The Nature of Gothic  

From The Art and Popular Culture Encyclopedia

Related e

Wikipedia Wiktionary Shop Featured: Rhombicuboctahedron by Leonardo da Vinci

"The Nature of the Gothic" is the sixth chapter from volume 2 of The Stones of Venice, the treatise on Venetian art and architecture by English art historian John Ruskin, first published from 1851 to 1853.

Full text[1]

SECOND, OR GOTHIC, PERIOD. CHAPTER VI. THE NATURE OF GOTHIC.

§ I. If the reader will look back to the division of our subject which was made in the first chapter of the first volume, he will find that we are now about to enter upon the examination of that school of Venetian architecture which forms an intermediate step between the Byzantine and Gothic forms; but which I find may be conveniently considered in its connexion with the latter style. In order that we may discern the tendency of each step of this change, it will be wise in the outset to endeavor to form some general idea of its final result. We know already what the Byzantine architecture is from which the transition was made, but we ought to know something of the Gothic architecture into which it led. I shall endeavor therefore to give the reader in this chapter an idea, at once broad and definite, of the true nature of Gothic architecture, properly so called; not of that of Venice only, but of universal Gothic: for it will be one of the most interesting parts of our subsequent inquiry, to find out how far Venetian architecture reached the universal or perfect type of Gothic, and how far it either fell short of it, or assumed foreign and independent forms.

§ II. The principal difficulty in doing this arises from the fact that every building of the Gothic period differs in some important respect from every other; and many include features which, if they occurred in other buildings, would not be 152considered Gothic at all; so that all we have to reason upon is merely, if I may be allowed so to express it, a greater or less degree of Gothicness in each building we examine. And it is this Gothicness,—the character which, according as it is found more or less in a building, makes it more or less Gothic,—of which I want to define the nature; and I feel the same kind of difficulty in doing so which would be encountered by any one who undertook to explain, for instance, the nature of Redness, without any actual red thing to point to, but only orange and purple things. Suppose he had only a piece of heather and a dead oak-leaf to do it with. He might say, the color which is mixed with the yellow in this oak-leaf, and with the blue in this heather, would be red, if you had it separate; but it would be difficult, nevertheless, to make the abstraction perfectly intelligible: and it is so in a far greater degree to make the abstraction of the Gothic character intelligible, because that character itself is made up of many mingled ideas, and can consist only in their union. That is to say, pointed arches do not constitute Gothic, nor vaulted roofs, nor flying buttresses, nor grotesque sculptures; but all or some of these things, and many other things with them, when they come together so as to have life.

§ III. Observe also, that, in the definition proposed, I shall only endeavor to analyze the idea which I suppose already to exist in the reader’s mind. We all have some notion, most of us a very determined one, of the meaning of the term Gothic; but I know that many persons have this idea in their minds without being able to define it: that is to say, understanding generally that Westminster Abbey is Gothic, and St. Paul’s is not, that Strasburg Cathedral is Gothic, and St. Peter’s is not, they have, nevertheless, no clear notion of what it is that they recognize in the one or miss in the other, such as would enable them to say how far the work at Westminster or Strasburg is good and pure of its kind: still less to say of any non-descript building, like St. James’s Palace or Windsor Castle, how much right Gothic element there is in it, and how much wanting, And I believe this inquiry to be a pleasant and profitable 153one; and that there will be found something more than usually interesting in tracing out this grey, shadowy, many-pinnacled image of the Gothic spirit within us; and discerning what fellowship there is between it and our Northern hearts. And if, at any point of the inquiry, I should interfere with any of the reader’s previously formed conceptions, and use the term Gothic in any sense which he would not willingly attach to it, I do not ask him to accept, but only to examine and understand, my interpretation, as necessary to the intelligibility of what follows in the rest of the work.

