CH. V THE LAMP OF LIFE 197

by any of the modes of decoration adapted for the unbroken space; and the difficulty became greater, when the central portion of the front was occupied by columnar ranges, which could not, without painful abruptness, terminate short of the extremities of the wings. I know not what expedient would have been adopted by architects who had much respect for precedent, under such circumstances, but it certainly would not have been that of the Pisan,-to continue the range of columns into the pedimental space, shortening them to its extremity until the shaft of the last column vanished altogether, and there remained only its capital resting in the angle on its basic plinth. I raise no question at present whether this arrangement be graceful or otherwise; I allege it only as an instance of a boldness almost without a parallel, casting aside every received principle that stood in its way, and struggling through every discordance and difficulty to the fulfilment of its own instincts.

§ 6. Frankness, however, is in itself no excuse for repetition, nor Audacity for innovation, when the one is indolent and the other unwise. Nobler and surer signs of vitality must be sought,-signs independent alike of the decorative or original character of the style, and constant in every style that is determinedly progressive.¹

Of these, one of the most important I believe to be a certain neglect or contempt of refinement in execution, or, at all events, a visible subordination of execution to conception, commonly involuntary, but not unfrequently intentional. This is a point, however, on which, while I speak confidently, I must at the same time speak reservedly and carefully, as there would otherwise be much chance of my being dangerously misunderstood. It has been truly observed, and well stated, by Lord Lindsay,² that the best designers of Italy were also the most careful in their workmanship; and that

¹ [The MS. adds a note: “Consider Orcagna’s fine workmanship-oppose the studies and sketches, ideas and efforts rudely worked.”]

² [Sketches of the History of Christian Art, 1847, vol. iii. pp. 148-149; the passage is quoted and commented upon in Ruskin’s review of the book (On the Old Road, 1899, vol. i. § 80).]

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