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29 de jul. de 2010 · The nature of Gothic : a chapter of The stones of Venice. by. Ruskin, John, 1819-1900; Morris, William, 1834-1896; Kelmscott Press. Publication date. 1892. Topics. Architecture, Gothic. Publisher. Hammersmith : Printed by William Morris at the Kelmscott Press ; London and Orpington : Published by George Allen.
- Research Library, The Getty Research Institute
- ^HE Chapter which is here put bc^
- Journey must be, and how many things must be
- a crowd ofvotaries, many ofwhom are doubtless
- Man has gained mechanical victory over nature,
- C At least it maybe said that there is time enough
- Owen showed how by companionship and good
- France Charles Fourier dealt with the subject at
- Fourier and Ruskin were touched by the same
- Some readers will perhaps wonder that in this important Chapter of Ruskin I have found it ne^
- E are now aboutto
- C I shall endeavour therefore to give the
- The Nature or perfect type of Gothic^ and how far it either fell
- IBSERVE also, that, in the dc£i^
- Strasburg Cathedral is Gothic, and St. Pete/s is
- The Nature
- E xpression, & secondly, what the Material Form
- Mental Power or Expression. W^hat characters,
- ^^ Gothic'^ was first gene/* rically applied to the ar^
- Savageness tiquaries and architects of this century, Gothic
- Northern and Southern countries. We know the
- Arabian horse with the Shetland, the tiger and leopard with the wolf and bear, the antelope with
- C Of Servile ornament, the principal schools are the Greek, Ninevite and Egyptian; but their ser^
- Savagencss ferior detail becomes principal, the executor of
- Christian makes daily and hourly, contemplating
- Savageness of its nature, liable to the bitterer blight. And
- C Understand this clearly: You can teach a man
- y work with the accuracy oftools, to
- Savageness must be bentuponthcfingcr^point^andthe souFs
- Men may be beaten, chained, tormented, yoked
- Never had the upper classes so much sympathy
- other.
http://www.archive.org/details/natureofgothicchOOrusk THE NATURE OF GOTHIC ACHAP. TER OF THE STONES OF VENICE. BY JOHN RUSKIN.
fore the reader can be well consid^ ered as a separate piece of work, although it contains here & there references to what has gone before in The Stones of Venice. To my mind, and I believe to some others, it is one ofthe most important things written by the author, & in future days willbe considered as one ofthe very few necessary and inevitable u...
changed before we are equipped, yet we can still see no other way out of the folly and degradation of Civilization. <[ For the lesson which Ruskin here teaches us is that art is the expression ofman's pleasure in labour; that it is possible for man to rejoice in his work, for, strange as it may seem to us toz-day, there have been times when he did ...
single-hearted, and worship in her not the purse of riches and power, but the casket of knowledge, that she seems to need no more than alittle humilx ity to temper the insolence of her triumph, which has taught us everything excepthowto be happy.
which in time to come he may be able to enjoy, in^ stead of starving amidst of it. In those days science also may be happy yet not before the second birth ; of art, accompanied by the happiness of labour, has given her rest from the toil of dragging the car of Commerce. C Lastly it may well be that the a human race will never cease striving to solv...
for us to deal with this problem, and that it need not engross the best energies of mankind, when there is so much to do otherwhere. But for this aim of at last gaining happiness through our daily and necessary labour, the time is short enough, the need so urgent, that we may well wonder that those who groan under the bur^ den of unhappiness can th...
will labour might be made at least endurable; & in
great length ; & the whole of his elaborate system for the reconstruction of society is founded on the certain hope of gaining pleasure in labour. But in their times neither Owen nor Fourier could pos^ Hi sibly have found the key to the problem with which Ruskin was provided. Fourier depends^ not on art for the motive power of the realization of pl...
instinct, and it is instructive and hopeful to note how they arrived at the same point by such very different roads.
