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admiration Allen Alps appeared artists asked beautiful beginning brought called Carlyle carried CHAPTER Church College course criticism drawing early editions England fact father feeling friends Gallery gave give given hand Hill hope ideal illustrated interest Italy John kind labour lady later lecture less letters light lived London look March masters means mind Miss Modern Painters morning mother mountains Museum nature never once Oxford painting period picture political printed Professor published readers reprinted rest returned Ruskin seemed seen sent side sketch Society Stones style teaching things thought took true turned Turner Venice volume whole writing written wrote young
119 psl. - I STOOD in Venice on the Bridge of Sighs, A palace and a prison on each hand ; I saw from out the wave her structures rise As from the stroke of the enchanter's wand...
131 psl. - Turner their example, as his latest are to be their object of emulation, should go to nature in all singleness of heart, and walk with her laboriously and trustingly, having no other thoughts but how best to penetrate her meaning, and remember her instruction, rejecting nothing, selecting nothing, and scorning nothing; believing all things to be right and good, and rejoicing always in the truth.
92 psl. - PAINTERS : Their Superiority in the ART of LANDSCAPE PAINTING to all the Ancient Masters, proved by examples of the True, the Beautiful, and the Intellectual, from the Works of Modern Artists, especially from those of JM Turner, Esq., RA By a GRADUATE of OXFORD.
192 psl. - I am still very unwell, and tormented between the longing for rest and lovely life, and the sense of this terrific call of human crime for resistance and of human misery for help, though it seems to me as the voice of a river of blood which can but sweep me down in the midst of its black clots, helpless.
163 psl. - Robert Browning is unerring in every sentence he writes of the Middle Ages; always vital, right, and profound; so that in the matter of art, with which we have been specially concerned, there is hardly a principle connected with the mediaeval temper, that he has not struck upon in those seemingly careless and too rugged rhymes of his.
79 psl. - One impulse from a vernal wood May teach you more of man, Of moral evil and of good, Than all the sages can. Sweet is the lore which Nature brings ; Our meddling intellect Mis-shapes the beauteous forms of things : We murder to dissect. Enough of Science and of Art ; Close up those barren leaves ; Come forth, and bring with you a heart That watches and receives.
334 psl. - Oh that some one had but told me, in my youth, when all my heart seemed to be set on these colours and clouds that appear for a little while and then vanish away, how little my love of them would serve me, when the silence of lawn and wood in the dews of morning should be completed, and...
128 psl. - Mr. Ruskin seems to me one of the few genuine writers, as distinguished from bookmakers, of this age. His earnestness even amuses me in certain passages; for I cannot help laughing to think how utilitarians will fume and fret over his deep, serious (and as THEY will think), fanatical reverence for Art. That pure and severe mind you ascribed to him speaks in every line. He writes like a consecrated Priest of the Abstract and Ideal. "I shall bring with me 'The Stones of Venice...
166 psl. - Why, whose should it be?" cried I with a flounce; "I get these things often" but that was a bounce: "Some lords, my acquaintance, that settle the nation, Are pleased to be kind but I hate ostentation.
220 psl. - Not for a long while have I read anything tenth-part so radiant with talent, ingenuity, lambent fire (sheet and other lightnings) of all commendable kinds ! Never was such a lecture on Crystallography before, had there been nothing else in it, and there are all manner of things. In power of expression I pronounce it to be supreme ; never did anybody who had such things to explain explain them better.