In Ruins

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We Live in a World of Relentless progress, and yet we cannot pull ourselves away from the enchantment of what once was: the hold that an abandoned building can exert on us, the spell cast by the remains of past settlement. In Ruins is a meditation on ruins and, most particularly, a history of our fascination with them. When we contemplate ruins, Woodward suggests, we contemplate the prospect of the future. Ruins are also the jigsaw pieces of what once was, the clues to a past whose allure is heightened by the ...
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Overview

We Live in a World of Relentless progress, and yet we cannot pull ourselves away from the enchantment of what once was: the hold that an abandoned building can exert on us, the spell cast by the remains of past settlement. In Ruins is a meditation on ruins and, most particularly, a history of our fascination with them. When we contemplate ruins, Woodward suggests, we contemplate the prospect of the future. Ruins are also the jigsaw pieces of what once was, the clues to a past whose allure is heightened by the fact that it has vanished. And, finally, Woodward shows us how ruins serve as the source of inspiration for the artist who sees beauty in decay and desolation; he quotes by way of example what he calls the finest sonnet Shelley ever wrote: "Round the decay/Of that colossal wreck, boundless and bare/The lone and level sands stretch far away."
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Editorial Reviews

The New Yorker
In 1462, Pope Pius II praised classical ruins for their "exemplary frailty" and issued an edict to protect them; in the centuries that followed, generations of writers have delighted in their melancholy power. Woodward, a young British architectural historian, claims to have been obsessed with ruins since childhood; here he interweaves personal reflections (which hover just this side of preciousness) with historical descriptions of actual ruins -- castles, follies, blitzed London, and, above all, Rome -- and the writers and artists who have been captivated by them. For the true connoisseur, it seems, nothing ruins a ruin like repair. Rome, Woodward says, has failed to inspire anyone since the late nineteenth century, when archeologists cleared away the detritus of two millennia. The Coliseum was once dotted with shrines and sprouted rare plants whose seeds had been sown from the bodies of the exotic animals killed there. Now it is "as bald as the foundations of a modern construction site."
Publishers Weekly
"If I am lonely in a foreign country," confesses Woodward, director of Britain's Holburne Museum of Art, " I search for ruins." Great houses and haunted ones, ruins of antiquity and of modern wars, suburban remnants and monastic shells form his terrain in this erudite, brisk and invigorating walk through lost domains. "Ruins do not speak," says Woodward, "we speak for them." In this compact but capacious book, Woodward brings forth the voices of architects, diarists, sculptors, eccentrics, archeologists, even a boxer. Woodward himself is present, sometimes traveling, sometimes reading, but never as an intrusive presence. Although Byron may have felt "the air of Greece" made him a poet, Woodward is certain that it was "the clammy mists of a ruined English abbey" and the effects are present in his own heightened, engaging prose, which often finds literary ghosts among the stones. From Virginia Water in Surrey, the largest artificial ruin in Britain, to Ninfa ("the loveliest lost city in Europe") and the real life inspirations for the abodes of Miss Havisham, the Ushers and Ozymandias, Woodward ventures to Ephesus (where St. Paul preached) and the magnificently over-designed John Soane's Museum, London (where he served as curator). The Roman Coliseum morphs from terrifying entertainment arena to cow pasture and stone quarry to major tourist attraction visited by, among the many, Hawthorne and Hardy. If "[a] ruin is a dialogue between an incomplete reality and the imagination of the spectator," this book listens in intently. (Oct. 8)
Library Journal
The ruins of majestic buildings, monuments, or colossal figures have long been objects of contemplation and sources of creative inspiration. They are reminders of the vulnerability of empire, the fragility of artistic endeavor, and the transience of human ambition. Woodward, director of the Holburne Museum of Art (Bath, England), visits the remains of the Roman Colosseum, deteriorated English abbeys and monasteries, neglected mansions of Cuban sugar barons, and the abandoned palaces of the Moorish princes of Sicily and the sultans of Zanzibar, charting the impact of such decay on the literature and art of the 16th to 20th centuries. As images, symbols, or motifs, they have informed the canvases of Piranesi and Constable, the poetry of Shelley ("Ozymandias") and Byron ("Childe Harold"), and the fiction of Poe ("Fall of the House of Usher"), to cite only some of Woodward's many representations. In this penetrating study Woodward also elaborates on the 19th-century European gentry's fancy for commissioning landscape architects to create contemplative false ruins, or "follies," amid their woodland estates. Recommended for all libraries.-Lonnie Weatherby, McGill Univ. Lib., Montreal Copyright 2002 Cahners Business Information.
Kirkus Reviews
A perceptive British museum director speculates on the significance of architectural ruins for artists, writers, and the rest of us.

