The Seven Lamps of Architecture, John Ruskin [room on the broom read aloud .txt] 📗

walls of the mountain cottages of Wales, Cumberland, and Scotland. Their size is not one whit diminished, though four or five stones reach at their angles from the ground to the eaves, or though a native rock happen to project conveniently, and to be built into the framework of the wall. On the other hand, after a building has once reached the mark of majestic size, it matters, indeed, comparatively little whether its masonry be large or small, but if it be altogether large, it will sometimes diminish the magnitude for want of a measure; if altogether small, it will suggest ideas of poverty in material, or deficiency in mechanical resource, besides interfering in many cases with the lines of the design, and delicacy of the workmanship. A very unhappy instance of such interference exists in the façade of the church of St. Madeleine at Paris, where the columns, being built of very small stones of nearly equal size, with visible joints, look as if they were covered with a close trellis. So, then, that masonry will be generally the most magnificent which, without the use of materials systematically small or large, accommodates itself, naturally and frankly, to the conditions and structure of its work, and displays alike its power of dealing with the vastest masses, and of accomplishing its purpose with the smallest, sometimes heaping rock upon rock with Titanic commandment, and anon binding the dusty remnants and edgy splinters into springing vaults and swelling domes. And if the nobility of this confessed and natural masonry were more commonly felt, we should not lose the dignity of it by smoothing surfaces and fitting joints. The sums which we waste in chiselling and polishing stones which would have been better left as they came from the quarry would often raise a building a story higher. Only in this there is to be a certain respect for material also: for if we build in marble, or in any limestone, the known ease of the workmanship will make its absence seem slovenly; it will be well to take advantage of the stone's softness, and to make the design delicate and dependent upon smoothness of chiselled surfaces: but if we build in granite or lava, it is a folly, in most cases, to cast away the labor necessary to smooth it; it is wiser to make the design granitic itself, and to leave the blocks rudely squared. I do not deny a certain splendor and sense of power in the smoothing of granite, and in the entire subduing of its iron resistance to the human supremacy. But, in most cases, I believe, the labor and time necessary to do this would be better spent in another way; and that to raise a building to a height of a hundred feet with rough blocks, is better than to raise it to seventy with smooth ones. There is also a magnificence in the natural cleavage of the stone to which the art must indeed be great that pretends to be equivalent; and a stern expression of brotherhood with the mountain heart from which it has been rent, ill-exchanged for a glistering obedience to the rule and measure of men. His eye must be delicate indeed, who would desire to see the Pitti palace polished.

XII. Next to those of the masonry, we have to consider the divisions of the design itself. Those divisions are, necessarily, either into masses of light and shade, or else by traced lines; which latter must be, indeed, themselves produced by incisions or projections which, in some lights, cast a certain breadth of shade, but which may, nevertheless, if finely enough cut, be always true lines, in distant effect. I call, for instance, such panelling as that of Henry the Seventh's chapel, pure linear division.

Now, it does not seem to me sufficiently recollected, that a wall surface is to an architect simply what a white canvas is to a painter, with this only difference, that the wall has already a sublimity in its height, substance, and other characters already considered, on which it is more dangerous to break than to touch with shade the canvas surface. And, for my own part, I think a smooth, broad, freshly laid surface of gesso a fairer thing than most pictures I see painted on it; much more, a noble surface of stone than most architectural features which it is caused to assume. But however this may be, the canvas and wall are supposed to be given, and it is our craft to divide them.

And the principles on which this division is to be made, are as regards relation of quantities, the same in architecture as in painting, or indeed, in any other art whatsoever, only the painter is by his varied subject partly permitted, partly compelled, to dispense with the symmetry of architectural light and shade, and to adopt arrangements apparently free and accidental. So that in modes of grouping there is much difference (though no opposition) between the two arts; but in rules of quantity, both are alike, so far forth as their commands of means are alike. For the architect, not being able to secure always the same depth or decision of shadow, nor to add to its sadness by color (because even when color is employed, it cannot follow the moving shade), is compelled to make many allowances, and avail himself of many contrivances, which the painter needs neither consider nor employ.

