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John Ruskin (1819-1900) and Adrian Stokes (1902-1972): Venice and the architecture of colour-form

John Ruskin and Adrian Stokes are two of the greatest aesthetic writers on Venice. On the basis of extended empirical and archive 
research, this paper interprets what Stokes called the “architecture of colour-form” in Venice. Stokes’s Venice is a Renaissance 
city, Ruskin’s a Gothic one; but Stokes rejects the Florentine privileging of disegno over colore, stressing the reciprocity of colour 
and form in Venetian art and architecture. Gazing at the city’s listons of gleaming Istrian zone and dark lagoon-washed aperture 
he portrays a “Venice [that] excels in blackness and whiteness; water brings commerce between them”. His colour system looks 
to the psychologies of Alberti and Goethe who defined colour as a “balancing of white and black” and as “degrees of darkness”. In 
contrast to Stokes, Ruskin emphasises the incrusted polychromy of Venice, and argues that the “first great principle of architectural 
colour” is that it should be “visibly independent of form”.