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badbeape » psmter ? and the ibttrflb to . the latest " > iaiesMm" of the author , — fchv urtexpvetatum . o € 1 &e Pre ~ Raphaelit »< principles- The : interest erf tbe book is greatly enhanced by the addition of cngeanongs of the dramags ose&ih ^ lirw & « aki % p rifrupaBy to illustrate th « twwfirafcleetoirea . 1 % egrQBnd » oa wbtch W& . Itaafcitt asseife = the inferiority © £ Greek wdbitecture fisve Ikreir aheadj- set f&rtli in his- tornoer wxwefat . We have not ipacfc to fattow . him ittta its tecbiucal deficieaociea . But . we do moat , heartily sympathise witbr Egfe « feai * fet& fifea , meu ! s naiads from that Greek ( worse
ttmtta&gnMMUfrMn ^^ an oxzwaaeoE , & < Hr « v « ra !^ ad ) lpte $ % (» dvr a ^ ev *«<>« '" dfooate i t © = our Manners , mua * be beautifiif ; mtwtr be d ^ wicjtl t Secawse it ra Greek ; W&atever n true in its <\ w *\ twnfe Sy ^ fr f yfr , ^; ' ' T&ftrKctof a& : era should ! be .. tike oufcwatfd andvisible « xpi « 8 aiott o £ thft ^ 5 ^ of ti » texau Wh « ib * be G « eak 43 F » a w , xj * a » i # il it WMttru ^ -nti ^ tlto ofiiprinffof ita age . Nothing ts mow * psfciable than that wimi of itcibtft aelfiwlwr ticeln » pepple wfeielii » eglectethet » e «» ur « 8 of their « wii *« ttHb ^ aridmma < iir order ter recur to a fifeles * imitatior * of extinct form au ^ a ©« ii ^ am £ caBwig uiceasaatly . ou the ierolc Fast * ia obstinately bliai to ¦¦ -. - i . - . . - ¦ . ' :, ¦ ' * " & && *** » ' Of the heroic alter in all ages ;
: ,. ., T ^ ap * r ^ i » UwfQ »^ H « aaiya » . thB swi ^'' fe ^^ ed ^ c onsidersbl « mdJgiiatron and' cuhtroTeTay . Ifc certainly may be ^^ iB ^ tf *' - ' ]> ' y $ " ^ H Hi *!* T ^ " * fofe p 1 " ^ ^ wlio k ^ nt ^ er in their lfvrea §* - ^ M || llM ^^ ii ^ iir t ^^^^ Bu ^ vfciildf ^ rt- - a | M 9 b ^ nfc ' . ^ o ^^ jj awc ^^ -eoa ^^ tfis « fc ^» gmwraUy ^ calted ?^^ h ^ ftdaon ^ ata « tv w «* tfee * epi «* wifrtt of daur ^ « bl * town arohfte <*« r ^ hearing their ^ H ^ NMI ; gLmtJrfieI 4 " mfc * s vtmiffieir ^ -to be syQided—mar Have Beefr unable fiaTy
^^ tp a ^^ . ;/ , , ; : * yiMrfwfllt' ¦ iryigiwii" I * it 8 i fiBTiriggfr ^ ft ^ l tr 1 itr" * giT ? c ? Tr ^) tT'KfWg' - 'jiMH ^ gWfcMw ** - ^ w * jl uM ^ wwt # w «« in e *» j ? j « ug < wfe-l | ufeiwwr MtjJ ^ . Htetil ^ # Bf a ^ ntl iw . rwww ' rirt , jg jaifc : : a » taB # t ^ M *^ ta MMH'fc- ifc « aefe , iliMi « £ 4 fe « £ ^ ' # ^^ Gothic ggt . ^ j&ieging sta ^^ a »^;> jaryg rwwn < iiwrinr fowj ^ tya ^ pftweiafcjMHAitectM ^^ yoar -oJufi * fcr ¦ whUeJ . i—ftitimfcotfc —»? 3 g—y fo ^ \ Hk » Uw T « uj »* ltr s » u 4 ^ epon » l iwaftt , iMitem- iw ^ wrttiree ^*^^ out "wtwlfiwili ii ^> n » TtiMrfa i mUtti ImHi th ^ im * * - * M > in * —«*¦ ¦—^ tHTMMfc- ^ wwrr : « ii § jftun «« t
