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94 FIRST PERIOD.
ing upon his attention will depend upon their delicacy of design, their perfection of color, their preciousness of material,
and their legendary interest. All these qualities are independent of size, and partly even inconsistent with it. Neither delicacy of surface sculpture, nor subtle gradations of color, can
be appreciated by the eye at a distance; and sin",e we have
seen that our sculpture is generally to be only an inch or two
in depth, and that our coloring is in great part to be produced
with the soft tints and veins of natural stones, it will follow
necessarily that none of the parts of the building can be removed far from the eye, and therefore that the whole mass of
it cannot be large. It is not even desirable that it should be
so; for the temper in which the mind addresses itself to contemplate minute and beautiful details is altogether different
from that in which it submits itself to vague impressions of
space and size. And therefore we must not be disappointed,
but grateful, when we find all the best work of the building
concentrated within a space comparatively small; and that, for
the great cliff-like buttresses and mighty piers of the North,
shooting up into indiscernible height, we have here low wails
spread before us like the pages of a book, and shafts whose
capitals we may touch with our hand.
§ xlviii. The due consideration of the principles above
stated will enable the traveller to judge with more candor and
justice of the architecture of St. Mark's than usually it would
have been possible for him to do while under the influence of
the prejudices necessitated by familiarity with the very different
schools of Northern art. I wish it were in my power to lay also
before the general reader some exemplification of the manner in
which these strange principles are developed in the lovely building. But exactly in proportion to the nobility of any work,
is the difficulty of conveying a just impression of it; and
wherever I have occasion to bestow high praise, there it is exactly most dangerous for me to endeavor to illustrate my meaning, except by reference to the work itself. And, in fact,-the
principal reason why architectural criticism is at this day so far
behind all other, is the impossibility of illustrating the best
| 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 | 00000114 |
| Type | Books/Pamphlets |
| Transcript | 94 FIRST PERIOD. ing upon his attention will depend upon their delicacy of design, their perfection of color, their preciousness of material, and their legendary interest. All these qualities are independent of size, and partly even inconsistent with it. Neither delicacy of surface sculpture, nor subtle gradations of color, can be appreciated by the eye at a distance; and sin",e we have seen that our sculpture is generally to be only an inch or two in depth, and that our coloring is in great part to be produced with the soft tints and veins of natural stones, it will follow necessarily that none of the parts of the building can be removed far from the eye, and therefore that the whole mass of it cannot be large. It is not even desirable that it should be so; for the temper in which the mind addresses itself to contemplate minute and beautiful details is altogether different from that in which it submits itself to vague impressions of space and size. And therefore we must not be disappointed, but grateful, when we find all the best work of the building concentrated within a space comparatively small; and that, for the great cliff-like buttresses and mighty piers of the North, shooting up into indiscernible height, we have here low wails spread before us like the pages of a book, and shafts whose capitals we may touch with our hand. § xlviii. The due consideration of the principles above stated will enable the traveller to judge with more candor and justice of the architecture of St. Mark's than usually it would have been possible for him to do while under the influence of the prejudices necessitated by familiarity with the very different schools of Northern art. I wish it were in my power to lay also before the general reader some exemplification of the manner in which these strange principles are developed in the lovely building. But exactly in proportion to the nobility of any work, is the difficulty of conveying a just impression of it; and wherever I have occasion to bestow high praise, there it is exactly most dangerous for me to endeavor to illustrate my meaning, except by reference to the work itself. And, in fact,-the principal reason why architectural criticism is at this day so far behind all other, is the impossibility of illustrating the best |
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