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

"And northward, in a turret on the wall
Of alabaster white, and red corall,
An oratorie riche for to see,
In worship of Diane of Chastitee."

Page 44.

"The Builders of Salisbury."

"This way of tying walls together with iron, instead of making them of that substance and form, that they shall naturally poise themselves upon their buttment, is against the rules of good architecture, not only because iron is corruptible by rust, but because it is fallacious, having unequal veins in the metal, some places of the same bar being three times stronger than others, and yet all sound to appearance." Survey of Salisbury Cathedral in 1668, by Sir C. Wren. For my own part, I think it better work to bind a tower with iron, than to support a false dome by a brick pyramid.

Page 60.

Plate III.

In this plate, figures 4, 5, and 6, are glazed windows, but fig. 2 is the open light of a belfry tower, and figures 1 and 3 are in triforia, the latter also occurring filled, on the central tower of Coutances.

Page 94.

"Ornaments of the transept towers of Rouen."

The reader cannot but observe agreeableness, as a mere arrangement of shade, which especially belongs to the "sacred trefoil." I do not think that the element of foliation has been enough insisted upon in its intimate relations with the power of Gothic work. If I were asked what was the most distinctive feature of its perfect style, I should say the Trefoil. It is the very soul of it; and I think the loveliest Gothic is always formed upon simple and bold tracings of it, taking place between the blank lancet arch on the one hand, and the overcharged cinquefoiled arch on the other.

Page 95.

"And levelled cusps of stone."

The plate represents one of the lateral windows of the third story of the Palazzo Foscari. It was drawn from the opposite side of the Grand Canal, and the lines of its traceries are therefore given as they appear in somewhat distant effect. It shows only segments of the characteristic quatrefoils of the central windows. I found by measurement their construction exceedingly simple. Four circles are drawn in contact within the large circle. Two tangential lines are then drawn to each opposite pair, enclosing the four circles in a hollow cross. An inner circle struck through the intersections of the circles by the tangents, truncates the cusps.

Page 124.

"Into vertical equal parts."

Not absolutely so. There are variations partly accidental (or at least compelled by the architect's effort to recover the vertical), between the sides of the stories; and the upper and lower story are taller than the rest. There is, however, an apparent equality between five out of the eight tiers.

Page 133.

"Never paint a column with vertical lines."

It should be observed, however, that any pattern which gives opponent lines in its parts, may be arranged on lines parallel with the main structure. Thus, rows of diamonds, like spots on a snake's back, or the bones on a sturgeon, are exquisitely applied both to vertical and spiral columns. The loveliest instances of such decoration that I know, are the pillars of the cloister of St. John Lateran, lately illustrated by Mr. Digby Wyatt, in his most valuable and faithful work on antique mosaic.

Page 139.

On the cover of this volume the reader will find some figure outlines of the same period and character, from the floor of San Miniato at Florence. I have to thank its designer, Mr. W. Harry Rogers, for his intelligent arrangement of them, and graceful adaptation of the connecting arabesque. (Stamp on cloth cover of London edition.)

Page 169.

"The flowers lost their light, the river its music."

Yet not all their light, nor all their music. Compare Modern Painters, vol. ii. sec. 1. chap. iv. SECTION 8.

Page 181.

"By the artists of the time of Perides."

This subordination was first remarked to me by a friend, whose profound knowledge of Greek art will not, I trust, be reserved always for the advantage of his friends only: Mr. C. Newton, of the British Museum.

Page 188.

"In one of the noblest poems."

Coleridge's Ode to France: