Page:Dictionary of National Biography. Sup. Vol III (1901).djvu/326

 Museum is recorded in the book which he and Acland published on the subject in 1859. 'Seven Lamps' was, further, 'the first treatise in English to teach the real significance of architecture as the most trustworthy record of the life and faith of nations.' It was published on 10 May 1849, and has been the most widely circulated of Ruskin's larger works. It was the first of them to be illustrated.

Another by-work of this period was Ruskin's advocacy of the pre-Raphaelites. At the time when he took up their cause he had no personal acquaintance with them, and their work was independent of his influence, though Mr. Holman Hunt had read the first two volumes of 'Modern Painters,' and felt they were 'written expressly for him' (Contemporary Review, April 1886). In 1851 the academy pictures of Millais and Hunt were bitterly attacked in the 'Times.' Millais asked Co ventry Patmore [q.v. Suppl.] to see if Ruskin would take up their cause. Patmore did so, and on 13 and 30 May letters from Ruskin appeared in the 'Times' warmly defending the young artists. Ruskin also wrote to Millais offering to buy 'The Return of the Dove to the Ark.' To a new edition of 'Modern Painters' in this year he added a note of strong praise of pre-Raphaelitism. In August he issued a pamphlet entitled 'Pre-Raphaelitism,' in which he again defended Millais and Mr. Holman Hunt against the critics, and instituted a comparison between the former painter and Turner, finding in both alike the same sincerity of purpose. Ruskin's intervention on behalf of the pre-Raphaelites was a turning-point in their fortunes. It encouraged the painters themselves, confirmed patrons and picture-dealers, and caused many of the critics to reconsider their opinions. Ruskin's personal connection with Rossetti, the third of the pre-Raphaelite group, came somewhat later. In 1853 he had been in correspondence with McCracken (aBelfast packing-agent, and one of Rossetti's first buyers), highly extolling the artist's work, and in April 1854 he made Rossetti's acquaintance. He admired Rossetti greatly, and helped him liberally, agreeing to buy, if he happened to like it, whatever Rossetti produced. 'I cannot imagine any arrangement more convenient to my brother,' says Mr. W. M. Rossetti, ' who was thereby made comfortable in his professional position.' A year later Ruskin made equally generous provision for Rossetti's fiancee, Miss Siddal ; he settled 150l. a year upon her, taking her drawings up to that value. She was thus enabled to go abroad for her health. Some characteristic letters from Ruskin to 'Ida, as he called her, are published in Mr. W. M. Rossetti's ' Ruskin, Rossetti, and Pre-Raphaelitism ' (1899). Ruskin was also an admirer of Rossetti's early poetry, and paid for the publication of his translations from 'Early Italian Poets.' He did not admire the painter's habits. 'If you wanted to oblige me,' he wrote, 'you would keep your room in order and go to bed at night. All your fine speeches go for nothing with me till you do that.' In later years their friendship cooled. The part of disciple was not one which Rossetti could play, even to a master so delicate in his patronage as Ruskin.

Ruskin followed up his letters and pamphlets on the pre-Raphaelites by a series of annual 'Notes on the Royal Academy' (1855-9). The notes were very popular with the public, but less so with the artists. Ruskin hoped that certain criticisms passed by him on a friend's picture would 'make no difference in their friendship.' 'Dear Ruskin,' replied the artist, 'next time I meet you, I shall knock you down; but I hope it will make no difference in our friendship.' 'D the fellow !' said another young artist who enjoyed the critic's acquaintance ; ' why doesn't he back his friends ?' The jealousies thus provoked among his artist friends caused Ruskin to discontinue the publication, resuming it only for one year, in 1875. 'Punch' put the complaint at the time into the mouth of an academician : I paints and paints, Hears no complaints, And sells before I'm dry ; Till savage Ruskin Sticks his tusk in, And nobody will buy.

The lament was not unnatural, for at this period Ruskin held the position almost of an art-dictator, and his opinions were a powerful factor in the sale-rooms. He somewhere explains that he was compelled perhaps as a just nemesis for his heterodox political economy to buy in the dearest and sell in the cheapest market ; for that whenever he sold a Turner the price was run down because a drawing which he did not care to keep could not be worth much, while the price of one which he wanted to buy was at once run up. Ruskin's counsel was sought after by amateurs, by Louisa Lady Waterford among the number (see Story of Two Noble Lives. In Autobiographical Notes are some references to Ruskin's work at Wallington House, Northumberland, for Sir Walter and Lady Trevelyan, close friends of both men). Ruskin's position as an expert was