosa. 230 § 8. Monotony and falsehood of the clouds of the Italian school generally. 230 § 9. Vast size of congregated masses of cloud. 231 § 10. Demonstrable by comparison with mountain ranges. 231 § 11. And consequent divisions and varieties of feature. 232 § 12. Not lightly to be omitted. 232 § 13. Imperfect conceptions of this size and extent in ancient landscape. 233 § 14. Total want of transparency and evanescence in the clouds of ancient landscape. 234 § 15. Farther proof of their deficiency in space. 235 § 16. Instance of perfect truth in the sky of Turner's Babylon. 236 § 17. And in his Pools of Solomon. 237 § 18. Truths of outline and character in his Como. 237 § 19. Association of the cirrostratus with the cumulus. 238 § 20. The deep-based knowledge of the Alps in Turner's Lake of Geneva. 238 § 21. Farther principles of cloud form exemplified in his Amalfi. 239 § 22. Reasons for insisting on the infinity of Turner's works. Infinity is almost an unerring test of all truth[Page lxiv] 239 § 23. Instances of the total want of it in the works of Salvator. 240 § 24. And of the universal presence of it in those of Turner. The conclusions which may be arrived at from it. 240 § 25. The multiplication of objects, or increase of their size, will not give the impression of infinity, but is the resource of novices. 241 § 26. Farther instances of infinity in the gray skies of Turner. 242 § 27. The excellence of the cloud-drawing of Stanfield. 242 § 28. The average standing of the English school. 243 Chapter IV.,Of Truth of Clouds:—Thirdly, of the Region of the Rain-Cloud. § 1. The apparent difference in character between the lower and central clouds is dependent chiefly on proximity. 244 § 2. Their marked differences in color. 244 § 3. And in definiteness of form. 245 § 4. They are subject to precisely the same great laws. 245 § 5. Value, to the painter, of the rain-cloud. 246 § 6. The old masters have not left a single instance of the painting of the rain-cloud, and very few efforts at it. Gaspar Poussin's storms. 247 § 7. The great power of the moderns in this respect. 248 § 8. Works of Copley Fielding. 248 § 9. His peculiar truth. 248 § 10. His weakness, and its probable cause. 249 § 11. Impossibility of reasoning on the rain-clouds of Turner from engravings. 250 § 12. His rendering of Fielding's particular moment in the Jumieges. 250 § 13. Illustration of the nature of clouds in the opposed forms of smoke and steam. 250 § 14. Moment of retiring rain in the Llanthony. 251 § 15. And of commencing, chosen with peculiar meaning for Loch Coriskin. 252 § 16. The drawing of transparent vapor in the Land's End. 253 § 17. The individual character of its parts. 253 § 18. Deep-studied form of swift rain-cloud in the Coventry. 254 § 19. Compared with forms given by Salvator. 254 § 20. Entire expression of tempest by minute touches and circumstances in the Coventry. 255 § 21. Especially by contrast with a passage of extreme repose. 255 § 22. The truth of this particular passage. Perfectly pure blue sky only seen after rain, and how seen.[Page lxv] 256 § 23. Absence of this effect in the works of the old masters. 256 § 24. Success of our water-color artists in its rendering. Use of it by Turner. 257 § 25. Expression of near rain-cloud in the Gosport, and other works. 257 § 26. Contrasted with Gaspar Poussin's rain-cloud in the Dido and Æneas. 258 § 27. Turner's power of rendering mist. 258 § 28. His effects of mist so perfect, that if not at once understood, they can no more be explained or reasoned on than nature herself. 259 § 29. Various instances. 259 § 30. Turner's more violent effects of tempest are never rendered by engravers. 260 § 31. General system of landscape engraving. 260 § 32. The storm in the Stonehenge. 260 § 33. General character of such effects as given by Turner. His expression of falling rain. 261 § 34. Recapitulation of the section. 261 § 35. Sketch of a few of the skies of nature, taken as a whole, compared with the works of Turner and of the old masters. Morning on the plains. 262 § 36. Noon with gathering storms. 263 § 37. Sunset in tempest. Serene midnight. 264 § 38. And sunrise on the Alps. 264 Chapter V., Effects of Light rendered by Modern Art. § 1. Reasons for merely, at present, naming, without examining the particular effects of light rendered by Turner. 266 § 2. Hopes of the author for assistance in the future investigation of them. 266 SECTION IV. OF TRUTH OF EARTH. Chapter I., Of General Structure § 1. First laws of the organization of the earth, and their importance in art. 270 § 2. The slight attention ordinarily paid to them. Their careful study by modern artists. 271 § 3. General structure of the earth. The hills are its action, the plains its rest.[Page lxvi] 271 § 4. Mountains come out from underneath the plains, and are their support. 272 § 5. Structure of the plains themselves. Their perfect level, when deposited by quiet water. 273 § 6. Illustrated by Turner's Marengo. 273 § 7. General divisions of formation resulting from this arrangement. Plan of investigation. 274 Chapter II., Of the Central Mountains § 1. Similar character of the central peaks in all parts of the world. 275 § 2. Their arrangements in pyramids or wedges, divided by vertical fissures. 275 § 3. Causing groups of rock resembling an artichoke or rose. 276 § 4. The faithful statement of these facts by Turner in his Alps at Daybreak. 276 § 5. Vignette of the Andes and others. 277 § 6. Necessary distance, and consequent aerial effect on all such mountains. 277 § 7. Total want of any rendering of their phenomena in ancient art. 278 § 8. Character of the representations of Alps in the distances of Claude. 278 § 9. Their total want of magnitude and aerial distance. 279 § 10. And violation of specific form. 280 § 11. Even in his best works. 