Early on, in Modern Painters, The Seven Lamps of Architecture and The Stones of Venice, belief in the wisdom of God the Father informs Ruskin 's Evangelical natural theology and his celebration of natural beauty and Turner 's landscape painting, while the wisdom of God the Son lies at the heart of his Christology and his interpretation of paintings such as Tintoretto 's Crucifixion and Holman Hunt's The Light of the World, and his Protestant reading of St Mark's, Venice. Whereas the 'Author of Modern Painters' sought to teach his readers how to see architecture, paintings and landscapes, the Ruskin who wrote on political economy and created the Guild of St George wished to teach them how to live. The result is a Victorian version of wisdom literature. Ruskin's most familiar maxim - 'There is no wealth but life' ( Unto this Last (1860)) - was inspired by the Book of Proverbs. In his attacks upon modern science in The Queen of the Air ( 1869) and The Eagle's Nest (1872) Ruskin traces the threads that connect wisdom in the Old Testament and the Holy Spirit in the New Testament with the cults of Athena and Neith - the Greek and Egyptian goddesses of wisdom. In his critique of modernity in Fors Clavigera (1871-1884) he frequently invokes the wisdom tradition, exposing the ephemeral by juxtaposing it with the eternal. In the late work Ruskin attempts to rewrite his earlier cultural histories of Venice in St. Mark's Rest (1877-1884) and of France in The Bible of Amiens (1880-1885), and challenges late Victorian society to respond to his version of apocalyptic wisdom in The Storm Cloud of the Nineteenth Century (1884). Ruskin's application of his foundational beliefs is prophetic, and his whole project seems even more relevant today than it did in the industrial age. (See Ruskin and religion and Evangelicalism and Ruskin and Evangelicalism and Wheeler Ruskin's God.)