New-York tribune., 1900-01-28

visited Jne GTdnQe CldTIEeuSer LlE WHu- pa-t
buildings and all the immediate surrOundns
was disappointment to him
But that was the period OF his writing Mol
ern Painters and the mountains round abOu:
were no disappointment He tells in "Pra-
terta," how as he was being shown through
the monastery by a monkish cicerone. leaning
on a window sill, I said something in the stys
OF Modern Painters about the effect Of hs
scene outside upon religious minds" The monE
severely told him that the brethren did nj
come there to look at the mountains" to which
rebuke Ruskin bowed in silence but fuwardI
he wondered. he says. What do you come hszs
for at ALP
HIS FIGHT FOR TURNER BEGUN
his career as an art critic had been begun IN
some fashion when, in his underg-aduate days
he first publicly took up the cudgels in behalf
OF Turner against a critic in 'BIackwood's Mag
azine." Ruskin's father took the manuscript q
his sons defence Of Turner and sent 1t to the
painter for his inspection and approval befOrs
II should be sent to ''BIackwOOd's" The article
never got to 'BlackwoOd's.' however Turns
coolly packed it or to the purchaser Of ths
Venetian scene which had provoked the u
favorable comment
And neither that nor any OF his subsequent
ever induced the painter to take up the young
critic warmly. They met in a matter OF course
social way. and John Ruskin so far succeeded
In his advocacy OF Turner's art that the elder
Ruskin became convert to Turnerisu and
bought freely OF his works. But the proud, self
reliant English painter is nowhere recorded as
having expressed even perfunctOry thanks to
his advocate
RuSkins enthusiasm was Turner's work not
the man. He showed this in most characteristics
fashion at his first escape from the condition
OF pupIaSe- As the son Of a rich man. his father
gave him at the close OF his Oxford career 4
separate bachelor establishment OF his own
with an allowance OF 200 a year-not an fIlIb-
eral allowance for an English yOungster in the
early fOrties. His father. although he himself
liked TO buy Turner's, was not little shocked
perhaps grieved. being n canny Scot. at Johns
extravaganza in devoting large part of hs
first years income TO the purchase Of Turner'S
"HarIech Castle" to adorn his own rooms IN
London. This exploit. however was no mers
youthful squandering OF money. but a fair e1-
hibition of the mans deliberate beliefs as to the
right use of worldly wealth.
RELATIONS WITH THREE STATESMEN
The more systematic exploitation OF his So
cialistic theories in wealth belonged % a muoa
later period. Then he was thrown into c0ntaS .
with the three practical statesmen Of his tns
and COuntry-PalmerstOn. pisraeli and Glaa
stone. His appreciations OF the three striking4
recall and bear out the opinion OF Mrs. iitchs
Thackeray's daughter. that Mr.. RusEin ousl
to have been a novelist; at least he shows '~
genius OF Cha- acterlzation' in quick lumlno-' f
touches. PaImerstOn. he says disputes ~
principle with me. but only Possibilities. 0i@~
stone disputes ali his principles before discus
ing their application. and then disputes
application Of all that get beyond dispute Du
DisraeIi makes a Jest alike OF principles anu
practice"
This period OF Ruskin'S life verges upon -
MONDAY glory OF his Slade professorship OF =.
fine arts at Oxford. where he spent his he@"-
upon supererogatOry IabOrs. and his money uFe
benefactions to the University Art Gallery -
the beginnings OF the St Georges Guild
idle, or at most merely ornamental life to W.
50 many OF the young men there looked =
ward with complacent resignation grieved ~"
Drawing, OF course. was IN his view not n
sense a merely ornamental occupation
promising undergraduate member of ais e.
ing class who came to tell him that tne y a
sure OF university schools would ooliss n- 80
diseOnti tinus his art studies. he said. WIKI