280 § 12. Farther illustration of the distant character of mountain chains. 281 § 13. Their excessive appearance of transparency. 281 § 14. Illustrated from the works of Turner and Stanfield. The Borromean Islands of the latter. 282 § 15. Turner's Arona. 283 § 16. Extreme distance of large objects always characterized by very sharp outline. 283 § 17. Want of this decision in Claude. 284 § 18. The perpetual rendering of it by Turner. 285 § 19. Effects of snow, how imperfectly studied. 285 § 20. General principles of its forms on the Alps. 287 § 21. Average paintings of Switzerland. Its real spirit has scarcely yet been caught. 289 Chapter III., Of the Inferior Mountains § 1. The inferior mountains are distinguished from the central, by being divided into beds. 290 § 2. Farther division of these beds by joints. 290 § 3. And by lines of lamination. 291 § 4. Variety and seeming uncertainty under which these laws are manifested. 291 § 5. The perfect expression of them in Turner's Loch Coriskin. 292 § 6. Glencoe and other works. 293 § 7. Especially the Mount Lebanon. 293 § 8. Compared with the work of Salvator. 294 § 9. And of Poussin. 295 § 10. Effects of external influence on mountain form. 296 § 11. The gentle convexity caused by aqueous erosion. 297 § 12. And the effect of the action of torrents. 297 § 13. The exceeding simplicity of contour caused by these influences. 298 § 14. And multiplicity of feature. 299 § 15. Both utterly neglected in ancient art. 299 § 16. The fidelity of treatment in Turner's Daphne and Leucippus. 300 § 17. And in the Avalanche and Inundation. 300 § 18. The rarity among secondary hills of steep slopes or high precipices. 301 § 19. And consequent expression of horizontal distance in their ascent. 302 § 20. Full statement of all these facts in various works of Turner.—Caudebec, etc. 302 § 21. The use of considering geological truths. 303 § 22. Expression of retiring surface by Turner contrasted with the work of Claude. 304 § 23. The same moderation of slope in the contours of his higher hills. 304 § 24. The peculiar difficulty of investigating the more essential truths of hill outline. 305 § 25. Works of other modern artists.—Clarkson Stanfield. 305 § 26. Importance of particular and individual truth in hill drawing. 306 § 27. Works of Copley Fielding. His high feeling. 307 § 28. Works of J. D. Harding and others. 308 Chapter IV., Of the Foreground § 1. What rocks were the chief components of ancient landscape foreground. 309 § 2. Salvator's limestones. The real characters of the rock. Its fractures, and obtuseness of angles. 309 § 3. Salvator's acute angles caused by the meeting of concave curves.[Page lxviii] 310 § 4. Peculiar distinctness of light and shade in the rocks of nature. 311 § 5. Peculiar confusion of both in the rocks of Salvator. 311 § 6. And total want of any expression of hardness or brittleness. 311 § 7. Instances in particular pictures. 312 § 8. Compared with the works of Stanfield. 312 § 9. Their absolute opposition in every particular. 313 § 10. The rocks of J. D. Harding. 313 § 11. Characters of loose earth and soil. 314 § 12. Its exceeding grace and fulness of feature. 315 § 13. The ground of Teniers. 315 § 14. Importance of these minor parts and points. 316 § 15. The observance of them is the real distinction between the master and the novice. 316 § 16. Ground of Cuyp. 317 § 17. And of Claude. 317 § 18. The entire weakness and childishness of the latter. 318 § 19. Compared with the work of Turner. 318 § 20. General features of Turner's foreground. 319 § 21. Geological structure of his rocks in the Fall of the Tees. 319 § 22. Their convex surfaces and fractured edges. 319 § 23. And perfect unity. 320 § 24. Various parts whose history is told us by the details of the drawing. 321 § 25. Beautiful instance of an exception to general rules in the Llanthony. 321 § 26. Turner's drawing of detached blocks of weathered stone. 322 § 27. And of complicated foreground. 323 § 28. And of loose soil. 323 § 29. The unison of all in the ideal foregrounds of the Academy pictures. 324 § 30. And the great lesson to be received from all. 324 SECTION V. OF TRUTH OF WATER. Chapter I., Of Water, as Painted by the Ancients § 1. Sketch of the functions and infinite agency of water. 325 § 2. The ease with which a common representation of it may be given. The impossibility of a faithful one. 325 § 3. Difficulty of properly dividing the subject. 326 § 4. Inaccuracy of study of water-effect among all painters. 326 § 5. Difficulty of treating this part of the subject. 328 § 6. General laws which regulate the phenomena of water. First, The imperfection of its reflective surface.[Page lxix] 329 § 7. The inherent hue of water modifies dark reflections, and does not affect right ones. 330 § 8. Water takes no shadow. 331 § 9. Modification of dark reflections by shadow. 332 § 10. Examples on the waters of the Rhone. 333 § 11. Effect of ripple on distant water. 335 § 12. Elongation of reflections by moving water. 335 § 13. Effect of rippled water on horizontal and inclined images. 336 § 14. To what extent reflection is visible from above. 336 § 15. Deflection of images on agitated water. 337 § 16. Necessity of watchfulness as well as of science. Licenses, how taken by great men. 337 § 17. Various licenses or errors in water painting of Claude, Cuyp, Vandevelde. 339 § 18. And Canaletto. 341 § 19. Why unpardonable. 342 § 20. The Dutch painters of sea. 343 § 21. Ruysdael, Claude, and Salvator. 344 § 22. Nicolo Poussin. 345 § 23. Venetians and Florentines. Conclusion. 346 Chapter II., Of Water, as Painted by the Moderns § 1. General power of the moderns in painting quiet water. The lakes of Fielding. 348 § 2. The calm rivers of De Wint, J. Holland, &c. 348 § 3. The character of bright and violent falling water. 