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IndianZigzags–theIndustrialMonster
27
Ruskinalsodismissedregularityandsymmetryonaestheticgrounds:“no
goodworkwhatevercanbeperfect,andthedemandforperfectionisalways
asignofamisunderstandingoftheendsofart.”44Sincehebelievedthatthe
perfectobjectmustalwaysbemonotonousandunimaginative,Ruskinadvised
that“veryaccurateworkmanshipistobeesteemedabadsign.”45Speakingof
architecture,Ruskinstatedthat“wemustnomoreexpecttoderivepleasure
fromanarchitecturewhoseornamentsareofonepattern,andwhosepillars
areofoneproportion,thanweshouldoutofauniverseinwhichtheclouds
wereallofoneshape,andthetreesallofonesize.”46ForthisreasonRuskin
formedadoctrineoftheimperfectbasedonthebeliefthatgreatarthasto
haveaqualitythatRuskincalled“changefulness”–“greatart,whetherex-
pressingitselfinwords,colourorstones,DOESNOTsaythesamethingover
andoveragain.”47Therefore,Ruskinhabituallydepreciatedmassproduction
andanymechanicalmeansbywhichartcouldbeinexpensivelyduplicated,
suchasetching,engraving,lithography,orphotography,andanyotherarts
that“createonlyacopy.”48Infact,Ruskinspurnedanyobjectthatwasnot
unique,original,singleandprecious:
Allthestampedmetals,andartificialstones,andimitationwoodsand
bronzes,overtheinventionofwhichweheardailyexaltation–allthe
sort,andcheap,andeasywaysofdoingthatwhosedimcultyisits
honour–arejustsomanynewobstaclesinouralreadyencumbered
road.Theywillnotmakeushappierorwiser–theywillextend
neitherprideofjudgementnortheprivilegeofenjoyment.Theywill
onlymakeusshallowerinourunderstandings,colderinourhearts,
andfeeblerinourwits.Theywilllowerourtasteandwasteour
money.Andmostjustly.49
Histhirdobjectiontoregularitywasbaseduponhisbeliefthatthema-
chinecruellyturnstheworkerintoamereoperator,compellinghimtoadhere
toaninhumanstandardofexactnessandstiflinghiscreativity.50Healsoat-
tackedthedivisionoflabour,thesystemthatenabledmentoproducegoods
enmasses.Hisgroundswerehumanitarian:“Itisnotlabourthatisdivided;
butmen:–Dividedintomeresegmentsofmen–brokenintosmallfrag-
mentsoflife;[ł]allthelittlepiecesofintelligencethatisleftinamanis
44Ruskin,StonesofVenice,p.202.
45Ruskin,StonesofVenice,p.268.
46Ruskin,StonesofVenice,p.207.
47Ruskin,LecturesonArt,p.219.
48Ruskin,LecturesonArt,p.220.
49Ruskin,LecturesonArt,p.219.
50Ruskin,StonesofVenice,p.193.
