The Seven Lamps of Architecture

by John Ruskin

IV. Let us, then, see what is this power and majesty, which Nature herself does not disdain to accept from the works of man; and what that sublimity in the masses built up by his coralline-like energy, which is honorable, even when transferred by association to the dateless hills, which it needed earthquakes to lift, and deluges to mould.

And, first of mere size: It might not be thought possible to emulate the sublimity of natural objects in this respect; nor would it be, if the architect contended with them in pitched battle. It would not be well to build pyramids in the valley of Chamouni; and St. Peter's, among its many other errors, counts for not the least injurious its position on the slope of an inconsiderable hill. But imagine it placed on the plain of Marengo, or, like the Superga of Turin, or like La Salute at Venice! The fact is, that the apprehension of the size of natural objects, as well as of architecture, depends more on fortunate excitement of the imagination than on measurements by the eye; and the architect has a peculiar advantage in being able to press close upon the sight, such magnitude as he can command. There are few rocks, even among the Alps, that have a clear vertical fall as high as the choir of Beauvais; and if we secure a good precipice of wall, or a sheer and unbroken flank of tower, and place them where there are no enormous natural features to oppose them, we shall feel in them no want of sublimity of size. And it may be matter of encouragement in this respect, though one also of regret, to observe how much oftener man destroys natural sublimity, than nature crushes human power. It does not need much to humiliate a mountain. A hut will sometimes do it; I never look up to the Col de Balme from Chamouni, without a violent feeling of provocation against its hospitable little cabin, whose bright white walls form a visibly four-square spot on the green ridge, and entirely destroy all idea of its elevation. A single villa will often mar a whole landscape, and dethrone a dynasty of hills, and the Acropolis of Athens, Parthenon and all, has, I believe, been dwarfed into a model by the palace lately built beneath it. The fact is, that hills are not so high as we fancy them, and, when to the actual impression of no mean comparative size, is added the sense of the toil of manly hand and thought, a sublimity is reached, which nothing but gross error in arrangement of its parts can destroy.

V. While, therefore, it is not to be supposed that mere size will ennoble a mean design, yet every increase of magnitude will bestow upon it a certain degree of nobleness: so that it is well to determine at first, whether the building is to be markedly beautiful or markedly sublime; and if the latter, not to be withheld by respect to smaller parts from reaching largeness of scale; provided only, that it be evidently in the architect's power to reach at least that degree of magnitude which is the lowest at which sublimity begins, rudely definable as that which will make a living figure look less than life beside it. It is the misfortune of most of our modern buildings that we would fain have an universal excellence in them; and so part of the funds must go in painting, part in gilding, part in fitting up, part in painted windows, part in small steeples, part in ornaments here and there; and neither the windows, nor the steeple, nor the ornaments, are worth their materials. For there is a crust about the impressible part of men's minds, which must be pierced through before they can be touched to the quick; and though we may prick at it and scratch it in a thousand separate places, we might as well have let it alone if we do not come through somewhere with a deep thrust: and if we can give such a thrust anywhere, there is no need of another; it need not be even so "wide as a church door," so that it be enough. And mere weight will do this; it is a clumsy way of doing it, but an effectual one, too; and the apathy which cannot be pierced through by a small steeple, nor shone through by a small window, can be broken through in a moment by the mere weight of a great wall. Let, therefore, the architect who has not large resources, choose his point of attack first, and, if he choose size, let him abandon decoration; for, unless they are concentrated, and numerous enough to make their concentration conspicuous, all his ornaments together would not be worth one huge stone. And the choice must be a decided one, without compromise. It must be no question whether his capitals would not look better with a little carving—let him leave them huge as blocks; or whether his arches should not have richer architraves—let him throw them a foot higher, if he can; a yard more across the nave will be worth more to him than a tesselated pavement; and another fathom of outer wall, than an army of pinnacles. The limitation of size must be only in the uses of the building, or in the ground at his disposal.

