On the Old Road, Vol. 2

On the Old Road, Vol. 2 (of 2), by John Ruskin

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Title: On the Old Road, Vol. 2 (of 2) A Collection of Miscellaneous Essays and Articles on Art and Literature
Author: John Ruskin
Release Date: April 30, 2007 [EBook #21263]
Language: English
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Library Edition
THE COMPLETE WORKS
OF
JOHN RUSKIN
ON THE OLD ROAD VOLUMES I-II
NATIONAL LIBRARY ASSOCIATION NEW YORK CHICAGO

ON THE OLD ROAD.
A COLLECTION OF MISCELLANEOUS ESSAYS AND ARTICLES ON ART AND LITERATURE.
PUBLISHED 1834-1885.
VOL. II.

CONTENTS OF VOL. II.
PAGE
PICTURE GALLERIES.
PARLIAMENTARY EVIDENCE:-- NATIONAL GALLERY SITE COMMISSION. 1857 3 SELECT COMMITTEE ON PUBLIC INSTITUTIONS. 1860 25 THE ROYAL ACADEMY COMMISSION 50 A MUSEUM OR PICTURE GALLERY 71
MINOR WRITINGS UPON ART.
THE CAVALLI MONUMENTS, VERONA. 1872 89 VERONA AND ITS RIVERS (WITH CATALOGUE). 1870 99 CHRISTIAN ART AND SYMBOLISM. 1872 118 ART SCHOOLS OF MEDI?VAL CHRISTENDOM. 1876 121 THE EXTENSION OF RAILWAYS. 1876 125 THE STUDY OF BEAUTY. 1883 132
NOTES ON NATURAL SCIENCE.
THE COLOR OF THE RHINE. 1834 141 THE STRATA OF MONT BLANC. 1834 143 THE INDURATION OF SANDSTONE. 1836 145 THE TEMPERATURE OF SPRING AND RIVER WATER. 1836. 148 METEOROLOGY. 1839 153 TREE TWIGS. 1861 158 STRATIFIED ALPS OF SAVOY. 1863 162 INTELLECTUAL CONCEPTION AND ANIMATED LIFE. 1871 168
LITERATURE.
FICTION--FAIR AND FOUL. 1880-81 175 FAIRY STORIES. 1868 290
ECONOMY.
HOME, AND ITS ECONOMIES. 1873 299 USURY. A REPLY AND A REJOINDER. 1880 314 USURY. A PREFACE. 1885 340
THEOLOGY.
NOTES ON THE CONSTRUCTION OF SHEEPFOLDS. 1851 347 THE LORD'S PRAYER AND THE CHURCH. 1879-81. (Letters and Epilogue.) 382 THE NATURE AND AUTHORITY OF MIRACLE. 1873 418
AN OXFORD LECTURE. 1878 429
* * * * *
PICTURE GALLERIES:
THEIR FUNCTIONS AND FORMATION.
A. PARLIAMENTARY EVIDENCE.
NATIONAL GALLERY SITE COMMISSION 1857. SELECT COMMITTEE ON PUBLIC INSTITUTIONS 1860. THE ROYAL ACADEMY COMMISSION 1863.
B. LETTERS ON A MUSEUM OR PICTURE GALLERY.
(Art Journal, June and August, 1880.)
* * * * *
PICTURE GALLERIES--THEIR FUNCTIONS AND FORMATION.
THE NATIONAL GALLERY SITE COMMISSION.[1]
Evidence of John Ruskin, Monday, April 6, 1857.
114. Chairman. Has your attention been turned to the desirableness of uniting sculpture with painting under the same roof?--Yes.
What is your opinion on the subject?--I think it almost essential that they should be united, if a National Gallery is to be of service in teaching the course of art.
Sculpture of all kinds, or only ancient sculpture?--Of all kinds.
Do you think that the sculpture in the British Museum should be in the same building with the pictures in the National Gallery, that is to say, making an application of your principle to that particular case?--Yes, certainly; I think so for several reasons--chiefly because I think the taste of the nation can only be rightly directed by having always sculpture and painting visible together. Many of the highest and best points of painting, I think, can only be discerned after some discipline of the eye by sculpture. That is one very essential reason. I think that after looking at sculpture one feels the grace of composition infinitely more, and one also feels how that grace of composition was reached by the painter.
Do you consider that if works of sculpture and works of painting were placed in the same gallery, the same light would be useful for both of them?--I understood your question only to refer to their collection under the same roof. I should be sorry to see them in the same room.
You would not mix them up in the way in which they are mixed up in the Florentine Gallery, for instance?--Not at all. I think, on the contrary, that the one diverts the mind from the other, and that, although the one is an admirable discipline, you should take some time for the examination of sculpture, and pass afterwards into the painting room, and so on. You should not be disturbed while looking at paintings by the whiteness of the sculpture.
You do not then approve, for example, of the way in which the famous room, the Tribune, at Florence, is arranged?--No; I think it is merely arranged for show--for showing how many rich things can be got together.
115. Mr. Cockerell. Then you do not regard sculpture as a proper decorative portion of the National Gallery of Pictures--you do not admit the term decoration?--No; I should not use that term of the sculpture which it was the object of the gallery to exhibit. It might be added, of course, supposing it became a part of the architecture, but not as independent--not