drawingarchitecture: Nicole Marple, Capture to Catalog, Mixed Media 2014.

archimaps: Rendering of the Chrysler Building during construction, New York City

archimaps: Erastus Salisbury Field’s Historical Monument of the American Republic (via BLDGblog)

drawingarchitecture: Matthew Darmour-Paul, “De-Composite” 2014, Copic Markers on Tan Strathmore, 8.5” x 5.5”.

rindertjagersma: Onderwijsinge in de perspective const | Hondius. The Hague, 1622.

architectural-review: Ralf Alwani, Mitten Crab Fishery and Eel Aquaculture

thingsmagazine: Machine a Vapeur, Michel Clement, c 1857-1860

thingsmagazine: David Hockney, ‘The Desk’

drawingarchitecture: Nicole Marple, 2014, Mixed Media.

rindertjagersma: Onderwijsinge in de perspective const | Hondius. The Hague, 1622.


John Ruskin, The Casa d’Oro, Venice, 1845.

Pencil and watercolour with bodycolour, 33 x 47.6 cm

Source: Robert Hewison, Ruskin, Turner and the Pre-Raphaelites, 2000.

Part of the Base of a Pilaster in Santa Maria dei Miracoli, Venice — John Ruskin, July 1869

Ashmolean Museum, Oxford

John Ruskin and John Wharlton Bunney, Palazzo Manzoni on the Grand Canal, Venice

And now, reader, look round this English room of yours, about which you have been proud so often, because the work of it was so good and strong, and the ornaments of it so finished. Examine again all those accurate mouldings, and perfect polishings, and unerring adjustments of the seasoned wood and tempered steel. Many a time you have exulted over them, and thought how great England was, because her slightest work was done so thoroughly. Alas! if read rightly, these perfectnesses are signs of a slavery in our England a thousand times more bitter and more degrading than that of the scourged African, or helot Greek. Men may be beaten, chained, tormented, yoked like cattle, slaughtered like summer flies, and yet remain in one sense, and the best sense, free. But to smother their souls within them, to blight and hew into rotting pollards the suckling branches of their human intelligence, to make the flesh and skin which, after the worm’s work on it, is to see God, into leathern thongs to yoke machinery with,—this it is to be slave-masters indeed; and there might be more freedom in England, though her feudal lords’ lightest words were worth men’s lives, and though the blood of the vexed husbandman dropped in the furrows of her fields, than there is while the animation of her multitudes is sent like fuel to feed the factory smoke, and the strength of them is given daily to be wasted into the fineness of a web, or racked into the exactness of a line.

And, on the other hand, go forth again to gaze upon the old cathedral front, where you have smiled so often at the fantastic ignorance of the old sculptors: examine once more those ugly goblins, and formless monsters, and stern statues, anatomiless and rigid; but do not mock at them, for they are signs of the life and liberty of every workman who struck the stone; a freedom of thought, and rank in scale of being, such as no laws, no charters, no charities can secure; but which it must be the first aim of all Europe at this day to regain for her children.

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