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''The Seven Lamps of Architecture'' is an extended essay, first published in May 1849 and written by the English art critic and theorist John Ruskin. The 'lamps' of the title are Ruskin's principles of architecture, which he later enlarged upon in the three-volume ''The Stones of Venice''.〔His introduction to the second edition (1855) characterises ''The Seven Lamps of Architecture'' not as a "complete exponent" of his matured views but "rather as an introduction to the more considered and careful statements of those views given in ''The Stones of Venice'', and in my Lectures delivered at Edinburgh."〕 To an extent, they codified some of the contemporary thinking behind the Gothic Revival. At the time of its publication A. W. N. Pugin and others had already advanced the ideas of the Revival and it was well under way in practice. Ruskin offered little new to the debate, but the book helped to capture and summarise the thoughts of the movement. ''The Seven Lamps'' also proved a great popular success, and received the approval of the ecclesiologists typified by the Cambridge Camden Society, who criticised in their publication ''The Ecclesiologist'' lapses committed by modern architects in ecclesiastical commissions. ==The 'Lamps'== The essay was published in book form in May 1849 and is structured with eight chapters; an introduction and one chapter for each of the seven 'Lamps',〔Hill, p.424〕 which represent the demands that good architecture must meet, expressed as directions in which the association of ideas may take the observer:〔These directions are represented in graphic form in Cornelis J. Baljon, "Interpreting Ruskin: The Argument of ''The Seven Lamps of Architecture'' and ''The Stones of Venice''", ''Journal of Aesthetics and Art Criticism'', 55.4 (Autumn 1997:401–14) p. 402. Baljon's article is the most extensive review of the interplay of philosophy and empirical observation in ''The Seven Lamps of Architecture''.〕 #Sacrifice – dedication of man's craft to God, as visible proofs of man's love and obedience #Truth – handcrafted and honest display of materials and structure. Truth to materials and honest display of construction were bywords since the serious Gothic Revival had distanced itself from the whimsical "Gothick" of the 18th century; it had been often elaborated by Pugin and others. #Power – buildings should be thought of in terms of their massing and reach towards the sublimity of nature by the action of the human mind upon them and the organization of physical effort in constructing buildings. #Beauty – aspiration towards God expressed in ornamentation drawn from nature, his creation #Life – buildings should be made by human hands, so that the joy of masons and stonecarvers is associated with the expressive freedom given them #Memory – buildings should respect the culture from which they have developed #Obedience – no originality for its own sake, but conforming to the finest among existing English values, in particular expressed through the "English Early Decorated" Gothic as the safest choice of style. Writing within the essentially British tradition of the associational values that inform aesthetic appreciation, Ruskin argued from a moral stance with polemic tone, that the technical innovations of architecture since the Renaissance and particularly the Industrial Revolution, had subsumed its spiritual content and sapped its vitality. He also argued that no new style was needed to redress this problem, as the appropriate styles were already known to man. The 'truest' architecture was therefore, the older Gothic of medieval cathedrals and Venice. The essay sketched out the principles which Ruskin later expounded upon in the three-volume ''The Stones of Venice'' published between 1851 and 1853. Practically, he suggested an 'honest' architecture with no veneers, finishes, hidden support nor machined mouldings and that beauty must be derived from nature and crafted by man.〔Curl, p.668〕 Ruskin drew upon Archibald Alison's ''Essays on the Nature and Principles of Taste'' (1790–1810)〔Alison as a source is noted by Baljon 1997:403.〕 for some of his principles, such as the requirement of leisured poise as the best state for appreciating beauty, the thought that the natural countryside is more conducive to producing an artist than the city, that the glory of architecture lies in its age. ''The Seven Lamps'' was reduced to the status of a "moral gloss on Alison" by George L. Hersey, in ''High Victorian Gothic''.〔Hersey, ''High Victorian Gothic'' (Johns Hopkins Press) 1972:24, 28.〕 He had an abiding confidence in the natural, untutored instinct for rightness and beauty in the average person: "all men have sense of what is right in this matter, if they would only use and apply this sense; every man knows where and how beauty gives him pleasure, if he would only ask for it when he does so, and not allow it to be forced upon him when he does not want it."〔Ruskin, "The Lamp of Beauty".〕 There is an easily perceived contrast here with the thread of modernism that holds that people must be ''taught to appreciate'' good design. Another contrast with modernism is in the aesthetic of functionality: Ruskin saw no beauty in well-designed tools: beauty is out of place where there is not serene leisure, or "if you thrust it into the places of toil. Put it in the drawing-room, not into the workshop; put it on domestic furniture, not upon tools of handicraft." It will be sensed, even in so brief a quotation, that for Ruskin, Beauty was not an inherent characteristic but a thing that could be applied to an object or withheld from it.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「The Seven Lamps of Architecture」の詳細全文を読む スポンサード リンク
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