Beacon Lights of History, Volume 14: The New Era. John Lord
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and direction to the young student's studies and tastes. His mother, a deeply religious woman, was, moreover, influential in implanting the serious element in Ruskin's character and life, and in familiarizing him with the Bible, whose noble English, in King James' version, manifestly entered early into the youth's ardent, prophetic soul, and, as a writer, had much to do in forming his magnificent prose style. Ruskin was in early years–indeed, far on in his manhood–in delicate health, and consequently he was educated privately till he passed to Christ Church College, Oxford, where, at the age of twenty, he won the Newdigate prize for verse, and graduated in 1842. His taste for art was manifested at an early age, and after passing from the university he studied painting under J.D. Harding and Copley Fielding; but his masters, as he tells us in "Praeterita," were Rubens and Rembrandt.
At the outset of his career Ruskin, as is well known, was led to take up a defence of J.M.W. Turner (1775-1851) and the contemporary school of English landscape-painting against the foreign trammels, which had fastened themselves upon modern art, and especially to prove the superiority of modern landscape-painters over the old masters. This revolutionary opinion, though at first it was hotly contested, established the new critic's position as a writer on art, and the defence, or exposition rather, grew into the famous work called "Modern Painters" (5 vols., 1843-60). This elaborate work deals with general aesthetic principles, and, notwithstanding its occasional extravagances, alike of praise and censure, its charm is irresistible, presenting us with its brilliant and original author's ideas of beauty, to which he freshly and powerfully awakened the world, while enshrining throughout the work the most enchanting word-poems on mountain, leaf, cloud, and sea, which, it is not too much to say, will live forever in English literature. In the second volume Mr. Ruskin takes up the Italian painters, and discusses at length the merits of their respective schools; in the others, as well as in the work as a whole, we have a body of principles which should govern high art-work, as well as new ideas as to what should constitute the equipment of the painter, and that not only as regards the technique of his art, but in the effect to be produced on the onlooker in viewing the skilled work of one who, above all accomplishments, should be lovingly and intimately in contact with nature.
From the study of painting Mr. Ruskin passed for a time to that of architecture. In this department we have from his pen "The Seven Lamps of Architecture" (1849) and "The Stones of Venice" (1851-53). In these two complementary works their author sets forth as in an impressive sermon the new and admonitory lesson that architecture is the exponent of the national characteristics of a people,–the higher and nobler sort exemplifying the religious life and moral virtue in a nation, the debased variety, on the other hand, expressing the ignoble qualities of national vice and shame. The text of "The Stones" is Venice, and the design of the volumes, in the author's words, is to show that the Gothic architecture of Venice "had arisen out of, and indicated, a state of pure domestic faith and national virtue;" while its renaissance architecture "had arisen out of and indicated a state of concealed national infidelity and domestic corruption." The earlier work, "The Seven Lamps,"–the Lamp of Sacrifice, of Truth, Power, Beauty, Life, Memory, Obedience,–looks upon architecture "as the revealing medium or lamp through which flame a people's passions,–the embodiment of their polity, life, history, and religious faith in temple and palace, mart and home." Akin to these two eloquent works, in which their author thoughtfully sets forth the civic virtues and moral tone, as well as the debased characteristics, by which architecture is produced at certain eras in a people's life, is the earlier volume on "The Poetry of Architecture" (1837), which discusses the relation between architecture and its setting of landscape or other environment, illustrated by examples drawn from regions he had visited,–the English Lakeland, France, Switzerland, Spain, and northern Italy.
After these works followed lectures on drawing, perspective, decoration, and manufacture, with later theories (crotchets, some have impiously called them) on political economy, Pre-Raphaelitism, et cetera, with a flood of opinions on social, ethical, and art subjects, enriched by rare intellectual gifts and much religious fervor. Ruskin's whole writings form a body of literature unique of its kind, pervaded with great charm of literary style, and inspired by a high moral purpose. Ruskin's excursions into non-aesthetic fields, and the strange jumble of Christian communism to which, late in life, he gave vehement expression, it must be honestly admitted, have detracted much from his early fame. In everything he wrote the Ruskinian spirit comes strongly out, colored with an amiable egotism and enforced by great assurance of conviction. The moral purpose he had in view, and the charm and elevated tone of his writings, lead us to forget the wholly ideal state of society he sought to introduce, while we are won to the man by the passion of his noble enthusiasms.
