The Seven Lamps of Architecture. John Ruskin

persuasive method, the latter assuredly the more conclusive; only it is liable to give offence, as if there were irreverence in adducing considerations so weighty in treating subjects of small temporal importance. I believe, however, that no error is more thoughtless than this. We treat God with irreverence by banishing Him from our thoughts, not by referring to His will on slight occasions. His is not the finite authority or intelligence which cannot be troubled with small things. There is nothing so small but that we may honor God by asking His guidance of it, or insult Him by taking it into our own hands; and what is true of the Deity is equally true of His Revelation. We use it most reverently when most habitually: our insolence is in ever acting without reference to it, our true honoring of it is in its universal application. I have been blamed for the familiar introduction of its sacred words. I am grieved to have given pain by so doing; but my excuse must be my wish that those words were made the ground of every argument and the test of every action. We have them not often enough on our lips, nor deeply enough in our memories, nor loyally enough in our lives. The snow, the vapor, and the stormy wind fulfil His word. Are our acts and thoughts lighter and wilder than these—that we should forget it?

      I have therefore ventured, at the risk of giving to some passages the appearance of irreverence, to take the higher line of argument wherever it appeared clearly traceable: and this, I would ask the reader especially to observe, not merely because I think it the best mode of reaching ultimate truth, still less because I think the subject of more importance than many others; but because every subject should surely, at a period like the present, be taken up in this spirit, or not at all. The aspect of the years that approach us is as solemn as it is full of mystery; and the weight of evil against which we have to contend, is increasing like the letting out of water. It is no time for the idleness of metaphysics, or the entertainment of the arts. The blasphemies of the earth are sounding louder, and its miseries heaped heavier every day; and if, in the midst of the exertion which every good man is called upon to put forth for their repression or relief, it is lawful to ask for a thought, for a moment, for a lifting of the finger, in any direction but that of the immediate and overwhelming need, it is at least incumbent upon us to approach the questions in which we would engage him, in the spirit which has become the habit of his mind, and in the hope that neither his zeal nor his usefulness may be checked by the withdrawal of an hour which has shown him how even those things which seemed mechanical, indifferent, or contemptible, depend for their perfection upon the acknowledgment of the sacred principles of faith, truth, and obedience, for which it has become the occupation of his life to contend.

THE SEVEN LAMPS OF ARCHITECTURE.

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CHAPTER I.

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THE LAMP OF SACRIFICE.

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      I. Architecture is the art which so disposes and adorns the edifices raised by man for whatsoever uses, that the sight of them contributes to his mental health, power and pleasure.

      It is very necessary, in the outset of all inquiry, to distinguish carefully between Architecture and Building.

      To build, literally to confirm, is by common understanding to put together and adjust the several pieces of any edifice or receptacle of a considerable size. Thus we have church building, house building, ship building, and coach building. That one edifice stands, another floats, and another is suspended on iron springs, makes no difference in the nature of the art, if so it may be called, of building or edification. The persons who profess that art, are severally builders, ecclesiastical, naval, or of whatever other name their work may justify; but building does not become architecture merely by the stability of what it erects; and it is no more architecture which raises a church, or which fits it to receive and contain with comfort a required number of persons occupied in certain religious offices, than it is architecture which makes a carriage commodious or a ship swift. I do not, of course, mean that the word is not often, or even may not be legitimately, applied in such a sense (as we speak of naval architecture); but in that sense architecture ceases to be one of the fine arts, and it is therefore better not to run the risk, by loose nomenclature, of the confusion which would arise, and has often arisen, from extending principles which belong altogether to building, into the sphere of architecture proper.

      Let us, therefore, at once confine the name to that art which, taking up and admitting, as conditions of its working, the necessities and common uses of the building, impresses on its form certain characters venerable or beautiful, but otherwise unnecessary. Thus, I suppose, no one would call the laws architectural which determine the height of a breastwork or the position of a bastion. But if to the stone facing of that bastion be added an unnecessary feature, as a cable moulding, that is Architecture. It would be similarly unreasonable to call battlements or machicolations architectural features, so long as they consist only of an advanced gallery supported on projecting masses, with open intervals beneath for offence. But if these projecting masses be carved beneath into rounded courses, which are useless, and if the headings of the intervals be arched and trefoiled, which is useless, that is Architecture. It may not be always easy to draw the line so sharply and simply, because there are few buildings which have not some pretence or color of being architectural; neither can there be any architecture which is not based on building, nor any good architecture which is not based on good building; but it is perfectly easy and very necessary to keep the ideas distinct, and to understand fully that Architecture concerns itself only with those characters of an edifice which are above and beyond its common use. I say common; because a building raised to the honor of God, or in memory of men, has surely a use to which its architectural adornment fits it; but not a use which limits, by any inevitable necessities, its plan or details.

      II. Architecture proper, then, naturally arranges itself under five heads:—

      Devotional; including all buildings raised for God's service or honor.

       Memorial; including both monuments and tombs.

       Civil; including every edifice raised by nations or societies, for purposes of common business or pleasure.

       Military; including all private and public architecture of defence.

       Domestic; including every rank and kind of dwelling-place.

      Now, of the principles which I would endeavor to develope, while all must be, as I have said, applicable to every stage and style of the art, some, and especially those which are exciting rather than directing, have necessarily fuller reference to one kind of building than another; and among these I would place first that spirit which, having influence in all, has nevertheless such especial reference to devotional and memorial architecture—the spirit which offers for such work precious things simply because they are precious; not as being necessary to the building, but as an offering, surrendering, and sacrifice of what is to ourselves desirable. It seems to me, not only that this feeling is in most cases wholly wanting in those who forward the devotional buildings of the present day; but that it would even be regarded as an ignorant, dangerous, or perhaps criminal principle by many among us. I have not space to enter into dispute of all the various objections which may be urged against it—they are many and spacious; but I may, perhaps, ask the reader's patience while I set down those simple reasons which cause me to believe it a good and just feeling, and as well-pleasing to God and honorable in men, as it is beyond all dispute necessary to the production of any great work in the kind with which we are at present concerned.

      III. Now, first, to define this Lamp, or Spirit of Sacrifice, clearly. I have said that it prompts us to the offering of precious things merely because they are precious, not because they are useful or necessary. It is a spirit, for instance, which of two marbles, equally beautiful, applicable and durable, would choose the more costly because it was so, and of two kinds of decoration, equally effective,