It was in 1835, at the age of sixteen, that Ruskin made his first appearance in the public press by contributing a series of geological articles, with illustrations by himself, to the Magazine of Natural History. Later on, under the pseudonym of "Kata Phusin" ("According to Nature"), he printed other papers on Art and Architecture in London's Architectural Magazine which in 1892 were republished in sumptuous garb under the title of "The Poetry of Architecture." He was but eighteen when he wrote this book. In later years he excused the anonymity he had preserved in respect to it, by pleading that the public would hardly have felt inclined to accept such frank dogmatism from one so young.
If one turns this first serious piece of Art criticism he attempted, in 'The Poetry of Architecture,' one is much struck by the precocity of his right judgment, as well as by the originality of his treatment of the subject, but one is more struck by the beauty of his English.
His happiest hunting ground for the ideal and idyllic mountain cottage appears to have been Troutbeck and Scandale, and very fortunate it was that he came into the country before the hand of modern improvement and the cottage - built - by - contract business had superseded such efforts of the dalesmen to meet the needs of generation after generation by alteration and addition to their farms and cottages. The charm of the cottage of Westmoreland and Cumberland was that it was lowly in its own eyes, a natural product, a thing that had grown up in perfect harmony with its surroundings, strong to withstand the wear and tear of mountain storms, and glad to emphasize by the curl of its living smoke-wreath the loneliness of its solitude.
The chief charm in Ruskin's eyes was that in all its characteristics it told the nature of the men who dwelt therein. Men of sturdy, enduring, self-dependent mind, who cared little for show and hated all sham. "The uncultivated mountaineer of Cumberland," says Ruskin, at the end of his chapter on 'The Mountain Cottage,' "has no taste and no idea of what architecture means. He never thinks of what is right and what is beautiful, but he builds what is most adapted to his purpose and most easily erected; by suiting the building to the use of his own life he gives it humility, and by raising it with the nearest material adapts it to its situation."
The prophet of the 'beauty of use, and use of beauty' found at the age of eighteen in our lakeland hills texts which he could preach from all his life; and certainly laid here in the summer tours of 1837 and the following year, the foundation-stone of much of his Art criticism.
Ruskin had seen, but he had not at this date spoken with Wordsworth. One can easily imagine after perusing Wordsworth's guide to the scenery of the Lakes, and notably his chapter on the cottages of the Lake country, with what gladness the old Rydalian bard would have welcomed in this younger poet and prophet of the English Lakes so staunch a supporter of his own views.
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If one turns this first serious piece of Art criticism he attempted, in 'The Poetry of Architecture,' one is much struck by the precocity of his right judgment, as well as by the originality of his treatment of the subject, but one is more struck by the beauty of his English.
His happiest hunting ground for the ideal and idyllic mountain cottage appears to have been Troutbeck and Scandale, and very fortunate it was that he came into the country before the hand of modern improvement and the cottage - built - by - contract business had superseded such efforts of the dalesmen to meet the needs of generation after generation by alteration and addition to their farms and cottages. The charm of the cottage of Westmoreland and Cumberland was that it was lowly in its own eyes, a natural product, a thing that had grown up in perfect harmony with its surroundings, strong to withstand the wear and tear of mountain storms, and glad to emphasize by the curl of its living smoke-wreath the loneliness of its solitude.
The chief charm in Ruskin's eyes was that in all its characteristics it told the nature of the men who dwelt therein. Men of sturdy, enduring, self-dependent mind, who cared little for show and hated all sham. "The uncultivated mountaineer of Cumberland," says Ruskin, at the end of his chapter on 'The Mountain Cottage,' "has no taste and no idea of what architecture means. He never thinks of what is right and what is beautiful, but he builds what is most adapted to his purpose and most easily erected; by suiting the building to the use of his own life he gives it humility, and by raising it with the nearest material adapts it to its situation."
The prophet of the 'beauty of use, and use of beauty' found at the age of eighteen in our lakeland hills texts which he could preach from all his life; and certainly laid here in the summer tours of 1837 and the following year, the foundation-stone of much of his Art criticism.
Ruskin had seen, but he had not at this date spoken with Wordsworth. One can easily imagine after perusing Wordsworth's guide to the scenery of the Lakes, and notably his chapter on the cottages of the Lake country, with what gladness the old Rydalian bard would have welcomed in this younger poet and prophet of the English Lakes so staunch a supporter of his own views.
