LIST OF ILLUSTRATIONS.

SEVEN LAMPS OF ARCHITECTURE
PLATE PAGE
I.Ornaments from Rouen, St. Lo, and Venice[33]
II.Part of the Cathedral of St. Lo, Normandy[55]
III.Traceries from Caen, Bayeux, Rouen and Beavais[60]
IV.Intersectional Mouldings[66]
V.Capital from the Lower Arcade of the Doge's Palace, Venice[88]
VI.Arch from the Facade of the Church of San Michele at Lucca[90]
VII.Pierced Ornaments from Lisieux, Bayeux, Verona, and Padua[93]
VIII.Window from the Ca' Foscari, Venice[95]
IX.Tracery from the Campanile of Giotto, at Florence.[Frontispiece.]
X.Traceries and Mouldings from Rouen and Salisbury[122]
XI.Balcony in the Campo, St. Benedetto, Venice[131]
XII.Fragments from Abbeville, Lucca, Venice and Pisa[149]
XIII.Portions of an Arcade on the South Side of the Cathedral of Ferrara[161]
XIV.Sculptures from the Cathedral of Rouen[165]
LECTURES ON ARCHITECTURE AND PAINTING
PlateI.Figs.1,3 and 5. Illustrative Diagrams219
"II."2.Window in Oakham Castle221
"III."4and 6. Spray of ash-tree, and improvement of the same on Greek Principles226
"IV."7.Window in Dumblane Cathedral231
"V."8.Mediæval Turret235
"VI."9and 10. Lombardic Towers238
"VII."11and 12. Spires at Contances and Rouen240
"VIII."13and 14. Illustrative Diagrams253
"IX."15.Sculpture at Lyons254
"X."16.Niche at Amiens255
"XI."17and 18. Tiger's Head, and improvement of the same on Greek Principles258
"XII."19.Garret Window in Hotel de Bourgtheroude265
"XIII."20and 21. Trees, as drawn in the thirteenth century294
"XIV."22.Rocks, as drawn by the school of Leonardo Da Vinci296
"XV."23.Boughs of Trees, after Titian298

THE
SEVEN LAMPS
OF
ARCHITECTURE

PREFACE.

The memoranda which form the basis of the following Essay have been thrown together during the preparation of one of the sections of the third volume of "Modern Painters."[A] I once thought of giving them a more expanded form; but their utility, such as it may be, would probably be diminished by farther delay in their publication, more than it would be increased by greater care in their arrangement. Obtained in every case by personal observation, there may be among them some details valuable even to the experienced architect; but with respect to the opinions founded upon them I must be prepared to bear the charge of impertinence which can hardly but attach to the writer who assumes a dogmatical tone in speaking of an art he has never practised. There are, however, cases in which men feel too keenly to be silent, and perhaps too strongly to be wrong; I have been forced into this impertinence; and have suffered too much from the destruction or neglect of the architecture I best loved, and from the erection of that which I cannot love, to reason cautiously respecting the modesty of my opposition to the principles which have induced the scorn of the one, or directed the design of the other. And I have been the less careful to modify the confidence of my statements of principles, because in the midst of the opposition and uncertainty of our architectural systems, it seems to me that there is something grateful in any positive opinion, though in many points wrong, as even weeds are useful that grow on a bank of sand.

Every apology is, however, due to the reader, for the hasty and imperfect execution of the plates. Having much more serious work in hand, and desiring merely to render them illustrative of my meaning, I have sometimes very completely failed even of that humble aim; and the text, being generally written before the illustration was completed, sometimes naïvely describes as sublime or beautiful, features which the plate represents by a blot. I shall be grateful if the reader will in such cases refer the expressions of praise to the Architecture, and not to the illustration.