《古道上》第一冊（共兩冊）…»
約翰·羅斯金著
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289. 先生們，我原本打算在結尾處，就建築學校目前的實踐方法提出一些建議，以免被人指責為狂妄自大。但正如我一直以來所感受到的，如果沒有一個真正全面的教育體系，所有次要的手段和幫助都將毫無用處，因此我再次止步不前。我希望看到建築師的職業與雕塑家的職業而非工程師的職業結合。我認為應該為工程師設立獨立的學校和大學課程，其中與實際建築相關的主要學習科目應該是物理和精密科學，並且應該在數學方面獲得榮譽；但我認為應該為雕塑家和建築師設立另一所學校和大學課程，文學和哲學應作為相關學科，並授予人文文學榮譽；我認為，年輕建築師的學位考試（即使只是考試）也應該比打算從事其他行業的年輕人的學位考試嚴格得多。鄉村牧師所需的學問不多。為了保持謙遜和藹，他所要傳授的主要真理最好是銘記於心而非書本，並且用淺顯易懂的英語來傳授。我認識的最優秀的醫生很少待在圖書館；雖然我的律師有時會和我閒聊一枚希臘硬幣，但我認為他把這些時間看作是對我懶惰的遷就，而不是對他的專業工作有幫助。
但是，對於一位真正的建築師而言，任何一項任務，要想出色地完成，都需要廣博的知識和深厚的感悟，而這些只有透過高等學識才能獲得。
290. 然而，鑑於目前這種體系的擴展已無望，我們所能做的最好的就是盡我們所能，使學校的教學深入、虔誠、精煉。尤其重要的是，我們應該努力防止學生的思想被低劣或良莠不齊的作品所迷惑。博物館是一回事，學校又是另一回事；我深信，正如文學學校的效率取決於對幾部優秀著作的掌握，藝術學校的效率也取決於對幾部優秀作品的理解。我對此深信不疑，以至於就我個人而言，如果透過犧牲我個人的藝術偏好，並投票贊成排除所有哥德式或中世紀的藝術作品，我願意同時排除拜占庭、印度、文藝復興時期的法國以及其他或多或少具有吸引力但卻野蠻的作品。這樣就能使學生的注意力完全集中在對自然形態的研究，以及公元前500年至350年間希臘、愛奧尼亞、西西里和大希臘地區的雕塑家和金屬工匠對自然形態的處理上。但我希望這種排他性不必走得如此之遠。我認為，除了希臘藝術家之外，多納泰羅、菲耶索萊的米諾、羅比亞斯兄弟、吉貝爾蒂、韋羅基奧和米開朗基羅的作品也應該在我們的學校中得到充分的展示，並且還應該精心挑選一些十三世紀北方的花卉雕塑作品，特別是為了展示自然主義裝飾與結構要求之間微妙的聯繫；在參考這些公認的完美典範進行學習的過程中，我首先要努力使學生充分熟悉他所要描繪的物體的自然形態和特徵，然後在適當的雕塑限制下，訓練他抽象這些形態並暗示這些特徵。他首先應該學習大而簡潔地繪畫；然後，他應該用最簡單的線條、光影，從自然界快速而有力地勾勒出花卉、動物、衣褶和人物的素描；始終要教導他觀察有機體、動態和體量，而不是紋理或偶然的光影效果；同時，透過密切而持續地探究這些事物的神話意義和相關傳統，培養他對所有這些事物的情感；然後，當他徹底了解這些事物和生物，並在一種充滿魔力的記憶氛圍中觀察它們時，應該向他展示，偉大的雕塑家是如何用寥寥幾筆就概括了他花費如此長時間學習的知識的。這些細節是如何始終以音樂和裝飾性的方式安排的；所有與他的目的無關的細節是如何被捨棄的；而那些與他的目的相關的細節又是如何被強調、甚至誇大，或者用奇特的技巧來表現的，尤其是在無法進行字面描繪的情況下。
；以及這一切是如何在一種內在的、支配性的精神的本能和激情下完成的——這種精神的確無法模仿，但或許可以分享。
On the Old Road Vol. 1 (of 2) ... »
By John Ruskin
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289. I had intended, in conclusion, gentlemen, to incur such blame of presumption as might be involved in offering some hints for present practical methods in architectural schools, but here again I am checked, as I have been throughout, by a sense of the uselessness of all minor means, and helps, without the establishment of a true and broad educational system. My wish would be to see the profession of the architect united, not with that of the engineer, but of the sculptor. I think there should be a separate school and university course for engineers, in which the principal branches of study connected with that of practical building should be the physical and exact sciences, and honors should be taken in mathematics; but I think there should be another school and university course for the sculptor and architect, in which literature and philosophy should be the associated branches of study, and honors should be taken in literis humanioribus; and I think a young architect’s examination for his degree (for mere pass), should be much stricter than that of youths intending to enter other professions. The quantity of scholarship necessary for the efficiency of a country clergyman is not great. So that he be modest and kindly, the main truths he has to teach may be learned better in his heart than in books, and taught in very simple English. The best physicians I have known spent very little time in their libraries; and though my lawyer sometimes chats with me over a Greek coin, I think he regards the time so spent in the light rather of concession to my idleness than as helpful to his professional labors.
