To the Editor of “The Pall Mall Gazette.”
Sir: I am obliged by your critic’s reply to my question, but beg to observe that, meaning what he explains himself to have meant, he should simply have said that my influence on temper was right, and on taste wrong; the influence being in both cases equally “direct.” On questions of taste I will not venture into discussion with him, but must be permitted to correct his statement that I have persuaded any one to prefer Venetian to English Gothic. I have stated that Italian—chiefly Pisan and Florentine—Gothic is the noblest school of Gothic hitherto existent, which is true; and that one form of Venetian Gothic deserves singular respect for the manner of its development. I gave the mouldings and shaft measurements of that form,[143] and to so little purpose, that I challenge your critic to find in London, or within twenty miles of it, a single Venetian casement built on the sections which I gave as normal. For Venetian architecture developed out of British moral consciousness I decline to be answerable. His accusation that I induced architects to study sculpture more, and what he is pleased to call “expressional character” less, I admit. I should be glad if he would tell me what, before my baneful influence began to be felt, the expressional character of our building was; and I will reconsider my principles if he can point out to me, on any modern building either in London or, as aforesaid, within twenty miles round, a single piece of good sculpture of which the architect repents, or the public complains.
I am, Sir, your faithful servant,
J. Ruskin.
March 21.
[From “The Liverpool Daily Post,” June 9, 1877.]
MODERN RESTORATION[144]
Venice, 15th April, 1877.
My Dear Sir: It is impossible for any one to know the horror and contempt with which I regard modern restoration—but it is so great that it simply paralyzes me in despair,—and in the sense of such difference in all thought and feeling between me and the people I live in the midst of, almost makes it useless for me to talk to them. Of course all restoration is accursed architect’s jobbery, and will go on as long as they can get their filthy bread by such business. But things are worse here than in England: you have little there left to lose—here, every hour is ruining buildings of inestimable beauty and historical value—simply to keep stone-lawyers[145] at work. I am obliged to hide my face from it all, and work at other things, or I should die of mere indignation and disgust.
Ever truly yours,
J. Ruskin.
[From “The Kidderminster Times,” July 28, 1877.]
RIBBESFORD CHURCH.
Brantwood, Coniston, Lancashire,
July 24, 1877.