VI. That limitation, however, being by such circumstances determined, by what means, it is to be next asked, may the actual magnitude be best displayed; since it is seldom, perhaps never, that a building of any pretension to size looks so large as it is. The appearance of a figure in any distant, more especially in any upper, parts of it will almost always prove that we have under-estimated the magnitude of those parts.

It has often been observed that a building, in order to show its magnitude, must be seen all at once. It would, perhaps, be better to say, must be bounded as much as possible by continuous lines, and that its extreme points should be seen all at once; or we may state, in simpler terms still, that it must have one visible bounding line from top to bottom, and from end to end. This bounding line from top to bottom may either be inclined inwards, and the mass, therefore, pyramidical; or vertical, and the mass form one grand cliff; or inclined outwards, as in the advancing fronts of old houses, and, in a sort, in the Greek temple, and in all buildings with heavy cornices or heads. Now, in all these cases, if the bounding line be violently broken; if the cornice project, or the upper portion of the pyramid recede, too violently, majesty will be lost; not because the building cannot be seen all at once,—for in the case of a heavy cornice no part of it is necessarily concealed—but because the continuity of its terminal line is broken, and the length of that line, therefore, cannot be estimated. But the error is, of course, more fatal when much of the building is also concealed; as in the well-known case of the recession of the dome of St. Peter's, and, from the greater number of points of view, in churches whose highest portions, whether dome or tower, are over their cross. Thus there is only one point from which the size of the Cathedral of Florence is felt; and that is from the corner of the Via de' Balestrieri, opposite the south-east angle, where it happens that the dome is seen rising instantly above the apse and transepts. In all cases in which the tower is over the cross, the grandeur and height of the tower itself are lost, because there is but one line down which the eye can trace the whole height, and that is in the inner angle of the cross, not easily discerned. Hence, while, in symmetry and feeling, such designs may often have pre-eminence, yet, where the height of the tower itself is to be made apparent, it must be at the west end, or better still, detached as a campanile. Imagine the loss to the Lombard churches if their campaniles were carried only to their present height over their crosses; or to the Cathedral of Rouen, if the Tour de Beurre were made central, in the place of its present debased spire!

VII. Whether, therefore, we have to do with tower or wall, there must be one bounding line from base to coping; and I am much inclined, myself, to love the true vertical, or the vertical, with a solemn frown of projection (not a scowl), as in the Palazzo Vecchio of Florence. This character is always given to rocks by the poets; with slight foundation indeed real rocks being little given to overhanging—but with excellent judgment; for the sense of threatening conveyed by this form is a nobler character than that of mere size. And, in buildings, this threatening should be somewhat carried down into their mass. A mere projecting shelf is not enough, the whole wall must, Jupiter like, nod as well as frown. Hence, I think the propped machicolations of the Palazzo Vecchio and Duomo of Florence far grander headings than any form of Greek cornice. Sometimes the projection may be thrown lower, as in the Doge's palace of Venice, where the chief appearance of it is above the second arcade; or it may become a grand swell from the ground, as the head of a ship of the line rises from the sea. This is very nobly attained by the projection of the niches in the third story of the Tour de Beurre at Rouen.

VIII. What is needful in the setting forth of magnitude in height, is right also in the marking it in area—let it be gathered well together. It is especially to be noted with respect to the Palazzo Vecchio and other mighty buildings of its order, how mistakenly it has been stated that dimension, in order to become impressive, should be expanded either in height or length, but not equally: whereas, rather it will be found that those buildings seem on the whole the vastest which have been gathered up into a mighty square, and which look as if they had been measured by the angel's rod, "the length, and the breadth, and the height of it are equal," and herein something is to be taken notice of, which I believe not to be sufficiently, if at all, considered among our architects.

