but its wild brilliance cannot long be mistaken for the sky-rocket’s; it flares madly in all directions, now beautifying, now appalling, the night, the fine ardor of the painter passing into the fierce invective of the prophet.  But in the end it is seen that Ruskin’s style, like his subject-matter, is a unity,—­an emanation from a divine enthusiasm making for “whatsoever things are lovely, whatsoever things are pure, whatsoever things are of good report.”

  [11] See p. 162.

  [12] See p. 139.

  [13] See p. 147.

  [14] See p. 121.

  [15] See p. 122.

  [16] See p. 149.

  [17] See p. 122.

  [18] The Mystery of Life.

  [19] Sesame and Lilies, “Kings’ Treasuries,” Sec.Sec. 25, 31.

  [20] The Crown of Wild Olive, “War.”

  [21] “Kings’ Treasuries,” Sec. 32.

SELECTIONS FROM MODERN PAINTERS

The five volumes of Modern Painters appeared at various intervals between 1843 and 1860, from the time Ruskin was twenty-four until he was forty.  The first volume was published in May, 1843; the second, in April, 1846; the third, January 15, 1856; the fourth, April 14, 1856; the last, in June, 1860.  As his knowledge of his subject broadened and deepened, we find the later volumes differing greatly in viewpoint and style from the earlier; but, as stated in the preface to the last volume, “in the main aim and principle of the book there is no variation, from its first syllable to its last.”  Ruskin himself maintained that the most important influence upon his thought in preparation for his work in Modern Painters was not from his “love of art, but of mountains and seas”; and all the power of judgment he had obtained in art, he ascribed to his “steady habit of always looking for the subject principally, and for the art only as the means of expressing it.”  The first volume was published as the work of “a graduate of Oxford,” Ruskin “fearing that I might not obtain fair hearing if the reader knew my youth.”  The author’s proud father did not allow the secret to be kept long.  The title Ruskin originally chose for the volume was Turner and the Ancients.  To this Smith, Elder & Co., his publishers, objected, and the substitution of Modern Painters was their suggestion The following is the title-page of the first volume in the original edition: 

MODERN PAINTERS: 
Their Superiority
In the Art of Landscape Painting
To all
The Ancient Masters
proved by examples of
The True, the Beautiful, and the Intellectual,
From the
Works of Modern Artists, especially
From those of J.M.W.  Turner, Esq., R.A. 
By a Graduate of Oxford
(Quotation from Wordsworth)
London:  Smith, Elder & Co., 65 Cornhill.
1843.

THE EARTH-VEIL