By John Ruskin
John Ruskin (1819-1900) is better recognized for his paintings as an artwork critic and social critic, yet is remembered as an writer, poet and artist in addition. Ruskin's essays on artwork and structure have been super influential within the Victorian and Edwardian eras. Ruskin's diversity was once monstrous. He wrote over 250 works which all started from artwork background, yet multiplied to hide issues ranging over technology, geology, ornithology, literary feedback, the environmental results of pollutants, and mythology. In 1848, he married Effie grey, for whom he wrote the early myth novel The King of the Golden River. After his dying Ruskin's works have been gathered jointly in a big "library edition", accomplished in 1912 by way of his buddies Edward prepare dinner and Alexander Wedderburn. Its index is famously complex, trying to articulate the complicated interconnectedness of his inspiration. His different works contain: Giotto and his works in Padua (1854), The Harbours of britain (1856), "A pleasure for Ever" (1857), The Ethics of the dirt (1866) and Hortus Inclusus.
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Extra info for Giotto and his Works in Padua (Illustrated Edition)
28 Giotto and His Works in Padua I. THE REJECTION OF JOACHIM’S OFFERING. “At that time, there was a man of perfect holiness, named Joachim, of the tribe of Juda, and of the city of Jerusalem. And this Joachim had in contempt the riches and honours of the world; and for greater despite to them, he kept his flocks, with his shepherds. ”... And he, being so holy and just, divided the fruits which he received from his flocks into three parts: a third part—wool, and lambs, and such like—he gave to God, that is to say, to those who served God, and who ministered in the temple of God; another third part he gave to widows, orphans, and pilgrims; the remaining third he kept for himself and his family.
XIV. THE ANNUNCIATION. —THE VIRGIN MARY. Vasari, in his notice of one of Giotto’s Annunciations, praises him for having justly rendered the fear of the Virgin at the address of the Angel. If he ever treated the subject in such a manner, he departed from all the traditions of his time; for I am aware of no painting of this scene, during the course of the thirteenth and following centuries, which does not represent the Virgin as perfectly tranquil, receiving the message of the Angel in solemn thought and gentle humility, but without a shadow of fear.
Much absurd discussion has taken place respecting its propriety; the whole question being simply whether the human mind can or cannot pass from the contemplation of one event to that of another, without reposing itself on an intermediate gilt frame. ***** VIII. THE PRESENTATION OF THE VIRGIN. “And when three years were expired, and the time of her weaning complete, they brought the Virgin to the temple of the Lord with offerings. “And there were about the temple, according to the fifteen Psalms of Degrees, fifteen stairs to ascend.
Giotto and his Works in Padua (Illustrated Edition) by John Ruskin