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Bronson Tweed Publishing
The Poetry of Architecture
The Poetry of Architecture
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CONTENTS.
INTRODUCTION 1
PART I.—THE COTTAGE.
I. THE LOWLAND COTTAGE—ENGLAND AND FRANCE 7
II. THE LOWLAND COTTAGE—ITALY 15
III. THE MOUNTAIN COTTAGE—SWITZERLAND 25
IV. THE MOUNTAIN COTTAGE—WESTMORELAND 35
V. A CHAPTER ON CHIMNEYS 45
VI. THE COTTAGE—CONCLUDING REMARKS 57
PART II.—THE VILLA.
I. THE MOUNTAIN VILLA—LAGO DI COMO 67
II. THE MOUNTAIN VILLA—LAGO DI COMO (CONTINUED) 80
III. THE ITALIAN VILLA (CONCLUDED) 94
IV. THE LOWLAND VILLA—ENGLAND 104
V. THE ENGLISH VILLA—PRINCIPLES OF COMPOSITION 113
VI. THE BRITISH VILLA.—PRINCIPLES OF COMPOSITION.
(THE CULTIVATED, OR BLUE COUNTRY, AND THE WOODED, OR GREEN COUNTRY) 126
VII. THE BRITISH VILLA.—PRINCIPLES OF COMPOSITION.
(THE HILL, OR BROWN COUNTRY) 145
________________________________________
LIST OF PLATES.
Facing Page
Fig. 1. Old Windows; from an early sketch by the Author 13
" 2. Italian Cottage Gallery, 1846 20
Cottage near la Cité, Val d'Aosta, 1838 21
" 3. Swiss Cottage, 1837. (Reproduced from the Architectural Magazine) 28
" 4. Cottage near Altorf, 1835 29
" 5. Swiss Châlet Balcony, 1842 32
" 6. The Highest House in England, at Malham 42
" 7. Chimneys. (Eighteen sketches redrawn from the Architectural Magazine) 48
" 8. Coniston Hall, from the Lake near Brantwood, 1837. (Reproduced from the Architectural Magazine) 50
" 9. Chimney at Neuchatel; Dent du Midi and Mont Blanc in the distance 20
" 10. Petrarch's Villa, Arquà, 1837. (Redrawn from the Architectural Magazine) 98
" 11. Broken Curves. (Three diagrams, redrawn from the Architectural Magazine) 101
" 12. Old English Mansion, 1837. (Reproduced from the Architectural Magazine) 116
" 13. Windows. (Three designs, reproduced from the Architectural Magazine) 122
" 14. Leading Lines of Villa-Composition. (Diagram redrawn from the Architectural Magazine) 164
________________________________________
PREFATORY NOTES.
Of this work Mr. Ruskin says in his Autobiography:—"The idea had come into my head in the summer of '37, and, I imagine, rose immediately out of my sense of the contrast between the cottages of Westmoreland and those of Italy. Anyhow, the November number of Loudon's Architectural Magazine for 1837 opens with 'Introduction to the Poetry of Architecture; or the Architecture of the Nations of Europe considered in its Association with Natural Scenery and National Character,' by Kata Phusin. I could not have put in fewer, or more inclusive words, the definition of what half my future life was to be spent in discoursing of; while the nom-de-plume I chose, 'According to Nature,' was equally expressive of the temper in which I was to discourse alike on that, and every other subject. The adoption of a nom-de-plume at all implied (as also the concealment of name on the first publication of 'Modern Painters') a sense of a power of judgment in myself, which it would not have been becoming in a youth of eighteen to claim...."
"As it is, these youthful essays, though deformed by assumption, and shallow in contents, are curiously right up to the points they reach; and already distinguished above most of the literature of the time, for the skill of language, which the public at once felt for a pleasant gift in me." (Præterita, vol. I. chap. 12.)
In a paper on "My First Editor," written in 1878, Mr. Ruskin says of these essays that they "contain sentences nearly as well put together as any I have done since."
The Conductor of the Architectural Magazine in reviewing the year's work said (December, 1838):—"One series of papers, commenced in the last volume and concluded in[Pg vi] the present one, we consider to be of particular value to the young architect. We allude to the 'Essays on the Poetry of Architecture,' by Kata Phusin. These essays will afford little pleasure to the mere builder, or to the architect who has no principle of guidance but precedent; but for such readers they were never intended. They are addressed to the young and unprejudiced artist; and their great object is to induce him to think and to exercise his reason.... There are some, we trust, of the rising generation, who are able to free themselves from the trammels and architectural bigotry of Vitruvius and his followers; and it is to such alone that we look forward for any real improvement in architecture as an art of design and taste."
