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John Ruskin

57. The delivery of the foregoing lectures excited, as it may be imagined, considerable indignation among the architects who happened to hear them, and elicited various attempts at reply.

138. I could not enter, in a popular lecture, upon one intricate and difficult question, closely connected with the subject of Pre-Raphaelitism—namely, the relation of invention to observation; and composition to imitation. It is still less a question to be discussed in the compass of a note; and I must defer all careful examination of it to a future opportunity. Nevertheless, it is impossible to leave altogether unanswered the first objection which is now most commonly made to the Pre-Raphaelite work, namely, that the principle of it seems adverse to all exertion of imaginative power.

Delivered November 4, 1853.

29. Before proceeding to the principal subject of this evening, I wish to anticipate one or two objections which may arise in your minds to what I must lay before you. It may perhaps have been felt by you last evening, that some things I proposed to you were either romantic or Utopian. Let us think for a few moments what romance and Utopianism mean.

Delivered November 15, 1853.

77. My object this evening is not so much to give you any account of the works or the genius of the great painter whom we have so lately lost (which it would require rather a year than an hour to do), as to give you some idea of the position which his works hold with respect to the landscape of other periods, and of the general condition and prospects of the landscape art of the present day. I will not lose time in prefatory remarks, as I have little enough at any rate, but will enter abruptly on my subject.

Delivered November 18, 1853.

107. The subject on which I would desire to engage your attention this evening, is the nature and probable result of a certain schism which took place a few years ago among our British artists.

1. In my inaugural lecture, [1] I stated that while holding this professorship I should direct you, in your practical exercises, chiefly to natural history and landscape.

28. In my last Lecture I laid before you evidence that the greatness of the master whom I wished you to follow as your only guide in landscape depended primarily on his studying from Nature always with the point; that is to say, in pencil or pen outline. To-day I wish to show you that his preëminence depends secondarily on his perfect rendering of form and distance by light and shade, before he admits a thought of color.

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