Use the following passage to answer questions: When one has been wandering for a whole morning through a valley of perfect silence, where everything around, which is motionless, is colossal, and everything which has motion, resistless; where the strength and the glory of nature are principally developed in the very forces which feed upon her majesty; and where, in the midst of mightiness which seems imperishable, all that is indeed eternal is the influence of desolation; one is apt to be surprised, and by no means agreeably, to find, crouched behind some projecting rock, a piece of... Show more Use the following passage to answer questions: When one has been wandering for a whole morning through a valley of perfect silence, where everything around, which is motionless, is colossal, and everything which has motion, resistless; where the strength and the glory of nature are principally developed in the very forces which feed upon her majesty; and where, in the midst of mightiness which seems imperishable, all that is indeed eternal is the influence of desolation; one is apt to be surprised, and by no means agreeably, to find, crouched behind some projecting rock, a piece of architecture which is neat in the extreme, though in the midst of wildness, weak in the midst of strength, contemptible in the midst of immensity. There is something offensive in its neatness: for the wood is almost always perfectly clean, and looks as if it had just been cut; it is consequently raw in its color, and destitute of all variety of tone. This is especially disagreeable, when the eye has been previously accustomed to, and finds, everywhere around, the exquisite mingling of color, and confused, though perpetually graceful, forms, by which the details of mountain scenery are peculiarly distinguished. Every fragment of rock is finished in its effect, tinted with thousands of pale lichens and fresh mosses; every pine tree is warm with the life of various vegetation; every grassy bank glowing with mellowed color, and waving with delicate leafage. How, then, can the contrast be otherwise than painful, between this perfect loveliness, and the dead, raw, lifeless surface of the deal boards of the cottage. Its weakness is pitiable; for, though there is always evidence of considerable strength on close examination, there is no effect of strength: the real thickness of the logs is concealed by the cutting and carving of their exposed surfaces; and even what is seen is felt to be so utterly contemptible, when opposed to the destructive forces which are in operation around, that the feelings are irritated at the imagined audacity of the inanimate object, with the self-conceit of its impotence; and, finally, the eye is offended at its want of size. It does not, as might be at first supposed, enhance the sublimity of surrounding scenery by its littleness, for it provokes no comparison; and there must be proportion between objects, or they cannot be compared. If the Parthenon, or the Pyramid of Cheops, or St. Peter's, were placed in the same situation, the mind would first form a just estimate of the magnificence of the building, and then be trebly impressed with the size of the masses which overwhelmed it. The architecture would not lose, and the crags would gain, by the juxtaposition; but the cottage, which must be felt to be a thing which the weakest stream of the Alps could toss down before it like a foam-globe, is offensively contemptible: it is like a child's toy let fall accidentally on the hillside; it does not unite with the scene; it is not content to sink into a quiet corner, and personify humility and peace; but it draws attention upon itself by its pretension to decoration, while its decorations themselves cannot bear examination, because they are useless, unmeaning and incongruous. — John Ruskin, Poetry of Architecture Show less
Use the following passage to answer questions:
When one has been wandering for a whole morning through a valley of perfect silence, where everything around, which is motionless, is colossal, and everything which has motion, resistless; where the strength and the glory of nature are principally developed in the very forces which feed upon her majesty; and where, in the midst of mightiness which seems imperishable, all that is indeed eternal is the influence of desolation; one is apt to be surprised, and by no means agreeably, to find, crouched behind some projecting rock, a piece of architecture which is neat in the extreme, though in the midst of wildness, weak in the midst of strength, contemptible in the midst of immensity. There is something offensive in its neatness: for the wood is almost always perfectly clean, and looks as if it had just been cut; it is consequently raw in its color, and destitute of all variety of tone. This is especially disagreeable, when the eye has been previously accustomed to, and finds, everywhere around, the exquisite mingling of color, and confused, though perpetually graceful, forms, by which the details of mountain scenery are peculiarly distinguished. Every fragment of rock is finished in its effect, tinted with thousands of pale lichens and fresh mosses; every pine tree is warm with the life of various vegetation; every grassy bank glowing with mellowed color, and waving with delicate leafage. How, then, can the contrast be otherwise than painful, between this perfect loveliness, and the dead, raw, lifeless surface of the deal boards of the cottage. Its weakness is pitiable; for, though there is always evidence of considerable strength on close examination, there is no effect of strength: the real thickness of the logs is concealed by the cutting and carving of their exposed surfaces; and even what is seen is felt to be so utterly contemptible, when opposed to the destructive forces which are in operation around, that the feelings are irritated at the imagined audacity of the inanimate object, with the self-conceit of its impotence; and, finally, the eye is offended at its want of size. It does not, as might be at first supposed, enhance the sublimity of surrounding scenery by its littleness, for it provokes no comparison; and there must be proportion between objects, or they cannot be compared. If the Parthenon, or the Pyramid of Cheops, or St. Peter's, were placed in the same situation, the mind would first form a just estimate of the magnificence of the building, and then be trebly impressed with the size of the masses which overwhelmed it. The architecture would not lose, and the crags would gain, by the juxtaposition; but the cottage, which must be felt to be a thing which the weakest stream of the Alps could toss down before it like a foam-globe, is offensively contemptible: it is like a child's toy let fall accidentally on the hillside; it does not unite with the scene; it is not content to sink into a quiet corner, and personify humility and peace; but it draws attention upon itself by its pretension to decoration, while its decorations themselves cannot bear examination, because they are useless, unmeaning and incongruous.
— John Ruskin, Poetry of Architecture
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