Anno milleno transacto bisque trigeno Desuper undecimo fuit facta primo,
is no longer to be seen, and is conjectured by Corner, with much probability, to have perished "in qualche ristauro." [Ruskin.]
[151] Signed Bartolomeus Bozza, 1634, 1647, 1656, etc. [Ruskin.]
[152] An obvious slip. The mosaic is on the west wall of the south transept. [Cook and Wedderburn.]
[153] Guida di Venezia, p. 6. [Ruskin.]
[154] Fritters and liquors for sale.
[155] Antony and Cleopatra, 2. 5. 29.
[156] Matthew xxi, 12 and John ii, 16.
[157] The third kind of ornament, the Renaissance, is that in which the inferior detail becomes principal, the executor of every minor portion being required to exhibit skill and possess knowledge as great as that which is possessed by the master of the design; and in the endeavour to endow him with this skill and knowledge, his own original power is overwhelmed, and the whole building becomes a wearisome exhibition of well-educated imbecility. We must fully inquire into the nature of this form of error, when we arrive at the examination of the Renaissance schools. [Ruskin.]
[158] Job xix, 26.
[159] Matthew viii, 9.
[160] Vide Preface to Fair Maid of Perth. [Ruskin.]
[161] The Elgin marbles are supposed by many persons to be "perfect". In the most important portions they indeed approach perfection, but only there. The draperies are unfinished, the hair and wool of the animals are unfinished, and the entire bas-reliefs of the frieze are roughly cut. [Ruskin.]
[162] May-day processions in honour of the Virgin.
[163] Genesis xi, 4.
[164] See pp. 225 ff.
[165] In heartfelt trust Johannes Mooter and Maria Rubi had this house erected. May dear God shield us from all perils and misfortune; and let His blessing rest upon it during the journey through this wretched life up to heavenly Paradise where the pious dwell. There will God reward them with the Crown of Peace to all eternity.
[166] Baptistery of Pisa, circular, of marble, with dome two hundred feet high, embellished with numerous columns, is a notable work of the twelfth century. The pulpit is a masterpiece of Nicola Pisano. Casa d'Oro at Venice is noted for its elegance. It was built in the fourteenth century. The Cathedral of Lisieux dates chiefly from the twelfth and thirteenth centuries, and contains many works of art. The Palais de Justice is of the fifteenth century. It was built for the Parliament of the Province.
[167] This cathedral, destroyed in 1799, was one of the most beautiful in all Normandy.
[168] Dante.
[169] Coleridge's Ode to France.
[170] Hubert Van Eyck [1366-1440]. The great Flemish master.
[171] A hollowed moulding. [New Eng. Dict.]
[172] Turner.
[173] The tool of the engraver on copper.
[174] See Paradise Lost, 6. 207 ff., and Hesiod's Theogony, 676 ff.
[175] Henry V, 4. 3. 29.
[176] Luke ii, 14.
[177] "Forward go the banners of the King," or more commonly, "The royal banners forward go." One of the seven great hymns of the Church. See the Episcopal Hymnal, 94.
[178] Dante, Inferno, 3. 60. "Who made through cowardice the great refusal." Longfellow's tr.
[179] Lyridas, 109.
[180] Nelson's famous signal at Trafalgar.
[181] Milton's Il Penseroso, 170 ff.
[182] Psalms i, 3.
[183] As Slade Professor, Ruskin held a three years' appointment at Oxford.
[184] This story comes from Pliny, Natural History, 35. 36; the two rival painters alternately showing their skill by the drawing of lines of increasing fineness.
[185] This story comes from Vasari's Lives of the Painters. See Blashfield and Hopkins's ed. vol. 1, p. 61. Giotto was asked by a messenger of the Pope for a specimen of his work, and sent a perfect circle, drawn free hand.
[186] Timothy vi, 10.
[187] In Modern Painters, vol. 1.
[188] The quotation is from Vasari's account of Angelico's Last Judgment (now in the Accademia at Florence). [Cook and Wedderbum.]
[189] Song of Solomon i, 6.
[190] Cf. Classical Landscape, pp. 92-93.
[191] Isaiah, ii, 4; Micah iv, 3; Joel iii, 10.
[192] The name of St. George, the "Earthworker," or "Husbandman." [Ruskin.]
[193] Luke xxiv, 35.
[194] Virgil, Æneid, 3, 209. seqq. [Ruskin.]
[195] Acts xiv, 17.
[196] Psalms i, 3.
[197] Genesis xxiv, 15, 16 and xxix, 10; Exodus ii, 16; John iv, 11.
[198] Osborne Gordon. [Ruskin.]
[199] The Flamboyant Architecture of the Valley of the Somme, a lecture delivered at the Royal Institution, January 29, 1869.
