The Stones of Venice -: The Foundations

Front Cover
Cosimo, Inc., Jan 1, 2013 - Architecture - 464 pages
"More than simply a survey of an ancient city's most significant buildings, The Stones of Venice first published in three volumes between 1851 and 1853 is an expression of a philosophy of art, nature, and morality that goes beyond art history, and has inspired such thinkers as Leo Tolstoy, Marcel Proust, and Mahatma Gandhi. Volume I, intended as the groundwork for the author's subsequent architectural teaching, provides a brief history of Venice and an analysis of architecture s functional and ornamental aspects. Unabridged, and containing Ruskin s original drawings, this guide to the moral, spiritual, and aesthetic implications of architecture will be appreciated by students and scholars alike. The preeminent art critic of his time, British writer JOHN RUSKIN (1819 1900) had a profound influence upon European painting, architecture, and aesthetics of the 19th and 20th centuries. His immense body of literary works include Modern Painters, Volume I IV (1843 1856); The Seven Lamps of Architecture (1849); Unto This Last (1862); Munera Pulveris (1862 3); The Crown of Wild Olive (1866); Time and Tide (1867); and Fors Clavigera (1871-84)."

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The Quarry
The Angle
The Virtues of Architecture
The Six Divisions of Architecture
The Wall Base
The Wall Veil
The Wall Cornice
The Pier Base
The Base
The Wall Veil and Shaft
The Cornice and Capital
The Archivolt and Aperture
The Roof
The Vestibule 252 259 268 286 296 323 333
Foundation of Venice
Power of the Doges

The Shaft
Answer to Mr Garbett
The Capital
The Arch Line 118
The Arch Masonry
The Arch Load
The Roof
The Roof Cornice
The Buttress
Form of Aperture
Filling of Aperture
Protection of Aperture
The Material of Ornament
Treatment of Ornament
The Edge and Fillet XXIV The Roll and Recess
s pletro di castello
Renaissance Ornaments
Varieties of the Orders
Wooden Churches of the North
Church of Alexandria
Romanist Modern Art 37
Mr Fergusons System
Instinctive Judgments
Early English Capitals
Shafts of the Ducal Palace
Ancient Representations of Water
Arabian Ornamentation 396
Renaissance Bases
Romanist Decoration of Bases
from the Travellers Edition of Stones of Venice

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Page 26 - The face is emaciated, the features large, but so pure and lordly in their natural chiselling, that they must have looked like marble even in their animation. They are deeply worn away by thought and death; the veins on the temples branched and starting; the skin gathered in sharp folds; the brow high-arched and shaggy; the eye-ball magnificently large; the curve of the lips just veiled by the light moustache at the side; the beard short, double, and sharp-pointed: all noble and quiet; the white...

About the author (2013)

Ruskin was one of the most influential man of letters of the nineteenth century. An only child, Ruskin was born in Surrey. He attended Christ Church, Oxford, from 1839 to 1842. His ties to his parents, especially his mother, were very strong, and she stayed with him at Oxford until 1840, when, showing ominous signs of consumption, he left for a long tour of Switzerland and the Rhineland with both parents. His journeys to France, Germany, and, especially, Italy formed a great portion of his education. Not only did these trips give him firsthand exposure to the art and architecture that would be the focus of much of his long career; they also helped shape what he felt was his main interest, the study of nature. Around this time Ruskin met the landscape artist J. M. W. Turner, for whose work he had developed a deep admiration and whom he lauded in his Modern Painters (1843). In 1848 Ruskin married Euphemia (Effie) Gray, a distant cousin 10 years his junior. This relationship has been the focus of much scholarship, for six years later the marriage was annulled on the grounds of nonconsummation, and in 1855 Effie married John Everett Millais, the Pre-Raphaelite painter and an acquaintance of Ruskin. During the years 1849--52, Ruskin lived in Venice, where he pursued a course of architectural studies, publishing The Seven Lamps of Architecture (1849) and where he began The Stones of Venice (1851--53). It was also during this period that Ruskin's evangelicalism weakened, leading finally to his "unconversion" at Turin in 1858. His subsequent interest in political economy was clearly stated when, echoing his "hero," Carlyle, Ruskin remarked in the last volume of Modern Painters that greed is the deadly principle that guides English life. In a series of essays in Cornhill Magazine attacking the "pseudo-science" of political economists like J. S. Mill, David Ricardo, and Thomas Malthus, Ruskin argues that England should base its "political economy" on a paternalistic, Christian-based doctrine instead of on competition. The essays were not well received, and the series was canceled short of completion, but Ruskin published the collected essays in 1862 as Unto This Last. At the same time, he renewed his attacks on the political economists in Fraser's Magazine, later publishing these essays as Munera Pulveris (1872). From about 1862 until his death, Ruskin unsuccessfully fought depression. He was in love with Rose La Touche, whom he met when she was 11 and he 41. When she turned 18, Ruskin proposed, but the her parents opposed the marriage, and religious differences (she was devout; Ruskin was at this time a freethinker) kept them from ever marrying. La Touche died in 1875, insane, and three years later Ruskin experienced the first of seven attacks of madness that would plague him over the next 10 years. By 1869 Ruskin had accepted the first Slade Professorship of Fine Art at Oxford, begun his serial Fors Clavigera, been sued and found guilty of libel for his attack on Whistler in Fors Clavigera (he was fined a farthing), and resigned his professorship. Ruskin's work was instrumental in the formation of art history as a modern discipline. A capable artist, he complemented his technical understanding of art with insightful analysis and passionately held social ideals. His social writings are of interest today primarily as artifacts of the age, but his art criticism still holds an important place, especially in his appreciation of Turner. There is a vast number of works on Ruskin. From a literary standpoint, John Rosenberg's study, although dated because of many of its assumptions, is still an outstanding book. Jay Fellows's work is interesting and has caused much controversy among Ruskin scholars.

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