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

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ends on thesevariations. XXIII. Each of the angles, it was said, is filled by an animal.There are thus 70 x 4 rr 280 animals, all different, in the merefillings of the intervals of the bas-reliefs. Three of these inter-vals, with their beasts, actual size, the curves being traced uponthe stone, I have given in Plate XIV. I say nothing of their general design, or of the lines of thewings and scales, which are perhaps, unless in those of thecentral dragon, not much above the usual commonplaces of goodornamental work; but there is an evidence in the features ofthoughtfulness and fancy which is not common, at least now-a-days. The upper creature on the left is biting something, theform of which is hardly traceable in the defaced stone—butbiting he is ; and the reader cannot but recognise in the pecu-liarly reverted eye the expression which is never seen, as I think,but in the eye of a dog gnawing something in jest, and pre-paring to start away with it : the meaning of the glance, so far
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I THE LAMP OF LIFE. I 73 as it can be marked by the mere incision of the chisel, will befelt by comparing it with the eye of the couchant figure on theright, in its gloomy and angry brooding. The plan of this head,and the nod of the cap over its brow, are fine; but there is alittle touch above the hand especially well meant : the fellow isvexed and puzzled in his malice ; and his hand is pressed hard onhis cheek bone, and the flesh of the cheek is wrinkled under theeye by the pressure. The whole, indeed, looks wretchedly coarse,when it is seen on a scale in which it is naturally compared withdelicate figure etchings ; but considering it as a mere filling ofan interstice on the outside of a cathedral gate, and as one ofmore than three hundred (for in my estimate I did not includethe outer pedestals), it proves very noble vitality in the art of thetime. XXIV. I believe the right question to ask, respecting all orna-ment, is simply this : Was it done with enjoyment-—was thecarver happy

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