. Mark's
and the Ducal Palace and other ancient buildings; a complete catalogue
of Tintoret's pictures--the list he had begun in 1845; and a history of
the successive styles of architecture, Byzantine, Gothic, and
Renaissance, interweaving illustrations of the human life and character
that made the art what it was.

The kernel of the work was the chapter on the Nature of Gothic; in which
he showed, more distinctly than in the "Seven Lamps," and connected with
a wider range of thought, suggested by Pre-Raphaelitism, the doctrine
that art cannot be produced except by artists; that architecture, in so
far as it is an art, does not mean mechanical execution, by
unintelligent workmen, from the vapid working-drawings of an architect's
office; and, just as Socrates postponed the day of justice until
philosophers should be kings and kings philosophers, so Ruskin postponed
the reign of art until workmen should be artists, and artists workmen.

CHAPTER VI

THE EDINBURGH LECTURES (1853-1854)

By the end of June, 1853, "Stones of Venice" was finished, as well as a
description of Giotto's works at Padua, written for the Arundel Society.
The social duties of the season were over; Ruskin and his wife went
north to spend a well-earned holiday. At Wallington in Northumberland,
staying with Sir Walter and Lady Trevelyan, he met Dr. John Brown at
Edinburgh, author of "Pet Marjorie" and other well-known works, who
became his lifelong friend. Ruskin invited Millais, by this time an
intimate and heartily-admired friend,[4] to join them at Glenfinlas.
Ruskin devoted himself first to foreground studies, and made careful
drawings of rock-detail; and then, being asked to give a course of
lectures before the Philosophical Society of Edinburgh, he was soon busy
writing once more, and preparing the cartoon-sketches, "diagrams" as he
called them, to illustrate his subjects. Dr. Acland had joined the
party; and he asked Millais to sketch their host as he stood
contemplatively on the rocks with the torrent thundering beside him. The
picture with additional work in the following winter, became the
well-known portrait in the possession of Sir Henry Acland, much the best
likeness of this early period.

[Footnote 4: "What a beauty of a man he is!" wrote old Mr. Ruskin, "and
high in intellect.... Millais' sketches are 'prodigious'! Millais is the
painter of the age." "Capable, it seems to me, of almost everything, if
his life and strength be