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LEAVES FROM THE PORTFOLIO OF A MANAGER.-N0. VIII. Srephen Gosson,
STUBBES, COLLIER, BEDFORD, LAW, AND SOME LATER WRITERS AGAINST THE
STAGE . . . . . .
GRÆFENBERG IN AUSTRIAN SILESIA, PART II. .
THE PARSON'S TWO VISITS
MAURICE TIERNAY, THE SOLDIER OF FORTUNE. CHAPTER XLIII.-A FOREST
RIDE. CHAPTER XLIV.-AN EPISODE OF '94. CHAPTER XLV.—THE CABINET
SCENES AND STORIES FROM THE SPANISH STAGE.-N0. IV. CALDERON'S
“CONSTANT PRINCE" . SLINGSBY IN SCOTLAND
THE CHURCH OF ROME IN HER RELATIONS WITII SECULAR GOVERNMENTS
DUBLIN JAMES M'GLASHAN, 50 UPPER SACKVILLE-ST. WM. S. ORR AND CO., LONDON AND LIVERPOOL.
SOLD BY ALL BOOKSELLERS.
WHEN we read the title of Mr. Ruskin's new work, “The Stones of Venice, Vol. I.-The Foundations,” we imagined that our author was about to give us an essay on Venetian architecture, beginning with the basements and substructions of the several palaces. A dissertation on the different sorts of piles, of rubble, and concrete employed in levelling the stages for the erection of these beautiful edifices would be sufficiently entertaining. The gondoliers of the #. canal point to a palace near the
ialto, built, as they tell you, on piles of cedar, the cost of which, they allege, was twice as great as that of the marble superstructure. We thought that Mr. Ruskin was about to let the light of genius into these submarine and subterranean depositories of masonic skill, and made no doubt that our admiration of the visible beauties of Venice would be enhanced by his exposition of the unseen wonders of labour that support them. At the same time, we experienced a somewhat gloomy apprehension of being immersed throughout an entire volume in coffer dams, crypts, tanks, wood-vaults, and cellars, notwithstanding the graphic art with which we were sure everything grand and well designed in these departments would be illustrated by Mr. Ruskin. Mr. Ruskin, however, delights in paronomastic titles. His Seven Lamps of Architecture included Darkness as well as Light; and his “ Foundations" of the Stones of Venice comprise everything from the basement to the ridgetile in all sorts of architecture as well
as the Venetian. But he is a man of genius, and has the privilege of communicating his thoughts in any kind of phrase that may please his beneficent fancy. In this case, the “Foundations” he has given us are in all respects much more acceptable than those he seemed to promise, and we accept them with thankful surprise. It appears that before Mr. Ruskin can convey as he would wish to the minds of his readers the peculiarities and excellences of Venetian art, he deems it necessary to instruct them in some fundamental laws and canons of good masonry, and these are his “Foundations.” A second volumet will submit the stones of Venice, in their edificed and sculptured combinations, to the judgment of the architectural criticism thus prepared for them. The present volume is, in truth, an eighth “Lamp;” and if Mr. Ruskin will permit a rivalry in quaintness of titles, we would call it the Lamp of Method. In his former work he had shown, with great power and eloquence, how we ought to build, having regard to the expression and sentiment of the edifice. The principal object of the present volume is to show how we ought to build, having regard to its technical propriety and stability. The last volume ought to have gone first ; but we are content to take these boons in or out of order, for Mr. Ruskin's canons of criticism are generally grounded on reason and philosophy, and his exposition of them comes commended by extraordinary graces of eloquence and
* “The Stones of Venice, Vol. I.-The Foundations.” By John Ruskin, Author
of “The Seven . of Architecture,” &c.
London : Smith, Elder, and Co.