This book traces the sources and development of Ruskins aesthetic and critical theories. In his attempt to skirt the danger of excessive emotion and association in art, Ruskins struggle with the sublime but not the picturesque, is, along with the pathetic fallacy, examined. These concepts, too, are considered in light of Ruskins continuing religious and intellectual development. Finally, Ruskins loss of faith is analyzed in relation to the problem of allegory in art. Ruskin argued for an unchanging standard of beauty, though the psychological nature of the artist is related to his art medium.