tion in the nature of the material used, and the quantity
of labor exercised.
                          The Lamps of Power and
 Beauty represent the constructive and decorative elements
 in architecture: the first showing the power of the human
 mind to gather, co-ordinate and govern principles dis-
 covered at large; the second imitating and reflecting the
 loveliness found in Nature: as for example, the Gothic
 system of ornament which is based upon plant-forms.
                          The Lamp of Life is the ex-
 pression of vital energy: the impress of the mind of the
 ,master Ieft.upon his work.
                          The Lamp of Memory is the
 creative spirit of all truly great architecture: that is, the
,.',.monumental, which conquers the forgetfulness of men by


,ting the story of some great cause, leader, or
                 Finally, the Lamp of Obedience
e observance of fixed principles which results in
, work; it is the opposite of that license which
ut for a day, and is the slave of its own vagaries.


                 The title of the "Fors Chari-
ias proven itself a crux to many. And this not
reason, since the work is numbered among the
itings of Ruskin, and is much less easy of access
- "Lamps" or the " Stones."     It is a series of
ddressed to workingmen, and first published peri-
; the series beginning in 1871. The imaginative
g suggested to the master from an old print, and is
isly explained by him at the outset. "Fors Chari-
the Fate who bears the club, key or nail :" the
ent rep resenting strength, as the club, or nail, and
as thekey; the whole device symbolising the
or compelling forces of human life.


THE SEVEN LAMPS


4t7


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