After these works followed lectures on drawing, perspective, decoration, and manufacture, with later theories (crotchets, some have impiously called them) on political economy, Pre-Raphaelitism, et cetera, with a flood of opinions on social, ethical, and art subjects, enriched by rare intellectual gifts and much religious fervor.  Ruskin’s whole writings form a body of literature unique of its kind, pervaded with great charm of literary style, and inspired by a high moral purpose.  Ruskin’s excursions into non-aesthetic fields, and the strange jumble of Christian communism to which, late in life, he gave vehement expression, it must be honestly admitted, have detracted much from his early fame.  In everything he wrote the Ruskinian spirit comes strongly out, colored with an amiable egotism and enforced by great assurance of conviction.  The moral purpose he had in view, and the charm and elevated tone of his writings, lead us to forget the wholly ideal state of society he sought to introduce, while we are won to the man by the passion of his noble enthusiasms.

Like Carlyle and Emerson, Ruskin was by his parents intended for the ministry; but for the ministry he had himself no inclination.  The broadening out early of his mind and the freeing of his thought on doctrinal subjects, which took him far from the narrow evangelicalism of his youth, made the ministry of the church repugnant to him, though he was always a deeply religious man and a force ever making for righteousness.  At the same time, he numbered many divines among his most cherished friends, and he frequently, and with admitted edification, was to be found in chapel and church.  Meanwhile he continued busily to educate himself for whatever profession he might choose or drift into, supplemented by such fitful periods of schooling as his delicate health permitted, as well as by many jaunts with his parents to the English lakes and other parts of the kingdom, and by frequent tours on the Continent, especially in Italy and Switzerland.  Before he arrived at his teens, young Ruskin had composed much, both in prose and verse, and he early manifested an aptitude for drawing, as well as a decided taste for art, which, it is said, was in some measure incited by the gift, from a partner of his father, of a copy of the poet Rogers’ “Italy,” with engravings by Turner.  Nor, early in manhood, did he escape a youth’s fond dream of love, for as a worshipper of beauty, and an enthusiast of the “Wizard of the North,” we find him drawn tenderly to a daughter of Lockhart, editor of the “Quarterly Review,” a grandchild of his famous countryman, Sir Walter Scott.  The affair, however, though encouraged by his parents, who longed to see their son settled in life, came to nought, chiefly owing to the young lover’s weak physical frame and uncertain health.  Later on, unhappily, he was caught in the toils of another Scottish lass, for whom, it is related, he had written “The King of the Golden River” (1841), and whose