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The Seven Lamps of Architecture

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Classic work by the great Victorian expresses his deepest convictions about the nature and role of architecture and its aesthetics. Timeless observations are required reading for architects, students and lovers of architecture. This authoritative edition includes reproductions of the 14 original plates of Ruskin's superb drawings of architectural details from such structures as the Doge's Palace in Venice, the Cathedral of St.-Lo, Giotto's Campanile in Florence and the Cathedral...
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Overview

Classic work by the great Victorian expresses his deepest convictions about the nature and role of architecture and its aesthetics. Timeless observations are required reading for architects, students and lovers of architecture. This authoritative edition includes reproductions of the 14 original plates of Ruskin's superb drawings of architectural details from such structures as the Doge's Palace in Venice, the Cathedral of St.-Lo, Giotto's Campanile in Florence and the Cathedral of Rouen.
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Product Details

  • ISBN-13: 9781497579835
  • Publisher: CreateSpace Publishing
  • Publication date: 4/9/2014
  • Pages: 112
  • Product dimensions: 6.00 (w) x 9.00 (h) x 0.23 (d)

Meet the Author

John Ruskin (1819-1900) was the leading art critic of the Victorian era, a staunch defender of naturalism whose theories were as influential in literature as they were in painting and the decorative arts. He was also a social reformer, giving away much of his own inheritance and founding a charity, the Guild of St. George.
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THE SEVEN LAMPS OF ARCHITECTURE


By JOHN RUSKIN

Dover Publications, Inc.

Copyright © 1989 Dover Publications, Inc.
All rights reserved.
ISBN: 978-0-486-13632-5



CHAPTER 1

THE LAMP OF SACRIFICE.

APHORISM 4.

All architecture proposes an effect on the human mind, not merely a service to the human frame.

I. Architecture is the art which so disposes and adorns the edifices raised by man, for whatsoever uses, that the sight of them may contribute to his mental health, power, and pleasure.

It is very necessary, in the outset of all inquiry, to distinguish carefully between Architecture and Building.

To build,—literally, to confirm,—is by common understanding to put together and adjust the several pieces of any edifice or receptacle of a considerable size. Thus we have church building, house building, ship building, and coach building. That one edifice stands, another floats, and another is suspended on iron springs, makes no difference in the nature of the art, if so it may be called, of building or edification. The persons who profess that art, are severally builders, ecclesiastical, naval, or of whatever other name their work may justify: but building does not become architecture merely by the stability of what it erects; and it is no more architecture which raises a church, or which fits it to receive and contain with comfort a required number of persons occupied in certain religious offices, than it is architecture which makes a carriage commodious, or a ship swift. I do not, of course, mean that the word is not often, or even may not be legitimately, applied in such a sense (as we speak of naval architecture); but in that sense architecture ceases to be one of the fine arts, and it is therefore better not to run the risk, by loose nomenclature, of the confusion which would arise, and has often arisen, from extending principles which belong altogether to building, into the sphere of architecture proper.

Let us, therefore, at once confine the name to that art which, taking up and admitting, as conditions of its working, the necessities and common uses of the building, impresses on its form certain characters venerable or beautiful, but otherwise unnecessary. Thus, I suppose, no one would call the laws architectural which determine the height of a breastwork or the position of a bastion. But if to the stone facing of that bastion be added an unnecessary feature, as a cable moulding, that is Architecture. It would be similarly unreasonable to call battlements or machicolations architectural features, so long as they consist only of an advanced gallery supported on projecting masses, with open intervals beneath for offence. But if these projecting masses be carved beneath into rounded courses, which are useless, and if the headings of the intervals be arched and trefoiled, which is useless, that is Architecture. It may not be always easy to draw the line so sharply, because there are few buildings which have not some pretence or colour of being architectural; neither can there be any architecture which is not based on building, nor any good architecture which is not based on good building; but it is perfectly easy, and very necessary, to keep the ideas distinct, and to understand fully that Architecture concerns itself only with those characters of an edifice which are above and beyond its common use. I say common ; because a building raised to the honour of God, or in memory of men, has surely a use to which its architectural adornment fits it; but not a use which limits, by any inevitable necessities, its plan or details.