XIII. Of these limitations the first consequence is, that positive shade is a more necessary and more sublime thing in an architect's hands than in a painter's. For the latter being able to temper his light with an under-tone throughout, and to make it delightful with sweet color, or awful with lurid color, and to represent distance, and air, and sun, by the depth of it, and fill its whole space with expression, can deal with an enormous, nay, almost with an universal extent of it, and the best painters most delight in such extent; but as light, with the architect, is nearly always liable to become full and untempered sunshine seen upon solid surface, his only rests, and his chief means of sublimity, are definite shades. So that, after size and weight, the Power of architecture may be said to depend on the quantity (whether measured in space or intenseness) of its shadow; and it seems to me, that the reality of its works, and the use and influence they have in the daily life of men (as opposed to those works of art with which we have nothing to do but in times of rest or of pleasure) require of it that it should express a kind of human sympathy, by a measure of darkness as great as there is in human life: and that as the great poem and great fiction generally affect us most by the majesty of their masses of shade, and cannot take hold upon us if they affect a continuance of lyric sprightliness, but must be serious often, and sometimes melancholy, else they do not express the truth of this wild world of ours; so there must be, in this magnificently human art of architecture, some equivalent expression for the trouble and wrath of life, for its sorrow and its mystery: and this it can only give by depth or diffusion of gloom, by the frown upon its front, and the shadow of its recess. So that Rembrandtism is a noble manner in architecture, though a false one in painting; and I do not believe that ever any building was truly great, unless it had mighty masses, vigorous and deep, of shadow mingled with its surface. And among the first habits that a young architect should learn, is that of thinking in shadow, not looking at a design in its miserable liny skeleton; but conceiving it as it will be when the dawn lights it, and the dusk leaves it; when its stones will be hot and its crannies cool; when the lizards will bask on the one, and the birds build in the other. Let him design with the sense of cold and heat upon him; let him cut out the shadows, as men dig wells in unwatered plains; and lead along the lights, as a founder does his hot metal; let him keep the full command of both, and see that he knows how they fall, and where they fade. His paper lines and proportions are of no value: all that he has to do must be done by spaces of light and darkness; and his business is to see that the one is broad and bold enough not to be swallowed up by twilight, and the other deep enough not to be dried like a shallow pool by a noon-day sun.

And that this may be, the first necessity is that the quantities of shade or light, whatever they may be, shall be thrown into masses, either of something like equal weight, or else large masses of the one relieved with small of the other; but masses of one or other kind there must be. No design that is divided at all, and is not divided into masses, can ever be of the smallest value: this great law respecting breadth, precisely the same in architecture and painting, is so important, that the examination of its two principal applications will include most of the conditions of majestic design on which I would at present insist.

XIV. Painters are in the habit of speaking loosely of masses of light and shade, meaning thereby any large spaces of either. Nevertheless, it is convenient sometimes to restrict the term "mass" to the portions to which proper form belongs, and to call the field on which such forms are traced, interval. Thus, in foliage with projecting boughs or stems, we have masses of light, with intervals of shade; and, in light skies with dark clouds upon them, masses of shade with intervals of light.

This distinction is, in architecture, still more necessary; for there are two marked styles dependent upon it: one in which the forms are drawn with light upon darkness, as in Greek sculpture and pillars; the other in which they are drawn with darkness upon light, as in early Gothic foliation. Now, it is not in the designer's power determinately to vary degrees and places of darkness, but it is altogether in his power to vary in determined directions his degrees of light. Hence, the use of the dark mass characterises, generally, a trenchant style of design, in which the darks and lights are both flat, and terminated by sharp edges; while the use of the light mass is in the same way associated with a softened and full manner of design, in which the darks are much warmed by reflected lights, and the lights are rounded and melt into them. The term applied by Milton to Doric bas-relief—"bossy," is, as is generally the case with Milton's epithets, the most comprehensive and expressive of this manner, which the English language contains; while the term which specifically describes the chief member of early Gothic decoration, feuille, foil or leaf, is equally significative of a flat space of shade.

XV. We shall shortly consider the actual modes in which these two kinds of mass have been treated. And, first, of the light, or rounded, mass. The modes in which relief was secured for the more projecting forms of bas-relief, by the Greeks, have been too well described by Mr. Eastlake[I] to need recapitulation: the conclusion which forces itself upon us from the facts he has remarked, being one on which I shall have occasion farther to insist presently, that the Greek workman cared for shadow only as a dark field wherefrom his light figure or design might be intelligibly detached: his attention was concentrated