Selections from the Works of John Ruskin
Houghton Mifflin Company, 1908 - 328 pages
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Alps architecture Argentière asphodel meadows beauty blue building Castle of Chillon cathedral character church clouds colour Covent Garden Dante dark delight divine earth endeavour English evil expression faith fallacy fancy farther feeling fields flowers garden Giorgione Gothic Gothic architecture Greek heart heaven hills Homer honour human idea Iliad imagination instinct intellect invention kind labour landscape laws less light living look Mark's Mark's Place mean mediæval merely mind Modern Painters monotony moral mountain nature ness never noble Odyssey painting partly pass passion pathetic fallacy perfect plain pleasure poet poetical poetry reader rocks Ruskin sculpture seen sense soul speak spirit stones Stones of Venice strange strength style suppose things thought tion Titian trees true truth Turner Venetian Venice walls waves whole wild words workman
Page 60 - There is not wind enough to twirl The one red leaf, the last of its clan, That dances as often as dance it can, Hanging so light, and hanging so high, On the topmost twig that looks up at the sky.
Page 72 - Where'er you walk, cool gales shall fan the glade; Trees, where you sit, shall crowd into a shade; Where'er you tread, the blushing flowers shall rise, And all things flourish where you turn your eyes.
Page 1 - PAINTERS : Their Superiority in the ART of LANDSCAPE PAINTING to all the Ancient Masters, proved by examples of the True, the Beautiful, and the Intellectual, from the Works of Modern Artists, especially from those of JM Turner, Esq., RA By a GRADUATE of OXFORD.
Page 163 - their bluest veins to kiss" — the shadow as it steals back from them revealing line after line of azure undulation, as a receding tide leaves the waved sand; their capitals rich with interwoven tracery, rooted knots of herbage, and drifting leaves of acanthus and vine, and mystical signs, all beginning and ending in the Cross; and above them, in the broad archivolts, a continuous chain of language and of...
Page 287 - And when thou prayest, thou shalt not be as the hypocrites are: for they love to pray standing in the synagogues and in the corners of the streets, that they may be seen of men.
Page 75 - O come and hear him ! Thou who hast to me Been faithless, hear him, though a lowly creature, One of God's simple children that yet know not The universal Parent, how he sings. As if he wished the firmament of heaven Should listen, and give back to him the voice Of his triumphant constancy and love ; The proclamation that he makes, how far His darkness doth transcend our fickle light...
Page 62 - He listened, and he wept, and his bright tears Went trickling down the golden bow he held. Thus with half-shut suffused eyes he stood, While from beneath some cumbrous boughs hard by With solemn step an awful Goddess came, And there was purport in her looks for him, Which he with eager guess began to read Perplexed, the while melodiously he said: 'How cam'st thou over the unfooted sea?
Page 58 - Now, therefore, putting these tiresome and absurd words quite out of our way, we may go on at our ease to examine the point in question, — namely, the difference between the ordinary, proper, and true appearances of things to us; and the extraordinary, or false appearances, when we are under the influence of emotion, or contemplative fancy...
Page 36 - There may perhaps be too great an indulgence, as well as too great a restraint of imagination; and if the one produces incoherent monsters, the other produces what is full as bad, lifeless insipidity. An intimate knowledge of the passions, and good sense, but not common sense, must at last determine its limits. It has been thought, and...
Page 38 - Italian painter, the Venetian school, which may be said to be the Dutch part of the Italian genius. I have only to add a word of advice to the Painters, — that, however excellent they may be in painting naturally, they would not flatter themselves very much upon it; and to the Connoisseurs, that when they see a cat or a fiddle painted so finely, that, as the phrase is, it looks as if you could take it up, they would not for that reason immediately compare the Painter to Raffaelle and Michael Angelo.