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IV. ST. mark's. 91
tance attached to color as a means of effect or constituent
of beauty. I have above stated that the incrusted style was
the only one in which perfect or permanent Color decoration
was possible. ' It is also the only one in which a true system
of color decoration was ever likely to be invented. In order
to understand this, the reader must permit me to review with
some care the nature of the principles of coloring adopted
by the Northern and Southern nations.
§ xliii. I believe that from the beginning of the world
there has never been a true or fine school of art in which
color was despised. It has often been imperfectly attained
and injudiciously applied, but I believe it to be one of the
-essential signs of life in a school of art, that it loves color;
and I know it to be one of the first signs of death in the
Renaissance schools, that they despised color.
Observe, it is not now the question whether our Northern
cathedrals are better with color or without. Perhaps the great
monotone grey of Nature and of Time is a better color than
any that the human hand can give; but that is nothing to
our present business. The simple fact is, that the builders of
those cathedrals laid upon them the brightest colors they
could obtain, and that there is not, as far as I am aware, in
Europe, any monument of a truly noble school which has
not been either painted all over, or vigorously touched with
paint, mosaic, and gilding in its prominent parts. Thus far
Egyptians, Greeks, Goths, Arabs, and mediaeval Christians all
agree: none of them, when in their right senses, ever think
of doing without paint; and, therefore, when I said above that
the Venetians were the only people who had thoroughly sympathized with the Arabs in this respect, I referred, first, to
their intense love of color, which led them to lavish the
most expensive decorations on ordinary dwelling-houses ; and,
secondly, to that perfection of the color-instinct in them, which
enabled them to render whatever they did, in this kind, as just
in principle as it was gorgeous in appliance. It is this principle of theirs, as distinguished from that of the Northern
builders, which we have finally to examine.
| Title | The stones of Venice - 2 |
| Creator | Ruskin, John |
| Publisher | J. Wiley |
| Place of Publication | New York |
| Date | 1889 |
| Language | eng |
| Type | Books/Pamphlets |
| Title | 00000111 |
| Type | Books/Pamphlets |
| Transcript | IV. ST. mark's. 91 tance attached to color as a means of effect or constituent of beauty. I have above stated that the incrusted style was the only one in which perfect or permanent Color decoration was possible. ' It is also the only one in which a true system of color decoration was ever likely to be invented. In order to understand this, the reader must permit me to review with some care the nature of the principles of coloring adopted by the Northern and Southern nations. § xliii. I believe that from the beginning of the world there has never been a true or fine school of art in which color was despised. It has often been imperfectly attained and injudiciously applied, but I believe it to be one of the -essential signs of life in a school of art, that it loves color; and I know it to be one of the first signs of death in the Renaissance schools, that they despised color. Observe, it is not now the question whether our Northern cathedrals are better with color or without. Perhaps the great monotone grey of Nature and of Time is a better color than any that the human hand can give; but that is nothing to our present business. The simple fact is, that the builders of those cathedrals laid upon them the brightest colors they could obtain, and that there is not, as far as I am aware, in Europe, any monument of a truly noble school which has not been either painted all over, or vigorously touched with paint, mosaic, and gilding in its prominent parts. Thus far Egyptians, Greeks, Goths, Arabs, and mediaeval Christians all agree: none of them, when in their right senses, ever think of doing without paint; and, therefore, when I said above that the Venetians were the only people who had thoroughly sympathized with the Arabs in this respect, I referred, first, to their intense love of color, which led them to lavish the most expensive decorations on ordinary dwelling-houses ; and, secondly, to that perfection of the color-instinct in them, which enabled them to render whatever they did, in this kind, as just in principle as it was gorgeous in appliance. It is this principle of theirs, as distinguished from that of the Northern builders, which we have finally to examine. |
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