The seven lamps of architecture . created ; apower that neither comprehended nor ruleditself, but worked and wandered as it listed,like mountain streams and winds; andwhich could not rest in the expression orseizure of finite form. It could not buryitself in acanthus leaves. Its imagery wastaken from the shadows of the storms andhills, and had fellowship with the night andday of the earth itself.*^ XVI. I have endeavoured to give some idea This estimate of Byzantine architecture had beenpreviously fonned by Lord Lindsay—and, I think, byhim only;—and it remains, though entirely true, hisand min
The seven lamps of architecture . created ; apower that neither comprehended nor ruleditself, but worked and wandered as it listed,like mountain streams and winds; andwhich could not rest in the expression orseizure of finite form. It could not buryitself in acanthus leaves. Its imagery wastaken from the shadows of the storms andhills, and had fellowship with the night andday of the earth itself.*^ XVI. I have endeavoured to give some idea This estimate of Byzantine architecture had beenpreviously fonned by Lord Lindsay—and, I think, byhim only;—and it remains, though entirely true, hisand mine only, in written statement, though sharedwith us by all persons who have an eye for colour, andsympathy enough with Christianity to care for its fullestinterpretation by Art only: in this sentence of mine,the bit about self-contented Greeks must be noble Greek was as little content without God, asGeorge Herbert, or St. Francis; and a Byzantine Ti^asnothing else than a Greek,—recognising Christ for Zeus. Rate J. Raskin. R. P. CuCf THE LAMP OF POWER. l6l of one of the hollow balls of stone which, sur-rounded by flowing leafage, occur in variedsuccession on the architrave of the central gateof St. Marks at Venice, in Plate I., fig. 3. Itseems to me singularly beautiful in its unity oflightness, and delicacy of detail, with breadthof light. It looks as if its leaves had beensensitive, and had risen and shut themselvesinto a bud at some sudden touch, and wouldpresently fall back again into their wild cornices of San Michele of Lucca, seenabove and below the arch, in Plate VI., showthe effect of heavy leafage and thick stemsarranged on a surface whose curve is a simplequadrant, the light dying from off them as itturns. It would be difficult, as I think, toinvent any thing more noble : and I insist onthe broad character of their arrangement themore earnestly, because, afterwards modifiedby greater skill in its management, it becamecharacteristic of the r
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