Correggio’s deception

It being lawful to paint then, is it lawful to paint everything? So long as the painting is confessed—yes; but if, even in the slightest degree, the sense of it be lost, and the thing painted be supposed real—no…. In the Camera di Correggio of San Lodovico at Parma, the trellises of vine shadow the walls, as if with an actual arbor; and the troops of children, peeping through the oval openings, luscious in color and faint in light, may well be expected every instant to break through, or hide behind the covert. The grace of their attitudes, and the evident greatness of the whole work, mark that it is painting, and barely redeem it from the charge of falsehood; but even so saved, it is utterly unworthy to take a place among noble or legitimate architectural decoration.

— Ruskin, The Seven Lamps of Architecture. Unique to Ruskin is the combination of an exceptionally acute aesthetic sense with an exceptionally acute moral sense, and this is one of the many moments when they struggle mightily against each other. Ruskin cannot help admiring the beauty of Correggio’s work here, but he is so deeply opposed to deception in art that he wishes he could reject it altogether.

John Ruskin, 65 Casa Contarini Fasan, Venice (1841). Ashmolean.

John Ruskin, Abbeville: Church of St Wulfran from the River (1868).

About the moment in the forenoon when the modern fashionable traveller, intent on Paris, Nice, and Monaco, and started by the morning mail from Charing Cross, has a little recovered himself from the qualms of his crossing, and the irritation of fighting for seats at Boulogne, and begins to look at his watch to see how near he is to the buffet of Amiens, he is apt to be baulked and worried by the train’s useless stop at one inconsiderable station, lettered ABBEVILLE. As the carriage gets in motion again, he may see, if he cares to lift his eyes for an instant from his newspaper, two square towers, with a curiously attached bit of traceried arch, dominant over the poplars and osiers of the marshy level he is traversing. Such glimpse is probably all he will ever wish to get of them; and I scarcely know how far I can make even the most sympathetic reader understand their power over my own life.


from “The Critic’s Art”; “Windows of the Fifth Order,” drawing by John Ruskin from his Modern Painters

Drawing from a Photograph of Part of Santa Maria della Spina, Pisa, John Ruskin


John Ruskin, La Merveille, Mont St Michel, Normandy, 1848.

Pencil, watercolour and bodycolour, 26.5 x 25 cm

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

John Ruskin, Decoration by Disks: Palazzo dei Badoari Partecipazzi, 1851, Vol. 1 of The Stones of Venice; from an exhibition at the University of Mary Washington

Every human action gains in honor, in grace, in all true magnificence, by its regard to things that are to come. It is the far sight, the quiet and confident patience, that, above all other attributes, separate man from man, and near him to his Maker; and there is no action nor art, whose majesty we may not measure by this test. Therefore, when we build, let us think that we build for ever. Let it not be for present delight, nor for present use alone; let it be such work as our descendants will thank us for, and let us think, as we lay stone on stone, that a time is to come when those stones will be held sacred because our hands have touched them, and that men will say as they look upon the labor and wrought substance of them, ‘See! this our fathers did for us.’

The Seven Lamps of Architecture, by John Ruskin.. I am deep into Ruskin at the moment, so fair warning: there could be a good many quotations from him in the coming days.

God has lent us the earth for our life; it is a great entail. It belongs as much to those who are to come after us, and whose names are already written in the book of creation, as to us; and we have no right, by anything that we do or neglect, to involve them in unnecessary penalties, or deprive them of benefits which it was in our power to bequeath. And this the more, because it is one of the appointed conditions of the labor of men that, in proportion to the time between the seed-sowing and the harvest, is the fulness of the fruit; and that generally, therefore, the farther off we place our aim, and the less we desire to be ourselves the witnesses of what we have labored for, the more wide and rich will be the measure of our success. Men cannot benefit those that are with them as they can benefit those who come after them; and of all the pulpits from which human voice is ever sent forth, there is none from which it reaches so far as from the grave.

John Ruskin’s house, Brantwood.

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 honorably, 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 sympathise in all their honor, their gladness, or their suffering,—that this, with all the record it bare of them, and all of 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 heart 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’ honor, 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.

— Ruskin, The Seven Lamps of Architecture

John Ruskin, Part of the Palazzo Priuli, Venice

John Ruskin, An Italian Village

Ruskin’s drawing of Giacomo Boni, The Palazzo Dario, Venice


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.

Then, miraculously, out of the hundreds of nearly indistinguishable stone figurines, my husband found the one we were looking for. We were now standing in the very same place where Ruskin, over a century and a half earlier and Proust 50 years after him, had stood, looking with wonder and delight at the same rather coarsely carved, though touching figure. For the first time that day my experience was in accord with what I had anticipated from reading Ruskin. I felt the force of his argument about why the world looks the way it does. The ‘vexed and puzzled’ little fellow, in all its raw expressiveness and vitality, was the physical embodiment of the stone-carver’s joy in his labor; for why else, as Ruskin pointed out, would the carver have taken the time and care to indicate, rough line by rough line, the wrinkles under the figure’s eye as his cheek rested on his hand? After all, we are talking about a face of a figure smaller than my thumb that is a mere filling of an interstice on the outside of a cathedral gate, a figure that passionate pilgrims like my husband and myself failed to notice even when we were looking directly at the carved panel on which it reclines.

Having now seen the tiny Gothic figure that had occupied such a large place in my imagination, I could only wonder at the depth and range of Ruskin’s sensibility contained in that observation. And, I began to realize, I was equally if not more astounded by Ruskin’s acute vision. With thousands of sculpted figures of all sizes and description to fill one’s eye and mind, how hard he must have looked to see that particular tiny, obscure figure, for, unlike us (or Proust), Ruskin had no guide. Instead, my husband ventured, his mind must have been prepared, his eye alert, his attention intensely concentrated in ways that few of us are capable of today. As I felt the page in my hand of Ruskin’s etching, we began to speak of the way cultivated travelers used to memorize and preserve the details of beloved paintings, sculptures, buildings, and landscapes they visited by drawing them or painting watercolors—and in Ruskin’s case, by making his own etchings of his drawings for his books. We thought of the time and mindfulness and care that the handmade world required, how radically opposed it was to today’s automaton picture-taking and instant, disposable ‘messaging.’

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