Nicholas Clayton Dreams of John Ruskin
Emily
Timm
Senior
Seminar
E379S
Bump
Project
1 Rewrite
10/21/04
[1] Nicholas
Clayton ambled about 
His heart thumped at the opportunity and he felt a little
giddy at the thought of designing his own church. He turned left and headed for the ocean. The vast space of sky and water always calmed
him, and he needed to soothe the anxiety that was beginning to settle in his
stomach. Having lived in
Nicholas collapsed into a deep and troubled sleep. Various shapes and forms danced across his eyelids. Sometimes they morphed into a church, other times they morphed into nondescript images and colors. Occasionally a vaulted ceiling, and then a gargoyle, would flit across the horizon of his dream. Gradually these images took shape, creating a fantastic Gothic masterpiece. Gothic design was the most appropriate choice for a church.[10] Nicholas rolled on the sand as his dream bordered on lucid. Vaguely aware on some level that he was dreaming, Nicholas wondered, but what should it look like? What type of Gothic? Confusion and indecision settled over his sleep like a cloud as fanciful images of turrets and vaults spun in his head.
In the midst of his tumultuous dreams, a translucent figure appeared before his eyes. Nicholas questioned this figure in his sleep: “Who are you?”
“My friend, my name is John Ruskin.”
“John Ruskin?” Even in this lucid dream, Nicholas was incredulous. “What are you doing in my dream, talking with me? John Ruskin? What are you doing here?”
[11]“I
travel the sphere restlessly in my sleeping hours, examining popular and
reemerging architectural trends in
“But I don’t want to create a new design. I am not a fan of modernism. I prefer European Victorian styles. And this is a church commission! It has to look holy.”
At this Ruskin laughed, which sounded more like air rustling
around Clayton’s ears. “Well then, what
better person to advise you than me, a Victorian professor and renowned Gothic
architect, theorist, and philosopher? I have
written several books on this topic, including The Poetry of Architecture,
The Seven Lamps of Architecture, and The Stones of
“Yes, everyone started designing Gothic pieces after the Civil War.[14] People wanted beauty during the Reconstruction era. They wanted a European look and an ancient feel, a feeling of history and romance. I am especially enamored with Gothic architecture.”
“And you want a look and feel of ‘holy,’ if I may quote
you.” Ruskin stroked his transparent
chin. “It sounds like you need an idea
‘of the true nature Gothic architecture...not that of
“Universal Gothic?
What does that mean? You mean
Gothic architecture all over the world, like in Europe and
“No. I mean that in order to recognize true Gothic architecture, we must define the term ‘Gothic.’ For instance, when you say you want to build a Gothic church, what does that mean? Think about the idea of color. It is difficult to explain, is it not? Think about someone who ‘undertook to explain, for instance, the Nature of Redness, without anything red to point to, but only orange and purple things...it would be difficult...to make the abstraction perfectly intelligible.’ ”[16]
Clayton was clearly agitated. He almost sat up in his sleep. “So you don’t think I understand the Nature
of Gothic? I am an architect! Granted, I am just getting started, but I was
an ‘architectural draftsman’ during the Civil War, and I worked in
Ruskin laughed again, which mingled in Clayton’s ears with the ocean waves. “Look, don’t get defensive. Your imagination brought me here. I should be asleep at home, but instead I am making a guest appearance in someone else’s dream. Now that I am here, I am going to make the most of our time together before you wake up. What are you hoping to create in this church of yours?”
“Well, that’s easy. It’s my first real assignment! My first chance to really prove myself! I want it to be GREAT! I want it to be a masterpiece. I want it to be...” Clayton paused, searching for the right words. “I want it to be perfect.”
“No doubt you want to make an impression, if only for the goal of gaining more work after this project. One has to make a living after all. But consider this idea for a minute. Architecture is art, a form of expression for the designers and the builders. Can it really be perfect, to borrow your word? I am an architect, but I am also a writer. These forms have much in common. You want to be great. Now think about this: What is great art? When you see beautiful art, how do you critique it?”
Clayton lay still in the sand. Now the sound of his blood circulating echoed in his ears. He mused aloud, his lips forming the words. “Great art...I never studied art. I want this Cathedral to be beautiful, I want it to be holy, and I do not want it to look modern. I want it to look historical, like a transplanted building from another time and place.”
“Ok, now we are getting somewhere! You desire beauty! You desire a sacred place! You want to make a name for yourself—you want to be original! You are going to create a great work of art. I wrote in The Stones of Venice that ‘Great art, whether expressing itself in words, colours, or stones, does not say the same thing over and over again; that the merit of architectural, as of every other art, consists in saying new and different things; that to repeat itself is no more a characteristic of genius in marble than it is of genius in print; and that we may, without offending any laws of good taste, require of an architect, as we do of a novelist, that he should be not only correct, but entertaining.”[20]
This time Clayton rolled onto his stomach and clawed at the beach. “Great. It’s exactly why writing poetry is so frustrating. Whatever I want to say, someone else has said it better. Whatever I want to create, someone else has probably already done it better.”
“I understand your frustration. But it is important to recognize the works of art that have already been created in order to appreciate their form. By adding yourself into the equation, by incorporating pieces of you into rules of form, you create a work of art.
