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In like manner she has ever put forth, with most energetic distinctness, those other great elementary truths which either are an explanation of her mission or give a character to her work. She does not teach that human nature is irreclaimable, else wherefore should she be sent? not that it is to be shattered and reversed, but to be extricated, purified, and restored; not that it is a mere mass of hopeless evil, but that it has the promise upon it of great things, and even now, in its present state of disorder and excess, has a virtue and a praise proper to itself. But in the next place, she knows and she preaches that such a restoration as she aims at effecting in it must be brought about, not simply through certain outward provisions of preaching and teaching, even though they be her own, but from an inward spiritual power or grace imparted directly from above, and of which she is the channel. She has it in charge to rescue human nature from its misery, but not simply by restoring it on its own level, but by lifting it up to a higher level than its own. She recognizes in it real moral excellence though degraded, but she cannot set it free from earth except by exalting it towards heaven. It was for this end that a renovating grace was put into her hands; and therefore, from the nature of the gift, as well as from the reasonableness of the case, she goes on, as a further point, to insist that all true conversion must begin with the first springs of thought, and to teach that each individual man must be in his own person one whole and perfect temple of God, while he is also one of the living stones which build up a visible religious community. . . .

JOHN RUSKIN

THE LAMP OF MEMORY

1849

[Chapter 6 of Seven Lamps of Architecture, in which Ruskin discussed the relation of this art to social ethics. The other "lamps" are Sacrifice, Truth, Power, Beauty, Life, Obedience.]

AMONG the hours of his life to which the writer looks back with peculiar gratitude, as having been marked by more than ordinary fulness of joy or clearness of teaching, is one passed, now some years ago, near time of sunset, among the broken masses of pine forest which skirt the course of the Ain, above the village of Champagnole, in the Jura. It is a spot which has all the solemnity, with none of the savageness, of the Alps; where there is a sense of a great power beginning to be manifested in the earth, and of a deep and majestic concord in the rise of the long low lines of piny hills; the first utterance of those mighty mountain symphonies, soon to be more loudly lifted and wildly broken along the battlements of the Alps. But their strength is as yet restrained; and the far reaching ridges of pastoral mountain succeed each other, like the long and sighing swell which moves over quiet waters from some far-off stormy sea. And there is a deep tenderness pervading that vast monotony. The destructive forces and the stern expression of the central ranges are alike withdrawn. No frostploughed, dust-encumbered paths of ancient glacier fret the soft Jura pastures; no splintered heaps of ruin break the fair ranks of her forest; no pale, defiled, or furious rivers rend their rude and changeful ways among her rocks. Patiently, eddy by eddy, the clear green streams wind along their well-known beds; and under the dark quietness of the undisturbed pines, there spring up, year by year, such company of joyful flowers as I know not the like of among all the blessings of the earth. It was spring time, too; and all were coming forth in clusters

crowded for very love; there was room enough for all, but they crushed their leaves into all manner of strange shapes only to be nearer each other. There was the wood anemone, star after star, closing every now and then into nebulæ; and there was the oxalis, troop by troop, like virginal processions of the Mois de Marie,1 the dark vertical clefts in the limestone choked up with them as with heavy snow, and touched with ivy on the edges ivy as light and lovely as the vine; and, ever and anon, a blue gush of violets, and cowslip bells in sunny places; and in the more open ground, the vetch, and comfrey, and mezereon, and the small sapphire buds of the Polygala Alpina, and the wild strawberry, just a blossom or two all showered amidst the golden softness of deep, warm, amber-coloured moss. I came out presently on the edge of the ravine: the solemn murmur of its waters rose suddenly from beneath, mixed with the singing of the thrushes among the pine boughs; and, on the opposite side of the valley, walled all along as it was by grey cliffs of limestone, there was a hawk sailing slowly off their brow, touching them nearly with his wings, and with the shadows of the pines flickering upon his plumage from above; but with the fall of a hundred fathoms under his breast, and the curling pools of the green river gliding and glittering dizzily beneath him, their foam globes moving with him as he flew. It would be difficult to conceive a scene less dependent upon any other interest than that of its own secluded and serious beauty; but the writer well remembers the sudden blankness and chill which were cast upon it when he endeavoured, in order more strictly to arrive at the sources of its impressiveness, to imagine it, for a moment, a scene in some aboriginal forest of the New Continent. The flowers in an instant lost their light, the river its music; the hills became oppressively desolate; a heaviness in the boughs of the darkened forest showed how much of their former power had been dependent upon a life which was not theirs, how much of the glory of the imperishable, or continually renewed, creation is reflected from things more precious in their memories than it, in its renewing. Those ever springing flowers and ever flowing streams had been dyed by the deep colours of human endurance, valour, and

