图书简介

Introduction; Chronology; Further Reading; The Text and the Selection; Ruskin’s Artists and Architects: A Catalogue; I. The Aesthete; from The Poetry of Architecture; or The Architecture of the Nations of Europe Considered in Its Association with Natural Scenery and National Character: Chapter 6, ’The Cottage-Concluding Remarks’ (1837); ’Remarks on the Present State of Meteorological of Science’ (1839); from Modern Painters, Volume I, Part II, Of Truth: Section ii., ’Of General Truths’, Chapter 2, ’Of Truth of Colour’; Section iv., ’Of Truth of Earth’, Chapter 4, ’Of the Foreground’ (1843); from Modern Painters, Volume II, Part III, Of Ideas of Beauty: Section i., ’Of the Theoretic Faculty’, Chapter 1, ’Of the Rank and Relations of the Theoretic Faculty’; Chapter 2, ’Of the Theoretic Faculty as Concerned with Pleasures of Sense’ (1846); from The Stones of Venice, Volume I, The Foundations: Chapter 1, ’The Quarry’, Chapter 30, ’The Vestibule’ (1851); The Pre-Raphaelite Artists: To the Editor of the Times, 13 May 1851; from The Stones of Venice, Volume II, The Sea-Stories: Chapter 4, ’St Mark’s’, Chapter 6, ’The Nature of Gothic’ (1853); from The Stones of Venice, Volume III, The Fall: Chapter 1, ’Early Renaissance’, Chapter 2, ’Roman Renaissance’, Chapter 4, ’Conclusion’ (1853); The Light of the World: To the Editor of the Times, 5 May 1854; from Lectures on Architecture and Painting, Delivered at Edinburgh in November 1853: Lecture 1, ’Architecture’ (1854); The Opening of the Crystal Palace, Considered in Some of its Relations to the Prospects of Art (1854); from Modern Painters, Volume III, Part IV, Of Many Things: Chapter 4, ’Of the False Ideal:-First, Religious’; Chapter 12, ’Of the Pathetic Fallacy’ (1856); from Modern Painters, Volume IV, Part V, Of Mountain Beauty: Chapter 1, ’Of the Turnerian Picturesque’; Chapter 19, ’The Mountain Gloom’ (1856); from The Harbours of England: Chapter 1 (1856); from Notes on the Royal Academy: ’The Scapegoat’ (1856); from Notes on the Royal Academy: ’A Dream of the Past’ (1857); from The Elements of Drawing: Letter 3, ’On Colour and Composition’ (1857); from Notes on the Turner Gallery at Marlborough House: ’Appendix’ (1857); from Notes on the Royal Academy: ’Water-Colour Societies’ (1859); from The Two Paths: Lectures on Art and its Application to Decoration and Manufacture: Lecture 3, ’Modern Manufacture and Design’; Lecture 5, ’The Work of Iron’ (1859); from Modern Painters, Volume V, Part IX, Of Ideas of Relation: Section ii., ’Of Invention Spiritual’: Chapter 2, ’The Lance of Pallas’; Chapter 9, ’The Two Boyhoods’; Chapter 11, ’The Hesperid AEgle’; Chapter 12, ’Peace’ (1860); II. The Prophet; from Essays on Political Economy: Part 3, ’Labour and Trade: The Disease of Desire’ (1862); from The Cestus of Aglaia: Chapter 4, ’Haste’ (1865); from Sesame and Lilies: Two Lectures Delivered at Manchester in 1864: Lecture 1, ’Of Kings’ Treasuries’; Lecture 2, ’Of Queens’ Gardens’ (1865); from The Ethics of the Dust: Ten Lectures to Little Housewives on the Elements of Crystallisation: Lecture 6, ’Crystal Quarrels’ (1865); from The Crown of Wild Olive: Three Lectures on Work, Traffic, and War: Lecture 2, ’Traffic’ (1866); from Time and Tide by Weare and Tyne: Twenty-Five Letters to a Working Man of Sunderland on the Laws of Work: Letter 7, ’Of the Various Expressions of National Festivity’; Letter 8, ’The Four Possible Theories Respecting the Authority of the Bible’; Letter 9, ’The Use of Music and Dancing under the Jewish Theocracy, Compared with their Use by the Modern French’; Letter 10, ’The Meaning and Actual Operation of Demoniacal Influence’; Letter 11, ’The Satanic Power is Mainly Twofold: the Power of Causing Falsehood and the Power of Causing Pain. The Resistance is by Law of Honour and Law of Delight’ (1867); The Flamboyant Architecture of the Valley of the Somme (1869); from The Queen of the Air, Being a Study of the Greek Myths of Cloud and Storm: Lecture 2, ’Athena Keramatis’ (1869); III. The Activist; from Fors Clavigera: Letters to the Workmen and Labourers of Great Britain: Letter 5, ’The White-Thorn Blossom’ (1871); from Fors Clavigera: Letter 11, ’The Abbot’s Chapel’ (1871); from Fors Clavigera: Letter 20, ’Benediction’ (1872); from Love’s Meinie: Lectures on Greek and English Birds: Lecture 2, ’The Swallow’; Lecture 3, ’The Chough’ (1873); from Val D’Arno: Ten Lectures on the Tuscan Art Directly Antecedent to the Florentine Year of Victories: Lecture 2, ’John the Pisan’ (1873); from Fors Clavigera: Letter 37, ’The City Which Is Our Own’ (1874); from Fors Clavigera: Letter 41, ’Bernard the Happy’ (1874); from Fors Clavigera: Letter 69, ’The Message of Jael-Atropos’ (1876); ’The Extension of Railways in the Lake District: A Protest’ (1876); from St Mark’s Rest: The History of Venice for the Help of those Few Travellers Who Still Care for Her Monuments: First Supplement, ’The Shrine of the Slaves’ (1877); from ’General Statement Explaining the Nature and Purposes of St George’s Guild’ (1882); from Our Fathers Have Told Us: Sketches of the History of Christendom for Boys and Girls Who Have Been Held at its Fonts: Part I, The Bible of Amiens: Chapter 3, ’The Lion Tamer’ (1882); from The Storm-Cloud of the Nineteenth Century: Lecture 2 (1884); from The Pleasures of England: Lectures Given in Oxford: Lecture 5, ’Protestantism: The Pleasures of Truth’ (1884); from Praeterita: Outlines of Scenes and Thoughts Perhaps Worthy of Memory in my Past Life, Volume I: Chapter 7, ’Papa and Mamma’ (1885); from ’The Guild of St George: Master’s Report’ (1886); from Praeterita, Volume II: Chapter 5, ’The Simplon’; Chapter 6, ’The Campo Santo’ (1887)

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