Of the many broad divisions under which architecture may be considered, none appear to me more significant than that into buildings whose interest is in their walls, and those whose interest is in the lines dividing their walls. In the Greek temple the wall is as nothing; the entire interest is in the detached columns and the frieze they bear; in French Flamboyant, and in our detestable Perpendicular, the object is to get rid of the wall surface, and keep the eye altogether on tracery of line; in Romanesque work and Egyptian, the wall is a confessed and honored member, and the light is often allowed to fall on large areas of it, variously decorated. Now, both these principles are admitted by Nature, the one in her woods and thickets, the other in her plains, and cliffs, and waters; but the latter is pre-eminently the principle of power, and, in some sense, of beauty also. For, whatever infinity of fair form there may be in the maze of the forest, there is a fairer, as I think, in the surface of the quiet lake; and I hardly know that association of shaft or tracery, for which I would exchange the warm sleep of sunshine on some smooth, broad, human-like front of marble. Nevertheless, if breadth is to be beautiful, its substance must in some sort be beautiful; and we must not hastily condemn the exclusive resting of the northern architects in divided lines, until at least we have remembered the difference between a blank surface of Caen stone, and one mixed from Genoa and Carrara, of serpentine with snow: but as regards abstract power and awfulness, there is no question; without breadth of surface it is in vain to seek them, and it matters little, so that the surface be wide, bold and unbroken, whether it be of brick or of jasper; the light of heaven upon it, and the weight of earth in it, are all we need: for it is singular how forgetful the mind may become both of material and workmanship, if only it have space enough over which to range, and to remind it, however feebly, of the joy that it has in contemplating the flatness and sweep of great plains and broad seas. And it is a noble thing for men to do this with their cut stone or moulded clay, and to make the face of a wall look infinite, and its edge against the sky like an horizon: or even if less than this be reached, it is still delightful to mark the play of passing light on its broad surface, and to see by how many artifices and gradations of tinting and shadow, time and storm will set their wild signatures upon it; and how in the rising or declining of the day the unbroken twilight rests long and luridly on its high lineless forehead, and fades away untraceably down its tiers of confused and countless stone.

IX. This, then, being, as I think, one of the peculiar elements of sublime architecture, it may be easily seen how necessarily consequent upon the love of it will be the choice of a form approaching to the square for the main outline.

For, in whatever direction the building is contracted, in that direction the eye will be drawn to its terminal lines; and the sense of surface will only be at its fullest when those lines are removed, in every direction, as far as possible. Thus the square and circle are pre-eminently the areas of power among those bounded by purely straight or curved lines; and these, with their relative solids, the cube and sphere, and relative solids of progression (as in the investigation of the laws of proportion I shall call those masses which are generated by the progression of an area of given form along a line in a given direction), the square and cylindrical column, are the elements of utmost power in all architectural arrangements. On the other hand, grace and perfect proportion require an elongation in some one direction: and a sense of power may be communicated to this form of magnitude by a continuous series of any marked features, such as the eye may be unable to number; while yet we feel, from their boldness, decision, and simplicity, that it is indeed their multitude which has embarrassed us, not any confusion or indistinctness of form. This expedient of continued series forms the sublimity of arcades and aisles, of all ranges of columns, and, on a smaller scale, of those Greek mouldings, of which, repeated as they now are in all the meanest and most familiar forms of our furniture, it is impossible altogether to weary. Now, it is evident that the architect has choice of two types of form, each properly associated with its own kind of interest or decoration: the square, or greatest area, to be chosen especially when the surface is to be the subject of thought; and the elongated area, when the divisions of the surface are to be the subjects of thought. Both these orders of form, as I think nearly every other source of power and beauty, are marvellously united in that building which I fear to weary the reader by bringing forward too frequently, as a model of all perfection—the Doge's palace at Venice: its general arrangement, a hollow square; its principal façade, an oblong, elongated to the eye by a range of thirty-four small arches, and thirty-five columns, while it is separated by a richly-canopied window in the centre, into two massive divisions, whose height and length are nearly as four to five; the arcades which give it length being confined to the lower stories, and the upper, between its broad windows, left a mighty surface of smooth marble, chequered with blocks of alternate rose-color and white. It would be impossible, I believe, to invent a more magnificent arrangement of all that is in building most dignified and most fair.