The author wastes no time establishing his literary and artistic credentials: the first page alone contains allusions to Henry James, The Planet of the Apes, Gustave Doré, and "Ozymandias." (Shelley’s entire sonnet appears later, as does a lengthy disquisition on his second wife’s dystopian novel, The Last Man.) But Woodward’s considerable skills as a writer make all this—and much more—go down easily; not a breath of pretension emanates from his engaging, illuminating volume. Eleven essays connected by theme and style discuss ruins of all sorts—crumbling antiquities, restorations (some he likes, some he abhors), war-damaged landmarks, even "ruins" created in the age of the picturesque to please the eye and engage the imagination. Woodward roams the Western world (mostly) to examine a variety of sites ranging from Lord Byron’s Newstead Abbey to Dresden’s Frauenkirche, destroyed by Allied bombers in WWII. (An equal-opportunity historian, he examines the responses in England to the Nazi bombing of English churches: some were razed, some, like Coventry, established as memorials.) At Rome’s Baths of Caracalla, in whose lush, verdurous ruins Shelley composed much of Prometheus Unbound, Woodward notes that the poet would not today find much inspiration; assiduous archaeologists have employed weed-killers and a rigid notion of preservation to destroy the allure of the site, which is now all stone and keep-off-the-grass signs. Woodward romantically argues that nature and the ruin must interact if the site is to inspire the artistic imagination. (His own volume, ofcourse, is a counter-argument: he found fecundity in the infertility at Caracalla.) In his essay on the ruins of war and what to do about them, one wonders why he neglects the sites of the Nazi death camps: Auschwitz decays; Bergen-Belsen does not.

Rich, allusive, learned, delightful. (42 illustrations)

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Product Details

  • ISBN-13: 9780375421990
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 10/8/2002
  • Edition description: 1 AMER ED
  • Pages: 288
  • Product dimensions: 5.02 (w) x 7.66 (h) x 1.01 (d)

Table of Contents

I Who Killed Daisy Miller? 1
II A Perverse Pleasure 32
III Haunted Houses 45
IV Ephesus without an Umbrella 63
V An Exemplary Frailty 88
VI Time's Shipwreck 108
VII Serious Follies 136
VIII Self-portrait in Ruins 160
IX The Ozymandias Complex 177
X Dust in the Air Suspended 205
XI The Novelist, the Fisherman and the Prince 227
Acknowledgements 251
Illustrations 254
Notes 257
Index 269
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First Chapter

chapter 1

I

Who Killed Daisy Miller?

In the closing scene of Planet of the Apes (1968) Charlton Heston, astronaut, rides away into the distance. 'What will he find out there?' asks one ape. 'His destiny,' replies another. On a desolate seashore a shadow falls across Heston's figure. He looks up, then tumbles from his horse in bewilderment. 'Oh my God! I'm back. I'm home. Damn you all to hell! . . . You maniacs. They did it, they finally did it, they blew it up!' The shadow is cast by the Statue of Liberty. She is buried up to her waist, her tablet battered, and her torch fractured. The planet of the apes is Earth, he realises, destroyed by a nuclear holocaust while the astronauts were travelling in space. He is the last man, and the lone and level sands stretch far away.

