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قراءة كتاب The Eagle's Nest Ten Lectures on the Relation of Natural Science to Art, Given Before the University of Oxford, in Lent Term, 1872

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The Eagle's Nest
Ten Lectures on the Relation of Natural Science to Art, Given Before the University of Oxford, in Lent Term, 1872

The Eagle's Nest Ten Lectures on the Relation of Natural Science to Art, Given Before the University of Oxford, in Lent Term, 1872

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THE EAGLE’S NEST.

TEN LECTURES

ON THE RELATION OF

NATURAL SCIENCE TO ART,

GIVEN BEFORE THE UNIVERSITY OF OXFORD,
IN LENT TERM, 1872

BY

JOHN RUSKIN, LL.D.,

HONORARY STUDENT OF CHRIST CHURCH, AND HONORARY FELLOW
OF CORPUS CHRISTI COLLEGE, OXFORD.
TWELFTH THOUSAND

 

 

 

LONDON

GEORGE ALLEN, 156, CHARING CROSS ROAD
1900
[All rights reserved]

Printed by Ballantyne, Hanson & Co.
At the Ballantyne Press


PREFACE.

The following Lectures have been written, not with less care, but with less pains, than any in former courses, because no labour could have rendered them exhaustive statements of their subjects, and I wished, therefore, to take from them every appearance of pretending to be so: but the assertions I have made are entirely deliberate, though their terms are unstudied; and the one which to the general reader will appear most startling, that the study of anatomy is destructive to art, is instantly necessary in explanation of the system adopted for the direction of my Oxford schools.

At the period when engraving might have become to art what printing became to literature, the four greatest point-draughtsmen hitherto known, Mantegna, Sandro Botticelli, Dürer, and Holbein, occupied themselves in the new industry. All these four men were as high in intellect and moral sentiment as in art-power; and if they had engraved as Giotto painted, with popular and unscientific simplicity, would have left an inexhaustible series of prints, delightful to the most innocent minds, and strengthening to the most noble.

But two of them, Mantegna and Dürer, were so polluted and paralyzed by the study of anatomy that the former’s best works (the magnificent mythology of the Vices in the Louvre, for instance) are entirely revolting to all women and children; while Dürer never could draw one beautiful female form or face; and, of his important plates, only four, the Melancholia, St. Jerome in his study, St. Hubert, and The Knight and Death, are of any use for popular instruction, because in these only, the figures being fully draped or armed, he was enabled to think and feel rightly, being delivered from the ghastly toil of bone-delineation.

Botticelli and Holbein studied the face first, and the limbs secondarily; and the works they have left are therefore (without exception) precious; yet saddened and corrupted by the influence which the contemporary masters of body-drawing exercised on them; and at last eclipsed by their false fame. I purpose, therefore, in my next course of lectures, to explain the relation of these two draughtsmen to other masters of design, and of engraving.

Brantwood, Sept. 2nd, 1872.


CONTENTS.

LECTURE I.  
February 8, 1872.  
  Page
THE FUNCTION IN ART OF THE FACULTY CALLED BY
  THE GREEKS σοφία
1
LECTURE II.  
February 10, 1872.  
   
THE FUNCTION IN SCIENCE OF THE FACULTY CALLED BY
  THE GREEKS σοφία
25
LECTURE III.  
February 15, 1872.  
   
THE RELATION OF WISE ART TO WISE SCIENCE 46
LECTURE IV.  
February 17, 1872.  
   
THE FUNCTION IN ART AND SCIENCE OF THE VIRTUE
  CALLED BY THE GREEKS σωφροσύνη
74
LECTURE V.  
February 22, 1872.  
   
THE FUNCTION IN ART AND SCIENCE OF THE VIRTUE
  CALLED BY THE GREEKS αὐταρχεία
89
LECTURE VI.  
February 24, 1872.  
   
THE RELATION TO ART OF THE SCIENCE OF LIGHT 114
LECTURE VII.  
February 29, 1872.  
   
THE RELATION TO ART OF THE SCIENCES OF INORGANIC
  FORM
138
LECTURE VIII.  
March 2, 1872.  
   
THE RELATION TO ART OF THE

Pages