![]() ![]() ![]() These forms of deceit include the painting of surfaces to appear like another surface, machine-made ornaments, and the illusion of some other form of support than what actually exists. He takes this idea further in “The Lamp of Truth,” arguing for an “honest architecture,” one in which there is no deceit in its construction. By doing this, Ruskin established architecture as not only an aesthetic presence, but also a political and “moral presence in the life of the average Victorian.” For instance, “The Lamp of Sacrifice” is based on the premise that architecture, most specifically churches, should serve as proof of the society’s obedience and dedication to God. The most important premise of this book is the idea, already seen in Modern Painters, that architecture is closely related to the moral state of a nation or city, be it England, Venice, or elsewhere. While he does not specifically focus on Venice in this book, he develops the theories and ideas that he later applies to the architecture of Venice in The Stones of Venice. This book-length essay, which contains fourteen of Ruskin’s own sketches, lays out his seven major principles, or “lamps,” of architecture: Sacrifice, Truth, Power, Beauty, Life, Memory, and Obedience. ![]() In 1849, with the release of The Seven Lamps of Architecture, Ruskin really began to emerge as a leading architectural writer. ![]()
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