A century before the film was made, a man in a black cape sits on the arch of a ruined bridge. He holds an artist's sketchbook as firmly as if inscribing an epitaph. Blackened shells of buildings rise at the marshy edge of a slow and reedy river, one façade advertising 'Commercial Wharf'. This is London - or, rather, its future as imagined by the artist Gustave Doré in 1873. The wizard-like figure in Doré's engraving is a traveller from New Zealand, for to many Victorians this young colony seemed to represent the dominant civilisation of the future. He sits on a broken arch of London Bridge to sketch the ruins of St Paul's, exactly as Victorian Englishmen sketched those of ancient Rome.

The cathedral-like ruin next to the commercial warehouse

is Cannon Street Station, brand-new in 1873 but here imagined with the cast-iron piers of the bridge rusting away in thetidal ooze.

When we contemplate ruins, we contemplate our own future. To statesmen, ruins predict the fall of Empires, and to philosophers the futility of mortal man's aspirations. To

a poet, the decay of a monument represents the dissolution of the individual ego in the flow of Time; to a painter or architect, the fragments of a stupendous antiquity call into question the purpose of their art. Why struggle with a brush or chisel to create the beauty of wholeness when far greater works have been destroyed by Time?

Some years ago I was walking through the Rijksmuseum in Amsterdam, past Rembrandt's Nightwatch and into the rooms of hunters, skaters and merry peasants painted during the Golden Age of the Netherlands. I was brought up short by a small, dark painting which hung ignored by the crowds: a view of the interior of an artist's studio painted in the middle of the seventeenth century by a man named Michiel Sweerts. The background of the scene was absolutely predictable: in the convention of artists' academies, students were drawing an antique sculpture of a naked figure, while an older artist was casting a figure in bronze.

In the foreground, however, fragments of ancient statues of gods and heroes formed a gleaming pile of marble rubble, painted with such a heightened degree of illumination and clarity that they seemed to be a collage of photographs cut out and pasted on to the canvas. I was mesmerised by this picture, as unsettled as if I had rediscovered a forgotten nightmare. My mind travelled on to the fragmentary figures in de Chirico's surrealist paintings, and to the pallid flesh of more recent butcheries. On the left of the pile, I now noticed, was the head of a man wearing a turban, as artists did in their studios. Was this a self-portrait of Sweerts? I had never heard of him, a painter who was born in Brussels in 1618 and who died in Goa at the age of forty. Did he kill himself, for a kind of suicide is implied by the painting? There was no more information on the label but I was convinced that, at the very least, he abandoned his career as a painter. The clash of creativity and destruction in this canvas expressed the inner doubts of an artist confronted by the stupendous classical past but, ironically, the promise of ruin has been one of the greatest inspirations to western art.

When I turned away from Sweerts's studio, I felt oddly dislocated but also very calm. Why, I wondered, does immersion in ruins instill such a lofty, even ecstatic, drowsiness? Samuel Johnson spoke of how 'Whatever withdraws us from the power of our senses - whatever makes the past, the distant, or the future, predominate over the present, advances us in the dignity of human beings. . . . That man is little to be envied, whose patriotism would

not gain force upon the plains of Marathon, or whose enthusiasm would not grow warmer among the ruins of Rome.' Sweerts had been to Rome, I was sure. For it is the shadow of classical antiquity which is the deepest source for the fascination with ruins in the western world. Every new empire has claimed to be the heir of Rome, but if such a colossus as Rome can crumble - its ruins ask - why not London or New York? Furthermore, the magnitude of its ruins overturned visitors' assumptions about the inevitability of human progress over Time. London in Queen Victoria's reign was the first European city to exceed ancient Rome in population and in geographical extent; until the Crystal Palace was erected in Hyde Park in 1851, the Colosseum (or Coliseum) remained the largest architectural volume in existence. Any visitor to Rome in the fifteen centuries after its sack by the Goths in AD 410 would have experienced that strange sense of displacement which occurs when we find that, living, we cannot fill the footprints of the dead.

