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Table of contents
Modest as these practical schemes were, they represented a symbolic challenge to the existing state of society. Yet his greatest practical experiments would come in his later years. Ruskin lectured widely in the s, giving the Rede lecture at the University of Cambridge in , for example. Ruskin's widely admired lecture, Traffic , on the relation between taste and morality, was delivered in April at Bradford Town Hall, to which he had been invited because of a local debate about the style of a new Exchange building. The lectures that comprised Sesame and Lilies published , delivered in December at the town halls at Rusholme and Manchester , are essentially concerned with education and ideal conduct.
This book proved to be one of Ruskin's most popular, and was regularly awarded as a Sunday School prize. It was here that he said, "The art of any country is the exponent of its social and political virtues. He also established a large collection of drawings, watercolours and other materials over frames that he used to illustrate his lectures. The School challenged the orthodox, mechanical methodology of the government art schools the "South Kensington System". Ruskin's lectures were often so popular that they had to be given twice—once for the students, and again for the public.
Most of them were eventually published see Select Bibliography below. He lectured on a wide range of subjects at Oxford, his interpretation of "Art" encompassing almost every conceivable area of study, including wood and metal engraving Ariadne Florentina , the relation of science to art The Eagle's Nest and sculpture Aratra Pentelici. His lectures ranged through myth, ornithology, geology, nature-study and literature. When he criticised Michelangelo in a lecture in June it was seen as an attack on the large collection of that artist's work in the Ashmolean Museum.
Most controversial, from the point of view of the University authorities, spectators and the national press, was the digging scheme on Ferry Hinksey Road at North Hinksey , near Oxford , instigated by Ruskin in , and continuing into , which involved undergraduates in a road-mending scheme. It helped to foster a public service ethic that was later given expression in the university settlements , [] and was keenly celebrated by the founders of Ruskin Hall, Oxford. In , Ruskin resigned from Oxford, but resumed his Professorship in , only to resign again in In January , the month before Ruskin started to lecture the wealthy undergraduates at Oxford University , he began his series of 96 monthly "letters to the workmen and labourers of Great Britain" under the title Fors Clavigera — The letters were published irregularly after the 87th instalment in March These letters were personal, dealt with every subject in his oeuvre, and were written in a variety of styles, reflecting his mood and circumstances.
He found particular fault with Nocturne in Black and Gold: The Falling Rocket , and accused Whistler of "ask[ing] two hundred guineas for flinging a pot of paint in the public's face".
Whistler won the case, which went to trial in Ruskin's absence in he was ill , but the jury awarded damages of only one farthing to the artist. Court costs were split between the two parties. Ruskin's were paid by public subscription, but Whistler was bankrupt within six months.
The episode tarnished Ruskin's reputation, however, and may have accelerated his mental decline.
Ruskin founded his utopian society, the Guild of St George , in although originally it was called St George's Fund, and then St George's Company, before becoming the Guild in Its aims and objectives were articulated in Fors Clavigera. Ruskin purchased land initially in Totley , near Sheffield , but the agricultural scheme established there by local communists met with only modest success after many difficulties.
In principle, Ruskin worked out a scheme for different grades of "Companion", wrote codes of practice, described styles of dress and even designed the Guild's own coins. In reality, the Guild, which still exists today as a charitable education trust, has only ever operated on a small scale. Ruskin also wished to see traditional rural handicrafts revived. George's Mill was established at Laxey , Isle of Man , producing cloth goods.
The Guild also encouraged independent but allied efforts in spinning and weaving at Langdale , in other parts of the Lake District and elsewhere, producing linen and other goods exhibited by the Home Arts and Industries Association and similar organisations. The Guild's most conspicuous and enduring achievement was the creation of a remarkable collection of art, minerals, books, medieval manuscripts, architectural casts, coins and other precious and beautiful objects. Housed in a cottage museum high on a hill in the Sheffield district of Walkley , it opened in , and was curated by Henry and Emily Swan.
The original Museum has been digitally recreated online.
The collection is now on display at Sheffield 's Millennium Gallery. Maria La Touche, a minor Irish poet and novelist, asked Ruskin to teach her daughters drawing and painting in Rose La Touche was ten, Ruskin nearly Ruskin gradually fell in love with her. Their first meeting came at a time when Ruskin's own religious faith was under strain.
This always caused difficulties for the staunchly Protestant La Touche family who at various times prevented the two from meeting. A chance meeting at the Royal Academy in was one of the few occasions they came into personal contact thereafter.
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She finally rejected him in , but they still occasionally met, for the final time on 15 February After a long illness, she died on 25 May , at the age of These events plunged Ruskin into despair and led to increasingly severe bouts of mental illness involving a number of breakdowns and delirious visions. The first of these had occurred in at Matlock, Derbyshire , a town and a county that he knew from his boyhood travels, whose flora, fauna, and minerals helped to form and reinforce his appreciation and understanding of nature.
Ruskin turned to spiritualism. He attended seances at Broadlands , which he believed gave him the ability to communicate with the dead Rose, which, in turns, both comforted and disturbed him. Ruskin's increasing need to believe in a meaningful universe and a life after death , both for himself and his loved ones, helped to revive his Christian faith in the s. Ruskin continued to travel, studying the landscapes, buildings and art of Europe. Ruskin embraced the emerging literary forms, the travel guide and gallery guide , writing new works, and adapting old ones "to give", he said, "what guidance I may to travellers Ruskin directed his readers, the would-be traveller, to look with his cultural gaze at the landscapes, buildings and art of France and Italy: Mornings in Florence —77 , The Bible of Amiens —85 a close study of its sculpture and a wider history , St Mark's Rest —84 and A Guide to the Principal Pictures in Venice In the s, Ruskin returned to some literature and themes that had been among his favourites since childhood.