INTRODUCTION 1
PART I.—THE COTTAGE.
I. THE LOWLAND COTTAGE—ENGLAND AND FRANCE 7
II. THE LOWLAND COTTAGE—ITALY 15
III. THE MOUNTAIN COTTAGE—SWITZERLAND 25
IV. THE MOUNTAIN COTTAGE—WESTMORELAND 35
V. A CHAPTER ON CHIMNEYS 45
VI. THE COTTAGE—CONCLUDING REMARKS 57
PART II.—THE VILLA.
I. THE MOUNTAIN VILLA—LAGO DI COMO 67
II. THE MOUNTAIN VILLA—LAGO DI COMO (CONTINUED) 80
III. THE ITALIAN VILLA (CONCLUDED) 94
IV. THE LOWLAND VILLA—ENGLAND 104
V. THE ENGLISH VILLA—PRINCIPLES OF COMPOSITION 113
VI. THE BRITISH VILLA.—PRINCIPLES OF COMPOSITION.
(THE CULTIVATED, OR BLUE COUNTRY, AND THE WOODED, OR GREEN COUNTRY) 126
VII. THE BRITISH VILLA.—PRINCIPLES OF COMPOSITION.
(THE HILL, OR BROWN COUNTRY) 145
________________________________________
LIST OF PLATES.
Facing Page
Fig. 1. Old Windows; from an early sketch by the Author 13
" 2. Italian Cottage Gallery, 1846 20
Cottage near la Cité, Val d'Aosta, 1838 21
" 3. Swiss Cottage, 1837. (Reproduced from the Architectural Magazine) 28
" 4. Cottage near Altorf, 1835 29
" 5. Swiss Châlet Balcony, 1842 32
" 6. The Highest House in England, at Malham 42
" 7. Chimneys. (Eighteen sketches redrawn from the Architectural Magazine) 48
" 8. Coniston Hall, from the Lake near Brantwood, 1837. (Reproduced from the Architectural Magazine) 50
" 9. Chimney at Neuchatel; Dent du Midi and Mont Blanc in the distance 20
" 10. Petrarch's Villa, Arquà, 1837. (Redrawn from the Architectural Magazine) 98
" 11. Broken Curves. (Three diagrams, redrawn from the Architectural Magazine) 101
" 12. Old English Mansion, 1837. (Reproduced from the Architectural Magazine) 116
" 13. Windows. (Three designs, reproduced from the Architectural Magazine) 122
" 14. Leading Lines of Villa-Composition. (Diagram redrawn from the Architectural Magazine) 164
________________________________________
PREFATORY NOTES.
Of this work Mr. Ruskin says in his Autobiography:—"The idea had come into my head in the summer of '37, and, I imagine, rose immediately out of my sense of the contrast between the cottages of Westmoreland and those of Italy. Anyhow, the November number of Loudon's Architectural Magazine for 1837 opens with 'Introduction to the Poetry of Architecture; or the Architecture of the Nations of Europe considered in its Association with Natural Scenery and National Character,' by Kata Phusin. I could not have put in fewer, or more inclusive words, the definition of what half my future life was to be spent in discoursing of; while the nom-de-plume I chose, 'According to Nature,' was equally expressive of the temper in which I was to discourse alike on that, and every other subject. The adoption of a nom-de-plume at all implied (as also the concealment of name on the first publication of 'Modern Painters') a sense of a power of judgment in myself, which it would not have been becoming in a youth of eighteen to claim...."
"As it is, these youthful essays, though deformed by assumption, and shallow in contents, are curiously right up to the points they reach; and already distinguished above most of the literature of the time, for the skill of language, which the public at once felt for a pleasant gift in me." (Præterita, vol. I. chap. 12.)
In a paper on "My First Editor," written in 1878, Mr. Ruskin says of these essays that they "contain sentences nearly as well put together as any I have done since."
The Conductor of the Architectural Magazine in reviewing the year's work said (December, 1838):—"One series of papers, commenced in the last volume and concluded in[Pg vi] the present one, we consider to be of particular value to the young architect. We allude to the 'Essays on the Poetry of Architecture,' by Kata Phusin. These essays will afford little pleasure to the mere builder, or to the architect who has no principle of guidance but precedent; but for such readers they were never intended. They are addressed to the young and unprejudiced artist; and their great object is to induce him to think and to exercise his reason.... There are some, we trust, of the rising generation, who are able to free themselves from the trammels and architectural bigotry of Vitruvius and his followers; and it is to such alone that we look forward for any real improvement in architecture as an art of design and taste."
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