The Poetry of Architecture: Or, the Architecture of the Nations of Europe Considered in its Association with Natural Scenery and National CharacterRuskin, John
Philosophy
The Poetry of Architecture: Or, the Architecture of the Nations of Europe Considered in its Association with Natural Scenery and National Character
Ruskin, John
Architecture
200. The attention of every one about to raise himself a villa of any
kind should, therefore, be directed to this kind of country; first, as
that in which he will not be felt to be an intruder; secondly, as that
which will, in all probability, afford him the greatest degree of
continuous pleasure, when his eye has become accustomed to the features
of the locality. To the human mind, as on the average constituted, the
features of hill scenery will, by repetition, become tiresome, and of
wood scenery, monotonous; while the simple blue can possess little
interest of any kind. Powerful intellect will generally take perpetual
delight in hill residence; but the general mind soon feels itself
oppressed with a peculiar melancholy and weariness, which it is ashamed
to own; and we hear our romantic gentlemen begin to call out about the
want of society, while, if the animals were fit to live where they have
forced themselves, they would never want more society than that of a
gray stone, or of a clear pool of gushing water. On the other hand,
there are few minds so degraded as not to feel greater pleasure in the
picturesque blue than in any other country. Its distance has generally
grandeur enough to meet their moods of aspiration; its near aspect is
that of a more human interest than that of hill country, and harmonizes
more truly with the domestic feelings which are common to all mankind;
so that, on the whole, it will be found to maintain its freshness of
beauty to the habituated eye, in a greater degree than any other
scenery.
201. As it thus persuades us to inhabit it, it becomes a point of honor
not to make the attractiveness of its beauty its destruction; especially
as, being the natural dominion of the villa, it affords great
opportunity for the architect to exhibit variety of design.
Its spirit has been proved to be Greek; and therefore, though that
spirit is slightly manifested in Britain, and though every good
architect is shy of importation, villas on Greek and Roman models are
admissible here. Still, as in all blue country there is much activity of
life, the principle of utility should be kept in view, and the building
should have as much simplicity as can be united with perfect
gracefulness of line. It appears from the principles of composition
alluded to in speaking of the Italian villa, that in undulating country
the forms should be square and massy; and, where the segments of curves
are small, the buildings should be low and flat, while they may be
prevented from appearing cumbrous by some well-managed irregularity of
design, which will be agreeable to the inhabitant as well as to the
spectator; enabling him to change the aspect and size of his chamber, as
temperature or employment may render such change desirable, without
being foiled in his design, by finding the apartments of one wing
matched, foot to foot, by those of the other.
Public-domain text, read in full here on John Shaqi.
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