The Storm-Cloud of the Nineteenth Century by John Ruskin
By John Ruskin
John Ruskin (1819-1900) is healthier identified for his paintings as an paintings critic and social critic, yet is remembered as an writer, poet and artist in addition. Ruskin's essays on paintings and structure have been tremendous influential within the Victorian and Edwardian eras. Ruskin's diversity was once mammoth. He wrote over 250 works which began from paintings historical past, yet increased to hide subject matters ranging over technological know-how, geology, ornithology, literary feedback, the environmental results of pollutants, and mythology. In 1848, he married Effie grey, for whom he wrote the early delusion novel The King of the Golden River. After his demise Ruskin's works have been accrued jointly in an important ''library edition'', accomplished in 1912 through his acquaintances Edward prepare dinner and Alexander Wedderburn. Its index is famously complicated, trying to articulate the complicated interconnectedness of his suggestion. His different works comprise: Giotto and his Works in Padua (1854), The Harbours of britain (1856), ''A pleasure for Ever'' (1857), The Ethics of the airborne dirt and dust (1866) and Hortus Inclusus.
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And where do these artificial vapors fall back in beneficent rain? or through what areas of atmosphere exist, as invisible, though perhaps not innocuous, cloud? All these questions were put, closely and precisely, four-and-twenty years ago, in the 1st chapter of the 7th part of ‘Modern Painters,’ paragraphs 4 to 9, of which I can here allow space only for the last, which expresses the final difficulties of the matter better than anything said in this lecture:— 33 The Storm-Cloud of the Nineteenth Century “But farther: these questions of volatility, and visibility, and hue, are all complicated with those of shape.
This continued for about a quarter of an hour. The same was observed on the 27th of the month, but not so bright. ’ On the 1st February the temperature was 38° below zero, and on the 27th February 26° below. ‘On the 23d and 30th (of March) the same splendid appearance of clouds as mentioned in last month’s journal was observed. , it was extremely beautiful. ’ The temperature was 21° below zero, Fahrenheit. There may have been other colors—blue, perhaps—but I merely noted the most prominent; and what I call green may have been bluish, although I do not mention this last color in my notes.
And yet observe: that thin, scraggy, filthy, mangy, miserable cloud, for all the depth of it, can’t turn the sun red, as a good, business-like fog does with a hundred feet or so of itself. By the plague-wind every breath of air you draw is polluted, half round the world; in a London fog the air itself is pure, though you choose to mix up dirt with it, and choke yourself with your own nastiness. Now I’m going to show you a diagram of a sunset in entirely pure weather, above London smoke. I saw it and sketched it from my old post of observation—the top garret of my father’s house at Herne 26 The Storm-Cloud of the Nineteenth Century Hill.