The Seven Lamps of Architecture by John Ruskin (that summer book txt) 📖

because so much pleasure was taken in it; but it must have been happy too, or it will not be living. How much of the stone mason's toil this condition would exclude I hardly venture to consider, but the condition is absolute. There is a Gothic church lately built near Rouen, vile enough, indeed, in its general composition, but excessively rich in detail; many of the details are designed with taste, and all evidently by a man who has studied old work closely. But it is all as dead as leaves in December; there is not one tender touch, not one warm stroke, on the whole façade. The men who did it hated it, and were thankful when it was done. And so long as they do so they are merely loading your walls with shapes of clay: the garlands of everlastings in Père la Chaise are more cheerful ornaments. You cannot get the feeling by paying for it—money will not buy life. I am not sure even that you can get it by watching or waiting for it. It is true that here and there a workman may be found who has it in him, but he does not rest contented in the inferior work—he struggles forward into an Academician; and from the mass of available handicraftsmen the power is gone—how recoverable I know not: this only I know, that all expense devoted to sculptural ornament, in the present condition of that power, comes literally under the head of Sacrifice for the sacrifice's sake, or worse. I believe the only manner of rich ornament that is open to us is the geometrical color-mosaic, and that much might result from our strenuously taking up this mode of design. But, at all events, one thing we have in our power—the doing without machine ornament and cast-iron work. All the stamped metals, and artificial stones, and imitation woods and bronzes, over the invention of which we hear daily exultation—all the short, and cheap, and easy ways of doing that whose difficulty is its honor—are just so many new obstacles in our already encumbered road. They will not make one of us happier or wiser—they will extend neither the pride of judgment nor the privilege of enjoyment. They will only make us shallower in our understandings, colder in our hearts, and feebler in our wits. And most justly. For we are not sent into this world to do any thing into which we cannot put our hearts. We have certain work to do for our bread, and that is to be done strenuously; other work to do for our delight, and that is to be done heartily: neither is to be done by halves or shifts, but with a will; and what is not worth this effort is not to be done at all. Perhaps all that we have to do is meant for nothing more than an exercise of the heart and of the will, and is useless in itself; but, at all events, the little use it has may well be spared if it is not worth putting our hands and our strength to. It does not become our immortality to take an ease inconsistent with its authority, nor to suffer any instruments with which it can dispense, to come between it and the things it rules: and he who would form the creations of his own mind by any other instrument than his own hand, would, also, if he might, give grinding organs to Heaven's angels, to make their music easier. There is dreaming enough, and earthiness enough, and sensuality enough in human existence without our turning the few glowing moments of it into mechanism; and since our life must at the best be but a vapor that appears for a little time and then vanishes away, let it at least appear as a cloud in the height of Heaven, not as the thick darkness that broods over the blast of the Furnace, and rolling of the Wheel. CHAPTER VI. THE LAMP OF MEMORY.

