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Editorial: “Of Many Things”

Editorial: “Of Many Things” EDITORIAL ‘‘Of Many Things’’ JOHN DIXON HUNT University of Pennsylvania Figure 1. This postcard was devised by the Hotel (now Pensione) Calcina on the Zattere in Venice to commemorate one of its most famous visitors toward the end of his career. The numerous por traits of Ruskin hint at his own long-term fixation with Venice. (Source: Editor’s collection) PAGE 2 .................18864$ $CH1 05-16-16 15:17:38 PS John Ruskin’s ‘‘The Lamp of Memor y’’ is the central text for Ruskin as a preservationist. Yet it is itself but one chapter in The Seven Lamps of Architecture, and his writing of the Seven Lamps was itself a detour from work on Modern Painters—a ‘‘supplementary vol- ume,’’ he wrote (8.311). This in its turn served as an antechamber to the three volumes of The Stones of Venice, after which the work on painting in Modern Painters was resumed. Nor was the lamp of memory kindled on that one occasion in 1849. From his early years until the last years of madness, Ruskin was obsessed with a combination of concerns that mark all historic preservation: memory, of course; but also fascination with old materials, truth and beauty, ancient buildings in an age of increasing http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Change Over Time University of Pennsylvania Press

Editorial: “Of Many Things”

Hunt, John Dixon
Change Over Time , Volume 6 (1) – Jun 14, 2016
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Publisher
University of Pennsylvania Press
Copyright
Copyright © 2011 University of Pennsylvania Press
ISSN
2153-0548

Abstract

EDITORIAL ‘‘Of Many Things’’ JOHN DIXON HUNT University of Pennsylvania Figure 1. This postcard was devised by the Hotel (now Pensione) Calcina on the Zattere in Venice to commemorate one of its most famous visitors toward the end of his career. The numerous por traits of Ruskin hint at his own long-term fixation with Venice. (Source: Editor’s collection) PAGE 2 .................18864$ $CH1 05-16-16 15:17:38 PS John Ruskin’s ‘‘The Lamp of Memor y’’ is the central text for Ruskin as a preservationist. Yet it is itself but one chapter in The Seven Lamps of Architecture, and his writing of the Seven Lamps was itself a detour from work on Modern Painters—a ‘‘supplementary vol- ume,’’ he wrote (8.311). This in its turn served as an antechamber to the three volumes of The Stones of Venice, after which the work on painting in Modern Painters was resumed. Nor was the lamp of memory kindled on that one occasion in 1849. From his early years until the last years of madness, Ruskin was obsessed with a combination of concerns that mark all historic preservation: memory, of course; but also fascination with old materials, truth and beauty, ancient buildings in an age of increasing

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Change Over Time – University of Pennsylvania Press

Published: Jun 14, 2016

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