349 § 4. As given by Nesfield. 349 § 5. The admirable water-drawing of J. D. Harding. 350 § 6. His color; and painting of sea. 350 § 7. The sea of Copley Fielding. Its exceeding grace and rapidity. 351 § 8. Its high aim at character. 351 § 9. But deficiency in the requisite quality of grays. 352 § 10. Variety of the grays of nature. 352 § 11. Works of Stanfield. His perfect knowledge and power. 353 § 12. But want of feeling. General sum of truth presented by modern art. 353 Chapter III., Of Water, as Painted by Turner § 1. The difficulty of giving surface to smooth water. 355 § 2. Is dependent on the structure of the eye, and the focus by which the reflected rays are perceived. 355 § 3. Morbid clearness occasioned in painting of water by distinctness of reflections. 356 § 4. How avoided by Turner. 357 § 5. All reflections on distant water are distinct.[Page lxx] 357 § 6. The error of Vandevelde. 358 § 7. Difference in arrangement of parts between the reflected object and its image. 359 § 8. Illustrated from the works of Turner. 359 § 9. The boldness and judgment shown in the observance of it. 360 § 10. The texture of surface in Turner's painting of calm water. 361 § 11. Its united qualities. 361 § 12. Relation of various circumstances of past agitation, &c., by the most trifling incidents, as in the Cowes. 363 § 13. In scenes on the Loire and Seine. 363 § 14. Expression of contrary waves caused by recoil from shore. 364 § 15. Various other instances. 364 § 16. Turner's painting of distant expanses of water.—Calm, interrupted by ripple. 365 § 17. And rippled, crossed by sunshine. 365 § 18. His drawing of distant rivers. 366 § 19. And of surface associated with mist. 367 § 20. His drawing of falling water, with peculiar expression of weight. 367 § 21. The abandonment and plunge of great cataracts. How given by him. 368 § 22. Difference in the action of water, when continuous and when interrupted. The interrupted stream fills the hollows of its bed. 369 § 23. But the continuous stream takes the shape of its bed. 370 § 24. Its exquisite curved lines. 370 § 25. Turner's careful choice of the historical truth. 370 § 26. His exquisite drawing of the continuous torrent in the Llanthony Abbey. 371 § 27. And of the interrupted torrent in the Mercury and Argus. 372 § 28. Various cases. 372 § 29. Sea painting. Impossibility of truly representing foam. 373 § 30. Character of shore-breakers, also inexpressible. 374 § 31. Their effect how injured when seen from the shore. 375 § 32. Turner's expression of heavy rolling sea. 376 § 33. With peculiar expression of weight. 376 § 34. Peculiar action of recoiling waves. 377 § 35. And of the stroke of a breaker on the shore. 377 § 36. General character of sea on a rocky coast given by Turner in the Land's End. 378 § 37. Open seas of Turner's earlier time. 379 § 38. Effect of sea after prolonged storm. 380 § 39. Turner's noblest work, the painting of the deep open sea in the Slave Ship. 382 § 40. Its united excellences and perfection as a whole. 383 SECTION VI. OF TRUTH OF VEGETATION.—CONCLUSION. Chapter I., Of Truth of Vegetation § 1. Frequent occurrence of foliage in the works of the old masters. 384 § 2. Laws common to all forest trees. Their branches do not taper, but only divide. 385 § 3. Appearance of tapering caused by frequent buds. 385 § 4. And care of nature to conceal the parallelism. 386 § 5. The degree of tapering which may be represented as continuous. 386 § 6. The trees of Gaspar Poussin. 386 § 7. And of the Italian school generally, defy this law. 387 § 8. The truth, as it is given by J. D. Harding. 387 § 9. Boughs, in consequence of this law, must diminish where they divide. Those of the old masters often do not. 388 § 10. Boughs must multiply as they diminish. Those of the old masters do not. 389 § 11. Bough-drawing of Salvator. 390 § 12. All these errors especially shown in Claude's sketches, and concentrated in a work of G. Poussin's. 391 § 13. Impossibility of the angles of boughs being taken out of them by wind. 392 § 14. Bough-drawing of Titian. 392 § 15. Bough-drawing of Turner. 394 § 16. Leafage. Its variety and symmetry. 394 § 17. Perfect regularity of Poussin. 395 § 18. Exceeding intricacy of nature's foliage. 396 § 19. How contradicted by the tree-patterns of G. Poussin. 396 § 20. How followed by Creswick. 397 § 21. Perfect unity in nature's foliage. 398 § 22. Total want of it in Both and Hobbima. 398 § 23. How rendered by Turner. 399 § 24. The near leafage of Claude. His middle distances are good. 399 § 25. Universal termination of trees in symmetrical curves. 400 § 26. Altogether unobserved by the old masters. Always given by Turner. 401 § 27. Foliage painting on the Continent. 401 § 28. Foliage of J. D. Harding. Its deficiencies. 402 § 29. His brilliancy of execution too manifest. 403 § 30. His bough-drawing, and choice of form. 404 § 31. Local color, how far expressible in black and white, and with what advantage.[Page lxxii] 404 § 32. Opposition between great manner and great knowledge. 406 § 33. Foliage of Cox, Fielding, and Cattermole. 406 § 34. Hunt and Creswick. Green, how to be rendered expressive of light, and offensive if otherwise. 407 § 35. Conclusion. Works of J. Linnel and S. Palmer. 407 Chapter II., General remarks respecting the Truth of Turner § 1. No necessity of entering into discussion of architectural truth. 409 § 2. Extreme difficulty of illustrating or explaining the highest truth. 410 § 3. The positive rank of Turner is in no degree shown in the foregoing pages, but only his relative rank. 410 § 4. The exceeding refinement of his truth. 411 § 5. There is nothing in his works which can be enjoyed without knowledge. 411 § 6. And nothing which knowledge will not enable us to enjoy. 412 § 7. His former rank and progress. 