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Ruskin, John, 1819-1900

"The Poetry of Architecture"

Two black holes on each
side, near the top, are very often the only entrances by which light or
sun can penetrate. These are seldom actually large, always
proportionably small, and destitute of ornament or relief.
137. The forms of the villas to which these towers are attached are
straggling, and varied by many crossing masses; but the great principle
of simplicity is always kept in view; everything is square, and
terminated by parallel lines; no tall chimneys, no conical roofs, no
fantastic ornaments are ever admitted: the arch alone is allowed to
relieve the stiffness of the general effect. This is introduced
frequently, but not in the windows, which are either squares or double
squares, at great distances from each other, set deeply into the walls
and only adorned with broad flat borders. Where more light is required
they are set moderately close, and protected by an outer line of arches,
deep enough to keep the noonday sun from entering the rooms. These lines
of arches cast soft shadows along the bright fronts, and are otherwise
of great value. Their effect is pretty well seen in fig. 10; a piece
which, while it has no distinguished beauty is yet pleasing by its
entire simplicity; and peculiarly so, when we know that simplicity to
have been chosen (some say, built) for its last and lonely habitation,
by a mind of softest passion as of purest thought; and to have sheltered
its silent old age among the blue and quiet hills, till it passed away
like a deep lost melody from the earth, leaving a light of peace about
the gray tomb at which the steps of those who pass by always falter, and
around this deserted, and decaying, and calm habitation of the thoughts
of the departed; Petrarch's, at Arqua.


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