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
174. It should therefore be remembered by every proprietor of land in
hill country, that his possessions are the means of a peculiar
education, otherwise unattainable, to the artists, and in some degree to
the literary men, of his country; that, even in this limited point of
view, they are a national possession, but much more so when it is
remembered how many thousands are perpetually receiving from them, not
merely a transitory pleasure, but such thrilling perpetuity of pure
emotion, such lofty subject for scientific speculation, and such deep
lessons of natural religion, as only the work of a Deity can impress,
and only the spirit of an immortal can feel: they should remember that
the slightest deformity, the most contemptible excrescence, can injure
the effect of the noblest natural scenery, as a note of discord can
annihilate the expression of the purest harmony; that thus it is in the
power of worms to conceal, to destroy, or to violate, what angels could
not restore, create or consecrate; and that the right, which every man
unquestionably possesses, to be an ass, is extended only, in public, to
those who are innocent in idiotism, not to the more malicious clowns,
who thrust their degraded motley conspicuously forth amidst the fair
colors of earth, and mix their incoherent cries with the melodies of
eternity, break with their inane laugh upon the silence which Creation
keeps where Omnipotence passes most visibly, and scrabble over with the
characters of idiocy the pages that have been written by the finger of
God.
175. These feelings we would endeavor to impress upon all persons likely
to have anything to do with embellishing, as it is called, fine natural
scenery; as they might, in some degree, convince both the architect and
his employer of the danger of giving free play to the imagination in
cases involving intricate questions of feeling and composition, and
might persuade the designer of the necessity of looking, not to his own
acre of land, or to his own peculiar tastes, but to the whole mass of
forms and combination of impressions with which he is surrounded.
Public-domain text, read in full here on John Shaqi.
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