The Poetry of Architecture by John Ruskin
page 60 of 194 (30%)
page 60 of 194 (30%)
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essentially German.
73. Figs. _h_ to _m_, inclusive, are Spanish, and have a peculiar character, which would render it quite impossible to employ them out of their own country. Yet they are not decorated chimneys. There is not one fragment of ornament on any of them. All is done by variety of form; and with such variety no fault can be found, because it is necessary to give them the character of the buildings, out of which they rise. For we may observe here, once for all, that character may be given either by form or by decoration, and that where the latter is improper, variety of form is allowable, because the humble associations which render ornament objectionable, also render simplicity of form unnecessary.[13] We need not then find fault with _fantastic_ chimneys, provided they are kept in unison with the rest of the building, and do not draw too much attention. [Footnote 13: Elevation of character, as was seen in the Italian cottage, depends upon simplicity of form.] 74. Fig. _h_, according to this rule, is a very good chimney. It is graceful without pretending, and its grotesqueness will suit the buildings round it--we wish we could give them: they are at Cordova. Figs. _k_ and _l_ ought to be seen, as they would be in reality, rising brightly up against the deep blue heaven of the south, the azure gleaming through their hollows; unless perchance a slight breath of refined, pure, pale vapor finds its way from time to time out of them into the light air; their tiled caps casting deep shadows on their white surfaces, and their _tout ensemble_ causing no interruption to the feelings excited by the Moresco arches and grotesque dwelling houses |
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