412 § 8. Standing of his present works. Their mystery is the consequence of their fulness. 413 Chapter III., Conclusion.-Modern Art and Modern Criticism § 1. The entire prominence hitherto given to the works of one artist caused only by our not being able to take cognizance of character. 414 § 2. The feelings of different artists are incapable of full comparison. 415 § 3. But the fidelity and truth of each are capable of real comparison. 415 § 4. Especially because they are equally manifested in the treatment of all subjects. 415 § 5. No man draws one thing well, if he can draw nothing else. 416 § 6. General conclusions to be derived from our past investigation. 417 § 7. Truth, a standard of all excellence. 417 § 8. Modern criticism. Changefulness of public taste. 418 § 9. Yet associated with a certain degree of judgment. 418 § 10. Duty of the press. 418 § 11. Qualifications necessary for discharging it. 418 § 12. General incapability of modern critics. 419 § 13. And inconsistency with themselves. 419 § 14. How the press may really advance the cause of art.[Page lxxiii] 420 § 15. Morbid fondness at the present day for unfinished works. 420 § 16. By which the public defraud themselves. 421 § 17. And in pandering to which, artists ruin themselves. 421 § 18. Necessity of finishing works of art perfectly. 421 § 19. Sketches not sufficiently encouraged. 422 § 20. Brilliancy of execution or efforts at invention not to be tolerated in young artists. 422 § 21. The duty and after privileges of all students. 423 § 22. Necessity among our greater artists of more singleness of aim. 423 § 23. What should be their general aim. 425 § 24. Duty of the press with respect to the works of Turner. 427 LIST OF PLATES TO VOLUME I. Page. Casa Contarini Fasan, Venice 111 From a drawing by Ruskin. The Dogana, and Santa Maria della Salute, Venice 136 From a painting by Turner. Okehampton Castle 258 From a painting by Turner. Port Ruysdael 377 From a painting by Turner. [Page 1] MODERN PAINTERS VOLUME II. CONTAINING PART III., SECTIONS I. AND II. OF THE IMAGINATIVE AND THEORETIC FACULTIES. SYNOPSIS OF CONTENTS. PART III. OF IDEAS OF BEAUTY. SECTION I. OF THE THEORETIC FACULTY. Chapter I.-Of the Rank and Relations of the Theoretic Faculty. page § 1. With what care the subject is to be approached. 1 § 2. And of what importance considered. 2 § 3. The doubtful force of the term "utility". 3 § 4. Its proper sense. 4 § 5. How falsely applied in these times. 4 § 6. The evil consequences of such interpretation. How connected with national power. 5 § 7. How to be averted. 6 § 8. Division of the pursuits of men into subservient and objective. 8 § 9. Their relative dignities. 10 § 10. How reversed through erring notions of the contemplative and imaginative faculties. 10 § 11. Object of the present section. 11 Chapter II.-Of the Theoretic Faculty as concerned with Pleasures of Sense. § 1. Explanation of the term "theoretic". 12 § 2. Of the differences of rank in pleasures of sense. 12 § 3. Use of the terms Temperate and Intemperate. 13 § 4. Right use of the term "intemperate". 13 § 5. Grounds of inferiority in the pleasures which are subjects of intemperance. 14 § 6. Evidence of higher rank in pleasures of sight and hearing. 15 § 7. How the lower pleasures may be elevated in rank. 16 § 8. Ideas of beauty how essentially moral. 17 § 9. How degraded by heartless reception. 17 § 10. How exalted by affection. 18 Chapter III.-Of Accuracy and Inaccuracy in Impressions of Sense. § 1. By what test is the health of the perceptive faculty to be determined? 19 § 2. And in what sense may the terms Right and Wrong be attached to its conclusions? 20 § 3. What power we have over impressions of sense. 21 § 4. Depends on acuteness of attention. 21 § 5. Ultimate conclusions universal. 22 § 6. What duty is attached to this power over impressions of sense. 22 § 7. How rewarded. 23 § 8. Especially with respect to ideas of beauty. 23 § 9. Errors induced by the power of habit. 24 § 10. The necessity of submission in early stages of judgment. 24 § 11. The large scope of matured judgment. 25 § 12. How distinguishable from false taste. 25 § 13. The danger of a spirit of choice. 26 § 14. And criminality. 27 § 15. How certain conclusions respecting beauty are by reason demonstrable. 27 § 16. With what liabilities to error. 28 § 17. The term "beauty" how limitable in the outset. Divided into typical and vital. 28 Chapter IV.-Of False Opinions held concerning Beauty. § 1. Of the false opinion that truth is beauty, and vice versa. 30 § 2. Of the false opinion that beauty is usefulness. Compare Chap. xii. § 5. 31 § 3. Of the false opinion that beauty results from custom. Compare Chap. vi. § 1. 31 § 4. The twofold operation of custom. It deadens sensation, but confirms affection. 31 § 5. But never either creates or destroys the essence of beauty. 32 § 6. Instances. 32 § 7. Of the false opinion that beauty depends on the association of ideas. 33 § 8. Association. Is, 1st, rational. It is of no efficiency as a cause of beauty. 33 § 9. Association accidental. The extent of its influence. 34 § 10. The dignity of its function. 35 § 11. How it is connected with impressions of beauty. 36 § 12. And what caution it renders necessary in the examination of them. 36 Chapter V.-Of Typical Beauty:-First, of Infinity, or the Type of Divine Incomprehensibility. § 1. Impossibility of adequately treating the subject. 38 § 2. With what simplicity of feeling to be approached. 38 § 3. The child instinct respecting space. 39 § 4. Continued in after life. 40 § 5. Whereto this instinct is traceable. 40 § 6. Infinity how necessary in art. 41 § 7. Conditions of its necessity. 42 § 8. And connected analogies. 42 § 9. How the dignity of treatment is proportioned to the expression of infinity. 