^^ JP ^ P ^^^ Jc ^^^ S ^^^^ gSG ^^^^^^^ y ^^^ yj ^^^ ff ^^^^ flff ^^^^^^^ P ^^^^ r ' v ^^^ T- ; ^^^^ i'J f ^^^^^ Wi ^^^^^^ 5 ^^^^ J 3 j . ^^^*^^^ 5 J ^ J ?^^^ r ^^^^^^^^^^^^^^^^^^^^^ v ^^^^^^^^^^^^^^'^^^^^^^^" ' ^^*^^*^ J- ^ « N » itM |^ ii % i ^ iiNi |^ piiK w ^ r ot treatiag i ^ Qaly il ^ # « upj |^ iileiiin ^ iti ^ no Greek ; , and in a few years' time , —in less tiaie ths ^ jutt , « aa ^ iaum *; Bewrackon » « c a i flfiyf ^ WKJjgiiR ^ ' tij ^ ttp ^ thj ... th # , ii'hiJM urt iff j < MH * -. sM ^ Mffi w ^ n ^ y ° T * W ' ' ^ tfT wy ^ M ^ ff ^ r **' -. Jtnesft iiKLii | % 8 ^« ct | t rat -BwjBffe ; < xegjre& answer tnet : cnargp . p » mcpnsiB ecu cy jy Bppli- Wajfc . ^ K ^^' fM-, ^ T ^ ^ ; -- 'f iiT'i > Tgf > ^' ' f ^ JE ?^*" * ~ ^ K ^ yjnp- ^ y ^ ot ^ p of Ka , ccftics , if l ^| g « pppli % <« 9 ^{ i ( it ^ niaaakv diotaK ^ a ^ wil ^^ & ^ oflanfc&ift aad a nimifcB-catten-4 ioa ^( a ^^ h ^^ alti ^ irhite in maiy of T ^ raer ^ pic-Mifttt ^ y ^^ tynyiMllmii * ' * - * fr 8 sct * ttwat"W"carTJc < i ;* to tjucb ArX £ noCt >' that . efreti the thvijM ^ fotft ^^ concluded , that ^ ia , fw » o < iBtftI « r ^^ cao , h # xMettt ^ andr 4 fc # t ig a 4 miriwr ; TKa » ejr > and laudiag Baskia
ikec Fn ^ Bkfkkaeh ^ B ^ Mr . ptedg «» him » eir atrou « to Ivo opposite ^ irio «» o » tlte-flame siibjeck Bat agparant ( ttRwence * and ^ crepancies ^ m ^ 0 pSS ^^ S ^ iijm ' ' msar . th » smri&c «» . -Whilit eflaentltf r « etftbBBneea Ife deep ; ^^^^^ tliit tt ^^ than ta ^ Ci ^^ , Xhft o » ft eoi ^^ ULtheayatem of Tpt—r ft ^ d gh t . hftt < rff the Er ^ rBtyVft ^ lite ^ 1 a the aaaaoua pnrauit of truth , 4 »^ sc ^^ 4 ia «^ l't& 4 ^ cm « k ^ afe ^ not aeeejited ^ iii < th » tnuiitiaaary eonT « ationaliflmfl which during a loag era o ^ dBwatfencc have growitt tip arouutd Art , iinpod ^ ito growtfe f ofte % kmr « heir « e and ^ rivilyingdnSticnce oftoatara upon i > j ; a » d ^ eladerBy ite ' HiqpBted meteage- to mem . a merepttyroe-cry ^ . W& are rawndedeT the laying of a ooatempcrary ¥ re 9 HA anth « r , who , writing of Ae «» rtcoefl « ve' oefcooto through-wWcfc aart haa been handedl dawm tons , a » d c |« etn ^^ th « ewer qfeoftacF image of Iiucretius ,
j . . 'tIBt qtwsfctu ^ waa , - ^ taf jampada tradtot ; ** ^ d flft ^ w ifl l bitter tratft » * ' Qaelques tms Pont porte" cotmtte nn ci ^ rgo , mais < £ ktiuws aoxatoB , oil cigare . * Abo ? the * itluatrfttion , thottg ^ i souaewbat beneath the d % niiy of the subject , aptly etxpressey the different tone of feeKng regarding Art m tte I 3 th and" the i 9 ttk oeoturi ' e » , —the severe and reverent earnestness of the one , the faithless indifference of the other . The jgrowth of conventionalism in Art is not difficult to comprehend . To « certain degree , all artistic interpretation * of Nature is conventional . The aittiof Arty im depicting- any natural ! object , i * to produce hfc the mirakaaalo-& *» emotions to those produced by the object itself ; trot a * with at ! our « Kxtl'andt' care we cannot imitate it exactly , this aim is not attained by
