The Pleasures of England Lectures given in Oxford

JOHN RUSKIN, (1) A small piece from Tintoret's Paradiso in the Ducal Palace, representing the group of St. Ambrose, St. Jerome, St. Gregory, St. Augustine, and behind St. Augustine his mother watching him, her chief joy even in Paradise. (2) The Arundel Society's reproduction of the Altar-piece by Giorgione in his native hamlet of Castel Franco. The Arundel Society has done more for us than we have any notion of. FOOTNOTES. Footnote 1: (return) Gibbon, in his 37th chapter, makes Ulphilas also an Arian, but might have forborne, with grace, his own definition of orthodoxy:—and you are to observe generally that at this time the teachers who admitted the inferiority of Christ to the Father as touching his Manhood, were often counted among Arians, but quite falsely. Christ's own words, "My Father is greater than I," end that controversy at once. Arianism consists not in asserting the subjection of the Son to the Father, but in denying the subjected Divinity. Footnote 2: (return) Making a sign. Footnote 3: (return) Here Alfred's Silver Penny was shown and commented on, thus:—Of what London was like in the days of faith, I can show you one piece of artistic evidence. It is Alfred's silver penny struck in London mint. The character of a coinage is quite conclusive evidence in national history, and there is no great empire in progress, but tells its story in beautiful coins. Here in Alfred's penny, a round coin with L.O.N.D.I.N.I.A. struck on it, you have just the same beauty of design, the same enigmatical arrangement of letters, as in the early inscription, which it is "the pride of my life" to have discovered at Venice. This inscription ("the first words that Venice ever speaks aloud") is, it will be remembered, on the Church of St. Giacomo di Rialto, and runs, being interpreted—"Around this temple, let the merchant's law be just, his weights true, and his covenants faithful." Footnote 4: (return) Not Londinian . Footnote 5: (return) From St. Augustine's 'Citie of God,' Book V., ch. xi. (English trans., printed by George Eld, 1610.) Footnote 6: (return) Here one of the "Stones of Westminster" was shown and commented on. Footnote 7: (return) At Munich: the leaf has been exquisitely drawn and legend communicated to me by Professor Westwood. It is written in gold on purple. Footnote 8: (return) Meaning—not that he is of those few, but that, without comprehending, at least, as a dog, he can love. Footnote 9: (return) Turner, vol. i., p. 223. Footnote 10: (return) Properly plural 'Images'—Irminsul and Irminsula. Footnote 11: (return) I had not time to quote it fully in the lecture; and in my ignorance, alike of Keltic and Hebrew, can only submit it here to the reader's examination. "The ancient Cognizance of the town confirms this etymology beyond doubt, with customary heraldic precision. The shield bears a Rose ; with a Maul , as the exact phonetic equivalent for the expletive. If the herald had needed to express 'bare promontory,' quite certainly he would have managed it somehow. Not only this, the Earls of Haddington were first created Earls of Melrose (1619); and their Shield, quarterly, is charged, for Melrose, in 2nd and 3rd (fesse wavy between) three Roses gu. "Beyond this ground of certainty, we may indulge in a little excursus into lingual affinities of wide range. The root mol is clear enough. It is of the same stock as the Greek mála , Latin mul ( tum ), and Hebrew m'la . But, Rose ? We call her Queen of Flowers, and since before the Persian poets made much of her, she was everywhere Regina Florum . Why should not the name mean simply the Queen, the Chief? Now, so few who know Keltic know also Hebrew, and so few who know Hebrew know also Keltic, that few know the surprising extent of the affinity that exists—clear as day—between the Keltic and the Hebrew vocabularies. That the word Rose may be a case in point is not hazardously speculative." Footnote 12: (return) Article "Architecture," vol. i., p. 138. Footnote 13: (return) They had brought some, of a variously Charybdic, Serpentine, and Diabolic character.