almost by heart. They did not foresee the day in which a comfortable indifference to artistic matters, instead of being normal and respectable, would be pitiable and almost criminal. Ruskin, no doubt, gave the first impulse to the change.
His popular reputation was partly due to the passages which a severe taste can only just approve. Yet the worst one can say of such famous bits of rhetoric as the comparison of Claude's skies with Turner's is that they approach Shelley's finest imagery too nearly for prose. The rhetoric rests, in any case, upon some remarkable qualities. His defence of Turner is mainly an exposition of Turner's truthfulness to nature, and shows that his eulogist is qualified to judge of his fidelity. Ruskin has watched sky and sea and mountains so closely, that he is revolted by the old conventional portraits and demonstrates his point with extraordinary fulness of knowledge. He surpasses the average critic in that respect as a scientific specialist surpasses a mere popular observer. Ruskin, indeed, took himself to have a specially scientific mind. So far as aptitude for science means power of observation, the claim, I imagine, was perfectly justified. He came in later years to detest science 'in the lump,'
