The Stones of Venice John Ruskin, the Victorian writer, art critic, artist, and thinker, was a man of staggering talent and energy. It was only in fusing the thinking and working classes Ruskin proposed, that an individual could be a complete person and create great art and architecture. Ruskin's argument supported the Gothic Revival, which was underway while he was writing in the 19th century. English Gothic Architecture Elements Argument for the Gothic Style Ruskin's argument in The Stones of Venice was an important part of the Gothic Revival that was underway across Europe during the mid-19th century. A first order arch consists of a plain rounded arch, similar to Roman arches from antiquity. One or two slight chips and creases to the leather surrounding author and title information on spines.
First published about 20 years before this edition, it is one of the key texts of the aesthetic movement. Idle fancy could hardly spur such devotion. Rebound in full leather, with marbled endpapers, raised bands, gilt page edges, lettering, design, and rule. He discusses architecture of Venice's Byzantine, Gothic and Renaissance periods, and provides a general history of the city as well. The Renaissance style, on the other hand, he dismissed as cold and emotionless. Previous owner ex-libris label to front end sheet of the first volume.
Many of the mosaics decorating the interior of the southern side of the church were lost during the work; luckily, we can still see the fragments in the museum on the upper floor of the church. Ruskin made an important argument for the moral nature of the Gothic style, which many people saw as needless ornamentation. Spines faded, extending to heads of covers, extremities a little rubbed. Remains particularly well-preserved overall; tight, bright, clean and strong. Colour plates are fresh and mellow and clear. And because that Spirit has left Europe it no longer produces geniuses of the caliber of John Ruskin. The Art Institute of Chicago In 1838, the palazzo was the house of Rawdon Brown, a British historian and Venice expert who helped Ruskin in accessing the historical archives of the city and introduced him to local life.
John Ruskin, The Stones of Venice, Vol. Ruskin is an eccentric guide, to say the least. However, boards are in good condition for their age. New York: John Wiley and Sons, 1873. The fourth order is pointed like the third, but instead of straight moldings, they have a trefoil-like shape.
I recently went on a short trip to Venice, for which I chose an abridged version of this work to accompany me. The first volume of The Stones of Venice appeared in 1851 and Ruskin spent another winter in Venice researching the next two volumes. Part of the complete works set, which was complete in 26 volumes. His drawings were therefore an attempt to record the decaying beauty of the city before it was too late. Per la nostra sensibilità di italiani la condanna senza appello dell'architettura rinascimentale ma anche della pittura di Tiziano e di Caravaggio , associata ad una vera e propria esaltazione dell'arte gotica, suona difficile da digerire. In addition to being an art critic, Ruskin was a social reformer who argued against the class system of his day.
Finally, After this book is issued, I may send a book if you want. John Ruskin, Noble and Ignoble Grotesque, 1853, Vol. Not that Ruskin isn't readable, his prose is elegant and engaging, indeed he gets away with a lot of dull technical stuff by being elegant and engaging. And just as Gibbon had points to make in his multi volume work on Roman history, Ruskin had a point as well. Orpington ; London : George Allen, 1897.
Born in London in 1819, he first visited Venice at the age of 16, and returned another 10 times over the course of his life. John Ruskin, The Stones of Venice, Vol. With illustrations drawn by the author. We found this book important for the readers who want to know more about our old treasure in old look so we brought it back to the shelves. Ruskin dice esplicitamente che non è possibile pensare ad una produzione artistica propriamente detta che non sia un bene diffuso, alla cui realizzazione tutti contribuiscano e che possa essere fruito da tutti. In 'The Stones of Venice' he reviews that fertile depository of so different cross currents of arts, the 'Serenissima Republica', which had no better exit than by sea through the Adriatic. Giacomo Palmier, Fondaco dei Turchi, early thirteenth century, Venice The structure remained in the Byzantine style until the Gothic palace replaced it in the early fourteenth century.
That technical knowledge is married to a lyrical writing style that is a joy to read--especially when he's writing about the cultural and historical contexts in which these architectural wonders existed. I see no hypocrisy in their countenances. And just as Gibbon had points to make in his multi volume work on Roman history, Ruskin had a point as well. In addition, Ruskin's views on the interrelated nature of thinker and craftsman also constituted an important moral argument. London: Smith, Elder and Co.