Photographs by George P. Landow 2010. You may use this image without prior permission for any scholarly or educational purpose as long as you (1) credit the photographer and (2) link your document to this URL in a web document or cite the Victorian Web in a print one.
West Front, Bayeux Cathedral. Bayeux, Normandy, France. Ruskin refers to the West Front of this cathedral twice in The Seven Lamps of Architecture as part of his discussion of
masses of light and darkness, in the hands of the earlier architects; gradation in the one, flatness in the other, and breadth in both, being the qualities sought and exhibited by every possible expedient, up to the period wheu, as we have before stated, the line was substituted for the mass, as the means of division of surface. Enough has been said to illustrate this, as regards tracery; but a word or two is still necessary respecting the mouldings.
Those of the earlier times were, in the plurality of instances, composed of alternate square and cylindrical shafts, variously associated and proportioned. Where concave cuttings occur, as in the beautiful west doors of Bayeux, they are between cylindrical shafts, which they throw out into broad light. The eye in all cases dwells on broad surfaces, and commonly upon few. In course of time, a low ridgy process is seen emerging along the outer edge of the cylindrical shaft, forming a line of light upon it and destroying its gradation. [“The Lamp of Power”]
He discusses it again in “The Lamp of Life”:
§17. Perhaps, however, a stranger instance than any I have yet given, of the daring variation of pretended symmetry, is found in the front of the Cathedral of Bayeux. It consists of five arches with steep pediments, the outermost filled, the three central with doors; and they appear, at first, to diminish in regular proportion from the principal one in the centre. The two lateral doors are very curiously managed. The tympana of their arches are filled with basrreliefs, in four tiers; in the lowest tier there is in each a little temple or gate containing the principal figure (in that on the right, it is the gate of Hades with Lucifer). This little temple is carried, like a capital, by an isolated shaft which divides the whole arch at about) of its breadth, the larger portion outmost; and in that larger por tion is the inner entrance door. This exact correspondence, in the treatment of both gates, might lead us to expect a correspondence in dimension. Not at all. The small inner northern entrance measures, in English feet and inches, 4 ft. 7 in. from jamb to jamb, and the southern five feet exactly. Five inches in five feet is a considerable variation. The outer northern porch measures, from face shaft to face shaft, 13 ft. 11 in., and the southern, 14 ft. 6 in.; giving a difiference of 7 in. on 14 ft. There are also variations in the pediment decorations not less extraordinary.
§18. I. imagine I have given instances enough, though I could multiply them indefinitely, to prove that these variations are not mere blunders, nor carelessnesses, but the result of a fixed scorn, if not dislike, of accuracy in measurements; and, in most cases, I believe, of a determined resolution to work out an effective symmetry by variations aa subtle as those of Nar ture. To what lengths this principle was sometimes carried, we shall see by the very singular management of the towers of Abbeville. I do not say it is right, still less that it is wrong, but it is a wonderful proof of the fearlessness of a living architecture; for, say what we will of it, that Flamboyant of France, however morbid, was as vivid, and intense in its animation as ever any phase of mortal mind.
Photographs by George P. Landow 2010. You may use this image without prior permission for any scholarly or educational purpose as long as you (1) credit the photographer and (2) link your document to this URL in a web document or cite the Victorian Web in a print one.
Last modified 28 June 2010