The habit of observing and recording carefully, in words and in drawing, the works of God in nature and of man in art made travel essential to the process of continual rediscovery which characterizes the work of John Ruskin, causing him to repeatedly redraw his map of Europe. In 1840–1, the young man's Evangelical upbringing and antipathy for the classical inhibited his response to Rome, which remained peripheral to the monumental volumes of the mid-century. Shifting religious views and studies of ancient myth prepared the way for two revelatory visits to Rome in the early 1870s. In Oxford lectures, Ruskin read in Botticelli's frescoes in the Sistine Chapel syntheses of oppositions between schools of art, between the natural and the spiritual, Greek and Christian cultures, Catholic faith and Reforming energies. He also came to feel the ‘power of the place’ in holy places of early Christianity and in continuities of peasant life. Rome is therefore relocated as ‘the central city of the world’, but modern realities menaced this vision. What had been an impoverished backwater was undergoing massive redevelopment and industrialization as the capital of a newly unified state with international ambitions. From these changes, commented on in his monthly pamphlet, Fors Clavigera, Ruskin extracted severe lessons for Victorian Britain. This article is about the ways in which the two types of change interact.

中文翻译：

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从死胡同到世界中心城市：（重新）在拉斯金的欧洲地图上定位罗马

用文字和绘画仔细观察和记录上帝在自然界中的作品和人类在艺术中的作品的习惯使得旅行对于不断重新发现的过程至关重要，这也是约翰·拉斯金作品的特征，导致他反复重新绘制他的地图欧洲。在 1840-1 年，这个年轻人的福音派教养和对古典文学的反感抑制了他对罗马的反应，罗马仍然是本世纪中叶不朽的著作。宗教观点的转变和对古代神话的研究为 1870 年代初期对罗马的两次启示性访问铺平了道路。在牛津的讲座中，拉斯金在西斯廷教堂的波提切利壁画中读到了艺术流派之间、自然与精神、希腊和基督教文化、天主教信仰和改革能量之间的对立的综合。他还开始在早期基督教的圣地和农民生活的连续性中感受到“地方的力量”。罗马因此被重新定位为“世界中心城市”，但现代现实威胁到了这一愿景。作为一个具有国际野心的新统一国家的首都，曾经是一个贫困的死水正在经历大规模的重建和工业化。从这些变化中，他在每月的小册子中评论说，福斯克拉维格拉，拉斯金为维多利亚时代的英国吸取了深刻的教训。这篇文章是关于这两种类型的变化相互作用的方式。