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DECORATION. XXI. TREATMENT OF ORNAMENT. 249
surface in light becomes quickly invisible as the object retires,
there are a softness and mystery given to the harder markings,
which enable them to be safely used as media of expression.
There is an exquisite example of this use, in the head of the
Adam of the Ducal Palace. It is only at the height of 17 or
18 feet above the eye; nevertheless, the sculptor felt it was no
use to trouble himself about drawing the corners of the mouth,
or the lines of the lips, delicately, at that distance ; his object
has been to mark them clearly, and to prevent accidental
shadows from concealing them, or altering their expression.
The lips are cut thin and sharp, so that their line cannot be
mistaken, and a good deep drill-hole struck into the angle of
the mouth ; the eye is anxious and questioning, and one is surprised, from below, to perceive a kind of darkness in the iris
of it, neither like color, nor like a circular furrow. The expedient can only be discovered by ascending to the level of the
head; it is one which would have been quite inadmissible
except in distant work, six drill-holes cut into the iris, round a
central one for the pupil.
§ xxn. By just calculation, like this, of the means at our
disposal, by beautiful arrangement of the prominent features,
and by choice of different subjects for different places, choosing the broadest forms for the farthest distance, it is possible
to give the impression, not only of perfection, but of an
exquisite delicacy, to the most distant ornament. And this is
the true sign of the right having been done, and the utmost
possible power attained :—The spectator should be satisfied to
stay in his place, feeling the decoration, wherever it may be,
equally rich, full, and lovely : not desiring to climb the steeples
in order to examine it, but sure that he has it all, where he is.
Perhaps the capitals of the cathedral of Genoa are the best
instances of absolute perfection in this kind : seen from below,
they appear as rich as the frosted silver of the Strada degli
Orefici; and the nearer you approach them, the less delicate
they seem.
§ xxiii. This is, however, not the only mode, though the
best, in which ornament is adapted for distance. The other
| 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 | 00000286 |
| Type | Books/Pamphlets |
| Transcript | DECORATION. XXI. TREATMENT OF ORNAMENT. 249 surface in light becomes quickly invisible as the object retires, there are a softness and mystery given to the harder markings, which enable them to be safely used as media of expression. There is an exquisite example of this use, in the head of the Adam of the Ducal Palace. It is only at the height of 17 or 18 feet above the eye; nevertheless, the sculptor felt it was no use to trouble himself about drawing the corners of the mouth, or the lines of the lips, delicately, at that distance ; his object has been to mark them clearly, and to prevent accidental shadows from concealing them, or altering their expression. The lips are cut thin and sharp, so that their line cannot be mistaken, and a good deep drill-hole struck into the angle of the mouth ; the eye is anxious and questioning, and one is surprised, from below, to perceive a kind of darkness in the iris of it, neither like color, nor like a circular furrow. The expedient can only be discovered by ascending to the level of the head; it is one which would have been quite inadmissible except in distant work, six drill-holes cut into the iris, round a central one for the pupil. § xxn. By just calculation, like this, of the means at our disposal, by beautiful arrangement of the prominent features, and by choice of different subjects for different places, choosing the broadest forms for the farthest distance, it is possible to give the impression, not only of perfection, but of an exquisite delicacy, to the most distant ornament. And this is the true sign of the right having been done, and the utmost possible power attained :—The spectator should be satisfied to stay in his place, feeling the decoration, wherever it may be, equally rich, full, and lovely : not desiring to climb the steeples in order to examine it, but sure that he has it all, where he is. Perhaps the capitals of the cathedral of Genoa are the best instances of absolute perfection in this kind : seen from below, they appear as rich as the frosted silver of the Strada degli Orefici; and the nearer you approach them, the less delicate they seem. § xxiii. This is, however, not the only mode, though the best, in which ornament is adapted for distance. The other |
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