But there is no task undertaken by a true architect of which the honorable fulfillment will not require a range of knowledge and habitual feeling only attainable by advanced scholarship.
290. Since, however, such expansion of system is, at present, beyond hope, the best we can do is to render the studies undertaken in our schools thoughtful, reverent, and refined, according to our power. Especially, it should be our aim to prevent the minds of the students from being distracted by models of an unworthy or mixed character. A museum is one thing–a school another; and I am persuaded that as the efficiency of a school of literature depends on the mastering a few good books, so the efficiency of a school of art will depend on the understanding a few good models. And so strongly do I feel this that I would, for my own part, at once consent to sacrifice my personal predilections in art, and to vote for the exclusion of all Gothic or Mediaeval models whatsoever, if by this sacrifice I could obtain also the exclusion of Byzantine, Indian, Renaissance—French, and other more or less attractive but barbarous work; and thus concentrate the mind of the student wholly upon the study of natural form, and upon its treatment by the sculptors and metal workers of Greece, Ionia, Sicily, and Magna Graecia, between 500 and 350 B.C. But I should hope that exclusiveness need not be carried quite so far. I think Donatello, Mino of Fiesole, the Robbias, Ghiberti, Verrocchio, and Michael Angelo, should be adequately represented in our schools–together with the Greeks–and that a few carefully chosen examples of the floral sculpture of the North in the thirteenth century should be added, with especial view to display the treatment of naturalistic ornament in subtle connection with constructive requirements; and in the course of study pursued with reference to these models, as of admitted perfection, I should endeavor first to make the student thoroughly acquainted with the natural forms and characters of the objects he had to treat, and then to exercise him in the abstraction of these forms, and the suggestion of these characters, under due sculptural limitation. He should first be taught to draw largely and simply; then he should make quick and firm sketches of flowers, animals, drapery, and figures, from nature, in the simplest terms of line, and light and shade; always being taught to look at the organic, actions and masses, not at the textures or accidental effects of shade; meantime his sentiment respecting all these things should be cultivated by close and constant inquiry into their mythological significance and associated traditions; then, knowing the things and creatures thoroughly, and regarding them through an atmosphere of enchanted memory, he should be shown how the facts he has taken so long to learn are summed by a great sculptor in a few touches; how those touches are invariably arranged in musical and decorative relations; how every detail unnecessary for his purpose is refused; how those necessary for his purpose are insisted upon, or even exaggerated, or represented by singular artifice, when literal representation is impossible; and how all this is done under the instinct and passion of an inner commanding spirit which it is indeed impossible to imitate, but possible, perhaps, to share.
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