Ruskin

The Seven Lamps of Architecture Ruskin

Publisher Marketing: Excerpt: ...of sculpture by itself, except in the form of a handkerchief on urns in the seventeenth century and in some of the baser scenic Italian decorations? Drapery, as such, is always ignoble; it becomes a subject of interest only by the colors it bears, and the impressions which it receives from some foreign form or force. All noble draperies, either in painting or sculpture (color and texture being at present out of our consideration), have, so far as they are anything more than necessities, one of two great functions; they are the exponents of motion and of gravitation. They are the most valuable means of expressing past as well as present motion in the figure, and they are almost the only means of Pg 109 indicating to the eye the force of gravity which resists such motion. The Greeks used drapery in sculpture for the most part as an ugly necessity, but availed themselves of it gladly in all representation of action, exaggerating the arrangements of it which express lightness in the material, and follow gesture in the person. The Christian sculptors, caring little for the body, or disliking it, and depending exclusively on the countenance, received drapery at first contentedly as a veil, but soon perceived a capacity of expression in it which the Greek had not seen or had despised. The principal element of this expression was the entire removal of agitation from what was so pre-eminently capable of being agitated. It fell from their human forms plumb down, sweeping the ground heavily, and concealing the feet; while the Greek drapery was often blown away from the thigh. The thick and coarse stuffs of the monkish dresses, so absolutely opposed to the thin and gauzy web of antique material, suggested simplicity of division as well as weight of fall. There was no crushing nor subdividing them. And thus the drapery gradually came to represent the spirit of repose as it before had of motion, repose saintly and severe. The wind had no power upon the garment, .. Contributor Bio:  Ruskin, John John Ruskin ( 1819 - 1900) was the leading English art critic of the Victorian era, also an art patron, draughtsman, watercolourist, a prominent social thinker and philanthropist. He wrote on subjects ranging from geology to architecture, myth to ornithology, literature to education, and botany to political economy. His writing styles and literary forms were equally varied. Ruskin penned essays and treatises, poetry and lectures, travel guides and manuals, letters and even a fairy tale. The elaborate style that characterised his earliest writing on art was later superseded by a preference for plainer language designed to communicate his ideas more effectively. In all of his writing, he emphasised the connections between nature, art and society. He also made detailed sketches and paintings of rocks, plants, birds, landscapes, and architectural structures and ornamentation. He was hugely influential in the latter half of the 19th century, and up to the First World War. After a period of relative decline, his reputation has steadily improved since the 1960s with the publication of numerous academic studies of his work. Today, his ideas and concerns are widely recognised as having anticipated interest in environmentalism, sustainability and craft.