ABSTRACT
John Ruskin’s Stones of Venice criticized the Victorian city and Victorian society in the light of a reconstruction of medieval Venice. But Ruskin’s reconstruction embodied elements of a long-standing myth propagated by Venetians themselves and inscribed in their organization of urban space and urban landscape. The geographical dimensions of the myth, its changing character through time, its iconographic expressions and its significance for English attitudes to Venice are described and explained. Ruskin used the myth to support his ideology, constructing a homology between architectural development and social structure. But the appeal of Venice transcends historical contingency and may, in part, be understood by reference to psychoanalytic categories, specifically sexual symbolism.
