I have hardly kept my promise. The reader has decorated but little for himself as yet; but I have not, at least, attempted to bias his judgment. Of the simple forms of decoration which have been set before him, he has always been left free to choose; and the stated restrictions in the methods of applying them have been only those which followed on the necessities of construction previously determined. These having been now defined, I do indeed leave my reader free to build; and with what a freedom!
All the lovely forms of the universe set before him, whence to choose, and all the lovely lines that bound their substance or guide their motion; and of all these lines,—and there are myriads of myriads in every bank of grass and every tuft of forest; and groups of them divinely harmonized, in the bell of every flower, and in every several member of bird and beast,—of all these lines, for the principal forms of the most important members of architecture, I have used but Three! What, therefore, must be the infinity of the treasure in them all! There is material enough in a single flower for the ornament of a score of cathedrals, but suppose we were satisfied with less exhaustive appliance, and built a score of cathedrals, each to illustrate a single flower? that would be better than trying to invent new styles, I think. There is quite difference of style enough, between a violet and a harebell, for all reasonable purposes.
Perhaps, however, even more strange than the struggle of our architects to invent new styles, is the way they commonly speak of this treasure of natural infinity. Let us take our patience to us for an instant, and hear one of them, not among the least intelligent:—
“It is not true that all natural forms are beautiful. We may hardly be able to detect this in Nature herself; but when the forms are separated from the things, and exhibited alone (by sculpture or carving), we then see that they are not all fitted for ornamental purposes; and indeed that very few, perhaps none, are so fitted without correction. Yes, I say correction, for though it is the highest aim of every art to imitate nature, this is not to be done by imitating any natural form, but by criticising and correcting it,—criticising it by Nature’s rules gathered from all her works, but never completely carried out by her in any one work; correcting it, by rendering it more natural, i.e. more conformable to the general tendency of Nature, according to that noble maxim recorded of Raffaelle, ‘that the artist’s object was to make things not as Nature makes them, but as she WOULD make them;’ as she ever tries to make them, but never succeeds, though her aim may be deduced from a comparison of her efforts; just as if a number of archers had aimed unsuccessfully at a mark upon a wall, and this mark were then removed, we could by the examination of their arrow marks point out the most probable position of the spot aimed at, with a certainty of being nearer to it than any of their shots.”92
I had thought that, by this time, we had done with that stale, second-hand, one-sided, and misunderstood saying of Raffaelle’s; or that at least, in these days of purer Christian light, men might have begun to get some insight into the meaning of it: Raffaelle was a painter of humanity, and assuredly there is something the matter with humanity, a few dovrebbe’s, more or less, wanting in it. We have most of us heard of original sin, and may perhaps, in our modest moments, conjecture that we are not quite what God, or nature, would have us to be. Raffaelle had something to mend in Humanity: I should have liked to have seen him mending a daisy!—or a pease-blossom, or a moth, or a mustard seed, or any other of God’s slightest works. If he had accomplished that, one might have found for him more respectable employment,—to set the stars in better order, perhaps (they seem grievously scattered as they are, and to be of all manner of shapes and sizes,—except the ideal shape, and the proper size); or to give us a corrected view of the ocean; that, at least, seems a very irregular and improveable thing; the very fishermen do not know, this day, how far it will reach, driven up before the west wind:—perhaps Some One else does, but that is not our business. Let us go down and stand by the beach of it,—of the great irregular sea, and count whether the thunder of it is not out of time. One,—two:—here comes a well-formed wave at last, trembling a little at the top, but, on the whole, orderly. So, crash among the shingle, and up as far as this grey pebble; now stand by and watch! Another:—Ah, careless wave! why couldn’t you have kept your crest on? it is all gone away into spray, striking up against the cliffs there—I thought as much—missed the mark by a couple of feet! Another:—How now, impatient one! couldn’t you have waited till your friend’s reflux was done with, instead of rolling yourself up with it in that unseemly manner? You go for nothing. A fourth, and a goodly one at last. What think we of yonder slow rise, and crystalline hollow, without a flaw? Steady, good wave; not so fast; not so fast; where are you coming to?—By our architectural word, this is too bad; two yards over the mark, and ever so much of you in our face besides; and a wave which we had some hope of, behind there, broken all to pieces out at sea, and laying a great white table-cloth of foam all the way to the shore, as if the marine gods were to dine off it! Alas, for these unhappy arrow shots of Nature; she will never hit her mark with those unruly waves of hers, nor get one of them, into the ideal shape, if we wait for a thousand years. Let us send for a Greek architect to do it for her. He comes—the great Greek architect, with measure and rule. Will he not also make the weight for the winds? and weigh out the waters by measure? and make a decree for the rain, and a way for the lightning of the thunder? He sets himself orderly to his work, and behold! this is the mark of nature, and this is the thing into which the great Greek architect improves the sea—

Θάλαττα Θάλαττα: Was it this, then, that they wept to see from the sacred mountain—those wearied ones?
§ IV. But the sea was meant to be irregular! Yes, and were not also the leaves, and the blades of grass; and, in a sort, as far as may be without mark of sin, even the countenance of man? Or would it be pleasanter and better to have us all alike, and numbered on our foreheads, that we might be known one from the other?
The selection is over now. This is Joshua speaking. The one point I want to make here is that Ruskin is a classic European when he believes so strongly that Humanity is the only part of God’s work that is “flawed” in some way. He states that we are “not quite what God, or nature, would have us be.” This is pathetic to me. Are we not just as “perfect” as the lilies? What does that “perfect” even mean for us humans to be missing the mark, to be God’s only failure, if even only a partial one. It’s so pathetic to invent a “failure” for God and to then put yourself into it just because you don’t love yourself or anyone else enough to believe that Humanity is as much a part of God’s perfection as the lowliest blade of grass.


