Identifier: sevenlampsofarchrusk (find matches)
Title: The seven lamps of architecture
Year: 1883 (1880s)
Authors: Ruskin, John, 1819-1900
Subjects: Architecture
Publisher: Sunnyside, Orpington, Kent, (Eng.) : G. Allen
Contributing Library: University Library, University of North Carolina at Chapel Hill
Digitizing Sponsor: University of North Carolina at Chapel Hill

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
m 14. every resource of a more stable kind has been exhausted. The The proper \t:vl& coloufs of architecture are those of natural stone, colours of fre^tiioseo? ^^d I would fain see these taken advantage of to the natural stones. -,-t-> • <-i r in 1 full. Every variety of hue, from pale yellow to purple,passing through orange, red, and brown, is entirely atour command; nearly every kind of green and grey isalso attainable; and with these, and pure white, whatharmonies might we not achieve ? Of stained andvariegated stone, the quantity is unlimited, the kindsinnumerable; where brighter colours are required, letglass, and gold protected by glass, be used in mosaic—a kind of work as durable as the solid stone, andincapable of losing its lustre by time—and let thepainters work be reserved for the shadowed loggiaand inner chamber. This is the true and faithful wayof building; w^here this cannot be, the device of ex-ternal colouring may, indeed, be employed without Pialf. JI
Text Appearing After Image:
THF, LAMP OF TRUTH. 53 dishonour; but it must be with the warning reflection,that a time will come when such aids must pass away,and when the building will be judged in its lifelessness,dying the death of the dolphin. Better the less bright,more enduring fabric. The transparent alabasters ofSan Miniato, and the mosaics of St. Marks, are morewarmly filled, and more brightly touched, by everyreturn of morning and evening rays; while the hues ofour cathedrals have died like the iris out of the cloud;and the temples whose azure and purple once flamedabove the Grecian promontories, stand in their fadedw^hiteness, like snows which the sunset has left cold. XIX. The last form of fallacy which it will be remembered wehad to deprecate, was the substitution of cast or machine workfor that of the hand, generally expressible as Operative Deceit. There are two reasons, both weighty, against this practice :one, that all cast and machine work is bad, as work; the other,that it is dishonest. Of its b

Note About Images