Produced by Juliet Sutherland, Linda Cantoni, and the Online Distributed Proofreading Team at http://www.pgdp.net LECTURES ON LANDSCAPE DELIVERED AT OXFORD IN LENT TERM, 1871. Library Edition THE COMPLETE WORKS OF JOHN RUSKIN CROWN OF WILD OLIVE TIME AND TIDE QUEEN OF THE AIR LECTURES ON ART AND LANDSCAPE ARATRA PENTELICI NATIONAL LIBRARY ASSOCIATION NEW YORK CHICAGO [Illustration: BRANTWOOD FROM A PHOTOGRAPH] PREFATORY NOTE. _These Lectures on Landscape were given at Oxford on January 20, February 9, and February 23, 1871. They were not public Lectures, like Professor Ruskin's other courses, but addressed only to undergraduates who had joined his class. They were illustrated by pictures from his collection, of which several are here reproduced, and by others which may be seen in the Oxford University Galleries or in the Ruskin Drawing School._ _W.G.C._ CONTENTS. PAGE LECTURE I. OUTLINE 1 LECTURE II. LIGHT AND SHADE 16 LECTURE III. COLOR 32 LIST OF PLATES Page Vesuvius in Eruption, by J.M.W. Turner 2 Near Blair Athol, by J.M.W. Turner 19 Dumblane Abbey, by J.M.W. Turner 20 Madonna and Child, by Filippo Lippi 33 The Lady with the Brooch, by Sir Joshua Reynolds 35 AEsacus and Hesperie, by J.M.W. Turner 45 Mill near Grande Chartreuse, by J.M.W. Turner 47 L'Aiguillette; Valley of Cluses, by J.M.W. Turner 48 LECTURES ON LANDSCAPE. I. OUTLINE. 1. In my inaugural lecture,[1] I stated that while holding this professorship I should direct you, in your practical exercises, chiefly to natural history and landscape. And having in the course of the past year laid the foundational elements of art sufficiently before you, I will invite you, now, to enter on real work with me; and accordingly I propose during this and the following term to give you what practical leading I can in elementary study of landscape, and of a branch of natural history which will form a kind of center for all the rest--Ichthyology. [Footnote 1: "Lectures on Art, 1870," Sec. 23.] In the outset I must shortly state to you the position which landscape painting and animal painting hold towards the higher branches of art.