Stones of Venice [introductions]. Ruskin JohnЧитать онлайн книгу.
![Stones of Venice [introductions] - Ruskin John](seximg_read315335.jpg "Stones of Venice [introductions] - Ruskin John")
revived. But that the reader may understand this, it is necessary that he should have some general idea of the connection of the architecture of Venice with that of the rest of Europe, from its origin forwards.
SECTION XVII. All European architecture, bad and good, old and new, is derived from Greece through Rome, and colored and perfected from the East. The history of architecture is nothing but the tracing of the various modes and directions of this derivation. Understand this, once for all: if you hold fast this great connecting clue, you may string all the types of successive architectural invention upon it like so many beads. The Doric and the Corinthian orders are the roots, the one of all Romanesque, massy-capitaled buildings—Norman, Lombard, Byzantine, and what else you can name of the kind; and the Corinthian of all Gothic, Early English, French, German, and Tuscan. Now observe: those old Greeks gave the shaft; Rome gave the arch; the Arabs pointed and foliated the arch. The shaft and arch, the frame-work and strength of architecture, are from the race of Japheth: the spirituality and sanctity of it from Ismael, Abraham, and Shem.
SECTION XVIII. There is high probability that the Greek received his shaft system from Egypt; but I do not care to keep this earlier derivation in the mind of the reader. It is only necessary that he should be able to refer to a fixed point of origin, when the form of the shaft was first perfected. But it may be incidently observed, that if the Greeks did indeed receive their Doric from Egypt, then the three families of the earth have each contributed their part to its noblest architecture: and Ham, the servant of the others, furnishes the sustaining or bearing member, the shaft; Japheth the arch; Shem the spiritualization of both.
SECTION XIX. I have said that the two orders, Doric and Corinthian, are the roots of all European architecture. You have, perhaps, heard of five orders; but there are only two real orders, and there never can be any more until doomsday. On one of these orders the ornament is convex: those are Doric, Norman, and what else you recollect of the kind. On the other the ornament is concave: those are Corinthian, Early English, Decorated, and what else you recollect of that kind. The transitional form, in which the ornamental line is straight, is the centre or root of both. All other orders are varieties of those, or phantasms and grotesques altogether indefinite in number and species. [Footnote: Appendix 7, "Varieties of the Orders."]
SECTION XX. This Greek architecture, then, with its two orders, was clumsily copied and varied by the Romans with no particular result, until they begun to bring the arch into extensive practical service; except only that the Doric capital was spoiled in endeavors to mend it, and the Corinthian much varied and enriched with fanciful, and often very beautiful imagery. And in this state of things came Christianity: seized upon the arch as her own; decorated it, and delighted in it; invented a new Doric capital to replace the spoiled Roman one: and all over the Roman empire set to work, with such materials as were nearest at hand, to express and adorn herself as best she could. This Roman Christian architecture is the exact expression of the Christianity of the time, very fervid and beautiful—but very imperfect; in many respects ignorant, and yet radiant with a strong, childlike light of imagination, which flames up under Constantine, illumines all the shores of the Bosphorus and the Aegean and the Adriatic Sea, and then gradually, as the people give themselves up to idolatry, becomes Corpse-light. The architecture sinks into a settled form—a strange, gilded, and embalmed repose: it, with the religion it expressed; and so would have remained for ever,—so does remain, where its languor has been undisturbed. [Footnote: The reader will find the weak points of Byzantine architecture shrewdly seized, and exquisitely sketched, in the opening chapter of the most delightful book of travels I ever opened,– Curzon's "Monasteries of the Levant."] But rough wakening was ordained.
Section XXI. This Christian art of the declining empire is divided into two great branches, western and eastern; one centred at Rome, the other at Byzantium, of which the one is the early Christian Romanesque, properly so called, and the other, carried to higher imaginative perfection by Greek workmen, is distinguished from it as Byzantine. But I wish the reader, for the present, to class these two branches of art together in his mind, they being, in points of main importance, the same; that is to say, both of them a true continuance and sequence of the art of old Rome itself, flowing uninterruptedly down from the fountain-head, and entrusted always to the best workmen who could be found—Latins in Italy and Greeks in Greece; and thus both branches may be ranged under the general term of Christian Romanesque, an architecture which had lost the refinement of Pagan art in the degradation of the empire, but which was elevated by Christianity to higher aims, and by the fancy of the Greek workmen endowed with brighter forms. And this art the reader may conceive as extending in its various branches over all the central provinces of the empire, taking aspects more or less refined, according to its proximity to the seats of government; dependent for all its power on the vigor and freshness of the religion which animated it; and as that vigor and purity departed, losing its own vitality, and sinking into nerveless rest, not deprived of its beauty, but benumbed and incapable of advance or change.
SECTION XXII. Meantime there had been preparation for its renewal. While in Rome and Constantinople, and in the districts under their immediate influence, this Roman art of pure descent was practised in all its refinement, an impure form of it—a patois of Romanesque—was carried by inferior workmen into distant provinces; and still ruder imitations of this patois were executed by the barbarous nations on the skirts of the empire. But these barbarous nations were in the strength of their youth; and while, in the centre of Europe, a refined and purely descended art was sinking into graceful formalism, on its confines a barbarous and borrowed art was organizing itself into strength and consistency. The reader must therefore consider the history of the work of the period as broadly divided into two great heads: the one embracing the elaborately languid succession of the Christian art of Rome; and the other, the imitations of it executed by nations in every conceivable phase of early organization, on the edges of the empire, or included in its now merely nominal extent.
SECTION XXIII. Some of the barbaric nations were, of course, not susceptible of this influence; and when they burst over the Alps, appear, like the Huns, as scourges only, or mix, as the Ostrogoths, with the enervated Italians, and give physical strength to the mass with which they mingle, without materially affecting its intellectual character. But others, both south and north of the empire, had felt its influence, back to the beach of the Indian Ocean on the one hand, and to the ice creeks of the North Sea on the other. On the north and west the influence was of the Latins; on the south and east, of the Greeks. Two nations, pre-eminent above all the rest, represent to us the force of derived mind on either side. As the central power is eclipsed, the orbs of reflected light gather into their fulness; and when sensuality and idolatry had done their work, and the religion of the empire was laid asleep in a glittering sepulchre, the living light rose upon both horizons, and the fierce swords of the Lombard and Arab were shaken over its golden paralysis.
SECTION XXIV. The work of the Lombard was to give hardihood and system to the enervated body and enfeebled mind of Christendom; that of the Arab was to punish idolatry, and to proclaim the spirituality of worship. The Lombard covered every church which he built with the sculptured representations of bodily exercises—hunting and war. [Footnote: Appendix 8, "The Northern Energy."] The Arab banished all imagination of creature form from his temples, and proclaimed from their minarets, "There is no god but God." Opposite in their character and mission, alike in their magnificence of energy, they came from the North, and from the South, the glacier torrent and the lava stream: they met and contended over the wreck of the Roman empire; and the very centre of the struggle, the point of pause of both, the dead water of the opposite eddies, charged with embayed fragments of the Roman wreck, is VENICE.
The Ducal palace of Venice contains the three elements in exactly equal proportions—the Roman, Lombard, and Arab. It is the central building of the world.
SECTION XXV. The reader will now begin to understand something of the importance of the study of the edifices of a city which includes, within the circuit of some seven or eight miles, the field of contest between the three pre-eminent architectures of the world:—each architecture expressing a condition of religion; each an erroneous condition, yet necessary to the correction of the others, and corrected by them.
SECTION XXVI. It will be part of my endeavor,