Introduction Chronology Further Reading The Text and the Selection Ruskin's Artists and Architects: A Catalogue I. The Aesthete from The Poetry of Architecture; or The Architecture of the Nations of Europe Considered in Its Association with Natural Scenery and National Character: Chapter 6, 'The Cottage-Concluding Remarks' (1837) 'Remarks on the Present State of Meteorological of Science' (1839) from Modern Painters, Volume I, Part II, Of Truth: Section ii., 'Of General Truths', Chapter 2, 'Of Truth of Colour'; Section iv., 'Of Truth of Earth', Chapter 4, 'Of the Foreground' (1843) from Modern Painters, Volume II, Part III, Of Ideas of Beauty: Section i., 'Of the Theoretic Faculty', Chapter 1, 'Of the Rank and Relations of the Theoretic Faculty'; Chapter 2, 'Of the Theoretic Faculty as Concerned with Pleasures of Sense' (1846) from The Stones of Venice, Volume I, The Foundations: Chapter 1, 'The Quarry', Chapter 30, 'The Vestibule' (1851) The Pre-Raphaelite Artists: To the Editor of the Times, 13 May 1851 from The Stones of Venice, Volume II, The Sea-Stories: Chapter 4, 'St Mark's', Chapter 6, 'The Nature of Gothic' (1853) from The Stones of Venice, Volume III, The Fall: Chapter 1, 'Early Renaissance', Chapter 2, 'Roman Renaissance', Chapter 4, 'Conclusion' (1853) The Light of the World: To the Editor of the Times, 5 May 1854 from Lectures on Architecture and Painting, Delivered at Edinburgh in November 1853: Lecture 1, 'Architecture' (1854) The Opening of the Crystal Palace, Considered in Some of its Relations to the Prospects of Art (1854) from Modern Painters, Volume III, Part IV, Of Many Things: Chapter 4, 'Of the False Ideal:-First, Religious'; Chapter 12, 'Of the Pathetic Fallacy' (1856) from Modern Painters, Volume IV, Part V, Of Mountain Beauty: Chapter 1, 'Of the Turnerian Picturesque'; Chapter 19, 'The Mountain Gloom' (1856) from The Harbours of England: Chapter 1 (1856) from Notes on the Royal Academy: 'The Scapegoat' (1856) from Notes on the Royal Academy: 'A Dream of the Past' (1857) from The Elements of Drawing: Letter 3, 'On Colour and Composition' (1857) from Notes on the Turner Gallery at Marlborough House: 'Appendix' (1857) from Notes on the Royal Academy: 'Water-Colour Societies' (1859) from The Two Paths: Lectures on Art and its Application to Decoration and Manufacture: Lecture 3, 'Modern Manufacture and Design'; Lecture 5, 'The Work of Iron' (1859) from Modern Painters, Volume V, Part IX, Of Ideas of Relation: Section ii., 'Of Invention Spiritual': Chapter 2, 'The Lance of Pallas'; Chapter 9, 'The Two Boyhoods'; Chapter 11, 'The Hesperid AEgle'; Chapter 12, 'Peace' (1860) II. The Prophet from Essays on Political Economy: Part 3, 'Labour and Trade: The Disease of Desire' (1862) from The Cestus of Aglaia: Chapter 4, 'Haste' (1865) from Sesame and Lilies: Two Lectures Delivered at Manchester in 1864: Lecture 1, 'Of Kings' Treasuries'; Lecture 2, 'Of Queens' Gardens' (1865) from The Ethics of the Dust: Ten Lectures to Little Housewives on the Elements of Crystallisation: Lecture 6, 'Crystal Quarrels' (1865) from The Crown of Wild Olive: Three Lectures on Work, Traffic, and War: Lecture 2, 'Traffic' (1866) from Time and Tide by Weare and Tyne: Twenty-Five Letters to a Working Man of Sunderland on the Laws of Work: Letter 7, 'Of the Various Expressions of National Festivity'; Letter 8, 'The Four Possible Theories Respecting the Authority of the Bible'; Letter 9, 'The Use of Music and Dancing under the Jewish Theocracy, Compared with their Use by the Modern French'; Letter 10, 'The Meaning and Actual Operation of Demoniacal Influence'; Letter 11, 'The Satanic Power is Mainly Twofold: the Power of Causing Falsehood and the Power of Causing Pain. The Resistance is by Law of Honour and Law of Delight' (1867) The Flamboyant Architecture of the Valley of the Somme (1869) from The Queen of the Air, Being a Study of the Greek Myths of Cloud and Storm: Lecture 2, 'Athena Keramatis' (
