ABSTRACT
This chapter focuses at the impact that architectural representation has on the conception of architecture, and the ways in which the completed building bears traces of the hand. Charles Robert Cockerell's conceptions of the picturesque were rooted in his earlier readings of Alison and Whately. From nature to human-made history, the role of the human body also shifts. The metaphysical consideration of what can be known, where knowledge resides and how one may seek it, necessarily informs the conception of architectural representation. In The Stones of Venice, Ruskin praised medieval craftsmen's reproductions of nature in their ornaments. Ruskin's interpretation of architecture was within the constellation of a natural and divine order, wherein the relation of ornament to the world was the pleasure of witnessing divine eternity within time. In the Eadwi Codex, a hand holding what appears to be a compass is represented with a balance that signifies harmony.
