Chapter IV: Interpretations

88 Appendix I. — Chronological List of Principal Events referred to in the 'Bible of Amiens' 143 Appendix II. — References Explanatory of Photographs to Chapter IV 144 Appendix III. — General Plan of 'Our Fathers have told us' 153 INDEX 157 PLATES Plate I. — The Dynasties of France 9 Plate II. — The Bible of Amiens, Northern Porch before Restoration 27 Plate III. — Amiens, Jour Des Trépassés, 1880 58 St. Mary 131 Plan of the West Porches 140

ARATRA PENTELICI. SEVEN LECTURES ON THE ELEMENTS OF SCULPTURE Given Before The University Of Oxford In Michaelmas Term, 1870 CONTENTS PAGE

Preface v

LECTURE I. Of the Division of Arts 1

LECTURE II. Idolatry 20

LECTURE III. Imagination 39

LECTURE IV. Likeness 67

LECTURE V. Structure 90

LECTURE VI. The School of Athens 114

LECTURE VII. The Relation Between Michael Angelo and Tintoret 132 LIST OF PLATES Facing Page

I. Porch of San Zenone, Verona 14

II. The Arethusa of Syracuse 15

III. The Warning to the Kings, San Zenone, Verona 15

IV. The Nativity of Athena 46

V. Tomb of the Doges Jacopo and Lorenzo Tiepolo 49

VI. Archaic Athena of Athens and Corinth 50

VII. Archaic, Central and Declining Art of Greece 72

VIII. The Apollo of Syracuse, and the Self-made Man 84

IX. Apollo Chrysocomes of Clazomenæ 85

X. Marble Masonry in the Duomo of Verona 100

XI. The First Elements of Sculpture. Incised outline and opened space 101

XII. Branch of Phillyrea 109

XIII. Greek Flat relief, and sculpture by edged incision 111

XIV. Apollo and the Python. Heracles and the Nemean Lion 119

XV. Hera of Argos. Zeus of Syracuse 120

XVI. Demeter of Messene. Hera of Cnossus 121

XVII. Athena of Thurium. Siren Ligeia of Terina 121

XVIII. Artemis of Syracuse. Hera of Lacinian Cape 122

XIX. Zeus of Messene. Ajax of Opus 124

XX. Greek and Barbarian Sculpture 127

XXI. The Beginnings of Chivalry 129

THE CROWN OF WILD OLIVE Also, Munera Pulveris, Pre-Raphaelitism-aratra Pentelici, The Ethics Of The Dust, Fiction, Fair And Foul, The Elements Of Drawing John Ruskin

CONTENTS. THE CROWN OF WILD OLIVE.

PAGE LECTURE I.

Work, 17

LECTURE II.

Traffic, 44

LECTURE III.

War, 66

MUNERA PULVERIS.

Preface, 97

CHAP.

I. Definitions, 111

II. Store-Keeping, 125

III. Coin-Keeping, 151

IV. Commerce, 170

V. Government, 181

VI. Mastership, 204

Appendices, 222

PRE-RAPHAELITISM.

Preface, 235

Pre-Raphaelitism, 237

ARATRA PENTELICI.

Preface, 283

LECTURE

I. Of the Division of Arts, 287

II. Idolatry, 304

III. Imagination, 322

IV. Likeness, 350

V. Structure, 372

VI. The School of Athens, 395

The Future of England, 415

Notes on Political Economy of Prussia, 435 LIST OF ILLUSTRATIONS. PLATES FACING PAGE

I. Porch of San Zenone. Verona, 300

II. The Arethusa of Syracuse, 302

III. The Warning to the Kings, 302

IV. The Nativity of Athena, 308

V. Tomb of the Doges Jacopo and Lorenzo Tiepolo, 333

VI. Archaic Athena of Athens and Corinth, 334

VII. Archaic, Central and Declining Art of Greece, 355

VIII. The Apollo of Syracuse and the Self-made Man, 366

IX. Apollo Chrysocomes of Clazomenæ, 368

X. Marble Masonry in the Duomo of Verona, 381

XI. The First Elements of Sculpture, 382

XII. Branch of Phillyrea. Dark Purple, 390

XIII. Greek Flat Relief and Sculpture by Edged Incision, 392

XIV. Apollo and the Python. Heracles and the Nemean Lion, 400

XV. Hera of Argos. Zeus of Syracuse, 401

XVI. Demeter of Messene. Hera of Crossus, 402

XVII. Athena of Thurium. Sereie Ligeia of Terina, 402

XVIII. Artemis of Syracuse. Hera of Lacinian Cape, 404

XIX. Zeus of Messene. Ajax of Opus, 405

XX. Greek and Barbarian Sculpture, 407

XXI. The Beginnings of Chivalry, 409

FIGURE PAGE

1. Specimen of Plate, 293

2. Woodcut, 323

3. Figure on Greek Type of Vases, 326

4. Early Drawing of the Myth, 330

5. Cut, "Give It To Me," 332

6. Engraving on Coin, 335

7. Drawing of Fish. By Turner, 362

8. Iron Bar, 379

9. Diagram of Leaf, 391

ARIADNE FLORENTINA SIX LECTURES ON WOOD AND METAL ENGRAVING GIVEN BEFORE THE UNIVERSITY OF OXFORD, IN MICHAELMAS TERM, 1872. CONTENTS. DEFINITION OF THE ART OF ENGRAVING 1 THE RELATION OF ENGRAVING TO OTHER ARTS IN FLORENCE 22 THE TECHNICS OF WOOD ENGRAVING 42 THE TECHNICS OF METAL ENGRAVING 61 DESIGN IN THE GERMAN SCHOOLS OF ENGRAVING (HOLBEIN AND DÜRER) 81 DESIGN IN THE FLORENTINE SCHOOLS OF ENGRAVING (SANDRO BOTTICELLI) 108 APPENDIX ARTICLE I. NOTES ON THE PRESENT STATE OF ENGRAVING IN ENGLAND 143 II. DETACHED NOTES 157 LIST OF PLATES Diagram 27 The Last Furrow (Fig. 2). Facsimile from Holbein's woodcut 47 The Two Preachers (Fig. 3). Facsimile from Holbein's woodcut 48 I. Things Celestial and Terrestrial, as apparent to the English mind 56 II. Star of Florence 62 III. "At evening from the top of Fésole" 72 IV. "By the Springs of Parnassus" 77 V. "Heat considered as a Mode of Motion." Florentine Natural Philosophy 92 VI. Fairness of the Sea and Air. In Venice and Athens 95 The Child's Bedtime (Fig. 5). Facsimile from Holbein's woodcut 103 "He that hath ears to hear let him hear" (Fig. 6). Facsimile from Holbein's woodcut 105 VII. For a time, and times 130 VIII. The Nymph beloved of Apollo (Michael Angelo) 131 IX. In the Woods of Ida 132 X. Grass of the Desert 135 XI. "Obediente Domino voci hominis" 145 XII. The Coronation in the Garden 158

SAINT URSULA By John Ruskin

Contents PREFACE THE STORY OF ST. URSULA THE DREAM OF ST. URSULA

THE ELEMENTS OF DRAWING IN THREE LETTERS TO BEGINNERS

CONTENTS. page Preface ix