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The following addresses, though spoken at different times, are intentionally connected in subject; their aim being to set one or two main principles of art in simple light before the general student, and to indicate their practical bearing on modern design. The law which it has been my effort chiefly to illustrate is the dependence of all noble design, in any kind, on the sculpture or painting of Organic Form. This is the vital law; lying at the root of all that I have ever tried to teach respecting architecture or any other art. It is also the law most generally disallowed.

Designed for school districts, educators, and students seeking to maximize performance on standardized tests, Webster's paperbacks take advantage of the fact that classics are frequently assigned readings in English courses. By using a running thesaurus at the bottom of each page, this edition of The Two Paths by John Ruskin was edited for students who are actively building their vocabularies in anticipation of taking PSAT¿, SAT¿, AP¿ (Advanced Placement¿), GRE¿, LSAT¿, GMAT¿ or similar examinations.PSAT¿ is a registered trademark of the College Entrance Examination Board and the National Merit Scholarship Corporation neither of which sponsors or endorses this book; SAT¿ is a registered trademark of the College Board which neither sponsors nor endorses this book; GRE¿, AP¿ and Advanced Placement¿ are registered trademarks of the Educational Testing Service which neither sponsors nor endorses this book, GMAT¿ is a registered trademark of the Graduate Management Admissions Council which is neither affiliated with this book nor endorses this book, LSAT¿ is a registered trademark of the Law School Admissions Council which neither sponsors nor endorses this product. All rights reserved.

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The Two Paths THE TWO PATHS BEING LECTURES ON ART, AND ITS APPLICATION TO DECORATION AND MANUFACTURE DELIVERED IN 1858-9. LECTURE I. THE DETERIORATIVE POWER OF CONVENTIONAL ART OVER NATIONS. An Inaugural Lecture, Delivered at the Kensington Museum, January, 1858. As I passed, last summer, for the first time, through the north of Scotland, it seemed to me that there was a peculiar painfulness in its scenery, caused by the non-manifestation of the powers of human art. I had never travelled in, nor even heard or conceived of such a country before; nor, though I had passed much of my life amidst mountain scenery in the south, was I before aware how much of its charm depended on the little gracefulnesses and tendernesses of human work, which are mingled with the beauty of the Alps, or spared by their desolation. It is true that the art which carves and colours the front of a Swiss cottage is not of any very exalted kind; yet it testifies to the completeness and the delicacy of the faculties of the mountaineer; it is true that the remnants of tower and battlement, which afford footing to the wild vine on the Alpine promontory, form but a small part of the great serration of its rocks; and yet it is just that fragment of their broken outline which gives them their pathetic power, and historical majesty. And this element among the wilds of our own country I found wholly wanting. The Highland cottage is literally a heap of gray stones, choked up, rather than roofed over, with black peat and withered heather; the only approach to an effort at decoration consists in the placing of the clods of protective peat obliquely on its roof, so as to give a diagonal arrangement of lines, looking somewhat as if t

The following addresses, though spoken at different times, are intentionally connected in subject; their aim being to set one or two main principles of art in simple light before the general student, and to indicate their practical bearing on modern design. The law which it has been my effort chiefly to illustrate is the dependence of all noble design, in any kind, on the sculpture or painting of Organic Form.This is the vital law; lying at the root of all that I have ever tried to teach respecting architecture or any other art. It is also the law most generally disallowed.