By John Ruskin, Edward Tyas Cook (editor), Alexander Wedderburn (editor)
The effect of John Ruskin (1819-1900), either on his personal time and on inventive and social advancements within the 20th century, can't be over-stated. He replaced Victorian perceptions of artwork, and was once the most impact at the back of 'Gothic revival' structure. As a social critic, he argued for the advance of the of the bad, and opposed to the expanding mechanisation of labor in factories, which he believed used to be uninteresting and soul-destroying. The thirty-nine volumes of the Library variation of his works, released among 1903 and 1912, are themselves a awesome success, during which his books and essays - just about all hugely illustrated - are given a biographical and important context in prolonged introductory essays and within the 'Minor Ruskiniana' - extracts from letters, articles and memories either via and approximately Ruskin. This twenty-fifth quantity comprises Ruskin's writings on birds (Love's Meinie) and plant life (Proserpina).
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XXII. p. 519. 3 4 W. G. Collingwood's Life and Work of John Ruskin, 1900, p. 302. See Vol. XXI. p. 227; other drawings by the same artist are in the Ruskin Museum at Sheffield. 6 See below, p. 57. 0 Vol. XIX. p. 369. 7 Deucalion, i. ch. xii. § 40. , in St. George, vol. vi. p. 13. 2 INTRODUCTION xxxi true, beautiful, and vivid as far as they go, and are calculated to stimulate thought or fancy. Love's Meinie is, as Ruskin says, a fragment only of what he intended, and it is a combination of two not wholly congruous schemes.
Furred Anemone. In its perfection an entirely exquisite type of symmetrical hexfoil cup, as severe in structure as a tulip, but more firm and pure in line—set in another cup formed of the green fibres of its holding leaf. These fibres are dark russet green, beset with quantities of fibres of the exact texture of the finest silky amianthus, these fibres a lovely fox-brown, gleaming continually into light out of shade ; grey at the base and casting brown shadow on the violet cup above, which, however, itself is browned at the base.
A cluster of thick, succulent, aloe-like leaves some two or three inches long, close to the rock, borne up, diminishing; gradually by the central virga,2 in a rudely successive order, tending to throw itself into triple groups, two leaves near each other, opposite, and one above, half-way round between them, a branch bearing clusters of flowers, springing above each leaf; itself again a smaller image of the whole flower, having tiny leaves, it also, and little branches above them bearing the flowers, but even these third-order branches showing tendency to bear little leaves again.