II. Architecture proper, then, naturally arranges itself under five heads :—


Devotional ; including all buildings raised for God's service or honour.

Memorial; including both monuments and tombs.

Civil; including every edifice raised by nations or societies, for purposes of common business or pleasure.

Military; including all private and public architecture of defence.


Domestic ; including every rank and kind of dwelling-place. Now, of the principles which I would endeavour to develope, while all must be, as I have said, applicable to every stage and style of the art, some, and especially those which are exciting rather than directing, have necessarily fuller reference to one kind of building than another; and among these I would place first that spirit which, having influence in all, has nevertheless such especial reference to devotional and memorial architecture—the spirit which offers for such work precious things, simply because they are precious; not as being necessary to the building, but as an offering, surrendering, and sacrifice of what is to ourselves desirable. It seems to me, not only that this feeling is in most cases wholly wanting in those who forward the devotional buildings of the present day ; but that it would even be regarded as a dangerous, or perhaps criminal, principle by many among us. I have not space to enter into dispute of all the various objections which may be urged against it—they are many and specious; but I may, perhaps, ask the reader's patience while I set down those simple reasons which cause me to believe it a good and just feeling, and as well-pleasing to God and honourable in men, as it is beyond all dispute necessary to the production of any great work in the kind with which we are at present concerned.

III. Now, first, to define this Lamp, or Spirit, of Sacrifice, clearly. I have said that it prompts us to the offering of precious things, merely because they are precious, not because they are useful or necessary. It is a spirit, for instance, which of two marbles, equally beautiful, applicable and durable, would choose the more costly, because it was so, and of two kinds of decoration, equally effective, would choose the more elaborate because it was so, in order that it might in the same compass present more cost and more thought. It is therefore most unreasoning and enthusiastic, and perhaps best negatively defined, as the opposite of the prevalent feeling of modern times, which desires to produce the largest results at the least cost.

Of this feeling, then, there are two distinct forms : the first, the wish to exercise self-denial for the sake of self-discipline merely, a wish acted upon in the abandonment of things loved or desired, there being no direct call or purpose to be answered by so doing; and the second, the desire to honour or please some one else by the costliness of the sacrifice. The practice is, in the first case, either private or public; but most frequently, and perhaps most properly, private; while, in the latter case, the act is commonly, and with greatest advantage, public. Now, it cannot but at first appear futile to assert the expediency of self-denial for its own sake, when, for so many sakes, it is every day necessary to a far greater degree than any of us practise it. But I believe it is just because we do not enough acknowledge or contemplate it as a good in itself, that we are apt to fail in its duties when they become imperative, and to calculate, with some partiality, whether the good proposed to others measures or warrants the amount of grievance to ourselves, instead of accepting with gladness the opportunity of sacrifice as a personal advantage. Be this as it may, it is not necessary to insist upon the matter here ; since there are always higher and more useful channels of self-sacrifice, for those who choose to practise it, than any connected with the arts.

While in its second branch, that which is especially concerned with the arts, the justice of the feeling is still more doubtful; it depends on our answer to the broad question, Can the Deity be indeed honoured by the presentation to Him of any material objects of value, or by any direction of zeal or wisdom which is not immediately beneficial to men ?

For, observe, it is not now the question whether the fairness and majesty of a building may or may not answer any moral purpose; it is not the result of labour in any sort of which we are speaking, but the bare and mere costliness—the substance and labour and time themselves: are these, we ask, independently of their result, acceptable offerings to God, and considered by Him as doing Him honour? So long as we refer this question to the decision of feeling, or of conscience, or of reason merely, it will be contradictorily or imperfectly answered; it admits of entire answer only when we have met another and a far different question, whether the Bible be indeed one book or two, and whether the character of God revealed in the Old Testament be other than His character revealed in the New.

