of an admiral at Munich, had like to have kept me in Germany all the summer.'
How different such work as this from that of the critic who learnt harmony and thorough bass in three lessons, and then thought fit to
Assume the god—
Affect to nod
on the merits of every new composition! But those times have probably gone by for ever, as far as the better class of London journals is concerned, though the artistic and literary criticism of country papers is at this day funny in the extreme.
We have said that the first volume of Ruskin's great work met with an indifferent reception at the hands of the literary critics of the year 1843. But the book made its way—indeed, it was impossible that it should be otherwise—and its author became famous. One axiom forms the basis of the work: 'The art is greatest which conveys the greatest number of great ideas.' The first volume shows what painters have best imitated Nature. The second treats of Beauty, typical and vital. Perhaps this volume contains the finest of Ruskin's writing. The subject, almost illimitable, is treated with a master's hand. The author of 'Modern Painters' has produced a book which has no parallel in any European language. It is impossible here to do any justice even to an outline of its contents, and we do not attempt it, but refer our readers to the book itself.
So far, we have spoken chiefly of his magnum opus. Mr. Ruskin's other works are, 'Seven Lamps of Architecture,' 1849; 'The Stones of Venice,' 1851-53; 'Construction of Sheepfolds;' 'Two Paths;' 'Harbours of England;' ' Political Economy of Art;' 'Unto this Last;' 'Sesame and Lilies;' 'Ethics of Dust;' 'Kings' Treasuries and Queens' Gardens;' 'War, Commerce, and Work;' 'Letters to a Working Man;' 'A Wreath of Wild Olives.'
There is no more honoured name in contemporary English literature than that of John Ruskin. In his books he has discharged the noblest functions of a writer; but it were enough to make him famous in his generation had he done no more than teach our Philistine art-critics what is the true standard to which art criticism should be raised.