§ IV. We have, then, the Gothic character submitted to our analysis, just as the rough mineral is submitted to that of the chemist, entangled with many other foreign substances, itself perhaps in no place pure, or ever to be obtained or seen in purity for more than an instant; but nevertheless a thing of definite and separate nature, however inextricable or confused in appearance. Now observe: the chemist defines his mineral by two separate kinds of character; one external, its crystalline form, hardness, lustre, &c.; the other internal, the proportions and nature of its constituent atoms. Exactly in the same manner, we shall find that Gothic architecture has external forms, and internal elements. Its elements are certain mental tendencies of the builders, legibly expressed in it; as fancifulness, love of variety, love of richness, and such others. Its external forms are pointed arches, vaulted roofs, &c. And unless both the elements and the forms are there, we have no right to call the style Gothic. It is not enough that it has the Form, if it have not also the power and life. It is not enough that it has the Power, if it have not the form. We must therefore inquire into each of these characters successively; and determine first, what is the Mental Expression, and secondly, what the Material Form, of Gothic architecture, properly so called.

1st. Mental Power or Expression. What characters, we have to discover, did the Gothic builders love, or instinctively express in their work, as distinguished from all other builders?

§ V. Let us go back for a moment to our chemistry, and 154note that, in defining a mineral by its constituent parts, it is not one nor another of them, that can make up the mineral, but the union of all: for instance, it is neither in charcoal, nor in oxygen, nor in lime, that there is the making of chalk, but in the combination of all three in certain measures; they are all found in very different things from chalk, and there is nothing like chalk either in charcoal or in oxygen, but they are nevertheless necessary to its existence.

So in the various mental characters which make up the soul of Gothic. It is not one nor another that produces it; but their union in certain measures. Each one of them is found in many other architectures besides Gothic; but Gothic cannot exist where they are not found, or, at least, where their place is not in some way supplied. Only there is this great difference between the composition of the mineral, and of the architectural style, that if we withdraw one of its elements from the stone, its form is utterly changed, and its existence as such and such a mineral is destroyed; but if we withdraw one of its mental elements from the Gothic style, it is only a little less Gothic than it was before, and the union of two or three of its elements is enough already to bestow a certain Gothicness of character, which gains in intensity as we add the others, and loses as we again withdraw them.

§ VI. I believe, then, that the characteristic or moral elements of Gothic are the following, placed in the order of their importance:

1. Savageness.

2. Changefulness.

3. Naturalism.

4. Grotesqueness.

5. Rigidity.

6. Redundance.

These characters are here expressed as belonging to the building; as belonging to the builder, they would be expressed thus:—1. Savageness, or Rudeness. 2. Love of Change. 3. Love of Nature. 4. Disturbed Imagination. 5, Obstinacy. 1556. Generosity. And I repeat, that the withdrawal of any one, or any two, will not at once destroy the Gothic character of a building, but the removal of a majority of them will. I shall proceed to examine them in their order.

§ VII. 1. Savageness. I am not sure when the word “Gothic” was first generically applied to the architecture of the North; but I presume that, whatever the date of its original usage, it was intended to imply reproach, and express the barbaric character of the nations among whom that architecture arose. It never implied that they were literally of Gothic lineage, far less that their architecture had been originally invented by the Goths themselves; but it did imply that they and their buildings together exhibited a degree of sternness and rudeness, which, in contradistinction to the character of Southern and Eastern nations, appeared like a perpetual reflection of the contrast between the Goth and the Roman in their first encounter. And when that fallen Roman, in the utmost impotence of his luxury, and insolence of his guilt, became the model for the imitation of civilized Europe, at the close of the so-called Dark ages, the word Gothic became a term of unmitigated contempt, not unmixed with aversion. From that contempt, by the exertion of the antiquaries and architects of this century, Gothic architecture has been sufficiently vindicated; and perhaps some among us, in our admiration of the magnificent science of its structure, and sacredness of its expression, might desire that the term of ancient reproach should be withdrawn, and some other, of more apparent honorableness, adopted in its place. There is no chance, as there is no need, of such a substitution. As far as the epithet was used scornfully, it was used falsely; but there is no reproach in the word, rightly understood; on the contrary, there is a profound truth, which the instinct of mankind almost unconsciously recognizes. It is true, greatly and deeply true, that the architecture of the North is rude and wild; but it is not true, that, for this reason, we are to condemn it, or despise. Far otherwise: I believe it is in this very character that it deserves our profoundest reverence.

