Stones of Venice

John Ruskin (1819–1900) was an English writer, philosopher, and art critic. William C. McKeown is an associate professor of art history at the University of Memphis.

• AcknowledgmentsEditor's Introduction Notations on This EditionA Bibliographical History of The Stones of VeniceAuthor's PrefacesFirst Edition (1851)Third Edition (1874)Travellers' Edition (1879)Volume I: The FoundationsList of Illustrations1. The Quarry2. The Virtues of Architecture3. The Six Divisions of Architecture4. The Wall Base5. The Wall Veil6. The Wall Cornice7. The Pier Base8. The Shaft9. The Capital10. The Arch Line11. The Arch Masonry12. The Arch Load13. The Roof14. The Roof Cornice15. The Buttress16. Form of Aperture17. Filling of Aperture18. Protection of Aperture19. Superimposition20. The Material of Ornament21. Treatment of Ornament22. The Angle23. The Edge and Fillet24. The Roll and Recess25. The Base26. The Wall Veil and Shaft27. The Cornice and Capital28. The Archivolt and Aperture29. The Roof30. The VestibuleAuthor's Appendix to Volume I1. Foundation of Venice2. Power of the Doges3. Serrar Del Consiglio4. S. Pietro Di Castello5. Papal Power in Venice6. Renaissance Ornaments7. Varieties of the Orders8. The Northern Energy9. Wooden Churches of the North10. Church of Alexandria11. Renaissance Landscape12. Romanist Modern Art13. Mr. Fergusson's System14. Divisions of Humanity15. Instinctive Judgments16. Strength of Shafts17. Answer to Mr. Garbett18. Early English Capitals19. Tombs at St. Anastasia20. Shafts of the Ducal Palace21. Ancient Representations of Water22. Arabian Ornamentation23. Varieties of Chamfer24. Renaissance Bases25. Romanist Decoration of BasesVolume II: The Sea-StoriesList of IllustrationsFirst, or Byzantine Period1. The Throne2. Torcello3. Murano4. St. Mark's5. Byzantine PalacesSecond, or Gothic Period6. The Nature of Gothic7. Gothic Palaces8. The Ducal PalaceAuthor's Appendix to Volume II1. The Gondolier's Cry2. Our Lady of Salvation3. Tides of Venice, and Measures at Torcello4. Date of the Duomo of Torcello5. Modern Pulpits6. Apse of Murano7. Early Venetian DressVolume III: The FallList of IllustrationsThird, or Renaissance Period1. Early Renaissance 2. Roman Renaissance 3. Grotesque Renaissance4. ConclusionEpilogue: Castel-Franco Author's Appendix to Volume III1. Architect of the Ducal Palace 2. Theology of Spenser 3. Austrian Government in Italy 4. Date of the Palaces of the Byzantine Renaissance 5. Renaissance Side of Ducal Palace 6. Character of the Doge Michele Morosin7. Modern Education8. Early Venetian Marriages9. Character of the Venetian Aristocracy10. Final Appendix Examples of the Architecture of Venice, Selected and Drawn to Measurement from the Edifices, Illustrative of The Stones of VeniceList of IllustrationsAuthor's Preface to the First Edition (1851)Descriptions of the PlatesVenetian IndexExplanatory NoteIntroductionVenetian IndexEditor's AppendixI. Selections from Samuel Rogers, Italy: a Poem (1830)14. "Venice"16. "St. Mark's Place"18. "The Brides of Venice"II. Ruskin's Early Literary Responses to Venice"Venice" [c. 1835]"Marcolini" [1836]: A Dramatic FragmentIII. Letters Written from Venice by Ruskin to his Father (1845). IV. Selections from St. Mark's Rest (1877-1884)"Preface""St. James of the Deep Stream""The Requiem"NotesFurther ReadingGeneral Index

“Ours is an era whose simulation, spectacle, and artificial intelligence challenges our notions of selfhood and society, making John Ruskin’s message on the ethics and aesthetics of building city and community ever more prescient. In The Stones of Venice, Ruskin employs the builder’s trowel as much as his captivating pen – readers must take his work whole. He guides us evocatively through Venice, but also apprentices us to erect the city stone by stone. With a perceptive introduction by William C. McKeown, this book truly gives us The Stones of Venice complete – both in its romance and in its ardent antiquarianism.”