ue, Dr.
Lucius H. Holt, without whose assistance this volume would never have
appeared. He wrote a number of the notes, including the short prefaces
to the various selections, and prepared the manuscript for the
printer.

C.B.T.

_September, 1908_.

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

ILLUSTRATIONS

JOHN RUSKIN IN 1857
TURNER'S FIGHTING TEMERAIRE
CHURCH OF ST. MARK, VENICE
ST. MARK'S: CENTRAL ARCH OF FACADE

INTRODUCTION

[Sidenote: Two conflicting tendencies in Ruskin.]

It is distinctive of the nineteenth century that in its passion for
criticising everything in heaven and earth it by no means spared to
criticise itself. Alike in Carlyle's fulminations against its
insincerity, in Arnold's nice ridicule of Philistinism, and in
Ruskin's repudiation of everything modern, we detect that fine
dissatisfaction with the age which is perhaps only proof of its
idealistic trend. For the various ills of society, each of these men
had his panacea. What Carlyle had found in hero-worship and Arnold in
Hellenic culture, Ruskin sought in the study of art; and it is of the
last importance to remember that throughout his work he regarded
himself not merely as a writer on painting or buildings or myths or
landscape, but as the appointed critic of the age. For there existed
in him, side by side with his consuming love of the beautiful, a
rigorous Puritanism which was constantly correcting any tendency
toward a mere cult of the aesthetic. It is with the interaction of
these two forces that any study of the life and writings of Ruskin
should be primarily concerned.

I

THE LIFE OF RUSKIN

[Sidenote: Ancestry.]

It is easy to trace in th