156

§ VIII. The charts of the world which have been drawn up by modern science have thrown into a narrow space the expression of a vast amount of knowledge, but I have never yet seen any one pictorial enough to enable the spectator to imagine the kind of contrast in physical character which exists between Northern and Southern countries. We know the differences in detail, but we have not that broad glance and grasp which would enable us to feel them in their fulness. We know that gentians grow on the Alps, and olives on the Apennines; but we do not enough conceive for ourselves that variegated mosaic of the world’s surface which a bird sees in its migration, that difference between the district of the gentian and of the olive which the stork and the swallow see far off, as they lean upon the sirocco wind. Let us, for a moment, try to raise ourselves even above the level of their flight, and imagine the Mediterranean lying beneath us like an irregular lake, and all its ancient promontories sleeping in the sun: here and there an angry spot of thunder, a grey stain of storm, moving upon the burning field; and here and there a fixed wreath of white volcano smoke, surrounded by its circle of ashes; but for the most part a great peacefulness of light, Syria and Greece, Italy and Spain, laid like pieces of a golden pavement into the sea-blue, chased, as we stoop nearer to them, with bossy beaten work of mountain chains, and glowing softly with terraced gardens, and flowers heavy with frankincense, mixed among masses of laurel, and orange and plumy palm, that abate with their grey-green shadows the burning of the marble rocks, and of the ledges of porphyry sloping under lucent sand. Then let us pass farther towards the north, until we see the orient colors change gradually into a vast belt of rainy green, where the pastures of Switzerland, and poplar valleys of France, and dark forests of the Danube and Carpathians stretch from the mouths of the Loire to those of the Volga, seen through clefts in grey swirls of rain-cloud and flaky veils of the mist of the brooks, spreading low along the pasture lands: and then, farther north still, to see the earth heave into mighty masses of leaden rock and heathy moor, bordering with a broad waste of gloomy purple that belt 157of field and wood, and splintering into irregular and grisly islands amidst the northern seas, beaten by storm and chilled by ice-drift, and tormented by furious pulses of contending tide, until the roots of the last forests fail from among the hill ravines, and the hunger of the north wind bites their peaks into barrenness; and, at last, the wall of ice, durable like iron, sets, deathlike, its white teeth against us out of the polar twilight. And, having once traversed in thought its gradation of the zoned iris of the earth in all its material vastness, let us go down nearer to it, and watch the parallel change in the belt of animal life: the multitudes of swift and brilliant creatures that glance in the air and sea, or tread the sands of the southern zone; striped zebras and spotted leopards, glistening serpents, and birds arrayed in purple and scarlet. Let us contrast their delicacy and brilliancy of color, and swiftness of motion, with the frost-cramped strength, and shaggy covering, and dusky plumage of the northern tribes; contrast the Arabian horse with the Shetland, the tiger and leopard with the wolf and bear, the antelope with the elk, the bird of paradise with the osprey: and then, submissively acknowledging the great laws by which the earth and all that it bears are ruled throughout their being, let us not condemn, but rejoice at the expression by man of his own rest in the statutes of the lands that gave him birth. Let us watch him with reverence as he sets side by side the burning gems, and smoothes with soft sculpture the jasper pillars, that are to reflect a ceaseless sunshine, and rise into a cloudless sky: but not with less reverence let us stand by him, when, with rough strength and hurried stroke, he smites an uncouth animation out of the rocks which he has torn from among the moss of the moorland, and heaves into the darkened air the pile of iron buttress and rugged wall, instinct with work of an imagination as wild and wayward as the northern sea; creations of ungainly shape and rigid limb, but full of wolfish life; fierce as the winds that beat, and changeful as the clouds that shade them.

There is, I repeat, no degradation, no reproach in this, but all dignity and honorableness; and we should err grievously in 158refusing either to recognise as an essential character of the existing architecture of the North, or to admit as a desirable character in that which it yet may be, this wildness of thought, and roughness of work; this look of mountain brotherhood between the cathedral and the Alp; this magnificence of sturdy power, put forth only the more energetically because the fine finger-touch was chilled away by the frosty wind, and the eye dimmed by the moor-mist, or blinded by the hail; this outspeaking of the strong spirit of men who may not gather redundant fruitage from the earth, nor bask in dreamy benignity of sunshine, but must break the rock for bread, and cleave the forest for fire, and show, even in what they did for their delight, some of the hard habits of the arm and heart that grew on them as they swung the axe or pressed the plough.

