John Ruskin

“ In a country of this pomp of natural glory, tempered with melancholy memory of departed pride, what are we to wish for, what are we naturally to expect in the character of her most humble edifices; those which are most connected with present life—least with the past? what are we to consider fitting or beautiful in her cottage?
We do not expect it to be comfortable, when everything around it betokens decay and desolation in the works of man. We do not wish it to be neat, where nature is most beautiful, because neglected. ”

“ It is for this reason that the cottage is one of the embellishments of natural scenery which deserve attentive consideration. It is beautiful always, and everywhere; whether looking out of the woody dingle with its eye-like window, and sending up the motion of azure smoke between the silver trunks of aged trees; or grouped among the bright corn-fields of the fruitful plain; or forming grey clusters along the slope of the mountain side, the cottage always gives the idea of a thing to be beloved: a quiet life-giving voice, that is as peaceful as silence itself. ”

“ The English cottage, therefore, is equally small, equally sheltered, equally invisible at a distance.
But France is a country on a large scale. Low, but long, hills sweep away for miles into vast uninterrupted champaigns; immense forests shadow the country for hundreds of square miles, without once letting through the light of day; its pastures and arable land are divided on the same scale; there are no fences; we can hardly place ourselves in any spot where we shall not see for leagues around; and there is a kind of comfortless sublimity in the size of every scene. ”

“ For the cottage enhances the wildness of the surrounding scene, by sympathising with it; the villa must do the same thing, by contrasting with it. The eye feels, in a far greater degree, the terror of the distant and desolate peaks, when it passes down their ravined sides to sloping and verdant hills, and is guided from these to the rich glow of vegetable life in the low zones, and through this glow to the tall front of some noble edifice, peaceful even in its pride. ”

“ The eye is instantly caught by the plated candlestick-like columns, and runs with some complacency up the groining and fret-work, and alights finally and fatally on a red chimney-top. He might as well have built a Gothic aisle at an entrance to a coal wharf. We have no scruple in saying that the man who could desecrate the Gothic trefoil into an ornament for a chimney has not the slightest feeling, and never will have any, of its beauty or its use; he was never born to be an architect, and never will be one. ”

“ They stood up in the time of Italy's glory, into the voiceless air, while all the life and light which she remembers now was working and moving at their feet, an animated cloud, which they did not feel, and do not miss. That region of life never reached up their flanks, and has left them no memorials of its being; they have no associations, no monuments, no memories; we look on them as we would on other hills; things of abstract and natural magnificence, which the presence of man could not increase, nor his departure sadden. ”

“ Abject poverty takes away the power, while brutish sloth weakens the will; and the filthy habits of the Italian prevent him from suffering from the state to which he is reduced. The shattered roofs, the dark, confused, ragged windows, the obscure chambers, the tattered and dirty draperies, altogether present a picture which, seen too near, is sometimes revolting to the eye, always melancholy to the mind. Yet even this many would not wish to be otherwise. The prosperity of nations, as of individuals, is cold and hard-hearted, and forgetful. ”

“ The uncultivated mountaineer of Cumberland has no taste, and no idea of what architecture means; he never thinks of what is right, or what is beautiful, but he builds what is most adapted to his purposes, and most easily erected: by suiting the building to the uses of his own life, he gives it humility; and, by raising it with the nearest material, adapts it to its situation. This is all that is required, and he has no credit in fulfilling the requirement, since the moment he begins to think of effect, he commits a barbarism by whitewashing the whole. ”

“ The glance of the beholder rises from the labyrinth of terrace and arbor beneath, almost weariedly; it meets, as it ascends, with a gradual increase of bright marble and simple light, and with a proportionate diminution of dark foliage and complicated shadow, till it rests finally on a piece of simple brilliancy, chaste and unpretending, yet singularly dignified; and does not find its color too harsh, because its form is so simple: for color of any kind is only injurious when the eye is too much attracted to it ”

“ It is a country peculiarly distinguished by its possessing features of great sublimity in the distance, without giving any hint in the foreground of their actual nature. A range of mountain, seen from a mountain peak, may have sublimity, but not the mystery with which it is invested, when seen rising over the farthest surge of misty blue, where everything near is soft and smiling, totally separated in nature from the consolidated clouds of the horizon. ”

“ Edinburgh is almost the only city we remember, which presents not a single point in which there is not something striking and even sublime; it is also the only city which presents not a single point in which there is not something degrading and disgusting. Throughout its whole extent, wherever there is life there is filth, wherever there is cleanliness there is desolation. The new town is handsome from its command of the sea; but it is as stupid as Pompeii without its reminiscences. The old town is delicious in life and architecture and association, but it is one great open common sewer. ”

“ The mistake of our architects in general is, that they fancy they are speaking good English by speaking bad Greek. We wish, therefore, that copying were more in vogue than it is. But imitation, the endeavor to be Gothic, or Tyrolese, or Venetian, without the slightest grain of Gothic or Venetian feeling; the futile effort to splash a building into age, or daub it into dignity, to zigzag it into sanctity, or slit it into ferocity, when its shell is neither ancient nor dignified, and its spirit neither priestly nor baronial,—this is the degrading vice of the age ”

“ Every fragment of rock is finished in its effect, tinted with thousands of pale lichens and fresh mosses; every pine tree is warm with the life of various vegetation; every grassy bank glowing with mellowed color, and waving with delicate leafage. How, then, can the contrast be otherwise than painful, between this perfect loveliness, and the dead, raw, lifeless surface of the deal boards of the cottage. ”

