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- סופר בריטי (iw)
- ލިޔުންތެރިއެއް (dv)
- كاتب إنجليزي (ar)
- ఆంగ్ల రచయిత మరియు కళా విమర్శకుడు (1819-1900) (te)
- 예술 평론가, 후원가, 소묘 화가, 수채화가, 사회운동가, 독지가 (ko)
- scrittore, pittore e poeta britannico (1819–1900) (it)
- englischer Schriftsteller, Maler, Kunsthistoriker und Sozialphilosoph (1819–1900) (de)
- escritor, crítico de arte e sociólogo británico (1819–1900) (gl)
- Autor i crític d'art anglès (1819–1900) (ca)
- Brits schrijver (1819–1900) (nl)
- Engelsk forfatter og kunstkritiker (1819–1900) (da)
- English writer and art critic (1819–1900) (en)
- енглески сликар и критичар уметности (sr)
- englantilainen kirjailija, runoilija, taidemaalari ja taidekriitikko (1819–1900) (fi)
- angielski krytyk i teoretyk sztuki (1819–1900) (pl)
- angla socialisto kaj verkisto (1819–1900) (eo)
- angol művészeti író, festő és esztéta (hu)
- awdur Saesneg a beirniad celf (1819-1900) (cy)
- scríbhneoir agus criticeoir ealaíne Sasanach (1819–1900) (ga)
- escritor inglés (1819–1900) (es)
- auteur, poète, artiste et critique d’art britannique (1819–1900) (fr)
- английский писатель, художник, теоретик искусства, литературный критик и поэт (1819–1900) (ru)
- Di sedsala 19an de nivîskar û nirxîgirê hunerî yê îngilîz (ku)
- イギリスの評論家・美術評論家 (1819-1900) (ja)
- англійський письменник та критик (1819–1900) (uk)
- brittisk konstkritiker, poet och författare (1819–1900) (sv)
- anglický spisovatel a umělecký kritik (1819–1900) (cs)
- angleški pisatelj, slikar, umetnostni kritik in socialni filozof (1819–1900) (sl)
- અંગ્રેજ લેખક અને વિવેચક (1819–1900) (gu)
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- No true disciple of mine will ever be a "Ruskinian"! – he will follow, not me, but the instincts of his own soul, and the guidance of its Creator. (en)
- Nay, but I choose my physician and my clergyman, thus indicating my sense of the quality of their work. By all means, also, choose your bricklayer; that is the proper reward of the good workman, to be "chosen." The natural and right system respecting all labour is, that it should be paid at a fixed rate, but the good workman employed, and the bad workman unemployed. The false, unnatural, and destructive system is when the bad workman is allowed to offer his work at half-price, and either take the place of the good, or force him by his competition to work for an inadequate sum. (en)
- There is no wealth but life. Life, including all its powers of love, of joy, and of admiration. That country is the richest which nourishes the greatest number of noble and happy human beings; that man is richest who, having perfected the functions of his own life to the utmost, has always the widest helpful influence, both personal, and by means of his possessions, over the lives of others. (en)
- For Mr Whistler's own sake, no less for the protection of the purchaser, Sir Coutts Lindsay ought not to have omitted works into the gallery in which the ill-educated conceit of the artist so nearly approached the aspect of wilful imposture. I have seen, and heard, much of cockney impudence before now, but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face. (en)
- Whenever I look or travel in England or abroad, I see that men, wherever they can reach, destroy all beauty. (en)
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- (Cook and Wedderburn, 17.V.34 .) (en)
- (Cook and Wedderburn, 24.357.) (en)
- (John Ruskin, Fors Clavigera ) (en)
- (Seven Lamps c. 6; Cook and Wedderburn 8.242.) (en)
- (John Ruskin, Unto This Last: Cook and Wedderburn, 17.105) (en)
- Experiences of a Literary Man (en)
- Praeterita, XXXV, 40 (en)
- (John Ruskin, Modern Painters V : Ruskin, Cook and Wedderburn, 7.422–423.) (en)
- The Stones of Venice vol. II: Cook and Wedderburn 10.201. (en)
- (John Ruskin, Unto This Last: Cook and Wedderburn 17.34) (en)
- (John Ruskin, Modern Painters V and Unto This Last: Cook and Wedderburn 7.207 and 17.25.) (en)
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- ... the art of becoming "rich," in the common sense, is not absolutely nor finally the art of accumulating much money for ourselves, but also of contriving that our neighbours shall have less. In accurate terms, it is "the art of establishing the maximum inequality in our own favour." (en)
