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appendix, 12. 397
chitecture it becomes most touchingly impressive, as typical of
the entrance of the Holy Spirit into the heart of man ; a typical
expression rendered specific and intense by the purity and brilliancy of its sevenfold hues; * and therefore in endeavoring to
turn the window into a picture, we at once lose the sanctity and
power of the noble material, and employ it to an end which is
utterly impossible it should ever worthily attain. The true perfection of a painted window is to be serene, intense, brilliant,
like flaming jewellery; full of easily legible and quaint subjects,
and exquisitely subtle, yet simple, in its harmonies. In a word,
this perfection has been consummated in the designs, never to
be surpassed, if ever again to be approached by human art, of
the French windows of the twelfth and thirteenth centuries.
* I do not think that there is anything more necessary to the progress
of European art in the present day than the complete understanding of this
sanctity of Color. I had much pleasure in finding it, the other day, fully
understood and thus sweetly expressed in a little volume of poems by a
Miss Maynard:
" For still in every land, though to Thy name
Arose no temple,—still in every age,
Though heedless man had quite forgot Thy praise,
We praised Thee ; and at rise and set of sun
Did we assemble duly, and intone
A choral hymn that all the lands might hear.
In heaven, on earth, and in the deep we praised Thee,
Singly, or mingled in sweet sisterhood.
But now, acknowledged ministrants, we come,
Co-worshippers with man in. this Thy house,
We, the Seven Daughters of the Light, to praise
Thee, Light of Light! Thee, God of very God !"
A Dream of Fair Colors.
These poems seem to be otherwise remarkable for a very unobtrusive
and pure religious feeling in subjects connected with art.
| 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 | 00000445 |
| Type | Books/Pamphlets |
| Transcript | appendix, 12. 397 chitecture it becomes most touchingly impressive, as typical of the entrance of the Holy Spirit into the heart of man ; a typical expression rendered specific and intense by the purity and brilliancy of its sevenfold hues; * and therefore in endeavoring to turn the window into a picture, we at once lose the sanctity and power of the noble material, and employ it to an end which is utterly impossible it should ever worthily attain. The true perfection of a painted window is to be serene, intense, brilliant, like flaming jewellery; full of easily legible and quaint subjects, and exquisitely subtle, yet simple, in its harmonies. In a word, this perfection has been consummated in the designs, never to be surpassed, if ever again to be approached by human art, of the French windows of the twelfth and thirteenth centuries. * I do not think that there is anything more necessary to the progress of European art in the present day than the complete understanding of this sanctity of Color. I had much pleasure in finding it, the other day, fully understood and thus sweetly expressed in a little volume of poems by a Miss Maynard: " For still in every land, though to Thy name Arose no temple,—still in every age, Though heedless man had quite forgot Thy praise, We praised Thee ; and at rise and set of sun Did we assemble duly, and intone A choral hymn that all the lands might hear. In heaven, on earth, and in the deep we praised Thee, Singly, or mingled in sweet sisterhood. But now, acknowledged ministrants, we come, Co-worshippers with man in. this Thy house, We, the Seven Daughters of the Light, to praise Thee, Light of Light! Thee, God of very God !" A Dream of Fair Colors. These poems seem to be otherwise remarkable for a very unobtrusive and pure religious feeling in subjects connected with art. |
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