The seven lamps of architecture (1907) (14781850912)

Identifier: sevenlamp00rusk (find matches)
Title: The seven lamps of architecture
Year: 1907 (1900s)
Authors: Ruskin, John, 1819-1900
Subjects: Architecture
Publisher: London, G. Allen
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto



Text Appearing Before Image:
contain within itself another similarone, set diagonally, and lifted so far above theinclosing one, as that the recessed part of itsprofile p f shall fall behind the projecting partof the outer one. The angle of its upper por-tion exactly meets the plane of the side of theupper inclosing shaft 4, and would, therefore,not be seen, unless two vertical cuts were madeto exhibit it, which form two dark lines thewhole way up the shaft. Two small pilastersare run, Hke fastening stitches, through the 2^ Professor Willis was, I believe, the first modernwho observed and ascertained the lost structural prin-ciples of Gothic architecture. His book above referredto (§21) taught me all my grammar of central Gothic,but this grammar of the flamboyant I worked out formyself, and wrote it here, supposing the statementsnew: all had, however, been done previously by Pro-fessor Willis, as he afterwards pointed out to me, inhis work On the Characteristic Interpenetrations ofthe Flamboyant Style. Plate IV.
Text Appearing After Image:
J. Ruskia. B. P. Cuff THE LAMP OF TRUTH. IIQ junction, on the front of the shafts. The sectionsk, «,-taken respectively at the levels k, n, willexplain the hypothetical construction of thewhole. Fig. 7 is a base, or joint rather, (forpassages of this form occur again and again,on the shafts of flamboyant work,) of one ofthe smallest piers of the pedestals which sup-ported the lost statues of the porch ; its sectionbelow would be the same as n, and its con-struction after what has been said of the otherbase, will be at once perceived.^^ XXVIII. There was, however, in this kind,of involution, much to be admired as well as ^reprehended; the proportions of quantities werealways as beautiful as they were intricate; and,though the lines of intersection were harsh, I cannot understand how, in the subsequent illus-trations of the principle I had, during the arrangementof this volume, most prominently in my mind, on thefounding of all beautiful design on natural fonn, Iomitted so forcible a p