File:Ariadne florentina; six lectures on wood and metal engraving, with appendix; given before the University of Oxford in Michaelmas term, 1872. (1892) (14576506370).jpg

English:
Poesia: This is Poetry, sitting by the fountain of Castalia, which flows first out of a formal urn, to show that it is not artless; but the rocks of Parnassus are behind...

Identifier: ariadneflorentin1892rusk (find matches)
Title: Ariadne florentina; six lectures on wood and metal engraving, with appendix; given before the University of Oxford in Michaelmas term, 1872.
Year: 1892 (1890s)
Authors: Ruskin, John, 1819-1900 Norton, Charles Eliot, 1827-1908, author of introduction, etc
Subjects: Engraving Wood-engraving
Publisher: New York : Charles E. Merrill & Co.
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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ate valueever be produced in the modern method. 135. Nevertheless, in landscape, there aretwo examples in your Reference series, of in-superable skill and extreme beauty: Millersplate, before instanced, of the Grand Canal,Venice; and E. GoodalFs of the upper fall ofthe Tees. The men who engraved these platesmight have been exquisite artists; but theirpatience and enthusiasm were held captive inthe false system of lines, and we lost thepainters; while the engravings, wonderful asthey are, are neither of them worth a Turneretching, scratched in ten minutes with the pointof an old fork ; and the common types of suchelaborate engraving are none of them worth asingle frog, pig, or puppy, out of the corner ofa Bewick vignette. 136. And now, I think, you cannot fail tounderstand clearly what you are to look for inengraving, as a separate art from that of paint-ing. Turn back to the ^ Astrologia as a perfecttype of the purest school. She is gazing atstars, and crowned with them. But the stars
Text Appearing After Image:
IVBy the Springs of Parnassus. METAL ENGRAVING. I 3/ are black instead of shining ! You cannot havea more decisive and absolute proof that youmust not look in engraving for chiaroscuro. Nevertheless, her body is half in shade, andher left foot; and she casts a shadow, and thereis a bar of shade behind her. All these are merely so much acceptance ofshade as may relieve the forms, and give valueto the linear por<-ions. The face, though turnedfrom the light, is shadowless. Again. Every lock of the hair is designedand set in its place with the subtlest care, butthere is no lustre attempted,—no texture,—nomystery. The plumes of the wings are setstudiously in their places,—they, also, lustre-less. That even their filaments are not drawn,and that the broad curve embracing themignores the anatomy of a birds wing, are con-ditions of design, not execution. Of these in afuture lecture.* 137. The * Poesia, Plate IV., opposite, is astill more severe, though not so generic, anexample; its

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