“What are these rules of form? ‘First, look if the roof rises in a steep
gable, high above the walls...Secondly, look if the principal windows and doors
have pointed arches with gables over them...Thirdly, look if the arches are
cusped, or apertures foliated[21]...Fourthly...look
if its arches...are carried on true shafts with bases and capitals...This is
all that is necessary to determine whether the building be of fine Gothic
style.’[22] In the liberties allowed us in the dream
world, let us travel to
For a brief instant, Nicholas felt an unseen force propel him forward towards a blinding light. The sounds of the beach faded into the sounds of birds and city life. He was standing in front of a magnificent church.
“There now. We have
arrived.” Ruskin spoke in a fast,
clipped voice. “
Clayton stepped back from the church, lifted his arms, and yelled. “I feel small!”
Ruskin rolled his eyes. “Of course you do. You are small. This church is awesome. The sheer mass of the building is significant. ‘The relative majesty of buildings depends more on the weight and vigour of their masses, than on any other attribute...’[27]
“So in addition to the list you have already given me, my church must be massive. Got it.”
“No, no, no. Do not think of your project in terms of a checklist. Think about it in terms of feeling and emotional response. How do you react to a book that has moved you? ‘The criticism of the building is to be conducted precisely on the same principle as that of a book; and it must depend on the knowledge, feeling...’[28] Ask yourself, is this church perfect?”
The question surprised Clayton. “No, it’s not perfect. The exterior is rough. The stones are different sizes. The stones are not the same color, either. But it’s beautiful all the same.”
“And there you have it. ‘That resulted from a humility which confessed
the imperfection of the workman...’[29] People are not perfect, and neither is their
art. The flaws of human nature, indeed of
the builder, find expression in
“And there’s more.” Excited, Ruskin licked his lips, which seemed to fade slightly as he talked. His voice grew slightly less audible, and Clayton leaned forward in anticipation of his next words. “The Church is not perfect, so do you think an architect is ever perfect? No! That is the essence of humanity; perfection is an unattainable ideal. Not only is it impossible to reach perfection, but it is undesirable to attain perfection. ‘Gothic architecture has external forms and internal elements. Its elements are certain mental tendencies of the builders, legibly expressed in it; as fancifulness, love of variety, love of richness, and such others.’ ”[31]
Clayton caught the edge of enthusiasm from Ruskin’s voice. “Then I am a true Gothic architect! I love change; I grow bored with buildings that all appear the same. I love rich and fanciful textures and colors, designs and landscapes. That is where part of my frustration arises from. I want to be original. I want to unique and different. No two pieces of mine should ever look the same. And since this project is my very first independent creation, it is very important that I establish myself early in my career as a Gothic architect.”
Ruskin laughed dryly. “I am not sure that you understand my meaning. There are many more internal elements than those I mentioned. For example, the Gothic architect must possess savageness. I used this term in my writing The Stones of Venice, which you should certainly read as you undertake this project.” Ruskin began to pace, assuming the appearance of lecturer. He was fading with alarming quickness, and it appeared to Clayton as if the bust of his shoulders and head were about to disappear into the clouds. “You should be rude and wild[32] in your thoughts as well as in your work. When you adhere to strict and rigid rules of form, there is no room for creation. If your materials are all perfectly identical, and perfectly measured, and there is no roughness to be found in your structure, then why build it? You may as well have cut it out from a box. Same as your thoughts. Do not mold them or shape them to fit anyone else’s criteria. Let them run wild, let them be free, let them be obstinate, and let them change their mind. Let your thoughts and your personality surface in your work. Find joy in the texture and changefulness of your materials. ‘Do not let us suppose that love of order is love of art...love of order has no more to do with our right enjoyment of architecture or painting, than love of punctuality with the appreciation of the opera.’[33] They are separate and distinct qualities. You should not ignore order; it is a function of Gothic architecture, but not the defining quality. We appreciate the opera or a good book for its artistic and entertaining appeal. We appreciate Gothic architecture for those same reasons.
“Look at the beach you lay on. Not a single grain of sand is the same. The waves are all different sizes and shapes, and each has its very own unique crashing sound that blends into the music of the beach. Why did you come to the beach in the first place? You were frustrated and needed open air and space to contemplate your designs. ‘We find all men of true feeling delighting to escape out of modern cities into natural scenery.’[34] Nicholas Clayton, you are a man of true feeling. You couldn’t design a magnificent church in an office. You needed the delight and release of Nature. No two trees or two clouds are ever the same. Nature continually surprises and delights. Each day and night is different from the one before. You appreciate Nature, and hold her in high reverence, and that is why you will be a great artist.”
A loud clap of thunder sounded in the distance. Startled, Clayton awoke and rubbed his
eyes. Where was he? Oh, right, he fell asleep on the beach during
his lunch break. He gazed upward at the
clouds quickly gathering and dispersing, collecting energy as they thickened. It was dark outside now; what time was
it? How long had he been asleep on the
beach? His neck hurt. What a strange dream he’d had...He remembered
dreaming about the church he was going to design, and talking to a strange
man. Who was it? John Ruskin!
He conversed with John Ruskin in his dream and traveled to...where? Traveled to
EPILOGUE
Clayton’s dream arrived at a crucial point in his career,
right before his very first project as chief architect. He relied heavily on Gothic style and
influence when designing St. Mary’s Cathedral.
Word Count: 3,187
Works Cited
Bump, Jerome, ed. Senior
Seminar: Literature, Architecture, and
Art. Vol. 2.
Kaufman, Edward N. “
‘The weight and vigour of their masses’: mid-Victorian country churches and ‘The Lamp of Power.’ ” The Ruskin Polygon. Ed. John
Scardino, Barrie and Turner, Drexel, ed. The Architecture of Nicholas J. Clayton
and His Contemporaries.