[139] On Friday, March 8, 1872, entitled “Turner and Mulready—On the Effect of certain Faults of Vision on Painting, with especial reference to their Works.” The argument of the lecturer, and distinguished oculist, was that the change of style in the pictures of Turner was due to a change in his eyes which developed itself during the last twenty years of his life. (See “Proceedings of the Royal Institution,” 1872, vol. vi., p. 450.)
[140] “A History of the Gothic Revival.” By Charles L. Eastlake, F.R.I.B.A. London, Longman and Co., 1872.—In this work Mr. Eastlake had estimated very highly Mr. Ruskin’s influence, on modern architecture, whilst his reviewer was “disposed to say that Mr. Ruskin’s direct and immediate influences had almost always been in the wrong; and his more indirect influences as often in the right.” It is upon these words that Mr. Ruskin comments here, and to this comment the critic replied in a letter which appeared in the Pall Mall Gazette of the 20th inst. The main portion of his reply was as follows: “The direct influences, then, which I had principally in my mind were those which had resulted in a preference for Venetian over English Gothic, in the underrating of expressional character in architecture, and the overrating of sculptured ornament, especially of a naturalistic and imitative character, and more generally in an exclusiveness which limited the due influence of some, as I think, noble styles of architecture. By the indirect influences I meant the habit of looking at questions of architectural art in the light of imaginative ideas; the recognition of the vital importance of such questions even in their least important details; and generally an enthusiasm and activity which could have resulted from no less a force than Mr. Ruskin’s wondrously suggestive genius.” To this explanation Mr. Ruskin replied in his second letter on the subject.
[141] Mr. Street’s design for the New Law Courts was, after much discussion, selected, May 30, 1868, and approved by commission, August, 1870. The building was not, however, begun till February, 1874, and the hope expressed in this letter is therefore, unfortunately, no expression of opinion on the work itself.
[142] Denmark Hill.
[143] See “Arabian Windows in the Campo Santa Maria, Mater Domini,” Plate ii. of the “Examples of the Architecture of Venice,” selected and drawn to measurement from the edifice, 1851. And see, too, “Stones of Venice,” vol. ii., chap, vii., Gothic Palaces.
[144] This letter was originally received by “a Liverpool gentleman,” and sent inclosed in a long letter signed “An Antiquarian,” to the Liverpool Daily Post.
[145] An obvious misprint for “stone-layers.”
[146] Ribbesford Church was finally closed after the morning service on Sunday, July 15, 1877. It was then restored, and was reopened and reconsecrated on June 15, 1879. The Kidderminster Times of the 21st inst. contained an account of a meeting of the Ribbesford parishioners to consider the restoration of the church. Hence the allusions in this letter to “copying” the traceries.
[147] This circular, which was distributed as above noted during the winter of 1879-80, is here reprinted by Mr. Ruskin’s permission, in connection with the preceding letters upon restoration in architecture. See the Notes on Prout and Hunt, 1879-80, p. 71.
[148] In February, 1878; see the “Turner Notes” of that year, and “Fors Clavigera,” New Series—Letter the Fourth, March, 1880.