These beliefs were often found in John Ruskin’s architectural criticism in which he often looked at the relationship between the state of the labourers in direct correlation to the actual work produced. For him, Gothic architecture, in comparison to the Renaissance or revived Pagan-style, offered the natural choice for spiritual liberation. Christianity, the system on which Gothic Architecture was based, allowed for imperfection therefore enabling the workers to express themselves spiritually. Through an exploration into Ruskin’s ‘Nature of Gothic’, and into The Stones of Venice as a whole, it may be seen that the spiritual state of the worker becomes apparent in the work that he produces.
For Ruskin, Gothic architecture was made up of the various psychological components of the workers rather than a summation of a whole concept for ‘it is not one or the other of these that can make up the mineral, but the union of it all’. Classically inspired architecture therefore became a ‘wearisome’ exhibition of well-educated imbecility’. However, the medieval, or Christian system, does away with the oppressive system of artistic slavery that neo-Classisscmm encouraged, for Christianity tended to recognise the value of all aspects of a person’s soul and encouraged its expression. As Christianity allows for an individual’s failings, and a craftsman’s individuality to be expressed; unlike in the Classical system, the resultant structure becomes especially articulated in the work’s ornamentation. Ruskin writes: ‘accurately speaking, no good work whatsoever can be perfect, and the DEMAND FOR PERFECTION IS ALWAYS A SIGN OF THE END OF AN ACT’.
As the architect himself, according to Ruskin, was incapable of building his own creation, he was therefore compelled to make slaves out of his workers, or was instead reduced to using poorly skilled workers. This, in turn, allowed the builders to show their weaknesses, together with their strengths, which will eventually evolve into the ‘Gothic imperfection’. This may be seen through the concept of changefulness which exerts itself when the labourer’s spirit is freed; when a workman is enslaved, so too is his individuality and creativity. A viewer is able to tell immediately from a building’s exterior to what extent its workmen were controlled. The Neo-pagan style, which was characterised, in part, by identical and repetitious moulding and capitals, shows a great deal of ‘the monotony and degradation’, thus revealing the spiritual state of its builders.’. However, Ruskin writes, ‘the wildness of thorough and rough work; this work ...this magnificence of sturdy power...this outspeaking of the spirit of man ...of hard habits of the arm and heart that grow on them as they swing the axe or press the plow.’. It is in the efforts of raw labour that true beauty may be defined.
