The Seven Lamps of Architecture - John Ruskin (best book clubs txt) 📗

sublime. It is, also, the difference between what is derivative and original in man's work; for whatever is in architecture fair or beautiful, is imitated from natural forms; and what is not so derived, but depends for its dignity upon arrangement and government received from human mind, becomes the expression of the power of that mind, and receives a sublimity high in proportion to the power expressed. All building, therefore, shows man either as gathering or governing: and the secrets of his success are his knowing what to gather, and how to rule. These are the two great intellectual Lamps of Architecture; the one consisting in a just and humble veneration for the works of God upon the earth, and the other in an understanding of the dominion over those works which has been vested in man.

III. Besides this expression of living authority and power, there is, however, a sympathy in the forms of noble building, with what is most sublime in natural things; and it is the governing Power directed by this sympathy, whose operation I shall at present endeavor to trace, abandoning all inquiry into the more abstract fields of invention: for this latter faculty, and the questions of proportion and arrangement connected with its discussion, can only be rightly examined in a general view of all arts; but its sympathy, in architecture, with the vast controlling powers of Nature herself, is special, and may shortly be considered; and that with the more advantage, that it has, of late, been little felt or regarded by architects. I have seen, in recent efforts, much contest between two schools, one affecting originality, and the other legality—many attempts at beauty of design—many ingenious adaptations of construction; but I have never seen any aim at the expression of abstract power; never any appearance of a consciousness that, in this primal art of man, there is room for the marking of his relations with the mightiest, as well as the fairest, works of God; and that those works themselves have been permitted, by their Master and his, to receive an added glory from their association with earnest efforts of human thought. In the edifices of Man there should be found reverent worship and following, not only of the spirit which rounds the pillars of the forest, and arches the vault of the avenue—which gives veining to the leaf, and polish to the shell, and grace to every pulse that agitates animal organization,—but of that also which reproves the pillars of the earth, and builds up her barren precipices into the coldness of the clouds, and lifts her shadowy cones of mountain purple into the pale arch of the sky; for these, and other glories more than these, refuse not to connect themselves, in his thoughts, with the work of his own hand; the grey cliff loses not its nobleness when it reminds us of some Cyclopean waste of mural stone; the pinnacles of the rocky promontory arrange themselves, undegraded, into fantastic semblances of fortress towers; and even the awful cone of the far-off mountain has a melancholy mixed with that of its own solitude, which is cast from the images of nameless tumuli on white sea-shores, and of the heaps of reedy clay, into which chambered cities melt in their mortality.

IV. Let us, then, see what is this power and majesty, which Nature herself does not disdain to accept from the works of man; and what that sublimity in the masses built up by his coralline-like energy, which is honorable, even when transferred by association to the dateless hills, which it needed earthquakes to lift, and deluges to mould.

And, first of mere size: It might not be thought possible to emulate the sublimity of natural objects in this respect; nor would it be, if the architect contended with them in pitched battle. It would not be well to build pyramids in the valley of Chamouni; and St. Peter's, among its many other errors, counts for not the least injurious its position on the slope of an inconsiderable hill. But imagine it placed on the plain of Marengo, or, like the Superga of Turin, or like La Salute at Venice! The fact is, that the apprehension of the size of natural objects, as well as of architecture, depends more on fortunate excitement of the imagination than on measurements by the eye; and the architect has a peculiar advantage in being able to press close upon the sight, such magnitude as he can command. There are few rocks, even among the Alps, that have a clear vertical fall as high as the choir of Beauvais; and if we secure a good precipice of wall, or a sheer and unbroken flank of tower, and place them where there are no enormous natural features to oppose them, we shall feel in them no want of sublimity of size. And it may be matter of encouragement in this respect, though one also of regret, to observe how much oftener man destroys natural sublimity, than nature crushes human power. It does not need much to humiliate a mountain. A hut will sometimes do it; I never look up to the Col de Balme from Chamouni, without a violent feeling of provocation against its hospitable little cabin, whose bright white walls form a visibly four-square spot on the green ridge, and entirely destroy all idea of its elevation. A single villa will often mar a whole landscape, and dethrone a dynasty of hills, and the Acropolis of Athens, Parthenon and all, has, I believe, been dwarfed into a model by the palace lately built beneath it. The fact is, that hills are not so high as we fancy them, and, when to the actual impression of no mean comparative size, is added the sense of the toil of manly hand and thought, a sublimity is reached, which nothing but gross error in arrangement of its parts can destroy.