¦ trwucritittigfi bathy txantlaeiru } it iaia ther language afj Art .. And h « m arises tttedsnger to iaftraor worjemext ^ for he » e begins whste Me . RnslBn-oalls ¦•* ithet > disdnctson between noble ooaventaonaHaui and false cfinventionalum . " ¦* t iRdblc > copyntaoiwKwM , " be- aaya > M is . not an agreexoeot between the artist awl spectator that the one shall misreforaaent . nature sixty times over , 4 md the other believe the misrepresentxtion sixty ttmesover , but it is an ¦ jprBH meat that certain mean * and Uonitations being' prescribed , anly that Jkmd of truth ia to be expected which is consistexct with those means . " And h » adds , " Its- condiUoas- always ; consist in stopping , Jkotrt of naturev not in > falsifying ; natur « . But no one ' can translate properly from . a . language
without , thoroughly understanding that language ; and hence the presunap > tioi * that the Pre- Kaphaeliteg are in the riwht road to successfuil trsuoslation of nature , by studying her in her minutest details wtth unwearying eare and fidelityv before they attempt to reproduce her by art . That is an apprenticeship through winch all great artists must pass ,. —must have passed . That Turner did »<* , the history of bis most arduous student life testifies ; lie mastered detail , before be ventured to rise a-bove detail . And that the Pve-Raphaelites > at present swathed and stiflf m the swaddling clothes of their artistic infancy , will o > ne day rise as he rose , beoome men , and put away from them cehuekbh things , is the hope and belief of Mr . Raskin—a belief founded less on the individual artists than on the eternal principles , whereon they bar * takea their stand .
Ait . the risk of injuring the force of Mr . Ruskm ' * interesting defence of Fce-Raphaeliite peculiarities , we most present the reader witb one extract * " You perceive that the principal resistance they have to make is to that spurious beautv whose < sttfaetivetM 8 s bad ? tempted men to-fwgets , at to despise , the more noble quality of sin ' ck& 5 £ and iaorderafroncmto- put them beyond the poorer of temptation from this beauty they . are ,, as a ^ bqdjg , ekwncteri ^ etL by a total absence of sensibility to the oroiaarr and do ! polar forma , of artistic gracefulness ; whiles to all that still lowar kind of prettdaess ^ which . regulates the disposition of our scenes upon the stage , and which appears m our lower arLas in out annnaJs , our commoir-ptaee portraits , and" statuary , the . Pre-BaphaeUtea -are not only dead ; batcher' regawt it wifeb « eoatempt and averswn- approechine- to disgust . This cha-. rMetfrf Mi MfaRrurrtMW ntmamnxrw -in- t . ltmn in . V . lna > Y > Ms « mfc > tin ** - Knt 1 + of miwu »^* . : n
xwaSm » iimt wwk oonan » c »! iv- « ly onf ^ asoagr As- tha sehool becoines leas Aggressive , tnd more aatboritative—which it , wu ) da—they will enlist into their ranks men who will work , mainly , upon their principles , and yet embrace more of those characters which are generally attractive , and thitj great ground of offence will be removed . "Again : jofe dbscr *» tfi « t , as- fendfeeape paistors , tbeir pribefples ranst , » great part ctta&oe them to me » . fceegtcand wesk ^ sad . singularly eaou ^ V that they may net be tena £ ) tedv « Ka 7 from , this , wori ^ they heve