43 § 10. Examples among the Southern schools. 44 § 11. Among the Venetians. 44 § 12. Among the painters of landscape. 45 § 13. Other modes in which the power of infinity is felt. 45 § 14. The beauty of curvature. 46 § 15. How constant in external nature. 46 § 16. The beauty of gradation. 47 § 17. How found in nature. 47 § 18. How necessary in Art. 48 § 19. Infinity not rightly implied by vastness. 49 Chapter VI.-Of Unity, or the Type of the Divine Comprehensiveness. § 1. The general conception of divine Unity. 50 § 2. The glory of all things is their Unity. 50 § 3. The several kinds of unity. Subjectional. Original. Of sequence, and of membership. 51 § 4 Unity of membership. How secured. 52 § 5. Variety. Why required. 53 § 6. Change, and its influence on beauty. 54 § 7. The love of change. How morbid and evil. 55 § 8. The conducing of variety towards unity of subjection. 55 § 9. And towards unity of sequence. 57 § 10. The nature of proportion. 1st, of apparent proportion. 57 § 11. The value of apparent proportion in curvature. 60 § 12. How by nature obtained. 61 § 13. Apparent proportion in melodies of line. 61 § 14. Error of Burke in this matter. 62 § 15. Constructive proportion. Its influence in plants. 63 § 16. And animals. 64 § 17. Summary. 64 Chapter VII.-Of Repose, or the Type of Divine Permanence. § 1. Universal feeling respecting the necessity of repose in art. Its sources. 65 § 2. Repose how expressed in matter. 66 § 3. The necessity to repose of an implied energy. 66 § 4. Mental repose, how noble. 67 § 5. Its universal value as a test of art. 68 § 6. Instances in the Laocoon and Theseus. 69 § 7. And in altar tombs. 70 Chapter VIII.-Of Symmetry, or the Type of Divine Justice. § 1. Symmetry, what and how found in organic nature. 72 § 2. How necessary in art. 72 § 3. To what its agreeableness is referable. Various instances. 73 § 4. Especially in religious art. 73 Chapter IX.-Of Purity, or the Type of Divine Energy. § 1. The influence of light as a sacred symbol. 75 § 2. The idea of purity connected with it. 75 § 3. Originally derived from conditions of matter. 76 § 4. Associated ideas adding to the power of the impression. Influence of clearness. 76 § 5. Perfect beauty of surface, in what consisting. 77 § 6. Purity only metaphorically a type of sinlessness. 78 § 7. Energy, how expressed by purity of matter. 79 § 8. And of color. 79 § 9. Spirituality, how so expressed. 79 Chapter X.-Of Moderation, or the Type of Government by Law. § 1. Meaning of the terms Chasteness and Refinement. 81 § 2. How referable to temporary fashions. 81 § 3. How to the perception of completion. 81 § 4. Finish, by great masters esteemed essential. 82 § 5. Moderation, its nature and value. 84 § 6. It is the girdle of beauty. 84 § 7. How found in natural curves and colors. 84 § 8. How difficult of attainment, yet essential to all good. 85 Chapter XI.-General Inferences respecting Typical Beauty. § 1. The subject incompletely treated, yet admitting of general conclusions. 86 § 2. Typical beauty not created for man's sake. 87 § 3. But degrees of it for his sake admitted. 87 § 4. What encouragement hence to be received. 87 Chapter XII.-Of Vital Beauty:-First, as Relative. § 1. Transition from typical to vital Beauty. 89 § 2. The perfection of the theoretic faculty as concerned with vital beauty, is charity. 90 § 3. Only with respect to plants, less affection than sympathy. 91 § 4. Which is proportioned to the appearance of energy in the plants. 92 § 5. This sympathy is unselfish, and does not regard utility. 93 § 6. Especially with respect to animals. 94 § 7. And it is destroyed by evidences of mechanism. 95 § 8. The second perfection of the theoretic faculty as concerned with life is justice of moral judgment. 96 § 9. How impeded. 97 § 10. The influence of moral signs in expression. 97 § 11. As also in plants. 99 § 12. Recapitulation. 100 Chapter XIII.-Of Vital Beauty:-Secondly, as Generic. § 1. The beauty of fulfilment of appointed function in every animal. 101 § 2. The two senses of the word "ideal." Either it refers to action of the imagination. 102 § 3. Or to perfection of type. 103 § 4. This last sense how inaccurate, yet to be retained. 103 § 5. Of Ideal form. First, in the lower animals. 104 § 6. In what consistent. 104 § 7. Ideal form in vegetables. 105 § 8. The difference of position between plants and animals. 105 § 9. Admits of variety in the ideal of the former. 106 § 10. Ideal form in vegetables destroyed by cultivation. 107 § 11. Instance in the Soldanella and Ranunculus. 108 § 12. The beauty of repose and felicity, how consistent with such ideal. 108 § 13. The ideality of Art. 109 § 14. How connected with the imaginative faculties. 109 § 15. Ideality, how belonging to ages and conditions. 110 Chapter XIV.-Of Vital Beauty:-Thirdly, in Man. § 1. Condition of the human creature entirely different from that of the lower animals. 111 § 2. What room here for idealization. 111 § 3. How the conception of the bodily ideal is reached. 112 § 4. Modifications of the bodily ideal owing to influence of mind. First, of intellect. 113 § 5. Secondly, of the moral feelings. 113 § 6. What beauty is bestowed by them. 115 § 7. How the soul culture interferes harmfully with the bodily ideal. 115 § 8. The inconsistency among the effects of the mental virtues on the form. 116 § 9. Is a sign of God's kind purpose towards the race. 116 § 10. Consequent separation and difference of ideals. 117 § 11. The effects of the Adamite curse are to be distinguished from signs of its immediate activity. 118 § 12. Which latter only are to be banished from ideal form. 118 § 13. Ideal form is only to be obtained by portraiture. 119 § 14. Instances among the greater of the ideal Masters. 119 § 15. Evil results of opposite practice in modern times. 