IV. Now, it is a most secure truth, that, although the particular ordinances divinely appointed for special purposes at any given period of man's history, may be by the same divine authority abrogated, at another, it is impossible that any character of God, appealed to or described in any ordinance past or present, can ever be changed, or understood as changed, by the abrogation of that ordinance. God is one and the same, and is pleased or displeased by the same things for ever, although one part of His pleasure may be expressed at one time rather than another, and although the mode in which His pleasure is to be consulted may be by Him graciously modified to the circumstances of men. Thus, for instance, it was necessary that, in order to the understanding by man of the scheme of Redemption, that scheme should be foreshown from the beginning by the type of bloody sacrifice. But God had no more pleasure in such sacrifice in the time of Moses than He has now; He never accepted, as a propitiation for sin, any sacrifice but the single one in prospective : and that we may not entertain any shadow of doubt on this subject, the worthlessness of all other sacrifice than this is proclaimed at the very time when typical sacrifice was most imperatively demanded. God was a spirit, and could be worshipped only in spirit and in truth, as singly and exclusively when every day brought its claim of typical and material service or offering, as now when He asks for none but that of the heart.

So, therefore, it is a most safe and sure principle that, if in the manner of performing any rite at any time, circumstances can be traced which we are either told or may legitimately conclude, pleased God at that time, those same circumstances will please Him at all times, in the performance of all rites or offices to which they may be attached in like manner; unless it has been afterwards revealed that, for some special purpose, it is now His will that such circumstances should be withdrawn. And this argument will have all the more force if it can be shown that such conditions were not essential to the completeness of the rite in its human uses and bearings, and only were added to it as being in themselves pleasing to God.

V. Now, was it necessary to the completeness, as a type, of the Levitical sacrifice, or to its utility as an explanation of divine purposes, that it should cost any thing to the person in whose behalf it was offered ? On the contrary, the sacrifice which it foreshowed, was to be God's free gift ; and the cost of, or difficulty of obtaining, the sacrificial type, could only render that type in a measure obscure, and less expressive of the offering which God would in the end provide for all men. Yet this costliness was generally a condition of the acceptableness of the sacrifice. " Neither will I offer unto the Lord my God of that which doth cost me nothing." That costliness, therefore, must be an acceptable condition in all human offerings at all times; for if it was pleasing to God once, it must please Him always, unless directly forbidden by Him afterwards, which it has never been.

Again, was it necessary to the typical perfection of the Levitical offering, that it should be the best of the flock ? Doubtless, the spotlessness of the sacrifice renders it more expressive to the Christian mind; but was it because so expressive that it was actually, and in so many words, demanded by God ? Not at all. It was demanded by Him expressly on the same grounds on which an earthly governour would demand it, as a testimony of respect. " Offer it now unto thy governour." And the less valuable offering was rejected, not because it did not image Christ, nor fulfil the purposes of sacrifice, but because it indicated a feeling that would grudge the best of its possessions to Him who gave them ; and because it was a bold dishonouring of God in the sight of man. Whence it may be infallibly concluded, that in whatever offerings we may now see reason to present unto God (I say not what these may be), a condition of their acceptableness will be now, as it was then, that they should be the best of their kind.

