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The Life of John Ruskin by W. G. (William Gershom) Collingwood
page 30 of 353 (08%)
exorbitant. Coniston especially was dreary with rain, and its inn--the
old Waterhead, now destroyed--extravagantly dear; "_but_," says John,
with his eye for mineral specimens, "it contains several rich
coppermines." An interesting touch is the hero-worship with which they
went reverently to peep at Southey and Wordsworth in church; too humble
to dream of an introduction, and too polite to besiege the poets in
their homes, but independent enough to form their own opinions on the
personality of the heroes. They did not like the look of Wordsworth at
all; Southey they adored. The dominant note of the tour is, however, an
ecstatic delight in the mountain scenery; on Skiddaw and Helvellyn all
the gamut of admiration is lavished.

On returning home, John began Greek under Dr. Andrews, and was soon
versifying Anacreontics in his notebooks. He began to read Byron for
himself, with what result we shall see before long; but the most
important new departure was the attempt to copy Cruikshank's etchings to
Grimm's fairy tales, his real beginning at art. From this practice he
learnt the value of the pure, clean line that expresses form. It is a
good instance of the authority of these early years over Ruskin's whole
life and teaching that in his "Elements of Drawing" he advised young
artists to begin with Cruikshank, as he began, and that he wrote
appreciatively both of the stories and the etchings so many decades
afterwards in the preface to a reprint by J.C. Hotten.

His cousin-sister Mary had been sent to a day-school when Mrs. Ruskin's
lessons were superseded by Dr. Andrews, and she had learnt enough
drawing to attempt a view of the hotel at Matlock, a thing which John
could not do. So, now that he too showed some power of neat
draughtsmanship, it was felt that he ought to have her advantages. They
got Mr. Runciman the drawing-master, chosen, it may be, as a relative of
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