Excerpt from Deucalion: And Other Studies in Rock and Stones Section (steel Engraving by J. C. Armytage); (6) map (drawn andxengmved by G. Allen) About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This book, first published in 1949, is an important work in Victorian studies, and directs light on Ruskin’s personal tragedy, his public life, and on the character of his work. This book will be of interest to students of history and cultural studies.

From Aesthetes in Africa to the cultural history of the teapot, the essays in this collection contribute to scholarly debates across a wide range of disciplines. Addressing the question of whether "eclectic" relationships in Victorian decorative arts are actually self-conscious iconographic schemes or merely random juxtapositions of assorted objects, Rethinking the Interior, c. 1867-1896: Aestheticism and Arts and Crafts, argues that no firm demarcation exists between the two movements examined here. In the process, the contributors explore a wide variety of interiors in locations as diverse as London, Cornwall, New England, and Tangiers. Analyzing spaces public and private, sacred and secular, the volume poses several historiographic challenges. Drawing on a wide range of feminist and queer theories, the book questions the identification of nineteenth-century interiors as exclusively female or family spaces. The collection also addresses the complex and temporary character of interiors, and responds to the recent scholarly trend to return questions of feeling and embodied experience to the study of the decorative arts.