A second shadow falls on the same ground. This is the Christian doctrine that man's achievement on earth is a fleeting transience, that pyramids and houses and skyscrapers will crumble into oblivion at the sound of the Last Trump. The apocalyptic finale is not exclusive to the Christian religion, but what is unique is the conjunction of the cult's holy shrines with the greatest ruins of classical civilisation. The two greatest influences on the mind of Europe share the same circle of hills above the River Tiber. So the Eternal City is the place to begin an investigation into the feelings of pleasure and fear which ruins suggest.

In AD 400 Rome was a city of eight hundred thousand people glittering with 3,785 statues of gold, marble and bronze. Its encircling walls were 10 miles in length with 376 towers, and vaulted by nineteen aqueducts carrying fresh spring-water to 1,212 drinking fountains and 926 public baths. There is no evidence that any writer or painter imagined its future ruin, and the poet Rutilius Namatianus expressed his contemporaries' view that Rome was as eternal as the universe itself:



No man will ever be safe if he forgets you;

May I praise you still when the sun is dark.

To count up the glories of Rome is like counting

The stars in the sky.



In AD 410 the Visigoths seized and plundered the city, and in 455 the Ostrogoths. By the end of that century only a hundred thousand citizens remained in Rome, and the rich had fled to Constantinople or joined the Goths in their new capital at Ravenna. In the sixth century the Byzantines and the Goths contested the city three times and the population fell to thirty thousand, clustered in poverty beside the River Tiber now that the aqueducts had been destroyed and the drinking fountains were dry. The fall of Rome came to be seen by many as the greatest catastrophe in the history of western civilisation.

In architectural terms, however, change was slow. The Goths plundered but they did not burn or destroy. In the words of St Jerome, 'The Gods adored by nations are now alone in their niches with the owls and the night-birds. The gilded Capitol languishes in dust and all the temples of Rome are covered with spiders' webs.' The public buildings on the Capitoline Hill and the Forum were abandoned while a new city, Christian Rome, rose around the outlying sites of St Peter's martyrdom and the Pope's palace of St John Lateran. Over the centuries the Forum became a cow pasture, and cattle drank in the fountains where Castor and Pollux were said to have watered their sweating steeds after the battle of Lake Regillus. Debris slid down the steep slope of the Capitoline Hill to bury the Temple of Vespasian in a mound 33 feet deep. Four-fifths of the vast area enclosed by the old fortified walls of Rome became a wasteland scattered with ruins, vineyards and farms. It remained disabitato until after 1870, when the city became the capital of a reunited nation, the 'third Rome'.

But if the Goths did not demolish the buildings, where did the dusty, cobwebbed temples disappear to? They were recycled: in the thousand years that followed, ancient Rome was remade as Christian Rome. In the darkness of the deserted ruins the colonnades echoed with the clang of mallets as thieves stole the gold and bronze statues in order to melt them down. And why open a quarry when the Forum was on the new city's doorstep, with its stones polished and ready? The Colosseum was leased as a quarry by the Popes: picking up one receipt in the Vatican archive we see a payment of 205 ducats for the removal of 2,522 tons of stone between September 1451 and May 1452. One of the first Popes to introduce legislation to protect the few monuments that still stood was Pius II, in 1462. A humanist scholar, Pius had praised the ruins in a poem written many years before:



Oh Rome! Your very ruins are a joy,

Fallen is your pomp; but it was peerless once!

Your noble blocks wrench'd from your ancient walls

Are burn'd for lime by greedy slaves of gain.

Villains! If such as you may have their way

Three ages more, Rome's glory will be gone.



