The Stones of Venice; Volume 2


Book Description

A masterpiece of architectural criticism, this groundbreaking work by renowned art critic and social thinker John Ruskin explores the history and aesthetics of the monuments, sculpture, and architecture of Venice. Thought-provoking and illuminating, this book is a must-read for those interested in the history of art and architecture. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.




The Nature of Gothic


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The Stones of Venice III


Book Description

Early Renaissance, Roman Renaissance, Grotesque Renaissance, Conclusion, Architect of the Ducal Palace, Theology of Spenser, Austrian Government in Italy, Date of the Palaces of the Byzantine Renaissance, Renaissance Side of Ducal Palace, Character of the Doge Michele Morosini, Modern Education, Early Venetian Marriages, Character of the Venetian Aristocracy,







Ruskin's Venice


Book Description

"This title was first published in 2000: John Ruskin's three-volume "The Stones of Venice" (1851-3) remains massively influential in art and architecture. To mark the centenary of Ruskin's death, this illustrated guide links Ruskin's descriptions of individual buildings with a photograph of the architecture and sculpture as it is today. Much of Ruskin's prose is reproduced, together with many of his drawings and watercolours and a number of 19th-century engravings. Sarah Quill's photographs identify the details described by Ruskin and show the extent to which the city's architecture has survived, or changed, since first publication of "The Stones of Venice". The opening chapter provides an introduction to Ruskin's involvment with Venice and to the periods and styles of Venetian architecture."--Provided by publisher.




Stones in Water


Book Description

When Roberto sneaks off to see a movie in his Italian village, he has no idea that life as he knows it is over. German soldiers raid the theater, round up the boys in the audience, and pack them onto a train. After a terrifying journey, Roberto and his best friend Samuele find themselves in a brutal work camp, where food is scarce and horror is everywhere. The boys vow to stay together no matter what. But Samuele has a dangerous secret, which, if discovered, could get them both killed. Lovers of historical fiction will be captivated by this tragic, triumphant, and deeply moving novel.




The Stones of Venice,Volume III the Fall


Book Description

"More than simply a survey of an ancient city's most significant buildings, The Stones of Venice first published in three volumes between 1851 and 1853 is an expression of a philosophy of art, nature, and morality that goes beyond art history, and has inspired such thinkers as Leo Tolstoy, Marcel Proust, and Mahatma Gandhi. Volume III, which looks at Venetian buildings of the Early, Roman, and grotesque Renaissance, provides an analysis of the transitional forms of Arabian and Byzantine architecture while tracing the city s spiritual and architectural decline. Unabridged, and containing Ruskin s original drawings, this guide to the moral, spiritual, and aesthetic implications of architecture is a treasure for students and scholars alike. The preeminent art critic of his time, British writer JOHN RUSKIN (1819 1900) had a profound influence upon European painting, architecture, and aesthetics of the 19th and 20th centuries. His immense body of literary works include Modern Painters, Volume I IV (1843 1856); The Seven Lamps of Architecture (1849); Unto This Last (1862); Munera Pulveris (1862 3); The Crown of Wild Olive (1866); Time and Tide (1867); and Fors Clavigera (1871-84)."




The Stones of Venice


Book Description

The Doctor and Charley become embroiled in the decadent court of a tired Duke and his search for his beloved wife. The curse of the long since dead Duchess has finally come to pass and the enchanted city of Venice is sinking beneath the canals.




How the Stones Came to Venice


Book Description

Poet Gary Lawless takes us on a journey to discover the answers to the question of how the stones came to Venice, and in the process creates a work that is marvelous, lucid and stunningly new. How the Stones Came to Venice draws on history, philosophy, mineralogy, alchemy, and hagiography to tell the story of stone. In the process Lawless offers us a treasure trove of other stories, of anarchists, stonemasons and saints; he offers prayers and meditations on man's stewardship of the earth; he shares the story of his own journey from the quarries of Prospect, Maine, to the stone streets and churches of Venice, the islands of Greece, the mountains of Turkey and the forests of Lithuania, to return at last to the stones and waters of Maine, his home state.




A Way of Seeing


Book Description

40 inspirational reflections exquisitely illustrated-for personal or group contemplation."During a visit to Venice in 1876, the mother of Lilias Trotter heard that John Ruskin, then fifty-seven, was in the city to work on drawings and to revise his book of 1851-53, The Stones of Venice. Carefully drafting a letter of introduction, she must have hoped that Lilias might receive some instruction in drawing or at least some general commendation from the foremost writer on art of his day. Probably she was expecting no more than that, although there would have been the obvious excitement of personal contact with one of the most famous people in the English-speaking world. Having given 'somewhat sulky permission,' Ruskin was surprised to see 'extremely rightminded and careful work,' and asked 'that the young lady might be allowed to come out sketching with me.' 'She seemed to learn everything the instant she was shown it,' he recalled, 'and ever so much more than she was taught.'"Stephen Wildman, Professor of History of Art, Lancaster University, Director, Ruskin Library and Research Centre