cessary to consider the ethical & political, rather than what would ordinarily be thought, the ar^ tistic side ofit. I must answer, that, delightful as is that portion of Ruskin's workwhich describes, analyses, and criticises art, old and new, yet this is not after all the most characteristic side of his writings. Indeed from the time at which he w...
enterupon the cx" amination of that school ofVenetian architecture which forms an interme^ diate step between the Byzantine and Gothic forms ; but which I find may- be conveniently considered in its connexion with the latter style. C In order thatwe may discern the tendency of each step of this change^ it will be wise in the outset to cn^ deavourto...
reader in this chapter an idea, at once broad and definite, of the true nature of Gothic architecture, properly so called ; not of that ofVenice only, but ofuniversal Gothic : for it will be one ofthe most interesting parts of our subsequent inquiry, to find out how far Venetian architecture reached the universal
of Gothic short of it^ or assumed foreign and independent forms. | principal difficulty in doing this arises from the fact that every building of the Gothic period dif/- fers in some important respect from every other ; and many in^ elude features which^ if they oc^ curred in other buildings, would not be consider^ ed Gothic at all; so that all w^e...
nition proposed, I shall only en-' deavour to Analyze the idea which I suppose already to exist in the reader^s mind. We all have some notion, most of us a very deter/ mined one, of the meaning of the term Gothic but I know that many persons have this idea in their minds without being able to define it: that is to say, understanding generally that ...
not, they have, nevertheless, no clear notion of what it is that they recognize in the one or miss in the other, such as would enable them to say how far the work at Westminster or Strasburg is good and pure of its kind; still less to say of any nondescript building, like St. James's Palace or
of Gothic shadowy-; many^pinnacled image of the Gothic spirit within us; and discerning what fellowship there is between it and our Northern hearts. C And if, at any point ofthe inquiry, I should in^ terfere with any ofthe reader^s previously formed conceptions, and use the term Gothic in any sense which he would not willingly attach to it, I do no...
of Gothic architecture, properly so called. C First,
we have to discover, did the Gothic builders love, or instinctively express in their work, as distin^ guished from all other builders ? | us go back for a moment to our chemistry, & note that, in defining a mineral by its constituent parts, it is not one nor another of them, that can make up the mineral, but the union of all : for instance, it is n...
chitecture of the North; but I presume that,what^ ever the date of its origin nal usage, it was intends ed to imply reproach, and express the barbaric char^ acter of the nations among whom that architects ure arose. It never implied that they were liters ally of Gothic lineage, far less that their architect^* ure had been originally invented by the...
architecture has been sufficiently vindicated ; and perhaps some among us, in our admiration ofthe magnificent science of its structure, & sacredness of its expression, might desire that the term of ancient reproach should be withdrawn, and some other of more apparent honourableness, adopted in its place* There is no chance, as there is no need, of...
differences in detail, but we have not that broad glance and grasp which would enable us to feel 8 them in their fulness*We knowthat gentians grow Savageness on the Alps^and olives on the Apennines; butwe do not enough conceive for ourselves that varies gated mosaic of the world^s surface which a bird sees in its migration^ that difference between ...
to the elk^ the bird of paradise with the osprey : and Savageness then, submissively acknowledging the great laws by which the earth and all that it bears are ruled throughout their being, let us not condemn, but rejoice in the expression by man of his own rest in the statutes of the lands that gave him birth. Let us watch him with reverence as he ...
vility is of different kinds. The Greek master^ workman was far advanced in knowledge and power above the Assyrian or Egyptian. Neither he nor those for whom he worked could endure the appearance of imperfection in anything; and, therefore,what ornament he appointed to be done by those beneath him was composed of mere geo^ metrical forms, balls, ri...
every minor portion being required to exhibit skill and possess knowledge as great as thatwhich is possessed by the master of the design; and in the endeavour to endow him with this skill and knowledge, his ow^n original power is overwhelm^ ed, and the whole building becomes a wearisome exhibition ofwell-educated imbecility. We must fully inquire i...