Like Carlyle and Emerson, Ruskin was by his parents intended for the ministry; but for the ministry he had himself no inclination. The broadening out early of his mind and the freeing of his thought on doctrinal subjects, which took him far from the narrow evangelicalism of his youth, made the ministry of the church repugnant to him, though he was always a deeply religious man and a force ever making for righteousness. At the same time, he numbered many divines among his most cherished friends, and he frequently, and with admitted edification, was to be found in chapel and church. Meanwhile he continued busily to educate himself for whatever profession he might choose or drift into, supplemented by such fitful periods of schooling as his delicate health permitted, as well as by many jaunts with his parents to the English lakes and other parts of the kingdom, and by frequent tours on the Continent, especially in Italy and Switzerland. Before he arrived at his teens, young Ruskin had composed much, both in prose and verse, and he early manifested an aptitude for drawing, as well as a decided taste for art, which, it is said, was in some measure incited by the gift, from a partner of his father, of a copy of the poet Rogers' "Italy," with engravings by Turner. Nor, early in manhood, did he escape a youth's fond dream of love, for as a worshipper of beauty, and an enthusiast of the "Wizard of the North," we find him drawn tenderly to a daughter of Lockhart, editor of the "Quarterly Review," a grandchild of his famous countryman, Sir Walter Scott. The affair, however, though encouraged by his parents, who longed to see their son settled in life, came to nought, chiefly owing to the young lover's weak physical frame and uncertain health. Later on, unhappily, he was caught in the toils of another Scottish lass, for whom, it is related, he had written "The King of the Golden River" (1841), and whose rare beauty had readily attracted him. With her, in 1848, he made an ill-assorted marriage, only to find, some years afterwards, his heart riven and a bitter ingredient dropped into his life's chalice by a fatal defection on the wife's part, she having become enamoured of the then rising young painter, Millais, whom Ruskin had trustingly invited to his house to paint her portrait. The sequel of the affair is a pitiful one, which Ruskin ever afterward hid deep in his heart, though at the time, finding that the woman was unable to live at the intellectual and spiritual altitude of her loyal husband, the latter, with a magnanimity beyond parallel, pardoned both Millais and the erring one, consented to a divorce, and actually stood by her at the altar as the faithless one took upon herself new vows unto a new husband. The estrangement and loss of a wife gave Ruskin afresh to Art,–his true and fondly cherished bride.
At this period, as we know, English painting was at a low ebb, mediocre and conventional, though with a show of artificial brilliance. Ruskin, with his scorn of the artificial and scholastic, threw himself into the work of overturning the established, complacent school of the time, and with splendid enthusiasm and an unfailing belief in himself and his ideas he undertook to reform what had been, and to raise current conceptions of art to a more exalted and lofty plane. We have seen what he had already achieved in his first dashing period of literary activity, in the production of the early volumes of "Modern Painters," and in his "Seven Lamps" and "Stones of Venice." While he was at work on the concluding volumes of the first and last of these great books there arose in England the somewhat fantastic movement in art, launched by the Pre-Raphaelite Brotherhood, which included such Ruskinites and other devotees of early Christian and mediaeval painting as Rossetti, Millais, Morris, Burne-Jones, and Holman Hunt. Towards this new school of symbolists and affectationists Ruskin was not at first drawn, since it seemed to him unduly idealistic, if not mystic, and smacked not a little, as he thought, of popery. Later, however, he saw good in it, as a breaking away from academic trammels; while he recognized the earnest enthusiasm of the little band of artists and artist-poets, as well as their technical dexterity and brilliance. With ready decision as well as with his accustomed zeal for art, Ruskin ended by defending and applauding