120 § 16. The right use of the model. 121 § 17. Ideal form to be reached only by love. 121 § 18. Practical principles deducible. 122 § 19. Expressions chiefly destructive of ideal character. 1st, Pride. 122 § 20. Portraiture ancient and modern. 123 § 21. Secondly, Sensuality. 123 § 22. How connected with impurity of color. 124 § 23. And prevented by its splendor. 124 § 24. Or by severity of drawing. 125 § 25. Degrees of descent in this respect: Rubens, Correggio, and Guido. 125 § 26. And modern art. 126 § 27. Thirdly, ferocity and fear. The latter how to be distinguished from awe. 126 § 28. Holy fear, how distinct from human terror. 127 § 29. Ferocity is joined always with fear. Its unpardonableness. 127 § 30. Such expressions how sought by painters powerless and impious. 128 § 31. Of passion generally. 129 § 32. It is never to be for itself exhibited—at least on the face. 130 § 33. Recapitulation. 131 Chapter XV.-General Conclusions respecting the Theoretic Faculty. § 1. There are no sources of the emotion of beauty more than those found in things visible. 133 § 2. What imperfection exists in visible things. How in a sort by imagination removable. 134 § 3. Which however affects not our present conclusions. 134 § 4. The four sources from which the pleasure of beauty is derived are all divine. 134 § 5. What objections may be made to this conclusion. 135 § 6. Typical beauty may be æsthetically pursued. Instances. 135 § 7. How interrupted by false feeling. 136 § 8. Greatness and truth are sometimes by the Deity sustained and spoken in and through evil men. 137 § 9. The second objection arising from the coldness of Christian men to external beauty. 138 § 10. Reasons for this coldness in the anxieties of the world. These anxieties overwrought and criminal. 139 § 11. Evil consequences of such coldness. 140 § 12. Theoria the service of Heaven. 140 SECTION II. OF THE IMAGINATIVE FACULTY. Chapter I.-Of the Three Forms of Imagination. § 1. A partial examination only of the imagination is to be attempted. 142 § 2. The works of the metaphysicians how nugatory with respect to this faculty. 143 § 3. The definition of D. Stewart, how inadequate. 143 § 4. This instance nugatory. 144 § 5. Various instances. 145 § 6. The three operations of the imagination. Penetrative, associative, contemplative. 146 Chapter II.-Of Imagination Associative. § 1. Of simple conception. 147 § 2. How connected with verbal knowledge. 148 § 3. How used in composition. 148 § 4. Characteristics of composition. 149 § 5. What powers are implied by it. The first of the three functions of fancy. 150 § 6. Imagination not yet manifested. 150 § 7. Imagination is the correlative conception of imperfect component parts. 151 § 8. Material analogy with imagination. 151 § 9. The grasp and dignity of imagination. 152 § 10. Its limits. 153 § 11. How manifested in treatment of uncertain relations. Its deficiency illustrated. 154 § 12. Laws of art, the safeguard of the unimaginative. 155 § 13. Are by the imaginative painter despised. Tests of imagination. 155 § 14. The monotony of unimaginative treatment. 156 § 15. Imagination never repeats itself. 157 § 16. Relation of the imaginative faculty to the theoretic. 157 § 17. Modification of its manifestation. 158 § 18. Instances of absence of imagination.—Claude, Gaspar Poussin. 158 § 19. Its presence.—Salvator, Nicolo Poussin, Titian, Tintoret. 159 § 20. And Turner. 160 § 21. The due function of Associative imagination with respect to nature. 161 § 22. The sign of imaginative work is its appearance of absolute truth. 161 Chapter III.-Of Imagination Penetrative. § 1. Imagination penetrative is concerned not with the combining but apprehending of things. 163 § 2. Milton's and Dante's description of flame. 163 § 3. The imagination seizes always by the innermost point. 164 § 4. It acts intuitively and without reasoning. 165 § 5. Signs of it in language. 165 § 6. Absence of imagination, how shown. 166 § 7. Distinction between imagination and fancy. 166 § 8. Fancy how involved with imagination. 168 § 9. Fancy is never serious. 169 § 10. Want of seriousness the bar to high art at the present time. 169 § 11. Imagination is quiet; fancy, restless. 170 § 12. The detailing operation of fancy. 170 § 13. And suggestive, of the imagination. 171 § 14. This suggestiveness how opposed to vacancy. 172 § 15. Imagination addresses itself to imagination. 173 Instances from the works of Tintoret. 173 § 16. The entombment. 174 § 17. The Annunciation. 174 § 18. The Baptism of Christ. Its treatment by various painters. 176 § 19. By Tintoret. 177 § 20. The Crucifixion. 178 § 21. The Massacre of innocents. 179 § 22. Various works in the Scuola di San Rocco. 181 § 23. The Last Judgment. How treated by various painters. 181 § 24. By Tintoret. 182 § 25. The imaginative verity, how distinguished from realism. 183 § 26. The imagination how manifested in sculpture. 184 § 27. Bandinelli, Canova, Mino da Fiesole. 184 § 28. Michael Angelo. 185 § 29. Recapitulation. The perfect function of the imagination is the intuitive perception of ultimate truth. 188 § 30. Imagination how vulgarly understood. 190 § 31. How its cultivation is dependent on the moral feelings. 190 § 32. On independence of mind. 191 § 33. And on habitual reference to nature. 191 Chapter IV.-Of Imagination Contemplative. § 1. Imagination contemplative is not part of the essence, but only a habit or mode of the faculty. 192 § 2. The ambiguity of conception. 192 § 3. Is not in itself capable of adding to the charm of fair things. 193 § 4. But gives to the imagination its regardant power over them. 194 § 5. The third office of fancy distinguished from imagination contemplative. 195 § 6. Various instances. 197 § 7. Morbid or nervous fancy. 200 § 8. The action of contemplative imagination is not to be expressed by art. 201 § 9. Except under narrow limits.