In the "Life and Times of Sydney Smith," by Stuart J. Reid (London, 1884, p. 374), appears a letter addressed to the author by Mr. Ruskin, to whom the book is dedicated:—
"My Dear Sir,—I wanted to tell you what deep respect I had for Sydney Smith; but my time has been cut to pieces ever since your note reached me. He was the first in the liter
1
This paper was written as a preface to a series of "Reminiscences" from the pen of the late Mr. W. H. Harrison, commenced in the University Magazine of May 1878. It was separately printed in that magazine in the preceding month, but owing to Mr. Ruskin's illness at the time, he was unable to see it through the press. A letter from Mr. Ruskin to Mr. Harrison, printed in "Arrows of the Chace," may be found of interest in connection with the opening statements of this paper.—[Ed.]
2
"Friendship's Offering" of 1835 included two poems, signed "J. R.," and entitled "Saltzburg" and "Fragments from a Metrical Journal; Andernacht and St. Goar."—[Ed.]
3
In the "Life and Times of Sydney Smith," by Stuart J. Reid (London, 1884, p. 374), appears a letter addressed to the author by Mr. Ruskin, to whom the book is dedicated:—
"Oxford, Nov. 15th, 1883.
"My Dear Sir,—I wanted to tell you what deep respect I had for Sydney Smith; but my time has been cut to pieces ever since your note reached me. He was the first in the literary circles of London to assert the value of 'Modern Painters,' and he has always seemed to me equally keen-sighted and generous in his estimate of literary efforts. His 'Moral Philosophy' is the only book on the subject which I care that my pupils should read, and there is no man (whom I have not personally known) whose image is so vivid in my constant affection.—Ever your faithful servant,
"John Ruskin."—[Ed.]
4
This essay is a review of two books by Lord Lindsay, viz., "Progression by Antagonism," published in 1846, and the "Sketches of the History of Christian Art," which appeared in the following year. It is, with the paper on Sir C. Eastlake's "History of Oil Painting," one of the very few anonymous writings of its author. "I never felt at ease" (says Mr. Ruskin, in speaking of anonymous criticism) "in my graduate incognito, and although I consented, some nine years ago, to review Lord Lindsay's 'Christian Art,' and Sir Charles Eastlake's 'Essay on Oil Painting,' in the Quarterly, I have ever since steadily refused to write even for that once respectable periodical" ("Academy Notes," No. II., 1856). For Mr. Ruskin's estimate of Lord Lindsay's work, see the "Eagle's Nest," § 46, and "Val d'Arno," § 264, where he speaks of him as his "first master in Italian art."—[Ed.]
5
With one exception (see p. 25) the quotations from Lord Lindsay are always from the "Christian Art."—Ed.
6
The reader must remember that this arcade was originally quite open, the inner wall having been built after the fire, in 1574.
7
"An Historical Essay on Architecture" by the late Thomas Hope. (Murray, 1835) chap, iv., pp. 23-31.
8
At the feet of his Madonna, in the Gallery of Bologna.
9
In many pictures of Angelico, the Infant Christ appears self-supported—the Virgin not touching the child.
10
The upper inscription Lord Lindsay has misquoted—it runs thus:—
"Salve Mater PietatisEt Totius TrinitatisNobile Triclinium."11
We have been much surprised by the author's frequent reference to Lasinio's engravings of various frescoes, unaccompanied by any warning of their inaccuracy. No work of Lasinio's can be trusted for anything except the number and relative position of the figures. All masters are by him translated into one monotony of commonplace:—he dilutes eloquence, educates naïveté, prompts ignorance, stultifies intelligence, and paralyzes power; takes the chill off horror, the edge off wit, and the bloom off beauty. In all artistical points he is utterly valueless, neither drawing nor expression being ever preserved by him. Giotto, Benozzo, or Ghirlandajo are all alike to him; and we hardly know whether he injures most when he robs or when he redresses.