The Poetry of Architecture (Illustrated)
It was in 1835, at the age of sixteen, that Ruskin made his first appearance in the public press by contributing a series of geological articles, with illustrations by himself, to the Magazine of Natural History. Later on, under the pseudonym of "Kata Phusin" ("According to Nature"), he printed other papers on Art and Architecture in London's Architectural Magazine which in 1892 were republished in sumptuous garb under the title of "The Poetry of Architecture." He was but eighteen when he wrote this book. In later years he excused the anonymity he had preserved in respect to it, by pleading that the public would hardly have felt inclined to accept such frank dogmatism from one so young.
If one turns this first serious piece of Art criticism he attempted, in 'The Poetry of Architecture,' one is much struck by the precocity of his right judgment, as well as by the originality of his treatment of the subject, but one is more struck by the beauty of his English.
His happiest hunting ground for the ideal and idyllic mountain cottage appears to have been Troutbeck and Scandale, and very fortunate it was that he came into the country before the hand of modern improvement and the cottage - built - by - contract business had superseded such efforts of the dalesmen to meet the needs of generation after generation by alteration and addition to their farms and cottages. The charm of the cottage of Westmoreland and Cumberland was that it was lowly in its own eyes, a natural product, a thing that had grown up in perfect harmony with its surroundings, strong to withstand the wear and tear of mountain storms, and glad to emphasize by the curl of its living smoke-wreath the loneliness of its solitude.
The chief charm in Ruskin's eyes was that in all its characteristics it told the nature of the men who dwelt therein. Men of sturdy, enduring, self-dependent mind, who cared little for show and hated all sham. "The uncultivated mountaineer of Cumberland," says Ruskin, at the end of his chapter on 'The Mountain Cottage,' "has no taste and no idea of what architecture means. He never thinks of what is right and what is beautiful, but he builds what is most adapted to his purpose and most easily erected; by suiting the building to the use of his own life he gives it humility, and by raising it with the nearest material adapts it to its situation."
The prophet of the 'beauty of use, and use of beauty' found at the age of eighteen in our lakeland hills texts which he could preach from all his life; and certainly laid here in the summer tours of 1837 and the following year, the foundation-stone of much of his Art criticism.
Ruskin had seen, but he had not at this date spoken with Wordsworth. One can easily imagine after perusing Wordsworth's guide to the scenery of the Lakes, and notably his chapter on the cottages of the Lake country, with what gladness the old Rydalian bard would have welcomed in this younger poet and prophet of the English Lakes so staunch a supporter of his own views.
If one turns this first serious piece of Art criticism he attempted, in 'The Poetry of Architecture,' one is much struck by the precocity of his right judgment, as well as by the originality of his treatment of the subject, but one is more struck by the beauty of his English.
His happiest hunting ground for the ideal and idyllic mountain cottage appears to have been Troutbeck and Scandale, and very fortunate it was that he came into the country before the hand of modern improvement and the cottage - built - by - contract business had superseded such efforts of the dalesmen to meet the needs of generation after generation by alteration and addition to their farms and cottages. The charm of the cottage of Westmoreland and Cumberland was that it was lowly in its own eyes, a natural product, a thing that had grown up in perfect harmony with its surroundings, strong to withstand the wear and tear of mountain storms, and glad to emphasize by the curl of its living smoke-wreath the loneliness of its solitude.
The chief charm in Ruskin's eyes was that in all its characteristics it told the nature of the men who dwelt therein. Men of sturdy, enduring, self-dependent mind, who cared little for show and hated all sham. "The uncultivated mountaineer of Cumberland," says Ruskin, at the end of his chapter on 'The Mountain Cottage,' "has no taste and no idea of what architecture means. He never thinks of what is right and what is beautiful, but he builds what is most adapted to his purpose and most easily erected; by suiting the building to the use of his own life he gives it humility, and by raising it with the nearest material adapts it to its situation."
The prophet of the 'beauty of use, and use of beauty' found at the age of eighteen in our lakeland hills texts which he could preach from all his life; and certainly laid here in the summer tours of 1837 and the following year, the foundation-stone of much of his Art criticism.
Ruskin had seen, but he had not at this date spoken with Wordsworth. One can easily imagine after perusing Wordsworth's guide to the scenery of the Lakes, and notably his chapter on the cottages of the Lake country, with what gladness the old Rydalian bard would have welcomed in this younger poet and prophet of the English Lakes so staunch a supporter of his own views.
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The Poetry of Architecture (Illustrated)
The Poetry of Architecture (Illustrated)
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Product Details
| BN ID: | 2940013725089 |
|---|---|
| Publisher: | Leila's Books |
| Publication date: | 01/06/2012 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| File size: | 1 MB |
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