- We want one man to be always thinking, and another to be always working, and we call one a gentleman, and the other an operative; whereas the workman ought often to be thinking, and the thinker often to be working, and both should be gentlemen, in the best sense. As it is, we make both ungentle, the one envying, the other despising, his brother; and the mass of society is made up of morbid thinkers and miserable workers. Now it is only by labour that thought can be made healthy, and only by thought that labour can be made happy, and the two cannot be separated with impunity. (en)
- If there be any one point insisted on throughout my works more frequently than another, that one point is the impossibility of Equality. My continual aim has been to show the eternal superiority of some men to others, sometimes even of one man to all others; and to show also the advisability of appointing such persons or person to guide, to lead, or on occasion even to compel and subdue, their inferiors, according to their own better knowledge and wiser will. (en)
- Government and cooperation are in all things and eternally the laws of life. Anarchy and competition, eternally, and in all things, the laws of death. (en)
- [Ruskin's] election to the second term of the Slade professorship took place in 1884, and he was announced to lecture at the Science Schools, by the park. I went off, never dreaming of difficulty about getting into any professorial lecture; but all the accesses were blocked, and finally I squeezed in between the Vice-Chancellor and his attendants as they forced a passage. All the young women in Oxford and all the girls' schools had got in before us and filled the semi-circular auditorium. Every inch was crowded, and still no lecturer; and it was not apparent how he could arrive. Presently there was a commotion in the doorway, and over the heads and shoulders of tightly packed young men, a loose bundle was handed in and down the steps, till on the floor a small figure was deposited, which stood up and shook itself out, amused and good humoured, climbed on to the dais, spread out papers and began to read in a pleasant though fluting voice. Long hair, brown with grey through it; a soft brown beard, also streaked with grey; some loose kind of black garment with a master's gown over it; loose baggy trousers, a thin gold chain round his neck with glass suspended, a lump of soft tie of some finely spun blue silk; and eyes much bluer than the tie: that was Ruskin as he came back to Oxford. (en)
- William Morris had come to lecture on "Art and plutocracy" in the hall of University College. The title did not suggest an exhortation to join a Socialist alliance, but that was what we got. When he ended, the Master of University, Dr Bright, stood up and instead of returning thanks, protested that the hall had been lent for a lecture on art and would certainly not have been made available for preaching Socialism. He stammered a little at all times, and now, finding the ungracious words literally stick in his throat, sat down, leaving the remonstrance incomplete but clearly indicated. The situation was most unpleasant. Morris at any time was choleric and his face flamed red over his white shirt front: he probably thought he had conceded enough by assuming against his usage a conventional garb. There was a hubbub, and then from the audience Ruskin rose and instantly there was quiet. With a few courteous well chosen sentences he made everybody feel that we were an assembly of gentlemen, that Morris was not only an artist but a gentleman and an Oxford man, and had said or done nothing which gentlemen in Oxford should resent; and the whole storm subsided before that gentle authority. (en)
- Neither by the public, nor by those who have the care of public monuments, is the true meaning of the word restoration understood. It means the most total destruction which a building can suffer: a destruction out of which no remnants can be gathered: a destruction accompanied with false description of the thing destroyed. Do not let us deceive ourselves in this important matter; it is impossible, as impossible as to raise the dead, to restore anything that has ever been great or beautiful in architecture. (en)
- She read alternate verses with me, watching at first, every intonation of my voice, and correcting the false ones, till she made me understand the verse, if within my reach, rightly and energetically. (en)
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