For nineteenth-century cultural critic John Ruskin, the flawless regularity of classical architecture was not a triumph of design, but a moral failure. Classical columns, identically carved according to rigid mathematical proportions, reduced the mason to a mere machine, stripping him of his creative agency. In contrast, Ruskin championed the Gothic style, pointing to the irregular arches and mismatched gargoyles of medieval cathedrals. To Ruskin, these imperfections were not errors to be lamented, but signs of a vital, living art. They proved that the medieval artisan was free to express his own individuality and spiritual aspirations, even if his hand faltered. Modern industrial production, Ruskin argued, made the same mistake as classical antiquity by prioritizing absolute precision over human expression. In demanding perfect uniformity in manufactured goods, contemporary society forced workers to suppress their humanity, turning them into cogs in an industrial apparatus. True art, and by extension a healthy society, had to embrace the flawed, singular creations of the human hand, rather than the cold perfection of the assembly line or the classical blueprint.
Which of the following best expresses the central theme of the passage?
- Aesthetic imperfection in craftsmanship is a vital reflection of human freedom, whereas rigid precision in both classical art and modern industry diminishes the worker's humanity.Answer
- BThroughout history, human societies have consistently struggled to balance the aesthetic benefits of mathematical symmetry with the need for individual artistic expression.
- CGothic architecture is aesthetically superior to classical architecture due to its unique incorporation of irregular arches and mismatched gargoyles.
- DClassical masons were forced to suppress their humanity because classical builders lacked the technical tools and skills required to achieve perfect uniformity.