Lectures on Architecture and Painting, Delivered at Edinburgh in November 1853. Ruskin John

1

Including York Place, and Picardy Place, but not counting any window which has moldings.

2

Oakham Castle. I have enlarged this illustration from Mr. Hudson Turner's admirable work on the domestic architecture of England.

3

Plate I. On this subject, see "The Builder," vol. xi. p. 709.

4

Sometimes of six; that is to say, they spring in pairs; only the two uppermost pairs, sometimes the three uppermost, spring so close together as to appear one cluster.

5

I am at present aware only of one tree, the tulip tree, which has an exceptional form, and which, I doubt not, every one will admit, loses much beauty in consequence. All other leaves, as far as I know, have the round or pointed arch in the form of the extremities of their foils.

6

This figure is copied from Prout.

7

I did not, at the time of the delivery of these lectures, know how many Gothic towers the worthy Glaswegians have lately built: that of St. Peter's, in particular, being a most meritorious effort.

8

There is a good abstract of the forms of the Italian campanile, by Mr. Papworth, in the Journal of the Archæological Institute, March 1850.

9

The form establishes itself afterwards in the plains, in sympathy with other Gothic conditions, as in the campanile of St. Mark's at Venice.

10

The sketch was made about ten o'clock on a September morning.

11

Among the various modes in which the architects, against whose practice my writings are directed, have endeavored to oppose them, no charge has been made more frequently than that of their self-contradiction; the fact being, that there are few people in the world who are capable of seeing the two sides of any subject, or of conceiving how the statements of its opposite aspects can possibly be reconcilable. For instance, in a recent review, though for the most part both fair and intelligent, it is remarked, on this very subject of the domestic origin of the northern Gothic, that "Mr. Ruskin is evidently possessed by a fixed idea, that the Venetian architects were devout men, and that their devotion was expressed in their buildings; while he will not allow our own cathedrals to have been built by any but worldly men, who had no thoughts of heaven, but only vague ideas of keeping out of hell, by erecting costly places of worship." If this writer had compared the two passages with the care which such a subject necessarily demands, he would have found that I was not opposing Venetian to English piety; but that in the one case I was speaking of the spirit manifested in the entire architecture of the nation, and in the other of occasional efforts of superstition as distinguished from that spirit; and, farther, that in the one case, I was speaking of decorative features, which are ordinarily the results of feelings, in the other of structural features, which are ordinarily the results of necessity or convenience. Thus it is rational and just that we should attribute the decoration of the arches of St. Mark's with scriptural mosaics to a religious sentiment; but it would be a strange absurdity to regard as an effort of piety the invention of the form of the arch itself, of which one of the earliest and most perfect instances is in the Cloaca Maxima. And thus in the case of spires and towers, it is just to ascribe to the devotion of their designers that dignity which was bestowed upon forms derived from the simplest domestic buildings; but it is ridiculous to attribute any great refinement of religious feeling, or height of religious aspiration, to those who furnished the funds for the erection of the loveliest tower in North France, by paying for permission to eat butter in Lent.

12

It has been objected to this comparison that the form of the pediment does not properly represent that of the rocks of the Trossachs. The objection is utterly futile, for there is not a single spire or pinnacle from one end of the Trossachs to the other. All their rocks are heavily rounded, and the introduction of the word "spire" is a piece of inaccuracy in description, ventured merely for the sake of the Gothic image. Farther: it has been said that if I had substituted the word "gable," it would have spoiled the line just as much as the word "pediment," though "gable" is a Gothic word. Of course it would; but why? Because "gable" is a term of vulgar domestic architecture, and therefore destructive of the tone of the heroic description; whereas "pediment" and "spire" are precisely correlative terms, being each the crowning feature in ecclesiastical edifices, and the comparison of their effects in the verse is there

Скачать книгу