The seven lamps of architecture (1883) (14597032990)

Identifier: sevenlampsofarchrusk (find matches)
Title: The seven lamps of architecture
Year: 1883 (1880s)
Authors: Ruskin, John, 1819-1900
Subjects: Architecture
Publisher: Sunnyside, Orpington, Kent, (Eng.) : G. Allen
Contributing Library: University Library, University of North Carolina at Chapel Hill
Digitizing Sponsor: University of North Carolina at Chapel Hill



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shower orgnawing frost. We are afraid for it, anxious about it, andtormented by it; and we feel that a massy shaft and a boldshadow would be worth it all. Nevertheless, even in cases likethese, much depends on the accomplishment of the great endsof decoration. If the ornament does its duty—if it is ornament,and its points of shade and light tell in the general effect, weshall not be offended by finding that the sculptor in his fulnessof fancy has chosen to give much more than these mere pointsof light, and has composed them of groups of figures. Butif the ornament does not answer its purpose, if it have no distant,no truly decorative povv^er; if, generally seen, it be a mere in-crustation and meaningless roughness, we shall only be cha-grined by finding when we look close, that the incrustationhas cost years of labour, and has millions of figures and historiesin it; and would be the better of being seen through a Stanhopelens. Hence the greatness of the northern Gothic as contrasted
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THE LAMP OF SACRIFICE. 27 with the latest ItaHan. It reaches nearly the same extreme ofdetail; but it never loses sight of its architectural purpose, neverfails in its decorative power; not a leaflet in it but speaks, andspeaks far off too ; and so long as this be the case, there is nolimit to the luxuriance in which such work may legitimately andnobly be bestowed. XV. No limit: it is one of the affectations of architects to speakof overcharged ornament. Ornament cannot be overcharged if itbe good, and is always overcharged when it is bad. I have given,on the opposite page (fig. i.), one of the smallest niches of thecentral gate of Rouen. That gate I suppose to be the most ex-quisite piece of pure flamboyant work existing ; for though I havespoken of the upper portions, especially the receding window, asdegenerate, the gate itself is of a purer period, and has hardly anyrenaissance taint. There are four strings of these niches (eachwith two figures beneath it) round the porch, from th