[200] The elaborate pediment above the central porch at the west end of Rouen Cathedral, pierced into a transparent web of tracery, and enriched with a border of "twisted eglantine." [Ruskin.]
[201] Jeremiah xxxi, 29.
[202] Delivered in the Town Hall, Bradford, April 21, 1864.
[203] Matthew v, 6.
[204] Scott's Lay of the Last Minstrel, canto 1, stanza 4.
[205] The reference was to the reluctance of this country to take arms in defence of Denmark against Prussia and Austria. [Cook and Wedderburn.]
[206] See, e.g., pp. 167 ff. and 270 ff.
[207] Inigo Jones [1573-1652] and Sir Christopher Wren [1632-1723] were the best known architects of their respective generations.
[208] Genesis xxviii, 17.
[209] Matthew xxiv, 27.
[210] Matthew vi, 6.
[211] And all other arts, for the most part; even of incredulous and secularly-minded commonalties. [Ruskin.]
[212] 1 Corinthians i, 23.
[213] For further interpretation of Greek mythology see Ruskin's Queen of the Air.
[214] It is an error to suppose that the Greek worship, or seeking, was chiefly of Beauty. It was essentially of Rightness and Strength, founded on Forethought: the principal character of Greek art is not beauty, but design: and the Dorian Apollo-worship and Athenian Virgin-worship are both expressions of adoration of divine wisdom and purity. Next to these great deities, rank, in power over the national mind, Dionysus and Ceres, the givers of human strength and life; then, for heroic example, Hercules. There is no Venus-worship among the Greeks in the great times: and the Muses are essentially teachers of Truth, and of its harmonies. [Ruskin.]
[215] Tetzel's trading in Papal indulgences aroused Luther to the protest which ended in the Reformation.
[216] Matthew xxi, 12.
[217] Jeremiah xvii, 11 (best in Septuagint and Vulgate). "As the partridge, fostering what she brought not forth, so he that getteth riches not by right shall leave them in the midst of his days, and at his end shall be a fool." [Ruskin.]
[218] Meaning, fully, "We have brought our pigs to it." [Ruskin.]
[219] Cf. Hamlet, 5. 1. 306.
[220] Referring to a lecture on Modern Manufacture and Design, delivered at Bradford, March 1, 1859 published later as Lecture III in The Two Paths.
[221] See Wordsworth's Rob Roy's Grave, 39-40.
[222] 1 Kings x, 27.
[223] A beautiful ruin in Yorkshire.
[224] Cf. Tennyson's The Brook.
[225] Genesis vi, 2.
[226] Deuteronomy xxxii, 5.
[227] Daniel iii, 1.
[228] Proverbs iii, 17.
[229] Acts vii, 48.
[230] Isaiah xl, 12.
[231] I have sometimes been asked what this means. I intended it to set forth the wisdom of men in war contending for kingdoms, and what follows to set forth their wisdom in peace, contending for wealth. [Ruskin.]
[232] See Wordsworth's poem, My heart leaps up when I behold.
[233] See Genesis ii, 15, and the opening lines of the first selection in this volume.
[234] Joshua ix, 21.
[235] In his Discourses on Art. Cf. pp. 24 ff. above.
[236] See The Two Paths, §§ 28 et seq. [Ruskin.]
[237] References mainly to the Irish Land Question, on which Ruskin agreed with Mill and Gladstone in advocating the establishment of a peasant-proprietorship in Ireland.
[238] Genesis iii, 19.
[239] Ecclesiastes ix, 10.
[240] Hebrews xi, 4.
[241] During the famine in the Indian province of Orissa.
[242] Athena, goddess of weaving.
[243] Proverbs xxxi, 19-22, 24.
[244] Jeremiah xxxviii, 11.
[245] Matthew xxv, 43.
[246] Matthew xxv, 43.
[247] Revelation vi, 13.
[248] Jeremiah xi, 8.
[249] James iv, 14.
[250] Psalms xxxix, 6 and Revelation xiv, 11.
[251] Ecclesiastes ix, 10.
[252] Psalms civ, 4.
[253] Revelation i, 7.
[254] Daniel vii, 10.
[255] Dies Iræ, the name generally given (from the opening words) to the most famous of the mediæval hymns, usually ascribed to the Franciscan Thomas of Celano (died c. 1255). It is composed in triplets of rhyming trochaic tetrameters, and describes the Last Judgment in language of magnificent grandeur, passing into a plaintive plea for the souls of the dead.
[256] Acts v, 1, 2.
[257] Galatians v. 24.
[258] Isaiah lviii, 7.
[259] 2 Thessalonians iii, 10.
[260] Luke xviii, 11.
[261] 1 Corinthians xiii, 13.