1 In honour of the Virgin, on the first day of May.

virtue; and the crests of the sable hills that rose against the evening sky received a deeper worship, because their far shadows fell eastward over the iron wall of Joux, and the foursquare keep of Granson.1

It is as the centralization and protectress of this sacred influence, that Architecture is to be regarded by us with the most serious thought. We may live without her, and worship without her, but we cannot remember without her. How cold is all history, how lifeless all imagery, compared to that which the living nation writes, and the uncorrupted marble bears! — how many pages of doubtful record might we not often spare, for a few stones left one upon another! The ambition of the old Babel builders was well directed for this world: there are but two strong conquerors of the forgetfulness of men, Poetry and Architecture; and the latter in some sort includes the former, and is mightier in its reality: it is well to have, not only what men have thought and felt, but what their hands have handled, and their strength wrought, and their eyes beheld, all the days of their life. The age of Homer is surrounded with darkness, his very personality with doubt. Not so that of Pericles: and the day is coming when we shall confess that we have learned more of Greece out of the crumbled fragments of her sculpture than even from her sweet singers or soldier historians. And if indeed there be any profit in our knowledge of the past, or any joy in the thought of being remembered hereafter, which can give strength to present exertion, or patience to present endurance, there are two duties respecting national architecture whose importance it is impossible to overrate: the first, to render the architecture of the day, historical; and the second, to preserve, as the most precious of inheritances, that of past

ages.

It is in the first of these two directions that Memory may truly be said to be the Sixth Lamp of Architecture; for it is in becoming memorial or monumental that a true perfection is attained by civil and domestic buildings; and this partly as they are, with such a view, built in a more stable manner, and partly as their decorations are consequently animated by a metaphorical or historical meaning.

1 Joux and Granson were ancient Swiss fortresses.

As regards domestic buildings, there must always be a certain limitation to views of this kind in the power, as well as in the hearts, of men; still I cannot but think it an evil sign of a people when their houses are built to last for one generation only. There is a sanctity in a good man's house which cannot be renewed in every tenement that rises on its ruins: and I believe that good men would generally feel this; and that having spent their lives happily and honourably, they would be grieved, at the close of them, to think that the place of their earthly abode, which had seen, and seemed almost to sympathize in, all their honour, their gladness, or their suffering, that this, with all the record it bare of them, and of all material things that they had loved and ruled over, and set the stamp of themselves upon was to be swept away, as soon as there was room made for them in the grave; that no respect was to be shown to it, no affection felt for it, no good to be drawn from it by their children; that though there was a monument in the church, there was no warm monument in the hearth and house to them; that all that they ever treasured was despised, and the places that had sheltered and comforted them were dragged down to the dust. I say that a good man would fear this; and that, far more, a good son, a noble descendant, would fear doing it to his father's house. I say that if men lived like men indeed, their houses would be temples - temples which we should hardly dare to injure, and in which it would make us holy to be permitted to live; and there must be a strange dissolution of natural affection, a strange unthankfulness for all that homes have given and parents taught, a strange consciousness that we have been unfaithful to our fathers' honour, or that our own lives are not such as would make our dwellings sacred to our children, when each man would fain build to himself, and build for the little revolution of his own life only. And I look upon those pitiful concretions of lime and clay which spring up, in mildewed forwardness, out of the kneaded fields about our capital - upon those thin, tottering, foundationless shells of splintered wood and imitated stone upon those gloomy rows of formalized minuteness, alike without difference and without fellowship, as solitary as similar- not merely with the careless disgust of an offended eye, not merely with

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