—1st. Abstract rendering of form without color. 201 § 10. Of color without form. 202 § 11. Or of both without texture. 202 § 12. Abstraction or typical representation of animal form. 203 § 13. Either when it is symbolically used. 204 § 14. Or in architectural decoration. 205 § 15. Exception in delicate and superimposed ornament. 206 § 16. Abstraction necessary from imperfection of materials. 206 § 17. Abstractions of things capable of varied accident are not imaginative. 207 § 18. Yet sometimes valuable. 207 § 19. Exaggeration. Its laws and limits. First, in scale of representation. 208 § 20. Secondly, of things capable of variety of scale. 209 § 21. Thirdly, necessary in expression of characteristic features on diminished scale. 210 § 22. Recapitulation. 211 Chapter V.-Of the Superhuman Ideal. § 1. The subject is not to be here treated in detail. 212 § 2. The conceivable modes of manifestation of Spiritual Beings are four. 212 § 3. And these are in or through creature forms familiar to us. 213 § 4. Supernatural character may be impressed on these either by phenomena inconsistent with their common nature (compare Chap. iv. § 16). 213 § 5. Or by inherent Dignity. 213 § 6. 1st. Of the expression of inspiration. 214 § 7. No representation of that which is more than creature is possible. 215 § 8. Supernatural character expressed by modification of accessories. 216 § 9. Landscape of the religious painters. Its character is eminently symmetrical. 217 § 10. Landscape of Benozzo Gozzoli. 217 § 11. Landscape of Perugino and Raffaelle. 218 § 12. Such Landscape is not to be imitated. 218 § 13. Color, and Decoration. Their use in representations of the Supernatural. 219 § 14. Decoration so used must be generic. 220 § 15. And color pure. 220 § 16. Ideal form of the body itself, of what variety susceptible. 221 § 17. Anatomical development how far admissible. 221 § 18. Symmetry. How valuable. 221 § 19. The influence of Greek art, how dangerous. 222 § 20. Its scope, how limited. 223 § 21. Conclusion. 224 ADDENDA. 225 LIST OF PLATES TO VOLUME II. Page. Court of the Ducal Palace, Venice 10 From a drawing by Ruskin. Tomb of the Ilaria di Caretto, Lucca 72 From a photograph. The Adoration of the Magi 158 From a painting by Ruskin, after Tintoret. Study of Stone Pine, at Sestri 199 From a drawing by Ruskin. MODERN PAINTERS VOL. III. CONTAINING PART IV., OF MANY THINGS. TABLE OF CONTENTS. PART IV., OF MANY THINGS PAGE Chapter I.— Of the received Opinions touching the "Grand Style" 1 " II.— Of Realization 16 " III.— Of the Real Nature of Greatness of Style 23 " IV.— Of the False Ideal:—First, Religious 44 " V.— Of the False Ideal:—Secondly, Profane 61 " VI.— Of the True Ideal:—First, Purist 70 " VII.— Of the True Ideal:—Secondly, Naturalist 77 " VIII.— Of the True Ideal:—Thirdly, Grotesque 92 " IX.— Of Finish 108 " X.— Of the Use of Pictures 124 " XI.— Of the Novelty of Landscape 144 " XII.— Of the Pathetic Fallacy 152 " XIII.— Of Classical Landscape 168 " XIV.— Of Mediæval Landscape:—First, the Fields 191 " XV.— Of Mediæval Landscape:—Secondly, the Rocks 229 " XVI.— Of Modern Landscape 248 " XVII.— The Moral of Landscape 280 " XVIII.— Of the Teachers of Turner 308 APPENDIX. I.— Claude's Tree-drawing 333 II.— German Philosophy 336 III.— Plagiarism 338 LIST OF PLATES TO VOL. III. Drawn by Engraved by Frontispiece. Lake, Land, and Cloud. The Author J. C. Armytage. Plate Facing page 1. True and False Griffins The Author R. P. Cuff 106 2. Drawing of Tree-bark Various J. H. Le Keux 114 3. Strength of old Pine The Author J. H. Le Keux 116 4. Ramification according to Claude Claude J. H. Le Keux 117 5. Good and Bad Tree-drawing Turner and Constable J. Cousen 118 6. Foreground Leafage The Author J. C. Armytage 121 7. Botany of the Thirteenth Century Missal-Painters Henry Shaw 203 8. The Growth of Leaves The Author R. P. Cuff 204 9. Botany of the Fourteenth Century Missal-Painters Cuff; H. Swan 207 10. Geology of the Middle Ages Leonardo, etc. R. P. Cuff 238 11. Latest Purism Raphael J. C. Armytage 313 12. The Shores of Wharfe J. W. M. Turner The Author 314 13. First Mountain-Naturalism Masaccio J. H. Le Keux 315 14. The Lombard Apennine The Author Thos. Lupton 315 15. St. George of the Seaweed The Author Thos. Lupton 315 16. Early Naturalism Titian J. C. Armytage 316 17. Advanced Naturalism Tintoret J. C. Armytage 316 MODERN PAINTERS VOLUME IV., CONTAINING PART V., OF MOUNTAIN BEAUTY. TABLE OF CONTENTS. PART V. OF MOUNTAIN BEAUTY. page Chapter I.— Of the Turnerian Picturesque 1 " II.— Of Turnerian Topography 16 " III.— Of Turnerian Light 34 " IV.— Of Turnerian Mystery: First, as Essential 56 " V.— Of Turnerian Mystery: Secondly, Wilful 68 " VI.— The Firmament 82 " VII.— The Dry Land 89 " VIII.— Of the Materials of Mountains: First, Compact Crystallines 99 " IX.— Of the Materials of Mountains: Secondly, Slaty Crystallines 113 " X.— Of the Materials of Mountains: Thirdly, Slaty Coherents 122 " XI.— Of the Materials of Mountains: Fourthly, Compact Coherents 127 " XII.— Of the Sculpture of Mountains: First, the Lateral Ranges 137 " XIII.— Of the Sculpture of Mountains: Secondly, the Central Peaks 157 " XIV.— Resulting Forms: First, Aiguilles 173 " XV.— Resulting Forms: Second, Crests 195 " XVI.— Resulting Forms: Third, Precipices 228 " XVII.— Resulting Forms: Fourthly, Banks 262 " XVIII.— Resulting Forms: Fifthly, Stones 301 " XIX.— The Mountain Gloom 317 " XX.— The Mountain Glory 344 APPENDIX. I. Modern Grotesque 385 II. Rock Cleavage 391 III. Logical Education 399 LIST OF PLATES TO VOL. IV. Drawn by Engraved by Frontispiece. The Gates of the Hills J. M. W. Turner J. Cousen Plate Facing page 18. The Transition from Ghirlandajo to Claude Ghirlandajo and Claude J. H. Le Keux 1 19. The Picturesque of Windmills Stanfield and Turner J. H. Le Keux 7 20. The Pass of Faïdo. 