I. Among the hours of his life to which the writer looks back with peculiar gratitude, as having been marked by more than ordinary fulness of joy or clearness of teaching, is one passed, now some years ago, near time of sunset, among the broken masses of pine forest which skirt the course of the Ain, above the village of Champagnole, in the Jura. It is a spot which has all the solemnity, with none of the savageness, of the Alps; where there is a sense of a great power beginning to be manifested in the earth, and of a deep and majestic concord in the rise of the long low lines of piny hills; the first utterance of those mighty mountain symphonies, soon to be more loudly lifted and wildly broken along the battlements of the Alps. But their strength is as yet restrained; and the far-reaching ridges of pastoral mountain succeed each other, like the long and sighing swell which moves over quiet waters from some far-off stormy sea. And there is a deep tenderness pervading that vast monotony. The destructive forces and the stern expression of the central ranges are alike withdrawn. No frost-ploughed, dust-encumbered paths of ancient glacier fret the soft Jura pastures; no splintered heaps of ruin break the fair ranks of her forests; no pale, defiled, or furious rivers rend their rude and changeful ways among her rocks. Patiently, eddy by eddy, the clear green streams wind along their well-known beds; and under the dark quietness of the undisturbed pines, there spring up, year by year, such company of joyful flowers as I know not the like of among all the blessings of the earth. It was Spring time, too; and all were coming forth in clusters crowded for very love; there was room enough for all, but they crushed their leaves into all manner of strange shapes only to be nearer each other. There was the wood anemone, star after star, closing every now and then into nebulæ: and there was the oxalis, troop by troop like virginal processions of the Mois de Marie, the dark vertical clefts in the limestone choked up with them as with heavy snow, and touched with ivy on the edges—ivy as light and lovely as the vine; and ever and anon, a blue gush of violets, and cowslip bells in sunny places; and in the more open ground, the vetch, and comfrey, and mezereon, and the small sapphire buds of the Polygala Alpina, and the wild strawberry, just a blossom or two, all showered amidst the golden softness of deep, warm, amber-colored moss. I came out presently on the edge of the ravine; the solemn murmur of its waters rose suddenly from beneath, mixed with the singing of the thrushes among the pine boughs; and, on the opposite side of the valley, walled all along as it was by grey cliffs of limestone, there was a hawk sailing slowly off their brow, touching them nearly with his wings, and with the shadows of the pines flickering upon his plumage from above; but with a fall of a hundred fathoms under his breast, and the curling pools of the green river gliding and glittering dizzily beneath him, their foam globes moving with him as he flew. It would be difficult to conceive a scene less dependent upon any other interest than that of its own secluded and serious beauty; but the writer well remembers the sudden blankness and chill which were cast upon it when he endeavored, in order more strictly to arrive at the sources of its impressiveness, to imagine it, for a moment, a scene in some aboriginal forest of the New Continent. The flowers in an instant lost their light, the river its music15; the hills became oppressively desolate; a heaviness in the boughs of the darkened forest showed how much of their former power had been dependent upon a life which was not theirs, how much of the glory of the imperishable, or continually renewed, creation is reflected from things more precious in their memories than it, in its renewing. Those ever springing flowers and ever flowing streams had been dyed by the deep colors of human endurance, valor, and virtue; and the crests of the sable hills that rose against the evening sky received a deeper worship, because their far shadows fell eastward over the iron wall of Joux and the four-square keep of Granson.

II. It is as the centralisation and protectress of this sacred influence, that Architecture is to be regarded by us with the most serious thought. We may live without her, and worship without her, but we cannot remember without her. How cold is all history how lifeless all imagery, compared to that which the living nation writes, and the uncorrupted marble bears! how many pages of doubtful record might we not often spare, for a few stones left one upon another! The ambition of the old Babel builders was well directed for this world: there are but two strong conquerors of the forgetfulness of men, Poetry and Architecture; and the latter in some sort includes the former, and is mightier in its reality; it is well to have, not only what men have thought and felt, but what their hands have handled, and their strength wrought, and their eyes beheld, all the days of their life. The age of Homer is surrounded with darkness, his very personality with doubt. Not so that of Pericles: and the day is coming when we shall confess, that we have learned more of Greece out of the crumbled fragments of her sculpture than even from her sweet singers or soldier historians. And if indeed there be any profit in our knowledge of the past, or any joy in the thought of being remembered hereafter, which can give strength to present exertion, or patience to present endurance, there are two duties respecting national architecture whose importance it is impossible to overrate; the first, to render the architecture of the day historical; and, the second, to preserve, as the most precious of inheritances, that of past ages.

III. It is in the first of these two directions that Memory may truly be said to be the Sixth Lamp of Architecture; for it is in becoming memorial or monumental that a true perfection is attained by civil and domestic buildings; and this partly as they are, with such a view, built in a more stable manner, and partly as their decorations are consequently animated by a metaphorical or historical meaning.

As regards domestic buildings, there must always be a certain limitation to views of this kind in the power, as well as in the hearts, of men; still I cannot but think it an evil sign of a people when their houses are built to last for one generation only. There is a sanctity in a good man's house which cannot be renewed in every tenement that rises on its ruins: and I believe that good men would generally feel this; and that having spent their lives happily and honorably, they would be grieved at the close of them to think that the place of their earthly abode, which had seen, and seemed almost to sympathise in all their honor, their gladness, or their suffering,—that this, with all the record it bare of them, and all of material things that they had loved and ruled over, and set the stamp of themselves upon—was to be swept away, as soon as there was room made for them in the grave; that no respect was to be shown to it, no affection felt for it, no good to be drawn from it by their children; that though there was a monument in the church, there was no warm monument in the heart