The Express.
London, England, 1856-04-21 00:00:00

LITBRATUBB.

Motto r n Painters. _ Vol. ly: By Joss Row,

ILA. Smith, Elder, slid Co.

The present volume contains the fifth portion of
Mr. Ruskin's elaborate work. It treats chiefly of
mountain scenery, and discusses at length the prin.
eiples involved in the pleasure we derive from
mountains and their pictorial representation. It
is less intolerant in its tome than its ;seders-
sore, the amine rintenting himself with stating
his own views fully, and not indulging in
violent attacks on opinions to which he is opposed.
He it more philosophical and less critical
than before. Boasethin4 of this alteration may
be owing to the nature of the subject. Mr. Ruskin
is establishing what he considers to be true prin.
ciples, and only casually notices adversaries who
advocate theories which contradict his own. The
work is essentially positive, and we have less nega-
tion than we are accustomed to meet with in tree-
bats by this author. If, however, the tone is altered,
the substance is unchanged. Toe author still ele-
vates Turner above all painters of emery peat and
present. He still depreciates the works of men who
have hitherto commended the admiration of cruse.
Bat he does not luxuriate in his depreciatory art&
cisme to the same extent as formerly. He indulges
in blame only when he wishes to illustrate his state-
ment of the true theory by a reference to paintings
which are constructed on a fain theory.
There is one feature in this volume that renders its
perusal more satiates:4oly to the ordinary reader thsa
that of those which have preceded it. There ls less
declamation and more proof. Mr. Ruskin dose not
wish the reader to adopt his °occlusions merely on
his authority. He latAure omit diligently to
give evidence of " the faith that is in him." His
reasoning may not be conclusive to all lovers
of art, but it is fall and elaborate. We may
dissent from the doctrine, but we cannot
but admire the honesty and industry with
which the writer labours. If we are diseatisfied with
the cogency of the argument, we cannot bat admire
the skill with which it is conducted. In this respect
Mr. 'lngle occupies a peculiar position es a writer.
Possibly oo author of the day is so much admired by
a large number of readers who yet repudiate kis
emertions and his theory. He compels his nest
vehement adversaries to admire even while they dis-
sent. The singular beauty of his styles the lheesty
sympathy with all forma of natural loveliness, **pro-
fasion of his illustrationa, and above all Wannest de-
nunciation of oant,form irresistible at tintless to many
who believe the author to be utterly at fault with
respect to a true theory of art. You may quarrel
with the critic, bat you cannot fail to admire the
writer and respect the man. High thoughts clothed
in eloquent language are the characteristics of Mr.
Ruskin's productions, and they make themselves hit
is the naiads of many who consider his praise d
Tenter exaggerated, and his depreciation of other
artists nefair.
The first five chapters of the volume are devoted
to the Turanian Picturesque, the luroerian Tope.
grephy, the Turuerian L'ght, and the Turnenan
Mystery. The remainieg chapters refer directly or
indirectly to mountains. These contain copious and
accurate accounts of the materials of mountains, their
"sculpture," and their resulting forms. Two chap-
ters beaded "Tie Mountain 0:aom " and "The
Mountain Glory," remarkable for novelty and
beauty, terminate the work.