Extrait:Et, si l'on y songe bien, il n'est rien autour de nous de vivant qui ne vive par l'un ou l'autre de ces deux principes l'amour du Monde ou l'amour de Dieu, l'action h'roique ou le renoncement asc'tique, le Paganisme ou le Christianisme. Depuis la Renaissance, tous ceux qui ont eu quelque chose a nous enseigner nous l'ont enseign' dans l'une de ces langues, et nous sentons confus'ment que toutes nos souf frances, tous nos doutes, tout notre fatalisme naissent de leur opposition, que toute notre joie, toute notre foi, tout notre espoir naitraient de l'harmonieux 'quilibre de leurs vertus r'concili'es.

Les Matins à Florence: Simples études d'art chrétien

Since the first dominion of men was asserted over the ocean, three thrones, of mark beyond all others, have been set upon its sands: the thrones of Tyre, Venice, and England. Of the First of these great powers only the memory remains; of the Second, the ruin; the Third, which inherits their greatness, if it forget their example, may be led through prouder eminence to less pitied destruction.

The exaltation, the sin, and the punishment of Tyre have been recorded for us, in perhaps the most touching words ever uttered by the Prophets of Israel against the cities of the stranger. But we read them as a lovely song; and close our ears to the sternness of their warning: for the very depth of the Fall of Tyre has blinded us to its reality, and we forget, as we watch the bleaching of the rocks between the sunshine and the sea, that they were once "as in Eden, the garden of God."

Her successor, like her in perfection of beauty, though less in endurance of dominion, is still left for our beholding in the final period of her decline: a ghost upon the sands of the sea, so weak-so quiet, -so bereft of all but her loveliness, that we might well doubt, as we watched her faint reflection in the mirage of the lagoon, which was the City, and which the Shadow.

I would endeavor to trace the lines of this image before it be for ever lost, and to record, as far as I may, the warning which seems to me to be uttered by every one of the fast-gaining waves, that beat, like passing bells, against the Stones of Venice.

The Stones of Venice, volume I

The title of this book, -or, more accurately, of its subject;-for no author was ever less likely than I have lately become, to hope for perennial pleasure to his readers from what has cost himself the most pains, -will be, perhaps, recognised by some as the last clause of the line chosen from Keats by the good folks of Manchester, to be written in letters of gold on the cornice, or Holy rood, of the great Exhibition which inaugurated the career of so many, -since organized, by both foreign governments and our own, to encourage the production of works of art, which the producing nations, so far from intending to be their "joy for ever, " only hope to sell as soon as possible. Yet the motto was chosen with uncomprehended felicity: for there never was, nor can be, any essential beauty possessed by a work of art, which is not based on the conception of its honoured permanence, and local influence, as a part of appointed and precious furniture, either in the cathedral, the house, or the joyful thoroughfare, of nations which enter their gates with thanksgiving, and their courts with praise.

A Joy Forever

" Ne reconnaissons-nous pas le type de ce conservateur subversif qui bouleversa si rudement les préjugés de son temps en prétendant restaurer, dans leur antique splendeur, les principes qu'ils consacrent ? Souvenez-vous de cette image calme, un peu surannée, conforme, jusqu'à l'affectation, lorsque vous lirez les passages les plus enflammés de ces conférences, la condamnation violente de la culture moderne, l'apologie du Moyen Age catholique, la critique acerbe d'une société soi-disant chrétienne et qui proscrit soigneuse-ment le christianisme des arts de la vie domestique, de l'éducation et de la politique pour se réfugier dans le mensonge confortable de misérables défroques païennes... " E. Cammaerts,1909. " En son temps, Ruskin fut une figure majeure de la pensée anglo-saxonne, non seulement dans le champ circonscrit des arts, mais aussi dans le champ social, maître à penser du bon goût, de la morale en acte. La fin du XIXe est assurément plus ruskinienne que baudelairienne ; la beauté est davantage soumise à sa pensée, forme de kirei japonais (notion réunissant beauté, équilibre moral et esthétique) qu'à la convulsion romantique, qui aura, nous nous en réjouissons, une descendance bien plus riche... Il y a, chez Ruskin, au-delà d'une simple préoccupation morale, une impossibilité esthétique à évoluer en deçà de l'éthique (...) parce que penser l'art c'est revendiquer son appartenance à l'humanité définie par ses facultés cognitives et créatrices... " A. Collot, 2009