“ The transparent air is gentle among the blossoms of the orange and the dim leaves of the olive; and the small fountains, which, in any other land, would spring merrily along, sparkling and singing among tinkling pebbles, here flow calmly and silently into some pale font of marble, all beautiful with life, worked by some unknown hand, long ago nerveless, and fall and pass on among wan flowers, and scented copse, through cool leaf-lighted caves or grey Egerian grottos, to join the Tiber or Eridanus, to swell the waves of Nemi, or the Larian Lake. ”

“ The nobler scenery of that earth is the inheritance of all her inhabitants: it is not merely for the few to whom it temporarily belongs, to feed from like swine, or to stable upon like horses, but it has been appointed to be the school of the minds which are kingly among their fellows, to excite the highest energies of humanity, to furnish strength to the lordliest intellect, and food for the holiest emotions of the human soul. The presence of life is, indeed, necessary to its beauty, but of life congenial with its character ”

“ No thatch or stone crop on the roof unites the building with surrounding vegetation; all is clear, and warm, and sharp on the eye; the more distant the building, the more generally bright it becomes, till the distant village sparkles out of the orange copse, or the cypress grove, with so much distinctness as might be thought in some degree objectionable. But it must be remembered that the prevailing color of the Italian landscape is blue; sky, hills, water, are equally azure: the olive, which forms a great proportion of the vegetation, is not green, but gray ”

“ All that is fantastic in form, or frivolous in detail, annihilates the aristocratic air of a building: it at once destroys its sublimity and size, besides awakening, as is almost always the case, associations of a mean and low character. The moment we see a gable roof, we think of cocklofts; the instant we observe a projecting window, of attics and tent-bedsteads. Now the Italian cottage assumes, with the simplicity, l'air noble of buildings of a higher order ”

“ The Science of Architecture, followed out to its full extent, is one of the noblest of those which have reference only to the creations of human minds. It is not merely a science of the rule and compass, it does not consist only in the observation of just rule, or of fair proportion: it is, or ought to be, a science of feeling more than of rule, a ministry to the mind, more than to the eye. ”

“ The scenery around must be naturally rich, that its variety of line may relieve the slight stiffness of the architecture itself: and the climate must always be considered; for, as we saw, the chief beauty of these flights of steps depends upon the presence of the sun; and, if they are to be in shade half the year, the dark trees will only make them gloomy, the grass will grow between the stones of the steps, black weeds will flicker from the pedestals, damp mosses discolor the statues and urns, and the whole will become one incongruous ruin, one ridiculous decay. ”

“ Again, it is a life-like building, sparkling in its casements, brisk in its air, letting much light in at the walls and roof, low and comfortable looking in its door. The Italian's dwelling is much walled in, letting out no secrets from the inside, dreary and drowsy in its effect. Just such is the difference between the minds of the inhabitants; the one passing away in deep and dark reverie, the other quick and business-like, enjoying its everyday occupations, and active in its ordinary engagements. ”

“ It is utter absurdity to talk of building Greek edifices now; no man ever will, or ever can, who does not believe in the Greek mythology; and, precisely by so much as he diverges from the technicality of strict copyism, he will err. But we ought to have pieces of Greek architecture, as we have reprints of the most valuable records, and it is better to build a new Parthenon than to set up the old one. Let the dust and the desolation of the Acropolis be undisturbed forever; let them be left to be the school of our moral feelings, not of our mechanical perceptions ”

“ If we consider how much less the beauty and majesty of a building depend upon its pleasing certain prejudices of the eye, than upon its rousing certain trains of meditation in the mind, it will show in a moment how many intricate questions of feeling are involved in the raising of an edifice; it will convince us of the truth of a proposition, which might at first have appeared startling, that no man can be an architect, who is not a metaphysician. ”

“ Have we mountains? their peaks must appear over foliage or through it, the highest and boldest catching the eye conspicuously, yet not seen from base to summit, as if we wanted to measure them. Such a prospect as this is always compatible with as much concealment as we choose. In all these pieces of management, the architect's chief enemy is the vanity of his employer, who will always want to see more than he ought to see, and than he will have pleasure in seeing, without reflecting how the spectators pay for his peeping. ”

“ Castle is moldering into sand as impotent as ever was ribbed by ripple, wreaks its rage in vain upon the bits of baked clay, leaving them strong, and dry, and stainless, warm and comfortable in their effect, even when neglect has permitted the moss and wall-flower to creep into their crannies, and mellow into something like beauty that which is always comfort. Damp, which fills many stones as it would a sponge, is defied by the brick ”

“ The whole glory of the design consists in its unison with the dignity of the landscape, and with the classical tone of the country. Take it away from its concomitant circumstances, and, instead of conducting the eye to it by a series of lofty and dreamy impressions, bring it through green lanes, or over copse-covered crags, as would be the case in England, and the whole system becomes utterly and absolutely absurd, ugly in outline, worse than useless in application, unmeaning in design, and incongruous in association. ”

“ How deeply is it to be regretted, how much is it to be wondered at, that, in a country whose school of painting, though degraded by its system of meretricious colouring, and disgraced by hosts of would-be imitators of inimitable individuals, is yet raised by the distinguished talent of those individuals to a place of well-deserved honour; and the studios of whose sculptors are filled with designs of the most pure simplicity, and most perfect animation; the school of architecture should be so miserably debased! ”

“ Switzerland has no climate, properly speaking, but an assemblage of every climate, from Italy to the Pole; the vine wild in its valleys, the ice eternal on its crags. The Swiss themselves are what we might have expected in persons dwelling in such a climate; they have no character. The sluggish nature of the air of the valleys has a malignant operation on the mind; and even the mountaineers, though generally shrewd and intellectual, have no perceptible nationality: they have no language, except a mixture of Italian and bad German; they have no peculiar turn of mind ”