been ham « tb con&aatneljt Kttk « iqoymeat of those e . vanaaeent effects and . aaafaBt ^ abtiauties which , nothing bat tha menaosj can arrest and nothin but a during conventionalism portray . But for thi » work tiey are not needed ' . Tttrrter hadPdbnc it beftre ^ theHJ ^ hw , though his capacity embraced everytniag , j ^ id . thour fi b » waoM womethate , fa hi » far > giwipla , paint the- spots upon a dead- troufr , a » d tbedras opoouatnditera ^ B wiDgijtt . &i ? tne jacafepftcfe daJjghttnffta begbiat ttiat tt « t point where ^
* W m + TJffmminmnimm , M - * WIWW . lf * iW « X «« W « w 1 ^ 3 % ^ , Tll ^ bohUj . pCcpiwtoQlly ewrjdngevwTihJng up . to tie utnaostipoint o £ coat . pletion deadens tfi # ^ e-Rft ^ u 1 aetites / in geaeraT to . the jaerits of men . who ,, vithi an , eanal k > te of troth trp . to a « ertjuh- poirtt , yet express- themsebres habitual ^ with speei and power ntiMrthaa willlP'finidi , an> + e absencts of tratfe ratber than total ' troth . Probably to tim * iB&fd tiaiftarti ^ s wiHimore or l « aa be dhridtdfiKto these ckisses ^ and il will be iaposjHb ) e ^ enaakifcniaa : lik ^ Mm ^ sundejaUn ^ the merits « f . mea like Iwtecefe ^ bat ^ febs is mote to hre regretted ; becAns&thfi Pjr& > Baph « eiites hzar * enotrmous pptreia-of ixnAoaatiaa ,, a » well aaof . realisation ^ and do not . yet themselves know of how much they wduWi be cajafcle , if - they sometime * worked ^ on a larger s ^ Ie , and with a less , hibonousffiush . "'
. I&q , leetwfe oxv Mvxji& haa a . pecaajfiaa ? interest ,, aa iateres *! whieW i » eweiied Less by Tu ^ ae * tae artist , than by Turner the man . Wet haj ^ f seldom been B ^ i ^ a ^^ tc ^ vtib « a by Mr . Buaki& * » toucbing piettue of a deep laa ^ gerheurt , . ciro&h ^ &aad ehiUfld by eariy . repression into re « erve aad ( gjboa ^ and een-, « e » ling ; ^ tEdwnre 8 ' of teamw and generous , feeling , beneath -ai * oatward . jBtaganisKt * ' which ; veaated pwnfi ^ Uy on himself . r lfh «| , Iuxotfr = waft a great ^ ai £ j <^ : wehop ^ ano « h 4 ^ v That atoeadly great artist cannot be other than a greatman Ji » apjrm « apre thatsckmeof osat Joast ^ iold with alUQur , faith . But how great a maik Turnerr ^ raa may be jas | @edftomitwOrO ] r trbac «« < rf , the ansedotea . it has hesgk . » . \ al > oins of lov ^ to > fx . Buskin to refiord : ^ - . . . ,.. . ; ¦ : > ^ ISimiisw ^ perhaBssot . iaftn ^ oi'jmt ^ heaidof a . painter of tkcname ^ T Bird r I do not atfMl £ kiMWRhiftw «» % ba | b gunner saw stsnenneritin them ; «» dwb « n Bi » d first seat a > pidure to theAsOfcdetiiy ^ &r ^ dtowtion , Turner wa « qsls the bangk ^ g coavnittBt .. Bixd ' a jicture had * gteat ^ meriti ^ ^ ut oo place fir it could be foand . Turaer _ pleatled hard for it . lib , tfre t ^ ing was inrpqsjnt ^ Tttrner sat down and' looked at Bird ' s picfcnre for a long ttSBe t * ftwaMiBted ^ tS « t a plaeantust be found for i& He was stfll met by th « assertion of . ia ^ vastkaiaiitgri He wait arJiwre , bmt took downoceeof his « vm pictures , aeat . it out ofthe uttOB !
