As an artist in prose he is one of the most miraculous products of the extremely poetical genius of England. The length of a Ruskin sentence is like that length in the long arrow that was boasted of by the drawers of the long bow. He draws, not a cloth-yard shaft but a long lance to his ear: he shoots a spear. But the whole goes light as a bird and straight as a bullet. There is no Victorian writer before him to whom he even suggests a comparison, technically considered, except perhaps De Quincey; who also employed the long rich rolling sentence that, like a rocket, bursts into stars at the end. But De Quincey's sentences, as I have said, have always a dreamy and insecure sense about them, like the turret on toppling turret of some mad sultan's pagoda. Ruskin's sentence branches into brackets and relative clauses as a straight strong tree branches into boughs and bifurcations, rather shaking off its burden than merely adding to it. It is interesting to remember that Ruskin wrote some of the best of these sentences in the attempt to show that he did understand the growth of trees, and that nobody else did--except Turner, of course. It is also (to those acquainted with his perverse and wild rhetorical prejudices) even more amusing to remember that if a Ruskin sentence (occupying one or two pages of small print) does not remind us of the growth of a tree, the only other thing it does remind of is the triumphant passage of a railway train. Ruskin left behind him in his turn two quite separate streams of inspiration. The first and more practical was concerned, like Carlyle's _Chartism_, with a challenge to the social conclusions of the orthodox economists. He was not so great a man as Carlyle, but he was a much more clear-headed man; and the point and stab of his challenge still really stands and sticks, like a dagger in a dead man. He answered the theory that we must always get the cheapest labour we can, by pointing out that we never do get the cheapest labour we can, in any matter about which we really care twopence. We do not get the cheapest doctor. We either get a doctor who charges nothing or a doctor who charges a recognised and respectable fee. We do not trust the cheapest bishop. We do not allow admirals to compete. We do not tell generals to undercut each other on the eve of a war. We either employ none of them or we employ all of them at an official rate of pay. All this was set out in the strongest and least sentimental of his books, _Unto this Last_; but many suggestions of it are scattered through _Sesame and Lilies_, _The Political Economy of Art_, and even _Modern Painters_. On this side of his soul Ruskin became the second founder of Socialism. The argument was not by any means a complete or unconquerable weapon, but I think it knocked out what little remained of the brains of the early Victorian rationalists. It is entirely nonsensical to speak of Ruskin as a lounging æsthete, who