author - "John Ruskin"
z, as he walked in, throwing his umbrella in Gluck's face.
"Aye! what for, indeed, you little vagabond?" said Hans, administering an educational box on the ear as he followed his brother into the kitchen.
"Bless my soul!" said Schwartz when he opened the door.
"Amen," said the little gentleman, who had taken his cap off and was standing in the middle of the kitchen, bowing with the utmost possible velocity.
"Who's that?" said Schwartz, catching up a rolling-pin and turning to Gluck with a fierce frown.
"I don't know, indeed, brother," said Gluck in great terror.
"How did he get in?" roared Schwartz.
"My dear brother," said Gluck deprecatingly, "he was so VERY wet!"
The rolling-pin was descending on Gluck's head, but, at the instant, the old gentleman interposed his conical cap, on which it crashed with a shock that shook the water out of it all over the room. What was very odd, the rolling-pin no sooner touched the cap than it flew out of Schwartz's hand
ling-pin no sooner touched the cap, than it flew out of Schwartz's hand, spinning like a straw in a high wind, and fell into the corner at the further end of the room.
"Who are you, sir?" demanded Schwartz, turning upon him.
"What's your business?" snarled Hans.
"I'm a poor old man, sir," the little gentleman began very modestly, "and I saw your fire through the window, and begged shelter for a quarter of an hour."
"Have the goodness to walk out again, then," said Schwartz. "We've quite enough water in our kitchen, without making it a drying house."
"It is a cold day to turn an old man out in, sir; look at my grey hairs." They hung down to his shoulders, as I told you before.
"Ay!" said Hans, "there are enough of them to keep you warm. Walk!"
"I'm very, very hungry, sir; couldn't you spare me a bit of bread before I go?"
"Bread, indeed!" said Schwartz; "do you suppose we've nothing to do with our bread, but to give it to such red-nosed fellows as you?"
company as believing in an Eternal life, and endeavour to draw any conclusions, from this assumed belief, as to their present business, they will forthwith tell you that what you say is very beautiful, but it is not practical. If, on the contrary, you frankly address them as unbelievers in Eternal life, and try to draw any consequences from that unbelief,--they immediately hold you for an accursed person, and shake off the dust from their feet at you. And the more I thought over what I had got to say, the less I found I could say it, without some reference to this intangible or intractable part of the subject. It made all the difference, in asserting any principle of war, whether one assumed that a discharge of artillery would merely knead down a certain quantity of red clay into a level line, as in a brick field; or whether, out of every separately Christian-named portion of the ruinous heap, there went out, into the smoke and dead-fallen air of battle, some astonished condition of soul, unwillingly released
pretended that all, or even the greater number of, the principles necessary to the well-being of the art, are included in the inquiry. Many, however, of considerable importance will be found to develope themselves incidentally from those more specially brought forward.
Graver apology is necessary for an apparently graver fault. It has been just said, that there is no branch of human work whose constant laws have not close analogy with those which govern every other mode of man's exertion. But, more than this, exactly as we reduce to greater simplicity and surety any one group of these practical laws, we shall find them passing the mere condition of connection or analogy, and becoming the actual expression of some ultimate nerve or fibre of the mighty laws which govern the moral world. However mean or inconsiderable the act, there is something in the well doing of it, which has fellowship with the noblest forms of manly virtue; and the truth, decision, and temperance, which we reverently regard as honor
is because the finest natures remain young to the death: and for you the first thing you have to do in art (as in life) is to be quiet and firm--quiet, above everything; and modest, with this most essential modesty, that you must like the landscape you are going to draw better than you expect to like your drawing of it, however well it may succeed. If you would not rather have the real thing than your sketch of it, you are not in a right state of mind for sketching at all. If you only think of the scene, "what a nice sketch this will make!" be assured you will never make a nice sketch of it. You may think you have produced a beautiful work; nay, perhaps the public and many fair judges will agree with you; but I tell you positively, there will be no enduring value in what you have thus done. Whereas if you think of the scene, "Ah, if I could only get some shadow or scrawl of this to carry away with me, how glad I should be!"--then whatever you do will be, according to your strength, good and progressive: it m
s are indispensable, and I am not without hope that the sense of secure advancement, and the pleasure of independent effort, may render the following out of even the more tedious exercises here proposed, possible to the solitary learner, without weariness. But if it should be otherwise, and he finds the first steps painfully irksome, I can only desire him to consider whether the acquirement of so great a power as that of pictorial expression of thought be not worth some toil; or whether it is likely, in the natural order of matters in this working world, that so great a gift should be attainable by those who will give no price for it.
xii. One task, however, of some difficulty, the student will find I have not imposed upon him: namely, learning the laws of perspective. It would be worth while to learn them, if he could do so easily; but without a master's help, and in the way perspective is at present explained in treatises, the difficulty is greater than the gain. For perspective is not of the slighte
He was hugely influential in the latter half of the 19th century, and up to the First World War. After a period of relative decline, his reputation has steadily improved since the 1960s with the publication of numerous academic studies of his work.
z, as he walked in, throwing his umbrella in Gluck's face.