• Aicaunajr ^ WMt «•»«*» W asjUHK " afatch \ that if y-Qfr : can ,, annmg tha aanala of hanging . comKuttees . But he > c * al 4 do nobler things than this . ^ WfienTnrner ^ picture of Cologne was exhibited Sn the year 1826 , it was btmg betweeu two portraits , byjSfr Thomas ILawrencej of Lady WaRacoort , and Lady Robert Manners . 4 t TDl » jrty of ; Turnar ' a pietuM : waa / esceedingfy bright ; and it "bad a . most injnrious efect Mk | he ) Bolaitrio £ the two p « etraiU ~ Lawrenee naturally feU mortiJaed ^ ami cctnplained oqqdJk oft the gOBition . of his pictures . You ace . aware that artists weee at that time petmitteator retouch their pictures oa the walls of the Academy . Qn ttd morning of-the opening-of tfie exbihjtion , at the private view ^ a friend of Turner ' s who had seen the Cologne ra-att'rts spl eudoarj led a group ef expectant critics up to the picture . He started tack fretto u > in . coosternafeiDa . Tire golden sky had changed to a dtm coloar . He ran tip to TBroer , who was in aootherpttxt of the zoom . ' Turner , what-haTe you been doing to -your picture . ? ' ' Qh , * muttered . Tuxtter , ia a low voice : * poor Lawrence was . s » ¦ onbappj . It ' s onfa lamp black . It'll all wash off after the exhibition I' He had actually passed a wash of' lamp alack ia water-coloar over the whole sky . and utterl y spoiled his picture for the tiatei and-so-left it tbroagh the exhibitioH , lest it should hurt Lawrence ' s ;*
We cannot deny ourselves the pleasure of making one more extract , the concluding passage od the lecture on Turner . As a specimen of Mr . Rusfcin ' S magical style , it is charming ; hut even that gives way before the deeper interest excited by the lrfe-struggle of a great soul , sharing ; the destiny of its fellows in all ages , the lonely life , the long withheLd sympathy , the tardy appreciation , the cro-wn of thorns—living , the crowa of laureldtad . " Imagine wiat it was for a man to live seventy years in this hard world , with the kindest heart , and the noblest intellect of his fktie t and never to meet with , a single word or ray of sympathy , nntett he-fele Mnnself sinking into the grave . From the time he knew Ms one greatness alt tbevworlA was turned agjatnat him : lie held his own- ; bat it coald nut be without rouglueas of beariog , apd / ltardentng of the temper , if not of the heart .. No one understood , him ,, no one trusted Iiioo . and ev « rv ona cried oat acain&t him . Imacdne , any of you ,
tteetteot upon , your own mind& if every voice you Iieard from the human beings around jou were raised , year after year , tntoagh all your lives , only in condemnation of your efforts , and denial ' 'of your-success * 'Phis may be borne , and borne easily , by men who harejfsed redgfims principks ^ or supporting' domestic ties . Bat Turner had no one- to teach him in fei& jteutby and no-eoe- toukve- hint in his old age . Bespect and affection ,, if t \ ter cama at all , came unbeliered , or came too late . Naturally irritable , though kind , —naturally gnspiciou * , though generous , —the gold gradually became dim , and the moat fine gpld cluinged , or if not cliangedTovercast and mhuAed . Thetdeep ^ heart was still bearing , bufcit waj beneath a dark and melancholy mail , between whoso joints , however , aorrretlmea the sfigMest arrovs found entrance , and power of giving pain . He received no consolation in his Yasfc years , nor i *» h » death . Out off in creaJt part from all society—ftrsfc , by Iaboar , and at last by uk : kn * sshunted to his grave by the mHlignities of small critics , and the jealousies of hopelea * rvv iilry , ho died in the house of a stranger , —one companion of his life , and one only , staying , with him to the lust . The window 01 his death-chamber was turned towards the west , and tlm sun shone upon his face in its setting , tuid rested there , as ho expired . "
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BOOKS ON OUR TABLE . Five Years in t / i& Land oj' Refuge . By Jules Le chevalier St . And id . relbaua Ricbardson , Cocnhill . The organisation of industry is a problem yet very far from solution . A somewhat comprehensive proposnl in this direction is presented to the . public by the author of this volume . M . St . Andre displays more constructive ability T has larger views , and closer details than the uaual mil of co-operative writers . What to do for tlto reformation of industrial aawl comuoerciul relations we think has not beoaao well set forth before as by himsolf ia tins
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S 46 TKE LEADER . ^ S atu rday ,
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Leader (1850-1860), June 10, 1854, page 546, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct2042/page/18/
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