1. Simple Topography The Author The Author 22 21. The Pass of Faïdo 2. Turnerian Topography J. M. W. Turner The Author 24 22. Turner's Earliest Nottingham J. M. W. Turner T. Boys 29 23. Turner's Latest Nottingham J. M. W. Turner T. Boys 30 24. The Towers of Fribourg The Author J. C. Armytage 32 25. Things in General The Author J. H. Le Keux 32 26. The Law of Evanescence The Author R. P. Cuff 71 27. The Aspen under Idealization Turner, etc. J. Cousen 76 28. The Aspen Unidealized The Author J. C. Armytage 77 29. Aiguille Structure The Author J. C. Armytage 160 30. The Ideal of Aiguilles The Author, etc. R. P. Cuff 177 31. The Aiguille Blaitière The Author J. C. Armytage 185 32. Aiguille-drawing Turner, etc. J. H. Le Keux 191 33. Contours of Aiguille Bouchard The Author R. P. Cuff 204 34. Cleavage of Aiguille Bouchard The Author The Author 211 35. Crests of La Côte and Taconay The Author The Author 212 36. Crest of La Côte The Author T. Lupton 213 37. Crests of the Slaty Crystallines J. M. W. Turner The Author 222 38. The Cervin, from the East and North-east The Author J. C. Armytage 233 39. The Cervin from the North-west The Author J. C. Armytage 238 40. The Mountains of Villeneuve The Author J. H. Le Keux 246 12. A. The Shores of Wharfe J. M. W. Turner Thos. Lupton 251 41. The Rocks of Arona The Author J. H. Le Keux 255 42. Leaf Curvature Magnolia and Laburnum The Author R. P. Cuff 269 43. Leaf Curvature Dead Laurel The Author R. P. Cuff 269 44. Leaf Curvature Young Ivy The Author R. P. Cuff 269 45. Débris Curvature The Author R. P. Cuff 285 46. The Buttresses of an Alp The Author J. H. Le Keux 286 47. The Quarry of Carrara The Author J. H. Le Keux 299 48. Bank of Slaty Crystallines Daguerreotype J. C. Armytage 304 49. Truth and Untruth of Stones Turner and Claude Thos. Lupton 308 50. Goldau J. M. W. Turner J. Cousen 312 MODERN PAINTERS VOLUME V., COMPLETING THE WORK AND CONTAINING: PARTS VI. OF LEAF BEAUTY. VII. OF CLOUD BEAUTY. VIII. OF IDEAS OF RELATION. 1. OF INVENTION FORMAL. IX. OF IDEAS OF RELATION. 2. OF INVENTION SPIRITUAL. TABLE OF CONTENTS PART VI. ON LEAF BEAUTY. PAGE Preface v Chapter I. —The Earth-Veil 1 ” II. —The Leaf Orders 6 ” III. —The Bud 10 ” IV. —The Leaf 21 ” V. —Leaf Aspects 34 ” VI. —The Branch 39 ” VII. —The Stem 49 ” VIII. —The Leaf Monuments 63 ” IX. —The Leaf Shadows 77 ” X. —Leaves Motionless 88 ————— PART VII. OF CLOUD BEAUTY. ————— Chapter I. —The Cloud Balancings 101 ” II. —The Cloud-Flocks 108 ” III. —The Cloud-Chariots 122 ” IV. —The Angel of the Sea 133 ————— PART VIII. OF IDEAS OF RELATION:—I. OF INVENTION FORMAL. ————— Chapter I. —The Law of Help 153 ” II. —The Task of the Least 164 ” III. —The Rule of the Greatest 175 ” IV. —The Law of Perfectness 180 ————— PART IX. OF IDEAS OF RELATION:—II. OF INVENTION SPIRITUAL. ————— Chapter I. —The Dark Mirror 193 ” II. —The Lance of Pallas 202 ” III. —The Wings of the Lion 214 ” IV. —Durer and Salvator 230 ” V. —Claude and Poussin 241 ” VI. —Rubens and Cuyp 249 ” VII. —Of Vulgarity 261 ” VIII. —Wouvermans and Angelico 277 ” IX. —The Two Boyhoods 286 ” X. —The Nereid’s Guard 298 ” XI. —The Hesperid Æglé 314 ” XII. —Peace 339 ————— Local Index. Index to Painters and Pictures. Topical Index. LIST OF PLATES TO VOL. V. Drawn by Engraved by Frontispiece, Ancilla Domini Fra Angelico Wm. Hall Plate Facing page 51. The Dryad’s Toil J. Ruskin J. C. Armytage 12 52. Spirals of Thorn R. Allen R. P. Cuff 26 53. The Dryad’s Crown J. Ruskin J. C. Armytage 36 54. Dutch Leafage Cuyp and Hobbima J. Cousen 37 55. By the Way-side J. M. W. Turner J. C. Armytage 38 56. Sketch by a Clerk of the Works J. Ruskin J. Emslie 61 57. Leafage by Durer and Veronese Durer and Veronese R. P. Cuff 65 58. Branch Curvature R. Allen R. P. Cuff 69 59. The Dryad’s Waywardness J. Ruskin R. P. Cuff 71 60. The Rending of Leaves J. Ruskin J. Cousen 94 61. Richmond, from the Moors J. M. W. Turner J. C. Armytage 98 62. By the Brookside J. M. W. Turner J. C. Armytage 98 63. The Cloud Flocks J. Ruskin J. C. Armytage 109 64. Cloud Perspective (Rectilinear) J. Ruskin J. Emslie 115 65. Cloud Perspective (Curvilinear) J. Ruskin J. Emslie 116 66. Light in the West, Beauvais J. Ruskin J. C. Armytage 121 67. Clouds J. M. W. Turner J. C. Armytage 118 68. Monte Rosa J. Ruskin J. C. Armytage 339 69. Aiguilles and their Friends J. Ruskin J. C. Armytage 125 70. The Graiæ J. Ruskin J. C. Armytage 127 71. “Venga Medusa” J. Ruskin J. C. Armytage 127 72. The Locks of Typhon J. M. W. Turner J. C. Armytage 142 73. Loire Side J. M. W. Turner J. Ruskin 165 74. The Mill Stream J. M. W. Turner J. Ruskin 168 75. The Castle of Lauffen J. M. W. Turner R. P. Cuff 169 76. The Moat of Nuremberg J. Ruskin J. H. Le Keux 233 78. Quivi Trovammo J. M. W. Turner J. Ruskin 298 79. Hesperid Æglé Giorgione Wm. Hall 314 80. Rocks at Rest J. Ruskin, from J. M. W. Turner J. C. Armytage 319 81. Rocks in Unrest J. Ruskin, from J. M. W. Turner J. C. Armytage 320 82. The Nets in the Rapids J. M. W. Turner J. H. Le Keux 336 83. The Bridge of Rheinfelden J. Ruskin J. H. Le Keux 337 84. Peace J. Ruskin J. H. Le Keux 338 SEPARATE ENGRAVINGS ON WOOD Figure 56, to face page 65 ” 61, ” 69 ” 75 to 78, ” 97 ” 85, ” 118 ” 87, ” 127 ” 88 to 90, ” 128 ” 98, ” 184 ” 100, ” 284 End of the Project Gutenberg EBook of Index of the Project Gutenberg Works of John Ruskin, by John Ruskin *** END OF THIS PROJECT GUTENBERG EBOOK INDEX OF THE PG WORKS OF RUSKIN *** ***** This file should be named 59392-0.txt or 59392-0.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/5/9/3/9/59392/ Produced by David Widger Updated editions will replace the previous one--the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. 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