Quotes from book
The Stones of Venice

Name: The Stones of Venice
Author: John Ruskin

John Ruskin

For the 2001 Doctor Who audio story, see The Stones of Venice

“He who has the truth at his heart need never fear the want of persuasion on his tongue.”

John Ruskin book The Stones of Venice

Volume III, chapter II, section 99.
The Stones of Venice (1853)
Source: The Stones of Venice: Volume I. The Foundations

“The purest and most thoughtful minds are those which love colour the most.”

John Ruskin book The Stones of Venice

Volume II, chapter V, section 30.
Source: The Stones of Venice (1853)

“To banish imperfection is to destroy expression, to check exertion, to paralyze vitality.”

John Ruskin book The Stones of Venice

Source: The Stones of Venice

“Remember that the most beautiful things in life are often the most useless; peacocks and lilies for instance.”

John Ruskin book The Stones of Venice

Volume I, chapter II, section 17.
The Stones of Venice (1853)
Variant: Remember that the most beautiful things in the world are the most useless.
Context: You were made for enjoyment, and the world was filled with things which you will enjoy, unless you are too proud to be pleased with them, or too grasping to care for what you cannot turn to other account than mere delight. Remember that the most beautiful things in the world are the most useless: peacocks and lilies, for instance.

“Of human work none but what is bad can be perfect in its own bad way.”

John Ruskin book The Stones of Venice

Volume II, chapter VI, section 24 http://books.google.com/books?id=AwICAAAAYAAJ&q=%22Of+human+work+none+but+what+is+bad+can+be+perfect+in+its+own+bad+way%22&pg=PA189#v=onepage.
The Stones of Venice (1853)

“Of all God's gifts to the sight of man, colour is the holiest, the most divine, the most solemn.”

John Ruskin book The Stones of Venice

Volume II, chapter V, section 30.
The Stones of Venice (1853)

“In old times, men used their powers of painting to show the objects of faith; in later times, they used the objects of faith that they might show their powers of painting.”

John Ruskin book The Stones of Venice

Volume II, chapter IV, section 103.
The Stones of Venice (1853)

“We have much studied and much perfected, of late, the great civilized invention of the division of labour; only we give it a false name. It is not, truly speaking, the labour that it divided; but the men: — Divided into mere segments of men — broken into small fragments and crumbs of life; so that all the little piece of intelligence that is left in a man is not enough to make a pin, or a nail, but exhausts itself in making the point of a pin or the head of a nail. Now it is a good and desirable thing, truly, to make many pins in a day; but if we could only see with what crystal sand their points were polished, — sand of human soul, much to be magnified before it can be discerned for what it is — we should think that there might be some loss in it also. And the great cry that rises from our manufacturing cities, louder than their furnace blast, is all in very deed for this, — that we manufacture everything there except men; we blanch cotton, and strengthen steel, and refine sugar, and shape pottery; but to brighten, to strengthen, to refine, or to form a single living spirit, never enters into our estimate of advantages. And all the evil to which that cry is urging our myriads can be met only in one way: not by teaching nor preaching, for to teach them is but to show them their misery, and to preach at them, if we do nothing more than preach, is to mock at it. It can only be met by a right understanding, on the part of all classes, of what kinds of labour are good for men, raising them, and making them happy; by a determined sacrifice of such convenience or beauty, or cheapness as is to be got only by the degradation of the workman; and by equally determined demand for the products and results of healthy and ennobling labour.”

John Ruskin book The Stones of Venice

Volume II, chapter VI, section 16.
The Stones of Venice (1853)

“The work of science is to substitute facts for appearances, and demonstrations for impressions.”

John Ruskin book The Stones of Venice

Volume III
The Stones of Venice (1853)

“The world is full of vulgar Purists, who bring discredit on all selection by the silliness of their choice; and this the more, because the very becoming a Purist is commonly indicative of some slight degree of weakness, readiness to be offended, or narrowness of understanding of the ends of things.”

John Ruskin book The Stones of Venice

Volume II, chapter VI, section 62.
The Stones of Venice (1853)

“You must either make a tool of the creature, or a man of him.”

John Ruskin book The Stones of Venice

Volume II, chapter VI, section 12.
The Stones of Venice (1853)
Context: You must either make a tool of the creature, or a man of him. You cannot make both. Men were not intended to work with the accuracy of tools, to be precise and perfect in all their actions. If you will have that precision out of them, and make their fingers measure degrees like cog-wheels, and their arms strike curves like compasses, you must unhumanize them. All the energy of their spirits must be given to make cogs and compasses of themselves…. On the other hand, if you will make a man of the working creature, you cannot make him a tool. Let him but begin to imagine, to think, to try to do anything worth doing; and the engine-turned precision is lost at once. Out come all his roughness, all his dulness, all his incapability; shame upon shame, failure upon failure, pause after pause: but out comes the whole majesty of him also; and we know the height of it only when we see the clouds settling upon him.

“We are to remember, in the first place, that the arrangement of colours and lines is an art analogous to the composition of music, and entirely independent of the representation of facts.”

John Ruskin book The Stones of Venice

Volume II, chapter VI, section 42.
The Stones of Venice (1853)
Context: We are to remember, in the first place, that the arrangement of colours and lines is an art analogous to the composition of music, and entirely independent of the representation of facts. Good colouring does not necessarily convey the image of anything but itself. It consists of certain proportions and arrangements of rays of light, but not in likeness to anything. A few touches of certain greys and purples laid by a master's hand on white paper will be good colouring; as more touches are added beside them, we may find out that they were intended to represent a dove's neck, and we may praise, as the drawing advances, the perfect imitation of the dove's neck. But the good colouring does not consist in that imitation, but in the abstract qualities and relations of the grey and purple.