Conférences sur l'architecture et la peinture

The decay of the city of Venice is, in many respects, like that of an outwearied and aged human frame; the cause of its decrepitude is indeed at the heart, but the outward appearances of it are first at the extremities. In the centre of the city there are still places where some evidence of vitality remains, and where, with kind closing of the eyes to signs, too manifest even there, of distress and declining fortune, the stranger may succeed in imagining, for a little while, what must have been the aspect of Venice in her prime. But this lingering pulsation has not force enough any more to penetrate into the suburbs and outskirts of the city; the frost of death has there seized upon it irrevocably, and the grasp of mortal disease is marked daily by the increasing breadth of its belt of ruin.

The Stones of Venice, Volume II

La nature du gothique

Zu Beginn der Industriellen Revolution vor etwa 160 Jahren verfasste John Ruskin mit "Diesem Letzten" eine der ersten Kritiken der Anfänge dessen, was wir heute als Volks- und Betriebswirtschaft bezeichnen. Mit scharfem Verstand zeichnete er bereits damals die Schwachstellen der vornehmlich auf die Mehrung von Reichtum und Macht in den Händen einzelner ausgerichteten Wissenschaft der Ökonomie auf. Er erkannte die zwangsläufig auftretenden sozialen und ökologischen Kollateralschäden der darin verankerten einseitigen Denkweise, die wir heute überall beobachten können. Von den moralischen Standards, die Ruskin als Voraussetzungen für eine dauerhaft funktionierende Volkswirtschaft ansah, postulierte er die Redlichkeit als wesentliche Eigenschaft ökonomisch handelnder Individuen oder Gesellschaften. Doch das wichtigste Produkt einer Volkswirtschaft sei ihm zufolge nur ein Wohlstand, der dem Leben diene - sowie die Produktion von hochentwickelten und selbstbestimmten Seelen.

Ruskins Werk beeinflusste die Denkweise großer Zeitgenossen. Mahatma K. Gandhi etwa beschloss, sein Leben an den Idealen des Buches auszurichten. Ruskins kritische Schlussfolgerungen aus den Theorien John S. Mills, David Ricardos und Adam Smiths sind offensichtlich heute immer noch aktuell. Angesichts einer neuen Banken- und Wirtschaftskrise, von Korruption und immer wieder sichtbar werdender wirtschaftlicher Selbstbezogenheit erschien eine Neuübersetzung dieses leider im deutschen Sprachraum relativ unbekannten, obwohl zeitlosen und maßgeblichen Meisterwerks der Sozialkritik sinnvoll. Erweitert wurde die 2011 erstmals erschienene, neue Übertragung in der nun inzwischen dritten, leicht korrigierten Auflage mit erklärenden und kommentierenden Anmerkungen sowie einem Vor- und Nachwort des Übersetzers. Letzteres nimmt Ruskins ethische Ansätze auf, hinterfragt auch sie und versucht, sie in ein aktualisiertes Modell der menschlichen Natur zu integrieren.

Diesem Letzten - Vier Aufsätze über die wichtigsten Prinzipien der Volkswirtschaft

Some years ago, in conversation with an artist whose works, perhaps, alone, in the present day, unite perfection of drawing with resplendence of color, the writer made some inquiry respecting the general means by which this latter quality was most easily to be attained. The reply was as concise as it was comprehensive-"Know what you have to do, and do it"-comprehensive, not only as regarded the branch of art to which it temporarily applied, but as expressing the great principle of success in every direction of human effort; for I believe that failure is less frequently attributable to either insufficiency of means or impatience of labor, than to a confused understanding of the thing actually to be done; and therefore, while it is properly a subject of ridicule, and sometimes of blame, that men propose to themselves a perfection of any kind, which reason, temperately consulted, might have shown to be impossible with the means at their command, it is a more dangerous error to permit the consideration of means to interfere with our conception, or, as is not impossible, even hinder our acknowledgment of goodness and perfection in themselves.

Les Matins à Florence: Simples études d'art chrétien

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