Pius's laws were disregarded like many before or since, however. In 1519 Raphael told Pope Leo X, 'I would be so bold as to say that all of this new Rome, however great it may be, however beautiful, however embellished with palaces, churches and other buildings, all of this is built with mortar made from ancient marbles.' In the twelve years since Raphael had known the city the Temple of Ceres and one of its two pyramids had been destroyed. The lime-burning which Pius II and Raphael decried was the most banal, yet most destructive, aspect of the recycling. In mixing mortar the best aggregate is powdered lime, and the easiest way to obtain powdered lime is to burn marble. At the end of the nineteenth century the archaeologist Rodolfo Lanciani discovered a lime-kiln abandoned by lime-burners in a sudden hurry many centuries before. Inside stood eight marble Vestal Virgins ready to be burned, stashed 'like a cord of wood, leaving as few interstices as possible between them, and the spaces formed by the curves of the body filled in by marble chips'. Once when he was sketching in the Forum, the great French seventeenth-century painter Nicolas Poussin was asked where to find the spirit of ancient Rome. He knelt down and scooped up a handful of earth. 'Here.' The cow pasture was mingled with marble dust, the richest sediment in the world.

From the fall of classical Rome until the eighteenth century the only houses in the Forum were the cottages of the lime-burners, and the hovels of beggars and thieves. To Christian pilgrims in the Middle Ages the ruins were the work of mysterious giants of folklore and not fellow men, and the Colosseum was thought to have been a domed Temple of the Sun. The marshy, fetid wilderness of the Forum was to be avoided in the journey from one shrine to another. A soldier in the army of Frederick Barbarossa which invaded Rome in 1155 described the ruins crawling with green snakes and black toads, its air poisoned by the breath of winged dragons, and by the rotting bodies of the thousands of Germans who had died of the fever during their occupation of the city. When Adam of Usk travelled from Henry V's England he saw dogs scrapping outside St Peter's: 'O God! How lamentable is the state of Rome! Once it was filled by great Lords and Palaces; now it's filled with huts, thieves, wolves and vermin, and the Romans tear themselves to pieces.'

It was not until the Renaissance of the fifteenth century that we find a new approach, in which the study of ancient inscriptions and manuscripts replaced superstitious legends, and artists and architects tried to piece together the scattered jigsaws of antiquity. The first painting of the ruins of the Forum was made by Maso di Banco in the church of Santa Croce in Florence in 1336, and at the dawn of the following century Brunelleschi and Donatello came from Florence to study the remains. When they began to excavate, the local rabble assumed they were treasure-hunters; when they used compasses and rulers to establish the measurements they needed for their own works of art they were accused of being necromancers using occult secrets to discover the gold and silver. The antiquary Poggio Bracciolini arrived in Rome in 1430:



The hill of the Capitol, on which we sit, was formerly the head of the Roman Empire, the citadel of the earth, the terror of kings; illustrated by the footsteps of so many triumphs, enriched with the spoils and tributes of so many nations. This spectacle of the world, how it is fallen! How changed! How defaced! The path of victory is obliterated by vines, and the benches of the senators are concealed by a dunghill. . . . The Forum of the Roman people, where they assembled to enact their laws and elect their magistrates, is now enclosed for the reception of swine and buffaloes. The public and private edifices, that were founded for eternity, lie prostrate, broken, and naked, like the limbs of a mighty giant; and the ruin is the more visible, from the stupendous relics that have survived the injuries of time and fortune.



Poggio's lament became a new way of seeing Rome. And nowhere was the lesson of Sic transit gloria mundi more evident than in the Colosseum. It had served as a quarry, a private fortress and a bull-ring: earthquakes had struck in 422, 508, 847, 1231 and 1349 AD. Its external arcades, littered with dunghills, were full of beggars and occupied by shopkeepers who slung their awnings on poles slotted into the holes where clamps of bronze had once held the marble cladding in place. Even inside you could smell the cabbages from the surrounding farms.



Quamdiu stat Colyseus, stat et Roma:

Quando cadet Colyseus, cadet et Roma:

Quando cadet Roma, cadet et Mundus.



As Byron translated the words of the Venerable Bede:



While stands the Coliseum, Rome shall stand

When falls the Coliseum, Rome shall fall

And when Rome falls - the world.


From the Trade Paperback edition.

Copyright© 2003 by Christopher Woodward
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