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CONSTRUCTION. XVlI. FILLING OF APERTURE. 189
they have emerged, or with the enervated types into which
they are instantly to degenerate.
§ xiii. Nor indeed are we to look upon them as in all
points superior to the more ancient examples. We have above
conducted our reasoning entirely on the supposition that a
single aperture is given, which it is the object to fill with
glass, diminishing the power of the light as little as possible.
But there are many cases, as in triforium and cloister lights, in
which glazing is not required; in which, therefore, the bars,
if there be any, must have some more important function than
that of merely holding glass, and in which their actual use is
to give steadiness and tone, as it were, to the arches and walls
above and beside them; or to give the idea of protection to
those who pass along the triforium, and of seclusion to those
who walk in the cloister. Much thicker shafts, and more
massy arches, may be properly employed in work of this kind;
and many groups of such tracery will be found resolvable into
true colonnades, with the arches in pairs, or in triple or quadruple groups, and with small rosettes pierced above them for
light. All this is just as right in its place, as the glass tracery
is in its own function, and often much more grand. But the
same indulgence is not to be shown to the affectations which
succeeded the developed forms. Of these there are three
principal conditions: the Flamboyant of France, the Stump
tracery of Germany, and the Perpendicular of England.
§ xiv. Of these the first arose, by the most delicate and
natural transitions, out of the perfect school. It was an endeavor to introduce more grace into its lines, and more change
into its combinations; and the aesthetic results are so beautiful,
that for some time after the right road had been left, the aberration was more to be admired than regretted. The final conditions became fantastic and effeminate, but, in the country
where they had been invented, never lost their peculiar grace
until they were replaced by the Renaissance. The copies of
the school in England and Italy have all its faults and none
of its beauties; in France, whatever it lost in method or
in majesty, it gained in fantasy: literally Flamboyant, it
| Title | The stones of Venice - 1 |
| Creator | Ruskin, John |
| Publisher | J. Wiley |
| Place of Publication | New York |
| Date | 1889 |
| Language | eng |
| Type | Books/Pamphlets |
| Title | 00000220 |
| Type | Books/Pamphlets |
| Transcript | CONSTRUCTION. XVlI. FILLING OF APERTURE. 189 they have emerged, or with the enervated types into which they are instantly to degenerate. § xiii. Nor indeed are we to look upon them as in all points superior to the more ancient examples. We have above conducted our reasoning entirely on the supposition that a single aperture is given, which it is the object to fill with glass, diminishing the power of the light as little as possible. But there are many cases, as in triforium and cloister lights, in which glazing is not required; in which, therefore, the bars, if there be any, must have some more important function than that of merely holding glass, and in which their actual use is to give steadiness and tone, as it were, to the arches and walls above and beside them; or to give the idea of protection to those who pass along the triforium, and of seclusion to those who walk in the cloister. Much thicker shafts, and more massy arches, may be properly employed in work of this kind; and many groups of such tracery will be found resolvable into true colonnades, with the arches in pairs, or in triple or quadruple groups, and with small rosettes pierced above them for light. All this is just as right in its place, as the glass tracery is in its own function, and often much more grand. But the same indulgence is not to be shown to the affectations which succeeded the developed forms. Of these there are three principal conditions: the Flamboyant of France, the Stump tracery of Germany, and the Perpendicular of England. § xiv. Of these the first arose, by the most delicate and natural transitions, out of the perfect school. It was an endeavor to introduce more grace into its lines, and more change into its combinations; and the aesthetic results are so beautiful, that for some time after the right road had been left, the aberration was more to be admired than regretted. The final conditions became fantastic and effeminate, but, in the country where they had been invented, never lost their peculiar grace until they were replaced by the Renaissance. The copies of the school in England and Italy have all its faults and none of its beauties; in France, whatever it lost in method or in majesty, it gained in fantasy: literally Flamboyant, it |
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