Book contents
- Frontmatter
- Contents
- LIST OF ILLUSTRATIONS
- INDEX TO THE ILLUSTRATIONS
- INTRODUCTION TO THIS VOLUME
- BIBLIOGRAPHICAL NOTE
- The Stones of Venice, Vol. II. (CONTANING THE TEXT OF ALL THE EDITIONS)
- FIRST, OR BYZANTINE, PERIOD
- SECOND, OR GOTHIC, PERIOD
- AUTHORS APPENDIX
- 1 THE GONDOLIER'S CRY
- 2 OUR LADY OF SALVATION
- 3 TIDES OF VENICE, AND MEASURES AT TORCELLO
- 4 DATE OF THE DUOMO OF TORCELLO
- 5 MODERN PULPITS
- 6 APSE OF MURANO
- 7 EARLY VENETIAN DRESS
- 8 INSCRIPTIONS AT MURANO
- 9 SHAFTS OF ST. MARK
- 10 PROPER SENSE OF THE WORD IDOLATRY
- 11 SITUATIONS OF BYZANTINE PALACES
- 12 MODERN PAINTING ON GLASS
- 13 LETTERS BY RUSKIN ON The Stones of Venice AND ITS INFLUENCE
- 14 PREFACE BY WILLIAM MORRIS TO CHAP. VI. (‘THE NATURE OF GOTHIC’)
- 15 NOTE BY THE AUTHOR TO CHAP. VIII. (‘THE DUCAL PALACE’)
- 16 THE CAPITALS OF THE DUCAL PALACE: LIST OF SUBJECTS
- Plate section
12 - MODERN PAINTING ON GLASS
Published online by Cambridge University Press: 05 November 2011
- Frontmatter
- Contents
- LIST OF ILLUSTRATIONS
- INDEX TO THE ILLUSTRATIONS
- INTRODUCTION TO THIS VOLUME
- BIBLIOGRAPHICAL NOTE
- The Stones of Venice, Vol. II. (CONTANING THE TEXT OF ALL THE EDITIONS)
- FIRST, OR BYZANTINE, PERIOD
- SECOND, OR GOTHIC, PERIOD
- AUTHORS APPENDIX
- 1 THE GONDOLIER'S CRY
- 2 OUR LADY OF SALVATION
- 3 TIDES OF VENICE, AND MEASURES AT TORCELLO
- 4 DATE OF THE DUOMO OF TORCELLO
- 5 MODERN PULPITS
- 6 APSE OF MURANO
- 7 EARLY VENETIAN DRESS
- 8 INSCRIPTIONS AT MURANO
- 9 SHAFTS OF ST. MARK
- 10 PROPER SENSE OF THE WORD IDOLATRY
- 11 SITUATIONS OF BYZANTINE PALACES
- 12 MODERN PAINTING ON GLASS
- 13 LETTERS BY RUSKIN ON The Stones of Venice AND ITS INFLUENCE
- 14 PREFACE BY WILLIAM MORRIS TO CHAP. VI. (‘THE NATURE OF GOTHIC’)
- 15 NOTE BY THE AUTHOR TO CHAP. VIII. (‘THE DUCAL PALACE’)
- 16 THE CAPITALS OF THE DUCAL PALACE: LIST OF SUBJECTS
- Plate section
Summary
Of all the various principles of art which, in modern days, we have defied or forgotten, none are more indisputable, and few of more practical importance than this, which I shall have occasion again and again to allege in support of many future deductions:
“All art, working with given materials, must propose to itself the objects which, with those materials, are most perfectly attainable; and becomes illegitimate and debased if it propose to itself any other objects better attainable with other materials.”
Thus, great slenderness, lightness, or intricacy of structure,—as in ramifications of trees, detached folds of drapery, or wreaths of hair,—is easily and perfectly expressible in metal-work or in painting, but only with great difficulty and imperfectly expressible in sculpture.
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- Chapter
- Information
- The Works of John Ruskin , pp. 455 - 457Publisher: Cambridge University PressPrint publication year: 2010First published in: 1904