He wrote about Scott , Byron and Wordsworth in Fiction, Fair and Foul [] and returned to meteorological observations in his lectures, The Storm-Cloud of the Nineteenth-Century , [] describing the apparent effects of industrialisation on weather patterns. Ruskin's Storm-Cloud has been seen as foreshadowing environmentalism and related concerns in the 20th and 21st centuries.
His last great work was his autobiography, Praeterita —89 [] meaning, 'Of Past Things' , a highly personalised, selective, eloquent but incomplete account of aspects of his life, the preface of which was written in his childhood nursery at Herne Hill. The period from the late s was one of steady and inexorable decline.
Gradually it became too difficult for him to travel to Europe.
He suffered a complete mental collapse on his final tour, which included Beauvais , Sallanches and Venice , in The emergence and dominance of the Aesthetic movement and Impressionism distanced Ruskin from the modern art world, his ideas on the social utility of art contrasting with the doctrine of "l'art pour l'art" or "art for art's sake" that was beginning to dominate.
His later writings were increasingly seen as irrelevant, especially as he seemed to be more interested in book illustrators such as Kate Greenaway than in modern art. He also attacked aspects of Darwinian theory with increasing violence, although he knew and respected Darwin personally.
In August , Ruskin purchased, from W. Brantwood was Ruskin's main home from until his death. His estate provided a site for more of his practical schemes and experiments: he had an ice house built, and the gardens comprehensively rearranged. He oversaw the construction of a larger harbour from where he rowed his boat, the Jumping Jenny , and he altered the house adding a dining room, a turret to his bedroom to give him a panoramic view of the lake, and he later extended the property to accommodate his relatives.
He built a reservoir, and redirected the waterfall down the hills, adding a slate seat that faced the tumbling stream and craggy rocks rather than the lake, so that he could closely observe the fauna and flora of the hillside. Although Ruskin's 80th birthday was widely celebrated in various Ruskin societies presenting him with an elaborately illuminated congratulatory address , Ruskin was scarcely aware of it. He was buried five days later in the churchyard at Coniston , according to his wishes. Joanna's Care was the eloquent final chapter of Ruskin's memoir, which he dedicated to her as a fitting tribute.
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Joan Severn, together with Ruskin's secretary, W. Collingwood , and his eminent American friend Charles Eliot Norton , were executors to his will. Cook and Alexander Wedderburn edited the monumental volume Library Edition of Ruskin's Works , the last volume of which, an index, attempts to demonstrate the complex interconnectedness of Ruskin's thought. They all acted together to guard, and even control, Ruskin's public and personal reputation. The centenary of Ruskin's birth was keenly celebrated in , but his reputation was already in decline and sank further in the fifty years that followed.
Brantwood was opened in as a memorial to Ruskin and remains open to the public today. In middle age, and at his prime as a lecturer, Ruskin was described as slim, perhaps a little short, [] with an aquiline nose and brilliant, piercing blue eyes. Often sporting a double-breasted waistcoat, a high collar and, when necessary, a frock coat, he also wore his trademark blue neckcloth.
The following description of Ruskin as a lecturer was written by an eyewitness, who was a student at the time :. I went off, never dreaming of difficulty about getting into any professorial lecture; but all the accesses were blocked, and finally I squeezed in between the Vice-Chancellor and his attendants as they forced a passage. Every inch was crowded, and still no lecturer; and it was not apparent how he could arrive. Presently there was a commotion in the doorway, and over the heads and shoulders of tightly packed young men, a loose bundle was handed in and down the steps, till on the floor a small figure was deposited, which stood up and shook itself out, amused and good humoured, climbed on to the dais, spread out papers and began to read in a pleasant though fluting voice.
The title did not suggest an exhortation to join a Socialist alliance, but that was what we got. When he ended, the Master of University, Dr Bright, stood up and instead of returning thanks, protested that the hall had been lent for a lecture on art and would certainly not have been made available for preaching Socialism. He stammered a little at all times, and now, finding the ungracious words literally stick in his throat, sat down, leaving the remonstrance incomplete but clearly indicated.
The situation was most unpleasant. Morris at any time was choleric and his face flamed red over his white shirt front: he probably thought he had conceded enough by assuming against his usage a conventional garb. There was a hubbub, and then from the audience Ruskin rose and instantly there was quiet. With a few courteous well chosen sentences he made everybody feel that we were an assembly of gentlemen, that Morris was not only an artist but a gentleman and an Oxford man, and had said or done nothing which gentlemen in Oxford should resent; and the whole storm subsided before that gentle authority.
Ruskin's influence reached across the world. Tolstoy described him as "one of the most remarkable men not only of England and of our generation, but of all countries and times" and quoted extensively from him, rendering his ideas into Russian. He commissioned sculptures and sundry commemorative items, and incorporated Ruskinian rose motifs in the jewellery produced by his cultured pearl empire.
He established the Ruskin Society of Tokyo and his children built a dedicated library to house his Ruskin collection. A number of utopian socialist Ruskin Colonies attempted to put his political ideals into practice.
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Theorists and practitioners in a broad range of disciplines acknowledged their debt to Ruskin. Chesterton , Hilaire Belloc , T. Eliot , W. Yeats and Ezra Pound felt Ruskin's influence. Aside from E. Cook , Ruskin's editor and biographer, other leading British journalists influenced by Ruskin include J. Spender , and the war correspondent H. William Morris and C. Ashbee of the Guild of Handicraft were keen disciples, and through them Ruskin's legacy can be traced in the arts and crafts movement. Ruskin's ideas on the preservation of open spaces and the conservation of historic buildings and places inspired his friends Octavia Hill and Hardwicke Rawnsley to help found the National Trust.