the fact ofit without fear, as tending, in the end, to God's greater glory. Therefore, to every spirit which Christianity summons to her service, her exhortation is: Do whatyoucan,&confess frankly what you are unable to do ; neither let your effort be shortened for fear of failure, nor your confession » silenced for fear of shame. ([And it is, perh...
therefore, while in all things that we see or do, we are to desire perfection, and strive for it, we are nevertheless not to set the meaner thing, in its narrow accomplishment, above the nobler thing, in its mighty progress; not to esteem smooth minuteness above shattered majesty; not to pre/ fer mean victoryto honourable defeat ; notto lower the l...
SIHERE is a peculiar significance in this, indicative both of higher civilization and gentler tempera^ ment, than had before been mani^ fested in architecture. Rudeness,& the love of change, which we have insisted upon as the first elements of Gothic, are also elements common to all healthy schools. But here is a softer element mingled with them, p...
SIHERE is a peculiar significance in this, indicative both of higher civilization and gentler tempera^ ment, than had before been mani^ fested in architecture. Rudeness,& the love of change, which we have insisted upon as the first elements of Gothic, are also elements common to all healthy schools. But here is a softer element mingled with them, p...
SIHERE is a peculiar significance in this, indicative both of higher civilization and gentler tempera^ ment, than had before been mani^ fested in architecture. Rudeness,& the love of change, which we have insisted upon as the first elements of Gothic, are also elements common to all healthy schools. But here is a softer element mingled with them, p...
SIHERE is a peculiar significance in this, indicative both of higher civilization and gentler tempera^ ment, than had before been mani^ fested in architecture. Rudeness,& the love of change, which we have insisted upon as the first elements of Gothic, are also elements common to all healthy schools. But here is a softer element mingled with them, p...
SIHERE is a peculiar significance in this, indicative both of higher civilization and gentler tempera^ ment, than had before been mani^ fested in architecture. Rudeness,& the love of change, which we have insisted upon as the first elements of Gothic, are also elements common to all healthy schools. But here is a softer element mingled with them, p...
SIHERE is a peculiar significance in this, indicative both of higher civilization and gentler tempera^ ment, than had before been mani^ fested in architecture. Rudeness,& the love of change, which we have insisted upon as the first elements of Gothic, are also elements common to all healthy schools. But here is a softer element mingled with them, p...
The Stones of Venice examines Venetian architecture in detail, describing for example over eighty churches. Ruskin discusses architecture of Venice's Byzantine, Gothic, and Renaissance periods, and provides a general history of the city.
- John Ruskin
- 1851
Summary. The sixth chapter of the second volume of The Stones of Venice, ‘The nature of gothic’, represents the fusion of Ruskin's aesthetic and social concern; just as neither element is separable from the other throughout his work, both are present in this chapter.
- P. D. Anthony
- 1984
The Nature of Gothic: A Chapter of The Stones of Venice Volume 1 of Aesthetic movement & the arts and crafts movement: Author: John Ruskin: Edition: reprint: Publisher: Garland Pub.,...
- John Ruskin
- Pennsylvania State University
- reprint
- Garland Pub., 1977
20 de ene. de 2019 · The Stones of Venice (1851-53): “The Nature of the Gothic” – Caitlin Duffy. January 20, 2019. The Stones of Venice (1851-53): “The Nature of the Gothic” Background and Summary. John Ruskin was a leading Victorian critic of both art and society. In the 1850’s, his interests focused on architecture, leading him to write The Stones of Venice.
5 de nov. de 2011 · THE NATURE OF GOTHIC; John Ruskin; Edited by Edward Tyas Cook, Alexander Wedderburn; Book: The Works of John Ruskin; Online publication: 05 November 2011; Chapter DOI: https://doi.org/10.1017/CBO9780511696138.009
