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Ruskin and Viollet-le-Duc: Englishness and Frenchness in the appreciation of Gothic architecture
, 48 pages, with black & white illustrations throughout
48 pages, Hardcover
First published January 1, 1969
About the author
Nikolaus Pevsner
338 books30 followersSir Nikolaus Pevsner (January 30, 1902 - August 18, 1983) was one of the twentieth century's most learned and stimulating writers on art and architecture.
He established his reputation with Pioneers of Modern Design, though he is probably best known for his celebrated series of guides, The Buildings of England, acknowledged as one of the great achievements of twentieth-century scholarship. He was also founding editor of The Pelican History of Art, the most comprehensive and scholarly history of art ever published in English.
He established his reputation with Pioneers of Modern Design, though he is probably best known for his celebrated series of guides, The Buildings of England, acknowledged as one of the great achievements of twentieth-century scholarship. He was also founding editor of The Pelican History of Art, the most comprehensive and scholarly history of art ever published in English.
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Displaying 1 of 1 review
July 6, 2025
passagens engraçadas
p.16
“One of Ruskin s Lamps is the Lamp of Truth, and there he writes: Do not let us lie at all', and then he lists the deceits which must be shunned: 'the suggestion of a mode of support other than the true one', 'the painting of surfaces to represent some other material... as in the marbling of wood', and 'the use of cast or machine-made ornaments of any kind'. Under the second heading it is typical of Ruskin who was always ready by a sleight of the hand to accommodate what strictly could not be accommodated, that he explicitly accepts marble facing of a brick wall as admissible, because no one would believe that a wall is entirely of marble, and gilding architectural members as also admissible because no one would think they could be entirely of gold.”
p.33
“Every kind of sordid, foul or venomous work which, in other countries, men dreaded or disdained, it should be England's duty to do - becoming thus the offscourer of the earth and taking the hyena instead of the lion upon her shield.
The worship of the Immaculate Virginity of Money, mother of the Omni potence of Money, is the Protestant form of Madonna worship.
Stupidity is always the basis of the Judas bargain. We do great injustice to Iscariot, in thinking him wicked above all common wickedness. He was only a common money-lover, and, like all money lovers, did not understand Christ; - could not make out the worth of Him, or meaning of Him. He never thought He would be killed. He was horror struck when he found that Christ would be killed; threw his money away instantly, and hanged himself.
.. Judas was a common, selfish, muddle-headed, pilfering fellow; ... Helpless to understand Christ, he yet believed in Him, much more than most of us do; had seen Him do miracles, thought He was quite strong enough to shift for Himself, and he, Judas, might as well make his own little bye perquisites out of the affair. Christ would come out of it well enough, and he have his thirty pieces.”
If this is how Ruskin saw the England of his time, no wonder that he was especially fierce on the new building materials, on iron and glass, and on the new building functions such as railway stations.
On using railways he wrote: No one would travel in that manner who could help it, and on the stations: 'Better bury gold in the embankments than put it in ornament in the stations’, and even more cuttingly at the very start of chapter one of The Seven Lamps he used as examples of non/architecture: 'a wasp's nest, a rat hole or a railway station'.
p.16
“One of Ruskin s Lamps is the Lamp of Truth, and there he writes: Do not let us lie at all', and then he lists the deceits which must be shunned: 'the suggestion of a mode of support other than the true one', 'the painting of surfaces to represent some other material... as in the marbling of wood', and 'the use of cast or machine-made ornaments of any kind'. Under the second heading it is typical of Ruskin who was always ready by a sleight of the hand to accommodate what strictly could not be accommodated, that he explicitly accepts marble facing of a brick wall as admissible, because no one would believe that a wall is entirely of marble, and gilding architectural members as also admissible because no one would think they could be entirely of gold.”
p.33
“Every kind of sordid, foul or venomous work which, in other countries, men dreaded or disdained, it should be England's duty to do - becoming thus the offscourer of the earth and taking the hyena instead of the lion upon her shield.
The worship of the Immaculate Virginity of Money, mother of the Omni potence of Money, is the Protestant form of Madonna worship.
Stupidity is always the basis of the Judas bargain. We do great injustice to Iscariot, in thinking him wicked above all common wickedness. He was only a common money-lover, and, like all money lovers, did not understand Christ; - could not make out the worth of Him, or meaning of Him. He never thought He would be killed. He was horror struck when he found that Christ would be killed; threw his money away instantly, and hanged himself.
.. Judas was a common, selfish, muddle-headed, pilfering fellow; ... Helpless to understand Christ, he yet believed in Him, much more than most of us do; had seen Him do miracles, thought He was quite strong enough to shift for Himself, and he, Judas, might as well make his own little bye perquisites out of the affair. Christ would come out of it well enough, and he have his thirty pieces.”
If this is how Ruskin saw the England of his time, no wonder that he was especially fierce on the new building materials, on iron and glass, and on the new building functions such as railway stations.
On using railways he wrote: No one would travel in that manner who could help it, and on the stations: 'Better bury gold in the embankments than put it in ornament in the stations’, and even more cuttingly at the very start of chapter one of The Seven Lamps he used as examples of non/architecture: 'a wasp's nest, a rat hole or a railway station'.
Displaying 1 of 1 review