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
218. It is very fortunate that the result of these several
investigations will generally be found the same. The residence which in
the end is found altogether delightful, will be found to have been
placed where it has committed no injury; and therefore the best way of
consulting our own convenience in the end is, to consult the feelings
of the spectator in the beginning.[45] Now, the first grand rule for the
choice of situation is, never to build a villa where the ground is not
richly productive. It is not enough that it should be capable of
producing a crop of scanty oats or turnips in a fine season; it must be
rich and luxuriant, and glowing with vegetative power of one kind or
another.[46] For the very chiefest[47] part of the character of the
edifice of pleasure is, and must be, its perfect ease, its appearance of
felicitous repose. This it can never have where the nature and
expression of the land near it reminds us of the necessity of labor, and
where the earth is niggardly of all that constitutes its beauty and our
pleasure; this it can only have where the presence of man seems the
natural consequence of an ample provision for his enjoyment, not the
continuous struggle of suffering existence with a rude heaven and rugged
soil. There is nobility in such a struggle, but not when it is
maintained by the inhabitant of the villa, in whom it is unnatural, and
therefore injurious in its effect. The narrow cottage on the desolate
moor, or the stalwart hospice on the crest of the Alps, each leaves an
ennobling impression of energy and endurance; but the possessor of the
villa should call, not upon our admiration, but upon our sympathy; and
his function is to deepen the impression of the beauty and the fullness
of creation, not to exhibit the majesty of man; to show, in the
intercourse of earth and her children, not how her severity may be
mocked by their heroism, but how her bounty may be honored in their
enjoyment.
[Footnote 45: For instance, one proprietor terrifies the landscape all
round him, within a range of three miles, by the conspicuous position of
his habitation; and is punished by finding that, from whatever quarter
the wind may blow, it sends in some of his plate-glass. Another spoils a
pretty bit of crag by building below it, and has two or three tons of
stone dropped through his roof, the first frosty night. Another occupies
the turfy slope of some soft lake promontory, and has his cook washed
away by the first flood. We do not remember ever having seen a
dwelling-house destroying the effect of a landscape, of which,
considered merely as a habitation, we should wish to be the possessor.]
Public-domain text, read in full here on John Shaqi.
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