—J.R. Footnote 14: (return) Of Oxford, during the afternoon service. Footnote 15: (return) See the concluding section of the lecture. Footnote 16: (return) Article "Château," vol. iii, p. 65. Footnote 17: (return) I give Sismondi's idea as it stands, but there was no question in the matter of monotony or of danger. The journey was made on foot because it was the most laborious way, and the most humble. Footnote 18: (return) See farther on, p. 110, the analogies with English arrangements of the same kind. Footnote 19: (return) In Lombardy, south of Pavia. Footnote 20: (return) This was prevented by the necessity for the re-arrangement of my terminal Oxford lectures: I am now preparing that on Sir Herbert for publication in a somewhat expanded form. Footnote 21: (return) Given at much greater length in the lecture, with diagrams from Iffley and Poictiers, without which the text of them would be unintelligible. The sum of what I said was a strong assertion of the incapacity of the Normans for any but the rudest and most grotesque sculpture,—Poictiers being, on the contrary, examined and praised as Gallic-French—not Norman. Footnote 22: (return) Meaning that all healthy minds possess imagination, and use it at will, under fixed laws of truthful perception and memory. Footnote 23: (return) Vide pp. 124-5. Footnote 24: (return) If the reader believes in no spiritual agency, still his understanding of the first letters in the Alphabet of History depends on his comprehending rightly the tempers of the people who did . Footnote 25: (return) "But, standing in the lowest place, And mingled with the work-day crowd, A poor man looks, with lifted face, And hears the Angels cry aloud. "He seeks not how each instant flies, One moment is Eternity; His spirit with the Angels cries To Thee, to Thee, continually. "What if, Isaiah-like, he know His heart be weak, his lips unclean, His nature vile, his office low, His dwelling and his people mean? "To such the Angels spake of old— To such of yore, the glory came; These altar fires can ne'er grow cold: Then be it his, that cleansing flame." These verses, part of a very lovely poem, "To Thee all Angels cry aloud," in the 'Monthly Packet' for September 1873, are only signed 'Veritas.' The volume for that year (the 16th) is well worth getting, for the sake of the admirable papers in it by Miss Sewell, on questions of the day; by Miss A.C. Owen, on Christian Art; and the unsigned Cameos from English History. Footnote 26: (return) Turner, quoting William of Malmesbury, "Crassioris et hebetis ingenii,"—meaning that he had neither ardour for war, nor ambition for kinghood. Footnote 27: (return) Turner, Book IV.,—not a vestige of hint from the stupid Englishman, what the Pope wanted with crown, sword, or image! My own guess would be, that it meant an offering of the entire household strength, in war and peace, of the Saxon nation,—their crown, their sword, their household gods, Irminsul and Irminsula, their feasting, and their robes. Footnote 28: (return) Again, what does this mean? Gifts of honour to the Pope's immediate attendants—silver to all Rome? Does the modern reader think this is buying little Alfred's consecration too dear, or that Leo is selling the Holy Ghost? Footnote 29: (return) "Quæ in eorum lingua Burgus dicitur,—the place where it was situated was called the Saxon street, Saxonum vicum" (Anastasius, quoted by Turner). There seems to me some evidence in the scattered passages I have not time to collate, that at this time the Saxon Burg, or tower, of a village, included the idea of its school. Footnote 30: (return) 'Fors Clavigera,' March, 1871, p. 19. Yet read the preceding pages, and learn the truth of the lion heart, while you mourn its pride. Note especially his absolute law against usury. Footnote 31: (return) The reference to the Bible of Charles le Chauve was added to my second lecture (page 54), in correcting the press, mistakenly put into the text instead of the notes. THE WORKS OF JOHN RUSKIN, (Separately and in Sets.) AN INQUIRY INTO SOME OF THE CONDITIONS AFFECTING "THE STUDY OF ARCHITECTURE" IN OUR SCHOOLS. 12mo, paper. $ 10 ARATRA PENTELICI. Six Lectures on the Elements of Sculpture, given before the University of Oxford, with cuts. 12mo, russet cloth. 50 DITTO, With 21 full-page plates (two colored), printed separately. 12mo, russet cloth. 1 00 ARIADNE FLORENTINA. Six Lectures on Wood and Metal Engraving, given before the University of Oxford, 12mo, cloth. Complete with Appendix. 12mo, russet cloth. 50 DITTO. 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