On the Situations and Names of the Winds is the title of a fragment of a pseudo-Aristotelian treatise, most likely written by a later author of the Peripatetic school. The two-page work identifies and briefly describes the names not just of the four anemoi, but gives a wind-name to each of the twelve points of the so-called “wind-rose”, slightly less poetically the “compass rose”, which is the figure seen on classical nautical charts and maps that shows the cardinal points as well as points intermediate.
...In both agricultural and maritime settings, the names of the winds were at once practical and phenomenologically basic: to step outside and to feel them was to know how things were in the most basic sense, to “know which way the wind is blowing”, as we still vestigially say, and to find the language to speak of it.
...If I were ever permitted to teach a course on the philosophy of wind, I would begin with the questions: How did the winds lose their names? And what does it mean for us to live in a world of nameless winds? I step outside and I feel a gust. “That’s wind,” I think to myself, and I have nothing more to add beyond that. I don’t know the winds.
Ruskin's Seven Lamps of Architecture provided seven guides, or 'lamps', for the troubled craftsman, guides for anyone who works directly on material things. These seven are:
The lamp of sacrifice: The willingness to do something well for its own sake.
The lamp of truth: The truth that 'breaks and rents continually'; Ruskin's embrace of difficulty, resistance, and ambiguity.
The lamp of power: Tempered power, guided standards other than blind will.
The lamp of beauty: Which for Ruskin is found more in the detail, the ornament—hand-sized beauty—than in the large design.
The lamp of life: Life equating with struggle and energy, death with deadly perfection.
The lamp of memory: The guidance provided by the time before machinery ruled.
The lamp of obedience: Obedience to the example set by a master's practice rather than by his particular works; otherwise put, strive to be like Stradivari but do not seek to copy his particular violins.