§ IX. If, however, the savageness of Gothic architecture, merely as an expression of its origin among Northern nations, may be considered, in some sort, a noble character, it possesses a higher nobility still, when considered as an index, not of climate, but of religious principle.

In the 13th and 14th paragraphs of Chapter XXI. of the first volume of this work, it was noticed that the systems of architectural ornament, properly so called, might be divided into three:—1. Servile ornament, in which the execution or power of the inferior workman is entirely subjected to the intellect of the higher:—2. Constitutional ornament, in which the executive inferior power is, to a certain point, emancipated and independent, having a will of its own, yet confessing its inferiority and rendering obedience to higher powers;—and 3. Revolutionary ornament, in which no executive inferiority is admitted at all. I must here explain the nature of these divisions at somewhat greater length.

Of Servile ornament, the principal schools are the Greek, Ninevite, and Egyptian; but their servility is of different kinds. The Greek master-workman was far advanced in knowledge and power above the Assyrian or Egyptian. Neither he nor those for whom he worked could endure the appearance of imperfection in anything; and, therefore, what ornament he 159appointed to be done by those beneath him was composed of mere geometrical forms,—balls, ridges, and perfectly symmetrical foliage,—which could be executed with absolute precision by line and rule, and were as perfect in their way when completed, as his own figure sculpture. The Assyrian and Egyptian, on the contrary, less cognizant of accurate form in anything, were content to allow their figure sculpture to be executed by inferior workmen, but lowered the method of its treatment to a standard which every workman could reach, and then trained him by discipline so rigid, that there was no chance of his falling beneath the standard appointed. The Greek gave to the lower workman no subject which he could not perfectly execute. The Assyrian gave him subjects which he could only execute imperfectly, but fixed a legal standard for his imperfection. The workman was, in both systems, a slave.56

§ X. But in the mediæval, or especially Christian, system of ornament, this slavery is done away with altogether; Christianity having recognized, in small things as well as great, the individual value of every soul. But it not only recognizes its value; it confesses its imperfection, in only bestowing dignity upon the acknowledgment of unworthiness. That admission of lost power and fallen nature, which the Greek or Ninevite felt to be intensely painful, and, as far as might be, altogether refused, the Christian makes daily and hourly, contemplating the fact of it without fear, as tending, in the end, to God’s greater glory. Therefore, to every spirit which Christianity summons to her service, her exhortation is: Do what you can, and confess frankly what you are unable to do; neither let your effort be shortened for fear of failure, nor your confession 160silenced for fear of shame. And it is, perhaps, the principal admirableness of the Gothic schools of architecture, that they thus receive the results of the labor of inferior minds; and out of fragments full of imperfection, and betraying that imperfection in every touch, indulgently raise up a stately and unaccusable whole.

