Ruskin described Gothic craftwork as constructing a full-fledged model of ‘ social practices, ’ which enables individuals to develop virtues in pursuit of “ internal goods, ” and other “ standards of excellence” of their artistic work. In other words, Ruskin love for this unity is a representation of the social impacts that any artistic work should have in impacting virtues or forming a better society. To Ruskin, without the “ balancing sense of a unifying form” observed from, and proved by the Gothic artistic work, the beauty of such Gothic cathedrals would revert to mere heaps, with no meaning to the society.
11It is this uniformity, and form in gothic artistic works and cathedrals that present the good economic conditions and social relationships. 12 This was achieved through sustainable social practices that encourage perfection in workers, and lead to moral and accurate judgments of their works by others. 13 Ruskin believed in the value of human energy input inartistic work to make any architectural work perfect, as represented by the Gothic artistic work. Ruskin’ s moral aesthetic theory grew and changed along with his thoughts, and experiences.
Ruskin’ s moral aesthetic was portrayed in his publications the seven lamps of Architecture (1849), and the Stones of Venice (1851). It is in the stones of Venice that he praised the Gothic work for what he calls unity, and portraying Morality, in advocating for a deeper interaction between art and morality. 14 To Ruskin, “ strong sense of education’ s leading behavior and belief that is appropriate to citizens of a just society” are important elements in the society. 15 His belief in instilling morality through education was passed through a group Ruskin’ s followers, who were in positions of responsibility and influence in the education sector.
Ruskin believed in reaching students not only for their vocations and callings but for “ social conditions in which they are expected to have to work. ”
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