The Seven Lamps of Architecture / 建築の七燈 — John Ruskin
You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org . If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title : The Seven Lamps of Architecture Author : John Ruskin Release date : April 18, 2011 [eBook #35898] Language : English Other information and formats : www.gutenberg.org/ebooks/35898 Credits : Produced by The Online Distributed Proofreading Team at http://www.pgdp.net *** START OF —( Frontispiece —Vol. V.) Tracery from the Campanile of Giotto at Florence. Illustrated Cabinet Edition The Seven Lamps of Architecture Lectures on Architecture and Painting The Study of Architecture by John Ruskin Boston Dana Estes & Company Publishers CONTENTS. SEVEN LAMPS OF ARCHITECTURE. PAGE Preface 5 Introduction 9 CHAPTER I. The Lamp of Sacrifice 15 CHAPTER II. The Lamp of Truth 34 CHAPTER III. The Lamp of Power 69 CHAPTER IV. The Lamp of Beauty 100 CHAPTER V. The Lamp of Life 142 CHAPTER VI. The Lamp of Memory 167 CHAPTER VII. The Lamp of Obedience 188 Notes 203 LECTURES ON ARCHITECTURE AND PAINTING. Preface 213 Lecture I . 217 Lecture II . 248 Addenda to Lectures I. and II. 270 Lecture III . Turner and his Works 287 Lecture IV . Pre-Raphaelitism 311 Addenda to Lecture IV. 334 THE STUDY OF ARCHITECTURE. An Inquiry into the Study of Architecture 339 LIST OF ILLUSTRATIONS. SEVEN LAMPS OF ARCHITECTURE PLATE PAGE I. Ornaments from Rouen, St. Lo, and Venice 33 II. Part of the Cathedral of St. Lo, Normandy 55 III. Traceries from Caen, Bayeux, Rouen and Beavais 60 IV. Intersectional Mouldings 66 V. Capital from the Lower Arcade of the Doge's Palace, Venice 88 VI. Arch from the Facade of the Church of San Michele at Lucca 90 VII. Pierced Ornaments from Lisieux, Bayeux, Verona, and Padua 93 VIII. Window from the Ca' Foscari, Venice 95 IX. Tracery from the Campanile of Giotto, at Florence . Frontispiece. X. Traceries and Mouldings from Rouen and Salisbury 122 XI. Balcony in the Campo, St. Benedetto, Venice 131 XII. Fragments from Abbeville, Lucca, Venice and Pisa 149 XIII. Portions of an Arcade on the South Side of the Cathedral of Ferrara 161 XIV. Sculptures from the Cathedral of Rouen 165 LECTURES ON ARCHITECTURE AND PAINTING Plate I. Figs. 1, 3 and 5. Illustrative Diagrams 219 " II. " 2. Window in Oakham Castle 221 " III. " 4 and 6. Spray of ash-tree, and improvement of the same on Greek Principles 226 " IV. " 7. Window in Dumblane Cathedral 231 " V. " 8. Mediæval Turret 235 " VI. " 9 and 10. Lombardic Towers 238 " VII. " 11 and 12. Spires at Contances and Rouen 240 " VIII. " 13 and 14. Illustrative Diagrams 253 " IX. " 15. Sculpture at Lyons 254 " X. " 16. Niche at Amiens 255 " XI. " 17 and 18. Tig er's Head, and improvement of the same on Greek Principles 258 " XII. " 19. Garret Window in Hotel de Bourgtheroude 265 " XIII. " 20 and 21. Trees, as drawn in the thirteenth century 294 " XIV. " 22. Rocks, as drawn by the school of Leonardo Da Vinci 296 " XV. " 23. Boughs of Trees, after Titian 298 THE SEVEN LAMPS OF ARCHITECTURE PREFACE. The memoranda which form the basis of the following Essay have been thrown together during the preparation of one of the sections of the third volume of "Modern Painters." [A] I once thought of giving them a more expanded form; but their utility, such as it may be, would probably be diminished by farther delay in their publication, more than it would be increased by greater care in their arrangement. Obtained in every case by personal observation, there may be among them some details valuable even to the experienced architect; but with respect to the opinions founded upon them I must be prepared to bear the charge of impertinence which can hardly but attach to the writer who assumes a dogmatical tone in speaking of an art he has never practised. There are, however, cases in which men feel too keenly to be silent, and perhaps too strongly to be wrong; I have been forced into this impertinence; and have suffered too much from the destruction or neglect of the architecture I best loved, and from the erection of that which I cannot love, to reason cautiously respecting the modesty of my opposition to the principles which have induced the scorn of the one, or directed the design of the other. And I have been the less careful to modify the confidence of my statements of principles, because in the midst of the opposition and uncertainty of our architectural systems, it seems to me that there is something grateful in any positive opinion, though in many points wrong, as even weeds are useful that grow on a bank of sand. Every apology is, however, due to the reader, for the hasty and imperfect execution of the plates. Having much more serious work in hand, and desiring merely to render them illustrative of my meaning, I have sometimes very completely failed even of that humble aim; and the text, being generally written before the illustration was completed, sometimes naïvely describes as sublime or beautiful, features which the plate represents by a blot. I shall be grateful if the reader will in such cases refer the expressions of praise to the Architecture, and not to the illustration. So far, however, as their coarseness and rudeness admit, the plates are valuable; being either copies of memoranda made upon the spot, or (Plates IX. and XI.) enlarged and adapted from Daguerreotypes, taken under my own superintendence. Unfortunately, the great distance from the ground of the window which is the subject of Plate IX. renders even the Daguerreotype indistinct; and I cannot answer for the accuracy of any of the mosaic details, more especially of those which surround the window, and which I rather imagine, in the original, to be sculptured in relief. The general proportions are, however, studiously preserved; the spirals of the shafts are counted, and the effect of the whole is as near that of the thing