§ XI. But the modern English mind has this much in common with that of the Greek, that it intensely desires, in all things, the utmost completion or perfection compatible with their nature. This is a noble character in the abstract, but becomes ignoble when it causes us to forget the relative dignities of that nature itself, and to prefer the perfectness of the lower nature to the imperfection of the higher; not considering that as, judged by such a rule, all the brute animals would be preferable to man, because more perfect in their functions and kind, and yet are always held inferior to him, so also in the works of man, those which are more perfect in their kind are always inferior to those which are, in their nature, liable to more faults and shortcomings. For the finer the nature, the more flaws it will show through the clearness of it; and it is a law of this universe, that the best things shall be seldomest seen in their best form. The wild grass grows well and strongly, one year with another; but the wheat is, according to the greater nobleness of its nature, liable to the bitterer blight. And therefore, while in all things that we see, or do, we are to desire perfection, and strive for it, we are nevertheless not to set the meaner thing, in its narrow accomplishment, above the nobler thing, in its mighty progress; not to esteem smooth minuteness above shattered majesty; not to prefer mean victory to honorable defeat; not to lower the level of our aim, that we may the more surely enjoy the complacency of success. But, above all, in our dealings with the souls of other men, we are to take care how we check, by severe requirement or narrow caution, efforts which might otherwise lead to a noble issue; and, still more, how we withhold our admiration from great excellences, because they are mingled with rough faults. Now, in the make and nature of every 161man, however rude or simple, whom we employ in manual labor, there are some powers for better things: some tardy imagination, torpid capacity of emotion, tottering steps of thought, there are, even at the worst; and in most cases it is all our own fault that they are tardy or torpid. But they cannot be strengthened, unless we are content to take them in their feebleness, and unless we prize and honor them in their imperfection above the best and most perfect manual skill. And this is what we have to do with all our laborers; to look for the thoughtful part of them, and get that out of them, whatever we lose for it, whatever faults and errors we are obliged to take with it. For the best that is in them cannot manifest itself, but in company with much error. Understand this clearly: You can teach a man to draw a straight line, and to cut one; to strike a curved line, and to carve it; and to copy and carve any number of given lines or forms, with admirable speed and perfect precision; and you find his work perfect of its kind: but if you ask him to think about any of those forms, to consider if he cannot find any better in his own head, he stops; his execution becomes hesitating; he thinks, and ten to one he thinks wrong; ten to one he makes a mistake in the first touch he gives to his work as a thinking being. But you have made a man of him for all that. He was only a machine before, an animated tool.

§ XII. And observe, you are put to stern choice in this matter. You must either made a tool of the creature, or a man of him. You cannot make both. Men were not intended to work with the accuracy of tools, to be precise and perfect in all their actions. If you will have that precision out of them, and make their fingers measure degrees like cog-wheels, and their arms strike curves like compasses, you must unhumanize them. All the energy of their spirits must be given to make cogs and compasses of themselves. All their attention and strength must go to the accomplishment of the mean act. The eye of the soul must be bent upon the finger-point, and the soul’s force must fill all the invisible nerves that guide 162it, ten hours a day, that it may not err from its steely precision, and so soul and sight be worn away, and the whole human being be lost at last—a heap of sawdust, so far as its intellectual work in this world is concerned; saved only by its Heart, which cannot go into the form of cogs and compasses, but expands, after the ten hours are over, into fireside humanity. On the other hand, if you will make a man of the working creature, you cannot make a tool. Let him but begin to imagine, to think, to try to do anything worth doing; and the engine-turned precision is lost at once. Out come all his roughness, all his dulness, all his incapability; shame upon shame, failure upon failure, pause after pause: but out comes the whole majesty of him also; and we know the height of it only, when we see the clouds settling upon him. And, whether the clouds be bright or dark, there will be transfiguration behind and within them.

§ XIII. And now, reader, look round this English room of yours, about which you have been proud so often, because the work of it was so good and strong, and the ornaments of it so finished. Examine again all those accurate mouldings, and perfect polishings, and unerring adjustments of the seasoned wood and tempered steel. Many a time you have exulted over them, and thought how great England was, because her slightest work was done so thoroughly. Alas! if read rightly, these perfectnesses are signs of a slavery in our England a thousand times more bitter and more degrading than that of the scourged African, or helot Greek. Men may be beaten, chained, tormented, yoked like cattle, slaughtered like summer flies, and yet remain in one sense, and the best sense, free. But to smother their souls within them, to blight and hew into rotting pollards the suckling branches of their human intelligence, to make the flesh and skin which, after the worm’s work on it, is to see God, into leathern thongs to yoke machinery with,—this it is to be slave-masters indeed; and there might be more freedom in England, though her feudal lords’ lightest words were worth men’s lives, and though the blood of the vexed husbandman dropped in the furrows of her fields, 163than there is while the animation of her multitudes is sent like fuel to feed the factory smoke, and the strength of them is given daily to be wasted into the fineness of a web, or racked into the exactness of a line.

