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003    OCoLC 
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006    m        d         
007    cr ||||||||||| 
008    180527s2017    cau     o     000 0 eng d 
020    1787372804|q(electronic book) 
020    9781787372801|q(electronic book) 
035    (OCoLC)1037810485 
040    YDX|beng|cYDX|dN$T 
043    e-it--- 
049    RIDW 
050  4 NA1121.V4 
072  7 ARC|x007000|2bisacsh 
082 04 729/.945/31|223 
090    NA1121.V4 
100 1  Ruskin, John,|d1819-1900,|0https://id.loc.gov/authorities/
       names/n79006950|eauthor. 
245 14 The stones of Venice.|nVolume I (of III) /|cJohn Ruskin. 
264  1 San Francisco :|bChronicle,|c[2017] 
300    1 online resource 
336    text|btxt|2rdacontent 
337    computer|bc|2rdamedia 
338    online resource|bcr|2rdacarrier 
347    text file|2rdaft 
520    John Ruskin was born on February 8th, 1819 at 54, Hunter 
       Street, Brunswick Square, London. Ruskin is now recognised
       as the pre-eminent English art critic of the Victorian 
       era. His talents and interests were diverse and complex. 
       He was also an art patron, draughtsman, water-colourist, a
       prominent social thinker and philanthropist. His writing 
       was across subjects from geology, architecture, myth, 
       ornithology and literature to education, botany and 
       political economy. As well Ruskin also wrote essays and 
       treatises, poetry and lectures, travel guides and manuals,
       letters and even a fairy tale. Ruskin's earliest writings 
       were initially elaborate but over the course of his long 
       career he gradually moved to a far plainer form which 
       communicated his ideas in a simpler and more effective 
       way. All his writings have a common core of emphasising 
       the connections between nature, art and society. He first 
       came to widespread attention with the first volume of 
       Modern Painters, published in 1843, an extended essay in 
       defence of the work of the painter J. M. W. Turner in 
       which he argued that the principal role of the artist is 
       "truth to nature". (He would later on the death of Turner 
       be an executor of his will). From the 1850s he championed 
       the Pre-Raphaelites who were much influenced by his ideas.
       As his style developed so did his social concerns and 
       increasingly he voiced and wrote about his social and 
       political issues. Unto This Last (1860, 1862) marked the 
       shift in emphasis. In 1869, Ruskin became the first Slade 
       Professor of Fine Art at the University of Oxford, where 
       he established the Ruskin School of Drawing. In 1871, he 
       began his monthly "letters to the workmen and labourers of
       Great Britain", published under the title Fors Clavigera 
       (1871-1884). During the publication of this complex and 
       deeply personal work, he developed the principles 
       underlying his ideal society. As a result, he founded the 
       Guild of St George, an organisation that still endures to 
       this day. John Ruskin died on January 20th, 1900 at age 80
       at Brantwood in Coniston, Lancashire. Part of his numerous
       writings concerned his work on Venice in three volumes: 
       The Stones of Venice. He visited Venice in November 1849 
       with his wife, Effie, and stayed at the water-fronted 
       Hotel Danieli. Their six-year marriage was never 
       consummated and for Effie, Venice provided an opportunity 
       to socialise, while for Ruskin it was a venue to engage in
       more solitary studies. In particular, he made a point of 
       drawing the Ca' d'Oro and the Doge's Palace, or Palazzo 
       Ducale, fearing they would be destroyed by the occupying 
       Austrian troops. Ruskin made extensive sketches and notes 
       for the three-volume work, which soon developed from a 
       technical history of Venetian architecture, from the 
       Romanesque to the Renaissance, into a broad cultural 
       history. Cleverly Ruskin managed to reflect his own view 
       of contemporary England and to weave in a warning about 
       the moral and spiritual health of society. Ruskin argued 
       that Venice had slowly deteriorated. Its cultural 
       achievements had been compromised, and its society 
       corrupted, by the decline of true Christian faith. Instead
       of revering the divine, Renaissance artists honoured 
       themselves, arrogantly celebrating human sensuousness. It 
       is a work of immense worth both culturally and 
       artistically. 
588 0  Online resource; title from PDF title page (EBSCO, viewed 
       August 2, 2018). 
590    eBooks on EBSCOhost|bEBSCO eBook Subscription Academic 
       Collection - North America 
650  0 Architecture|zItaly|zVenice.|0https://id.loc.gov/
       authorities/subjects/sh2007101317 
650  0 Architecture|xDetails.|0https://id.loc.gov/authorities/
       subjects/sh85006626 
650  0 Architecture, Gothic.|0https://id.loc.gov/authorities/
       subjects/sh85006792 
650  7 Architecture.|2fast|0https://id.worldcat.org/fast/813346 
650  7 Architecture|xDetails.|2fast|0https://id.worldcat.org/fast
       /813413 
650  7 Architecture, Gothic.|2fast|0https://id.worldcat.org/fast/
       813758 
651  7 Italy|zVenice.|2fast|0https://id.worldcat.org/fast/1204473
655  4 Electronic books. 
856 40 |uhttps://rider.idm.oclc.org/login?url=http://
       search.ebscohost.com/login.aspx?direct=true&scope=site&
       db=nlebk&AN=1544948|zOnline eBook. Access restricted to 
       current Rider University students, faculty, and staff. 
856 42 |3Instructions for reading/downloading the EBSCO version 
       of this eBook|uhttp://guides.rider.edu/ebooks/ebsco 
901    MARCIVE 20231220 
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