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326 XXVII. THE CORNICE AND CAPITAL. DECORATION.
the Doric profile, c of Fig. V., the contour itself is to be composed of the surface of the ornamentation, this ornamentation
must be close and united enough to form, or at least suggest, a
continuous surface; it must, therefore, be rich in quantity and
close in aggregation; otherwise it will destroy the massy character of the profile it adorns, and approximate it to its opposite,
the concave. On the other hand, the ornament left projecting
from the concave, must be sparing enough, and dispersed
enough, to allow the concave bell to be clearly seen beneath it;
otherwise it will choke up the concave profile, and approximate
it to its opposite, the convex.
§ xxxix. And, secondly, in its style. For, clearly, as the
sculptor of the concave profile must leave masses of rough
stone prepared for his outer ornament, and cannot finish them
at once, but must complete the cutting of the smooth bell
beneath first, and then return to the projecting masses (for if
he were to finish these latter first, they would assuredly, if
delicate or sharp, be broken as he worked on; since, I say, he
must work in this foreseeing and predetermined method, he is
sure to reduce the system of his ornaments to some definite
symmetrical order before he begins); and the habit of conceiving
beforehand all that he has to do, will probably render him not
only more orderly in its arrangement, but more skilful and
accurate in its execution, than if he could finish all as he
worked on. On the other hand, the sculptor of the convex
profile has its smooth surface laid before him, as a piece of
paper on which he can sketch at his pleasure; the incisions he
makes in it are like touches of a dark pencil; and he is at
liberty to roam over the surface in perfect freedom, with light
incisions or with deep; finishing here, suggesting there, or
perhaps in places leaving the surface altogether smooth. It is
ten to one, therefore, but that, if he yield to the temptation, he
becomes irregular in design, and rude in handling; and we
shall assuredly find the two families of capitals distinguished,
the one by its symmetrical, thoroughly organised, and exquisitely executed ornament, the other by its rambling, confused,
and rudely chiselled ornament: But, on the other hand,., while
| 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 | 00000379 |
| Type | Books/Pamphlets |
| Transcript | 326 XXVII. THE CORNICE AND CAPITAL. DECORATION. the Doric profile, c of Fig. V., the contour itself is to be composed of the surface of the ornamentation, this ornamentation must be close and united enough to form, or at least suggest, a continuous surface; it must, therefore, be rich in quantity and close in aggregation; otherwise it will destroy the massy character of the profile it adorns, and approximate it to its opposite, the concave. On the other hand, the ornament left projecting from the concave, must be sparing enough, and dispersed enough, to allow the concave bell to be clearly seen beneath it; otherwise it will choke up the concave profile, and approximate it to its opposite, the convex. § xxxix. And, secondly, in its style. For, clearly, as the sculptor of the concave profile must leave masses of rough stone prepared for his outer ornament, and cannot finish them at once, but must complete the cutting of the smooth bell beneath first, and then return to the projecting masses (for if he were to finish these latter first, they would assuredly, if delicate or sharp, be broken as he worked on; since, I say, he must work in this foreseeing and predetermined method, he is sure to reduce the system of his ornaments to some definite symmetrical order before he begins); and the habit of conceiving beforehand all that he has to do, will probably render him not only more orderly in its arrangement, but more skilful and accurate in its execution, than if he could finish all as he worked on. On the other hand, the sculptor of the convex profile has its smooth surface laid before him, as a piece of paper on which he can sketch at his pleasure; the incisions he makes in it are like touches of a dark pencil; and he is at liberty to roam over the surface in perfect freedom, with light incisions or with deep; finishing here, suggesting there, or perhaps in places leaving the surface altogether smooth. It is ten to one, therefore, but that, if he yield to the temptation, he becomes irregular in design, and rude in handling; and we shall assuredly find the two families of capitals distinguished, the one by its symmetrical, thoroughly organised, and exquisitely executed ornament, the other by its rambling, confused, and rudely chiselled ornament: But, on the other hand,., while |
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