Ariadne Florentina: Six Lectures on Wood and Metal Engraving

Ariadne Florentina: Six Lectures on Wood and Metal Engraving
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"Ariadne Florentina: Six Lectures on Wood and Metal Engraving" by John Ruskin. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

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John Ruskin. Ariadne Florentina: Six Lectures on Wood and Metal Engraving

Ariadne Florentina: Six Lectures on Wood and Metal Engraving

Table of Contents

APPENDIX

LIST OF PLATES

ARIADNE FLORENTINA

LECTURE I

DEFINITION OF THE ART OF ENGRAVING

FOOTNOTES:

LECTURE II

THE RELATION OF ENGRAVING TO OTHER ARTS IN FLORENCE

FOOTNOTES:

LECTURE III

THE TECHNICS OF WOOD ENGRAVING

FOOTNOTES:

LECTURE IV

THE TECHNICS OF METAL ENGRAVING

FOOTNOTES:

LECTURE V

DESIGN IN THE GERMAN SCHOOLS OF ENGRAVING

FOOTNOTES:

LECTURE VI

DESIGN IN THE FLORENTINE SCHOOLS OF ENGRAVING

FOOTNOTES:

NOTES

FOOTNOTES:

APPENDIX

ARTICLE I

NOTES ON THE PRESENT STATE OF ENGRAVING IN ENGLAND

ARTICLE II

DETACHED NOTES. I

II

III

IV

V

VI

FOOTNOTES:

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John Ruskin

Published by Good Press, 2019

.....

22. The distinction between the colorist and chiaroscurist school is trenchant and absolute: and may soon be shown you so that you will never forget it. Here is a Florentine picture by one of the pupils of Giotto, of very good representative quality, and which the University galleries are rich in possessing. At the distance at which I hold it, you see nothing but a checker-work of brilliant, and, as it happens, even glaring colors. If you come near, you will find this patchwork resolve itself into a Visitation, and Birth of St. John; but that St. Elizabeth's red dress, and the Virgin's blue and white one, and the brown posts of the door, and the blue spaces of the sky, are painted in their own entirely pure colors, each shaded with more powerful tints of itself—pale blue with deep blue, scarlet with crimson, yellow with orange, and green with richer green.

The whole is therefore as much a mosaic work of brilliant color as if it were made of bits of glass. There is no effect of light attempted, or so much as thought of: you don't know even where the sun is: nor have you the least notion what time of day it is. The painter thinks you cannot be so superfluous as to want to know what time of day it is.

.....

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