VI. But farther, was it necessary to the carrying out of the Mosaical system, that there should be either art or splendour in the form or services of the tabernacle or temple ? Was it necessary to the perfection of any one of their typical offices, that there should be that hanging of blue, and purple, and scarlet ? those taches of brass and sockets of silver ? that working in cedar and overlaying with gold ? One thing at least is evident: there was a deep and awful danger in it ; a danger that the God whom they so worshipped, might be associated in the minds of the serfs of Egypt with the gods to whom they had seen similar gifts offered and similar honours paid. The probability, in our times, of fellowship with the feelings of the idolatrous Romanist is absolutely as nothing, compared with the danger to the Israelite of a sympathy with the idolatrous Egyptian; no speculative, no unproved danger ; but proved fatally by their fall during a month's abandonment to their own will; a fall into the most servile idolatry; yet marked by such offerings to their idol as their leader was, in the close sequel, instructed to bid them offer to God. This danger was imminent, perpetual, and of the most awful kind : it was the one against which God made provision, not only by commandments, by threatenings, by promises, the most urgent, repeated, and impressive; but by temporary ordinances of a severity so terrible as almost to dim for a time, in the eyes of His people, His attribute of mercy. The principal object of every instituted law of that Theocracy, of every judgment sent forth in its vindication, was to mark to the people His hatred of idolatry; a hatred written under their advancing steps, in the blood of the Canaanite, and more sternly still in the darkness of their own desolation, when the children and the sucklings swooned in the streets of Jerusalem, and the lion tracked his prey in the desert of Samaria. Yet, against this mortal danger, provision was not made in one way, (to man's thoughts the simplest, the most natural, the most effective,) by withdrawing from the worship of the Divine Being whatever could delight the sense, or shape the imagination, or limit the idea of Deity to place. This one way God refused, demanding for Himself such honours, and accepting for Himself such local dwelling, as had been paid and dedicated to idol gods by heathen worshippers. And for what reason ? Was the glory of the tabernacle necessary to set forth or image His divine glory to the minds of His people ? What! purple or scarlet necessary, to the people who had seen the great river of Egypt run scarlet to the sea, under His condemnation ? What! golden lamp and cherub necessary, for those who had seen the fires of heaven falling like a mantle on Mount Sinai, and its golden courts opened to receive their mortal lawgiver ? What! silver clasp and fillet necessary, when they had seen the silver waves of the Red Sea clasp in their arched hollows the corpses of the horse and his rider? Nay—not so. There was but one reason, and that an eternal one; that as the covenant that He made with men was accompanied with some external sign of its continuance, and of His remembrance of it, so the acceptance of that covenant might be marked and signified by men, in some external sign of their love and obedience, and surrender of themselves and theirs to His will; and that their gratitude to Him and continual remembrance of Him, might have at once their expression, and their enduring testimony, in the presentation to Him, not only of the firstlings of the herd and fold, not only of the fruits of the earth and the tithe of time, but of all treasures of wisdom and beauty; of the thought that invents, and the hand that labours; of wealth of wood, and weight of stone; of the strength of iron, and the light of gold.


(Continues...)

Excerpted from THE SEVEN LAMPS OF ARCHITECTURE by JOHN RUSKIN. Copyright © 1989 Dover Publications, Inc.. Excerpted by permission of Dover Publications, Inc..
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Table of Contents

Contents

Title Page,
Copyright Page,
PREFACE TO THE EDITION OF 1880.,
PREFACE TO THE FIRST EDITION.,
THE SEVEN LAMPS OF ARCHITECTURE.,
CHAPTER I. - THE LAMP OF SACRIFICE.,
CHAP. II. - THE LAMP OF TRUTH.,
CHAP. III. - THE LAMP OF POWER.,
CHAP. IV. - THE LAMP OF BEAUTY.,
CHAP. V. - THE LAMP OF LIFE.,
CHAP. VI. - THE LAMP OF MEMORY.,
CHAP. VII. - THE LAMP OF OBEDIENCE.,
APPENDIX I.,
APPENDIX II.,
APPENDIX III.,
APPENDIX IV.,
APPENDIX V.,

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  • Anonymous

    Posted December 7, 2005

    Ruskin rocks!

    I believe this is one of the most important books written on the underlying principles of architectural design. If I had to choose two books that are most important in my architectural library I would choose this book by Ruskin, and A History of Architecture by Sir Banister Fletcher. Great book by a great thinker.

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    Posted December 27, 2009

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    Posted January 26, 2010

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