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26 THIRD PERIOD.
impressive than the vision of it overhead, as the gondola glides
from beneath the Bridge of Sighs. And lastly (unless we are
to blame these buildings for some pieces of very childish perspective), they are magnificently honest, as well as perfect. I.
do not remember even any gilding upon them; all is pure
marble, and of the finest kind.*
And therefore, in finally leaving the Ducal Palace, f let us
take with us one more lesson, the last which we shall receive
from the Stones of Yenice, except in the form of a warning.
§ xxxix. The school of architecture which we have just
been examining is, as we have seen above, redeemed from
severe condemnation by its careful and noble use of inlaid
marbles as a means of color. From that time forward, this art
has been unknown, or despised ; the frescoes of the swift and
daring Yenetian painters long contended with the inlaid
marbles, outvying them with color, indeed more glorious than
theirs, but fugitive as the hues of woods in autumn; and, at
last, as the art itself of painting in this mighty manner failed
from among men,J the modern decorative system established
itself, which united the meaninglessness of the veined marble
with the evanescence of the fresco, and completed the harmony
by falsehood.
§ xl. Since first, in the second chapter of the " Seven
Lamps," I endeavored to show the culpableness, as well as the
baseness, of our common modes of decoration by painted imi-
* There may, however, be a kind of dishonesty even in the use of
marble, if it is attempted to make the marble look like something else. See
the final or "Venetian Index under head " Scalzi."
f Appendix 5, "Renaissance Side of Ducal Palace."
X We have, as far as I know, at present among us, only one painter, G.
F. Watts, who is capable of design in color on a large scale. He stands
alone among our artists of the old school, in his perception of the value of
breadth in distant masses, and in the vigor of invention by which such
breadth must be sustained; and his power of expression and depth of
thought are not less remarkable than his bold conception of color effect.
Very probably some of the Pre-Raphaelites have the gift also; I am nearly
certain that Rosetti has it, and I think also Millais; but the experiment has
yet to be tried. I wish it could be made in Mr. Hope's church in Margaret
Street.
| Title | The stones of Venice - 3 |
| Creator | Ruskin, John |
| Publisher | J. Wiley |
| Place of Publication | New York |
| Date | 1889 |
| Language | eng |
| Type | Books/Pamphlets |
| Title | 00000040 |
| Type | Books/Pamphlets |
| Transcript | 26 THIRD PERIOD. impressive than the vision of it overhead, as the gondola glides from beneath the Bridge of Sighs. And lastly (unless we are to blame these buildings for some pieces of very childish perspective), they are magnificently honest, as well as perfect. I. do not remember even any gilding upon them; all is pure marble, and of the finest kind.* And therefore, in finally leaving the Ducal Palace, f let us take with us one more lesson, the last which we shall receive from the Stones of Yenice, except in the form of a warning. § xxxix. The school of architecture which we have just been examining is, as we have seen above, redeemed from severe condemnation by its careful and noble use of inlaid marbles as a means of color. From that time forward, this art has been unknown, or despised ; the frescoes of the swift and daring Yenetian painters long contended with the inlaid marbles, outvying them with color, indeed more glorious than theirs, but fugitive as the hues of woods in autumn; and, at last, as the art itself of painting in this mighty manner failed from among men,J the modern decorative system established itself, which united the meaninglessness of the veined marble with the evanescence of the fresco, and completed the harmony by falsehood. § xl. Since first, in the second chapter of the " Seven Lamps," I endeavored to show the culpableness, as well as the baseness, of our common modes of decoration by painted imi- * There may, however, be a kind of dishonesty even in the use of marble, if it is attempted to make the marble look like something else. See the final or "Venetian Index under head " Scalzi." f Appendix 5, "Renaissance Side of Ducal Palace." X We have, as far as I know, at present among us, only one painter, G. F. Watts, who is capable of design in color on a large scale. He stands alone among our artists of the old school, in his perception of the value of breadth in distant masses, and in the vigor of invention by which such breadth must be sustained; and his power of expression and depth of thought are not less remarkable than his bold conception of color effect. Very probably some of the Pre-Raphaelites have the gift also; I am nearly certain that Rosetti has it, and I think also Millais; but the experiment has yet to be tried. I wish it could be made in Mr. Hope's church in Margaret Street. |
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