"Aye! what for, indeed, you little vagabond?" said Hans, administering an educational box on the ear as he followed his brother into the kitchen.
"Bless my soul!" said Schwartz when he opened the door.
"Amen," said the little gentleman, who had taken his cap off and was standing in the middle of the kitchen, bowing with the utmost possible velocity.
"Who's that?" said Schwartz, catching up a rolling-pin and turning to Gluck with a fierce frown.
"I don't know, indeed, brother," said Gluck in great terror.
"How did he get in?" roared Schwartz.
"My dear brother," said Gluck deprecatingly, "he was so VERY wet!"
The rolling-pin was descending on Gluck's head, but, at the instant, the old gentleman interposed his conical cap, on which it crashed with a shock that shook the water out of it all over the room. What was very odd, the rolling-pin no sooner touched the cap than it flew out of Schwartz's hand
ling-pin no sooner touched the cap, than it flew out of Schwartz's hand, spinning like a straw in a high wind, and fell into the corner at the further end of the room.
"Who are you, sir?" demanded Schwartz, turning upon him.
"What's your business?" snarled Hans.
"I'm a poor old man, sir," the little gentleman began very modestly, "and I saw your fire through the window, and begged shelter for a quarter of an hour."
"Have the goodness to walk out again, then," said Schwartz. "We've quite enough water in our kitchen, without making it a drying house."
"It is a cold day to turn an old man out in, sir; look at my grey hairs." They hung down to his shoulders, as I told you before.
"Ay!" said Hans, "there are enough of them to keep you warm. Walk!"
"I'm very, very hungry, sir; couldn't you spare me a bit of bread before I go?"
"Bread, indeed!" said Schwartz; "do you suppose we've nothing to do with our bread, but to give it to such red-nosed fellows as you?"
company as believing in an Eternal life, and endeavour to draw any conclusions, from this assumed belief, as to their present business, they will forthwith tell you that what you say is very beautiful, but it is not practical. If, on the contrary, you frankly address them as unbelievers in Eternal life, and try to draw any consequences from that unbelief,--they immediately hold you for an accursed person, and shake off the dust from their feet at you. And the more I thought over what I had got to say, the less I found I could say it, without some reference to this intangible or intractable part of the subject. It made all the difference, in asserting any principle of war, whether one assumed that a discharge of artillery would merely knead down a certain quantity of red clay into a level line, as in a brick field; or whether, out of every separately Christian-named portion of the ruinous heap, there went out, into the smoke and dead-fallen air of battle, some astonished condition of soul, unwillingly released
pretended that all, or even the greater number of, the principles necessary to the well-being of the art, are included in the inquiry. Many, however, of considerable importance will be found to develope themselves incidentally from those more specially brought forward.
Graver apology is necessary for an apparently graver fault. It has been just said, that there is no branch of human work whose constant laws have not close analogy with those which govern every other mode of man's exertion. But, more than this, exactly as we reduce to greater simplicity and surety any one group of these practical laws, we shall find them passing the mere condition of connection or analogy, and becoming the actual expression of some ultimate nerve or fibre of the mighty laws which govern the moral world. However mean or inconsiderable the act, there is something in the well doing of it, which has fellowship with the noblest forms of manly virtue; and the truth, decision, and temperance, which we reverently regard as honor
is because the finest natures remain young to the death: and for you the first thing you have to do in art (as in life) is to be quiet and firm--quiet, above everything; and modest, with this most essential modesty, that you must like the landscape you are going to draw better than you expect to like your drawing of it, however well it may succeed. If you would not rather have the real thing than your sketch of it, you are not in a right state of mind for sketching at all. If you only think of the scene, "what a nice sketch this will make!" be assured you will never make a nice sketch of it. You may think you have produced a beautiful work; nay, perhaps the public and many fair judges will agree with you; but I tell you positively, there will be no enduring value in what you have thus done. Whereas if you think of the scene, "Ah, if I could only get some shadow or scrawl of this to carry away with me, how glad I should be!"--then whatever you do will be, according to your strength, good and progressive: it m
s are indispensable, and I am not without hope that the sense of secure advancement, and the pleasure of independent effort, may render the following out of even the more tedious exercises here proposed, possible to the solitary learner, without weariness. But if it should be otherwise, and he finds the first steps painfully irksome, I can only desire him to consider whether the acquirement of so great a power as that of pictorial expression of thought be not worth some toil; or whether it is likely, in the natural order of matters in this working world, that so great a gift should be attainable by those who will give no price for it.
xii. One task, however, of some difficulty, the student will find I have not imposed upon him: namely, learning the laws of perspective. It would be worth while to learn them, if he could do so easily; but without a master's help, and in the way perspective is at present explained in treatises, the difficulty is greater than the gain. For perspective is not of the slighte
He was hugely influential in the latter half of the 19th century, and up to the First World War. After a period of relative decline, his reputation has steadily improved since the 1960s with the publication of numerous academic studies of his work.