The Complete Works of John Ruskin, Volume 20Reuwee, Wattley & Walsh, 1891 |
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Page 38
... distinguishing con- nects them . Each becomes different from its fellow , but in differing from , assumes a relation to its fellow ; they are no more each the repetition of the other 38 PREFACE TO THE SECOND EDITION .
... distinguishing con- nects them . Each becomes different from its fellow , but in differing from , assumes a relation to its fellow ; they are no more each the repetition of the other 38 PREFACE TO THE SECOND EDITION .
Page 39
... relations of individual kinds . That generalization is wrong , false , and contemptible , which is based on ignorance of the one , and disturbance of the other . It is indeed no gen- eralization , but confusion and chaos ; it is the ...
... relations of individual kinds . That generalization is wrong , false , and contemptible , which is based on ignorance of the one , and disturbance of the other . It is indeed no gen- eralization , but confusion and chaos ; it is the ...
Page 42
... relations in which they stand to each other . All this is equally applicable to the materials of in- animate nature . Impressiveness is destroyed by a mul- titude of contradictory facts , and the accumulation , which is not harmonious ...
... relations in which they stand to each other . All this is equally applicable to the materials of in- animate nature . Impressiveness is destroyed by a mul- titude of contradictory facts , and the accumulation , which is not harmonious ...
Page 57
... RELATION . § 1. General meaning of the term § 3. The exceeding nobility of these ideas .... 104 § 2. What ideas are to be comprehended under it .. 104 105 § 4. Why no subdivision of so extensive a class is necessary . 106 SECTION II ...
... RELATION . § 1. General meaning of the term § 3. The exceeding nobility of these ideas .... 104 § 2. What ideas are to be comprehended under it .. 104 105 § 4. Why no subdivision of so extensive a class is necessary . 106 SECTION II ...
Page 59
... RELATION . 1. The two great ends of landscape painting are the rep- resentation of facts and thoughts .... PAGE 121 § 2. They induce a different choice of material subjects ... 122 § 3. The first mode of selection apt to produce ...
... RELATION . 1. The two great ends of landscape painting are the rep- resentation of facts and thoughts .... PAGE 121 § 2. They induce a different choice of material subjects ... 122 § 3. The first mode of selection apt to produce ...
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Common terms and phrases
architecture artist beauty blue Canaletto CHAPTER character Chateau de Blois chiaroscuro cirri Claude clouds color colorists Copley Fielding Cuyp dark degree delicate distance distinct drawing edge effect engraver especially excellence execution expression exquisite false falsehood feeling foliage foreground fulness Gallery Gentile Bellini give given gray highest ideas of imitation ideas of power ideas of truth impossible impression infinity instance Italy J. M. W. Turner kind landscape art landscape painters less light and shade lines look mass means mind mist modern mountain nature necessary ness never Nicholas Poussin objects observed old masters painting particular passages peculiar perception perfect pict picture Poussin principles pure qualities rain rain-cloud rendered respect Rivers of France rock Samuel Prout seen shadows skies space sublime thing thought tion Titian tone touch transparent Turner vapor Venice visible whole wind
Popular passages
Page 290 - ... what is extraordinary ; and yet it is not in the broad and fierce manifestations of the elemental energies, not in the clash of the hail, nor the drift of the whirlwind, that the highest characters of the sublime are developed, God is not in the earthquake, nor in the fire, but in the still, small voice.
Page 288 - it is a strange thing how little in general people know about the sky. It is the part of creation in which Nature has done more for the sake of pleasing man, more for the sole and evident purpose of talking to him, and teaching him, than in any other of her works, and it is just the part in which we least attend to her.
Page 349 - How divine, The liberty, for frail, for mortal, man To roam at large among unpeopled glens And mountainous retirements, only trod By devious footsteps; regions consecrate To oldest time! and, reckless of the storm That keeps the raven quiet in her nest, Be as a presence or a motion — one Among the many there...
Page 151 - Thanks to its tenderness, its joys, and fears, To me the meanest flower that blows can give Thoughts that do often lie too deep for tears.
Page 103 - A sufficient impulse there may be on the organ; but it not reaching the observation of the mind, there follows no perception: and though the motion that uses to produce the idea of sound be made in the ear, yet no sound is heard.
Page 347 - But here, — above, around, below, On mountain or in glen, Nor tree, nor shrub, nor plant, nor flower, Nor aught of vegetative power, The weary eye may ken.
Page 298 - Attained his western bound ; but rays of light — Now suddenly diverging from the orb Retired behind the mountain tops or veiled By the dense air — shot upwards...
Page 289 - The noblest scenes of the earth can be seen and known but by few; it is not intended that man should live always in the midst of them; he injures them by his presence, he ceases to feel them if he be always with them: but the sky is for all; bright as it is, it is not Too bright or good For human nature's daily food...
Page 76 - ... but it is, nevertheless, nothing more than language, and all those excellences which are peculiar to the painter as such, are merely what rhythm, melody, precision and force are in the words of the orator and the poet, necessary to their greatness, but not the tests of their greatness. It is not by the mode of representing and saying, but by what is represented and said, that the respective greatness either of the painter or the writer is to be finally determined.
Page 74 - ... has once stood beside the grave to look back upon the companionship which has been for ever closed, feeling how impotent there are the wild love and the keen sorrow to give one instant's pleasure to the pulseless heart, or atone in the lowest measure to the departed spirit for the hour of unkindness, will scarcely for the future incur that debt to the heart which can only be discharged to the dust.