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Book Title: The Seven Lamps of Architecture|
The author of the book: John Ruskin
Format files: PDF
The size of the: 25.47 MB
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Edition: Some Good Press
Date of issue: February 27th 2015
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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1849 edition. Excerpt: ... 27 CHAP. II. THE LAMP OF TROTH. I. There is a marked likeness between the virtue of man and the enlightenment of the globe he inhabits -- the same diminishing gradation in vigour up to the limits of their domains, the same essential separation from their contraries -- the same twilight at the meeting of the two: a something wider belt than the line where the world rolls into night, that strange twilight of the virtues; that dusky debateable land, wherein zeal becomes impatience, and temperance becomes severity, and justice becomes cruelty, and faith superstition, and each and all vanish into gloom. Nevertheless, with the greater number of them, though their dimness increases gradually, we may mark the moment of their sunset; and, happily, may turn the shadow back by the way by which it had gone down: but for one, the line of the horizon is irregular and undefined; and this, too, the very equator and girdle of them all--Truth; that only one of which there arc no degrees, but breaks and rents continually; that pillar of the earth, yet a cloudy pillar; that golden and narrow line, which the very powers and virtues that lean upon it bend, which policy and prudence conceal, which kindness and courtesy modify, which courage overshadows with his shield, imagination covers with her wings, and charity dims with her tears. How difficult must the maintenance of that authority be, which, while it has to restrain the hostility of all the worst principles of man, has also to restrain the disorders of his best -- which is continually assaulted by the one and betrayed by the other, and which regards with the same severity the lightest and the boldest violations of its law! There are some faults slight in the sight of love, some errors slight in the...
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Read information about the authorJohn Ruskin was born on 8 February 1819 at 54 Hunter Street, London, the only child of Margaret and John James Ruskin. His father, a prosperous, self-made man who was a founding partner of Pedro Domecq sherries, collected art and encouraged his son's literary activities, while his mother, a devout evangelical Protestant, early dedicated her son to the service of God and devoutly wished him to become an Anglican bishop. Ruskin, who received his education at home until the age of twelve, rarely associated with other children and had few toys. During his sixth year he accompanied his parents on the first of many annual tours of the Continent. Encouraged by his father, he published his first poem, "On Skiddaw and Derwent Water," at the age of eleven, and four years later his first prose work, an article on the waters of the Rhine.
In 1836, the year he matriculated as a gentleman-commoner at Christ Church, Oxford, he wrote a pamphlet defending the painter Turner against the periodical critics, but at the artist's request he did not publish it. While at Oxford (where his mother had accompanied him) Ruskin associated largely with a wealthy and often rowdy set but continued to publish poetry and criticism; and in 1839 he won the Oxford Newdigate Prize for poetry. The next year, however, suspected consumption led him to interrupt his studies and travel, and he did not receive his degree until 1842, when he abandoned the idea of entering the ministry. This same year he began the first volume of Modern Painters after reviewers of the annual Royal Academy exhibition had again savagely treated Turner's works, and in 1846, after making his first trip abroad without his parents, he published the second volume, which discussed his theories of beauty and imagination within the context of figural as well as landscape painting.
On 10 April 1848 Ruskin married Euphemia Chalmers Gray, and the next year he published The Seven Lamps of Architecture, after which he and Effie set out for Venice. In 1850 he published The King of the Golden River, which he had written for Effie nine years before, and a volume of poetry, and in the following year, during which Turner died and Ruskin made the acquaintance of the Pre-Raphaelites, the first volume of The Stones of Venice. The final two volumes appeared in 1853, the summer of which saw Millais, Ruskin, and Effie together in Scotland, where the artist painted Ruskin's portrait. The next year his wife left him and had their marriage annulled on grounds of non-consummation, after which she later married Millais. During this difficult year, Ruskin defended the Pre-Raphaelites, became close to Rossetti, and taught at the Working Men's College.
In 1855 Ruskin began Academy Notes, his reviews of the annual exhibition, and the following year, in the course of which he became acquainted with the man who later became his close friend, the American Charles Eliot Norton, he published the third and fourth volumes of Modern Painters and The Harbours of England. He continued his immense productivity during the next four years, producing The Elements of Drawing and The Political Economy of Art in 1857, The Elements of Perspective and The Two Paths in 1859, and the fifth volume of Modern Painters and the periodical version of Unto This Last in 1860. During 1858, in the midst of this productive period, Ruskin decisively abandoned the evangelical Protestantism which had so shaped his ideas and attitudes, and he also met Rose La Touche, a young Irish Protestant girl with whom he was later to fall deeply and tragically in love.
Throughout the 1860s Ruskin continued writing and lecturing on social and political economy, art, and myth, and during this decade he produced the Fraser's Magazine "Essays on Political Economy" (1863); revised as Munera Pulveris, 1872), Sesame and Lilies (1865), The Grown of Wild Olive (1866), The Ethics of the Dust (1866), Time and Tide, and [2/3] The Queen of the Air (1869), his study of Gr
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