V. While, therefore, it is not to be supposed that mere size will ennoble a mean design, yet every increase of magnitude will bestow upon it a certain degree of nobleness: so that it is well to determine at first, whether the building is to be markedly beautiful or markedly sublime; and if the latter, not to be withheld by respect to smaller parts from reaching largeness of scale; provided only, that it be evidently in the architect's power to reach at least that degree of magnitude which is the lowest at which sublimity begins, rudely definable as that which will make a living figure look less than life beside it. It is the misfortune of most of our modern buildings that we would fain have an universal excellence in them; and so part of the funds must go in painting, part in gilding, part in fitting up, part in painted windows, part in small steeples, part in ornaments here and there; and neither the windows, nor the steeple, nor the ornaments, are worth their materials. For there is a crust about the impressible part of men's minds, which must be pierced through before they can be touched to the quick; and though we may prick at it and scratch it in a thousand separate places, we might as well have let it alone if we do not come through somewhere with a deep thrust: and if we can give such a thrust anywhere, there is no need of another; it need not be even so "wide as a church door," so that it be enough. And mere weight will do this; it is a clumsy way of doing it, but an effectual one, too; and the apathy which cannot be pierced through by a small steeple, nor shone through by a small window, can be broken through in a moment by the mere weight of a great wall. Let, therefore, the architect who has not large resources, choose his point of attack first, and, if he choose size, let him abandon decoration; for, unless they are concentrated, and numerous enough to make their concentration conspicuous, all his ornaments together would not be worth one huge stone. And the choice must be a decided one, without compromise. It must be no question whether his capitals would not look better with a little carving—let him leave them huge as blocks; or whether his arches should not have richer architraves—let him throw them a foot higher, if he can; a yard more across the nave will be worth more to him than a tesselated pavement; and another fathom of outer wall, than an army of pinnacles. The limitation of size must be only in the uses of the building, or in the ground at his disposal.

VI. That limitation, however, being by such circumstances determined, by what means, it is to be next asked, may the actual magnitude be best displayed; since it is seldom, perhaps never, that a building of any pretension to size looks so large as it is. The appearance of a figure in any distant, more especially in any upper, parts of it will almost always prove that we have under-estimated the magnitude of those parts.

It has often been observed that a building, in order to show its magnitude, must be seen all at once. It would, perhaps, be better to say, must be bounded as much as possible by continuous lines, and that its extreme points should be seen all at once; or we may state, in simpler terms still, that it must have one visible bounding line from top to bottom, and from end to end. This bounding line from top to bottom may either be inclined inwards, and the mass, therefore, pyramidical; or vertical, and the mass form one grand cliff; or inclined outwards, as in the advancing fronts of old houses, and, in a sort, in the Greek temple, and in all buildings with heavy cornices or heads. Now, in all these cases, if the bounding line be violently broken; if the cornice project, or the upper portion of the pyramid recede, too violently, majesty will be lost; not because the building cannot be seen all at once,—for in the case of a heavy cornice no part of it is necessarily concealed—but because the continuity of its terminal line is broken, and the length of that line, therefore, cannot be estimated. But the error is, of course, more fatal when much of the building is also concealed; as in the well-known case of the recession of the dome of St. Peter's, and, from the greater number of points of view, in churches whose highest portions, whether dome or tower, are over their cross. Thus there is only one point from which the size of the Cathedral of Florence is felt; and that is from the corner of the Via de' Balestrieri, opposite the south-east angle, where it happens that the dome is seen rising instantly above the apse and transepts. In all cases in which the tower is over the cross, the grandeur and height of the tower itself are lost, because there is but one line down which the eye can trace the whole height, and that is in the inner angle of the cross, not easily discerned. Hence, while, in symmetry and feeling, such designs may often have pre-eminence, yet, where the height of the tower itself is to be made apparent, it must be at the west end, or better still, detached as a campanile. Imagine the loss to the Lombard churches if their campaniles were carried only to their present height over their crosses; or to the Cathedral of Rouen, if the Tour de Beurre were made central, in the place of its present debased spire!

VII. Whether, therefore, we have to do with tower or wall, there must be one bounding line from base to coping; and I am much inclined, myself, to love the true vertical, or