Another important work, "The Seven Lamps of Architecture" (1849), is a brilliant attempt at reform in domestic and church architecture. The "lamps" represent the characteristics which good architecture should possess. The first is the Lamp of Sacrifice: "What of beauty and what of riches we may possess, let a portion be dedicated to God. It was in this spirit that our cathedrals were built." The second, the Lamp of Truth, is a plea for honesty in architecture, no imitation wood or marble, but solid wood and solid stone. "Exactly as a woman of feeling," he says, "would not wear false jewels, so would a builder of honour disdain false ornaments. The using of them is just as downright and inexcusable a lie." The third is the Lamp of Power: "Until that street architecture of ours is bettered, until we give it some size and boldness, until we give our windows recess and our walls thickness, I know not how we can blame our architects for their feebleness in more important work." The fourth is the Lamp of Beauty, and in this chapter he maintains that "all the most lovely forms and thoughts" are directly taken from natural objects. The fifth is the Lamp of Life. "To those who love architecture," he says, "the life and accent of the hand are everything." The sixth is the Lamp of Memory: "All public edifices should be records of national life, all ordinary dwelling-houses endeared to their owners by sacred and sweet associations. There is infinite sanctity in a good man's house!" The seventh is the Lamp of Obedience, and here he pleads eloquently for the enforcement of an established type of architecture--the Gothic, in his judgment, lending itself most readily to all services, vulgar or noble. The "Stones of Venice" (1851-1853), in three volumes, gives in further detail Ruskin's views of the laws of architecture. The pre-Raphaelite movement of Millais, Rossetti, and Holman Hunt early enlisted his sympathy, and in "Pre-Raphaelitism" (1851) he declared that they had worthily followed the advice given in "Modern Painters," to "go to nature in all singleness of heart, and walk with her laboriously and trustingly, having no other thought but how best to penetrate her meaning; rejecting nothing, selecting nothing, and scorning nothing." From that time until his Slade lectures at Oxford in 1883-1884 Ruskin wrote several books on painting and architecture, all of them in a style which attracts even those who are least in sympathy with his opinions.