The Seven Lamps of Architecture by John Ruskin (books like harry potter TXT) 📕

"Flung about carelessly, it shines afar,
Catching the eye in many a broken link,
In many a turn and traverse, as it glides.
And oft above, and oft below, appears—
* * * * to him who journeys up
As though it were another."

And at that point, and that instant, reaching the place that was nearest heaven, the builders looked back, for the last time, to the way by which they had come, and the scenes through which their early course had passed. They turned away from them and their morning light, and descended towards a new horizon, for a time in the warmth of western sun, but plunging with every forward step into more cold and melancholy shade.

XXIII. The change of which I speak, is inexpressible in few words, but one more important, more radically influential, could not be. It was the substitution of the line for the mass, as the element of decoration.

We have seen the mode in which the openings or penetration of the window expanded, until what were, at first, awkward forms of intermediate stone, became delicate lines of tracery: and I have been careful in pointing out the peculiar attention bestowed on the proportion and decoration of the mouldings of the window at Rouen, in Plate X., as compared with earlier mouldings, because that beauty and care are singularly significant. They mark that the traceries had caught the eye of the architect. Up to that time, up to the very last instant in which the reduction and thinning of the intervening stone was consummated, his eye had been on the openings only, on the stars of light. He did not care about the stone, a rude border of moulding was all he needed, it was the penetrating shape which he was watching. But when that shape had received its last possible expansion, and when the stone-work became an arrangement of graceful and parallel lines, that arrangement, like some form in a picture, unseen and accidentally developed, struck suddenly, inevitably, on the sight. It had literally not been seen before. It flashed out in an instant as an independent form. It became a feature of the work. The architect took it under his care, thought over it, and distributed its members as we see.

Now, the great pause was at the moment when the space and the dividing stone-work were both equally considered. It did not last fifty years. The forms of the tracery were seized with a childish delight in the novel source of beauty; and the intervening space was cast aside, as an element of decoration, for ever. I have confined myself, in following this change, to the window, as the feature in which it is clearest. But the transition is the same in every member of architecture; and its importance can hardly be understood, unless we take the pains to trace it in the universality, of which illustrations, irrelevant to our present purpose, will be found in the third Chapter. I pursue here the question of truth, relating to the treatment of the mouldings.

XXIV. The reader will observe that, up to the last expansion of the penetrations, the stone-work was necessarily considered, as it actually is, stiff, and unyielding. It was so, also, during the pause of which I have spoken, when the forms of the tracery were still severe and pure; delicate indeed, but perfectly firm.

At the close of the period of pause, the first sign of serious change was like a low breeze, passing through the emaciated tracery, and making it tremble. It began to undulate like the threads of a cobweb lifted by the wind. It lost its essence as a structure of stone. Reduced to the slenderness of threads, it began to be considered as possessing also their flexibility. The architect was pleased with this his new fancy, and set himself to carry it out; and in a little time, the bars of tracery were caused to appear to the eye as if they had been woven together like a net. This was a change which sacrificed a great principle of truth; it sacrificed the expression of the qualities of the material; and, however delightful its results in their first developments, it was ultimately ruinous.

For, observe the difference between the supposition of ductility, and that of elastic structure noticed above in the resemblance to tree form. That resemblance was not sought, but necessary; it resulted from the natural conditions of strength in the pier or trunk, and slenderness in the ribs or branches, while many of the other suggested conditions of resemblance were perfectly true. A tree branch, though in a certain sense flexible, is not ductile; it is as firm in its own form as the rib of stone; both of them will yield up to certain limits, both of them breaking when those limits are exceeded; while the tree trunk will bend no more than the stone pillar. But when the tracery is assumed to be as yielding as a silken cord; when the whole fragility, elasticity, and weight of the material are to the eye, if not in terms, denied; when all the art of the architect is applied to disprove the first conditions of his working, and the first attributes of his materials; this is a deliberate treachery, only redeemed from the charge of direct falsehood by the visibility of the stone surface, and degrading all the traceries it affects exactly in the degree of its presence.

XXV. But the declining and morbid taste of the later architects, was not satisfied with thus much deception. They were delighted with the subtle charm they had created, and thought only of increasing its power. The next step was to consider and represent the tracery, as not only ductile, but penetrable; and when two mouldings met each other, to manage their intersection, so that one should appear to pass through the other, retaining its independence; or when two ran parallel to each other, to represent the one as partly contained within the other, and partly apparent above it. This form of falsity was that which crushed the art. The flexible traceries were often beautiful, though they were ignoble; but the penetrated traceries, rendered, as they finally were, merely the means of exhibiting the dexterity of the stone-cutter, annihilated both the beauty and dignity of the Gothic types. A system so momentous in its consequences deserves some detailed examination.

XXVI. In the drawing of the shafts of the door at Lisieux, under the spandril, in Plate VII., the reader will see the mode of managing the intersection of similar mouldings, which was universal in the great periods. They melted into each other, and became one at the point of crossing, or of contact; and even the suggestion of so sharp intersection as this of Lisieux is usually avoided (this design being, of course, only a pointed form of the earlier Norman arcade, in which the arches are interlaced, and lie each over the preceding, and under the following, one, as in Anselm's tower at Canterbury), since, in the plurality of designs, when mouldings meet each other, they coincide through some considerable portion of their curves, meeting by contact, rather than by intersection; and at the point of coincidence the section of each separate moulding becomes common to the two thus melted into each other. Thus, in the junction of the circles of the window of the Palazzo Foscari, Plate VIII., given accurately in fig. 8, Plate IV., the section across the line s, is exactly the same as that across any break of the separated moulding above, as s. It sometimes, however, happens, that two different mouldings meet each other. This was seldom permitted in the great periods, and, when it took place, was most awkwardly managed. Fig. 1, Plate IV. gives the junction of the mouldings of the gable and vertical, in the window of the spire of Salisbury. That of the gable is composed of a single, and that of the vertical of a double cavetto, decorated with ball-flowers; and the larger single moulding swallows up one of the double ones, and pushes forward among the smaller balls with the most blundering and clumsy simplicity. In comparing the sections it is to be observed that, in the upper one, the line a b represents an actual vertical in the plane of the window; while, in the lower one, the line c d represents the horizontal, in the plane of the window, indicated by the perspective line d e.

XXVII. The very awkwardness with which such occurrences of difficulty are met by the earlier builder, marks his dislike of the system, and unwillingness to attract the eye to such arrangements. There is another very clumsy one, in the junction of the upper and sub-arches of the triforium of Salisbury; but it is kept in the shade, and all the prominent junctions are of mouldings like each other, and managed with perfect simplicity. But so soon as the attention of the builders became, as we have just seen, fixed upon the lines of mouldings instead of the enclosed spaces, those lines began to preserve an independent existence wherever they