John Ruskin The following Lectures are printed, as far as possible, just as they were delivered. Here and there a sentence which seemed obscure has been mended, and the passages which had not been previously written, have been, of course imperfectly, supplied from memory. But I am well assured that nothing of any substantial importance which was said in the lecture-room, is either omitted, or altered in its signification; with the exception only of a few sentences struck out from the notice of the works of Turner, in consequence of the impossibility of engraving the drawings by which they were illustrated, except at a cost which would have too much raised the price of the volume. Some elucidatory remarks have, however, been added at the close of the second and fourth Lectures, which I hope may be of more use than the passages which I was obliged to omit.
The drawings by which the Lectures on Architecture were illustrated have been carefully reduced, and well transferred to wood by Mr. Thurston Thompson. Those which were given in the course of the notices of schools of painting could not be so transferred, having been drawn in color; and I have therefore merely had a few lines, absolutely necessary to make the text intelligible, copied from engravings.
I forgot, in preparing the second Lecture for the press, to quote a passage from Lord Lindsay's "Christian Art," illustrative of what is said in that lecture (§ 52), respecting the energy of the mediæval republics. This passage, describing the circumstances under which the Campanile of the Duomo of Florence was built, is interesting also as noticing the universality of talent which was required of architects; and which, as I have asserted in the Addenda (§ 60), always ought to be required of them. I do not, however, now regret [vi] the omission, as I cannot easily imagine a better preface to an essay on civil architecture than this simple statement.
John Ruskin Early Renaissance,
Architect of the Ducal Palace,
Theology of Spenser,
Austrian Government in Italy,
Date of the Palaces of the Byzantine Renaissance,
Renaissance Side of Ducal Palace,
Character of the Doge Michele Morosini,
Early Venetian Marriages,
Character of the Venetian Aristocracy,
John Ruskin It may perhaps be thought, that in prefacing a manual of drawing, I ought to expatiate on the reasons why drawing should be learned; but those reasons appear to me so many and so weighty, that I cannot quickly state or enforce them. With the reader's permission, as this volume is too large already, I will waive all discussion respecting the importance of the subject, and touch only on those points which may appear questionable in the method of its treatment.
ii. In the first place, the book is not calculated for the use of children under the age of twelve or fourteen. I do not think it advisable to engage a child in any but the most voluntary practice of art. If it has talent for drawing, it will be continually scrawling on what paper it can get; and should be allowed to scrawl at its own free will, due praise being given for every appearance of care, or truth, in its efforts. It should be allowed to amuse itself with cheap colors almost as soon as it has sense enough to wish for them. If it merely daubs the paper with shapeless stains, the color-box may be taken away till it knows better: but as soon as it begins painting red coats on soldiers, striped flags to ships, etc., it should have colors at command; and, without restraining its choice of subject in that imaginative and historical art, of a military tendency, which children delight in, (generally quite as valuable, by the way, as any historical art delighted in by their elders,) it should be gently led by the parents to try to draw, in such childish fashion as may be, the things it can see and likes,—birds, or butterflies, or flowers, or fruit.
iii. In later years, the indulgence of using the color should only be granted as a reward, after it has shown care and x progress in its drawings with pencil.
John Ruskin Intending to prove how the architecture in Venice exemplified the principles he discussed in his earlier work, The Seven Lamps of Architecture, Ruskin examined the city in detail, describing for example over eighty churches. He discusses architecture of Venice's Byzantine, Gothic and Renaissance periods, and provides a general history of the city as well.
John Ruskin This volume shows the astounding range and depth of Ruskin's work, and in an illuminating introduction the editor reveals the consistency of Ruskin's philosophy and his adamant belief that questions of economics, art and science could not be separated from questions of morality.
John Ruskin Developing from a technical history of Venetian architecture, from the Romanesque to the Renaissance, into a broad cultural history, Stones also reflected Ruskin’s view of contemporary England.
John Ruskin This book is a three-volume treatise on Venetian art and architecture by English art historian John Ruskin. It examines Venetian architecture in detail, describing for example over eighty churches. He discusses architecture of Venice's Byzantine, Gothic and Renaissance periods, and provides a general history of the city.
John Ruskin If there is one artist, more than another, whose work it is desirable that you should examine in Florence, supposing that you care for old art at all, it is Giotto. You can, indeed, also see work of his at Assisi; but it is not likely you will stop there, to any purpose. At Padua there is much; but only of one period. At Florence, which is his birthplace, you can see pictures by him of every date, and every kind. But you had surely better see, first, what is of his best time and of the best kind. He painted very small pictures and very large—painted from the age of twelve to sixty—painted some subjects carelessly which he had little interest in—some carefully with all his heart.
John Ruskin The Stones of Venice is a three-volume treatise on Venetian art and architecture by English art historian John Ruskin, first published from 1851 to 1853. Intending to prove how the architecture in Venice exemplified the principles he discussed in his earlier work, The Seven Lamps of Architecture, Ruskin examined the city in detail, describing for example over eighty churches. He discusses architecture of Venice's Byzantine, Gothic and Renaissance periods, and provides a general history of the city as well.
John Ruskin A series of lectures on landscape painting delivered at Oxford in 1871, by artist, critic, and social commentator, John Ruskin. This book showcases studies and lectures upon the landscapes.
John Ruskin The Seven Lamps of Architecture is an extended essay, first published in May 1849 and written by the English art critic and theorist John Ruskin. The 'lamps' of the title are Ruskin's principles of architecture, which he later enlarged upon in the three-volume The Stones of Venice.  To an extent, they codified some of the contemporary thinking behind the Gothic Revival. At the time of its publication A. W. N. Pugin and others had already advanced the ideas of the Revival and it was well under way in practice. Ruskin offered little new to the debate, but the book helped to capture and summarise the thoughts of the movement. The Seven Lamps also proved a great popular success, and received the approval of the ecclesiologists typified by the Cambridge Camden Society, who criticised in their publication The Ecclesiologist lapses committed by modern architects in ecclesiastical commissions.