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146 FIRST PERIOD.
who spent his life in masquing and revelry. But his pictures
are full of horror, and their color is for the most part gloomy
grey. Truly it would seem as if art had so much of eternity
in it, that it must take its dye from the close rather than the
course of life :—" In such laughter the heart of man is sorrowful, and the end of that mirth is heaviness."
§ xxxii. These are no singular instances. I know no law
more severely without exception than this of the connexion
of pure color with profound and noble thought. The late
Flemish pictures, shallow in conception and obscene in subject, are always sober in color. But the early religious painting of the Flemings is as brilliant in hue as it is holy in
thought. The Bellinis, Francias, Peruginos painted in crimson, and blue, and gold. The Caraccis, Guidos, and Rem-
brandts in brown and grey. The builders of our great cathedrals veiled their casements and wrapped their pillars with one
robe of purple splendor. The builders of the luxurious
Renaissance left their palaces filled only with cold white light,
and in the paleness of their native stone.*
§ xxxiii. Nor does it seem difficult to discern a noble reason for this universal law.- In that heavenly circle which binds
the statutes of color upon the front of the sky, when it became the sign of the covenant of peace, the pure hues of
divided light were sanctified to the human heart for ever ; nor
this, it would seem, by mere arbitrary appointment, but in
consequence of the fore-ordained and marvellous constitution
of those hues into a sevenfold, or, more strictly still, a threefold order, typical of the Divine nature itself. Observe also,
the name Shem, or Splendor, given to that son of Noah in
whom this covenant with mankind was to be fulfilled, and see
how that name was justified by every one of the Asiatic races
which descended from him. Not without meaning was the
love of Israel to his chosen son expressed by the coat " of
many colors ;" not without deep sense of the sacredness of
that symbol of purity, did the lost daughter of David tear it
* Appendix 12, "ModernPainting on Glass."
| 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 | 00000176 |
| Type | Books/Pamphlets |
| Transcript | 146 FIRST PERIOD. who spent his life in masquing and revelry. But his pictures are full of horror, and their color is for the most part gloomy grey. Truly it would seem as if art had so much of eternity in it, that it must take its dye from the close rather than the course of life :—" In such laughter the heart of man is sorrowful, and the end of that mirth is heaviness." § xxxii. These are no singular instances. I know no law more severely without exception than this of the connexion of pure color with profound and noble thought. The late Flemish pictures, shallow in conception and obscene in subject, are always sober in color. But the early religious painting of the Flemings is as brilliant in hue as it is holy in thought. The Bellinis, Francias, Peruginos painted in crimson, and blue, and gold. The Caraccis, Guidos, and Rem- brandts in brown and grey. The builders of our great cathedrals veiled their casements and wrapped their pillars with one robe of purple splendor. The builders of the luxurious Renaissance left their palaces filled only with cold white light, and in the paleness of their native stone.* § xxxiii. Nor does it seem difficult to discern a noble reason for this universal law.- In that heavenly circle which binds the statutes of color upon the front of the sky, when it became the sign of the covenant of peace, the pure hues of divided light were sanctified to the human heart for ever ; nor this, it would seem, by mere arbitrary appointment, but in consequence of the fore-ordained and marvellous constitution of those hues into a sevenfold, or, more strictly still, a threefold order, typical of the Divine nature itself. Observe also, the name Shem, or Splendor, given to that son of Noah in whom this covenant with mankind was to be fulfilled, and see how that name was justified by every one of the Asiatic races which descended from him. Not without meaning was the love of Israel to his chosen son expressed by the coat " of many colors ;" not without deep sense of the sacredness of that symbol of purity, did the lost daughter of David tear it * Appendix 12, "ModernPainting on Glass." |
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