§ XIV. And, on the other hand, go forth again to gaze upon the old cathedral front, where you have smiled so often at the fantastic ignorance of the old sculptors: examine once more those ugly goblins, and formless monsters, and stern statues, anatomiless and rigid; but do not mock at them, for they are signs of the life and liberty of every workman who struck the stone; a freedom of thought, and rank in scale of being, such as no laws, no charters, no charities can secure; but which it must be the first aim of all Europe at this day to regain for her children.

§ XV. Let me not be thought to speak wildly or extravagantly. It is verily this degradation of the operative into a machine, which, more than any other evil of the times, is leading the mass of the nations everywhere into vain, incoherent, destructive struggling for a freedom of which they cannot explain the nature to themselves. Their universal outcry against wealth, and against nobility, is not forced from them either by the pressure of famine, or the sting of mortified pride. These do much, and have done much in all ages; but the foundations of society were never yet shaken as they are at this day. It is not that men are ill fed, but that they have no pleasure in the work by which they make their bread, and therefore look to wealth as the only means of pleasure. It is not that men are pained by the scorn of the upper classes, but they cannot endure their own; for they feel that the kind of labor to which they are condemned is verily a degrading one, and makes them less than men. Never had the upper classes so much sympathy with the lower, or charity for them, as they have at this day, and yet never were they so much hated by them: for, of old, the separation between the noble and the poor was merely a wall built by law; now it is a veritable difference in level of standing, a precipice between upper and lower grounds in the field of humanity and there is pestilential 164air at the bottom of it. I know not if a day is ever to come when the nature of right freedom will be understood, and when men will see that to obey another man, to labor for him, yield reverence to him or to his place, is not slavery. It is often the best kind of liberty,—liberty from care. The man who says to one, Go, and he goeth, and to another, Come, and he cometh, has, in most cases, more sense of restraint and difficulty than the man who obeys him. The movements of the one are hindered by the burden on his shoulder; of the other, by the bridle on his lips: there is no way by which the burden may be lightened; but we need not suffer from the bridle if we do not champ at it. To yield reverence to another, to hold ourselves and our lives at his disposal, is not slavery; often, it is the noblest state in which a man can live in this world. There is, indeed, a reverence which is servile, that is to say, irrational or selfish: but there is also noble reverence, that is to say, reasonable and loving; and a man is never so noble as when he is reverent in this kind; nay, even if the feeling pass the bounds of mere reason, so that it be loving, a man is raised by it. Which had, in reality, most of the serf nature in him,—the Irish peasant who was lying in wait yesterday for his landlord, with his musket muzzle thrust through the ragged hedge; or that old mountain servant, who, 200 years ago, at Inverkeithing, gave up his own life and the lives of his seven sons for his chief?57—and as each fell, calling forth his brother to the death, “Another for Hector!” And therefore, in all ages and all countries, reverence has been paid and sacrifice made by men to each other, not only without complaint, but rejoicingly; and famine, and peril, and sword, and all evil, and all shame, have been borne willingly in the causes of masters and kings; for all these gifts of the heart ennobled the men who gave, not less than the men who received them, and nature prompted, and God rewarded the sacrifice. But to feel their souls withering within them, unthanked, to find their whole being sunk into an unrecognized abyss, to be counted off 165into a heap of mechanism, numbered with its wheels, and weighed with its hammer strokes;—this nature bade not,—this God blesses not,—this humanity for no long time is able to endure.

§ XVI. We have much studied and much perfected, of late, the great civilized invention of the division of labor; only we give it a false name. It is not, truly speaking, the labor that is divided; but the men:—Divided into mere segments of men—broken into small fragments and crumbs of life; so that all the little piece of intelligence that is left in a man is not enough to make a pin, or a nail, but exhausts itself in making the point of a pin, or the head of a nail. Now it is a good and desirable thing, truly, to make many pins in a day; but if we could only see with what crystal sand their points were polished,—sand of human soul, much to be magnified before it can be discerned for what it is,—we should think there might be some loss in it also. And the great cry that rises from all our manufacturing cities, louder than their furnace blast, is all in very deed for this,—that we manufacture everything there except men; we blanch cotton, and strengthen steel, and refine sugar, and shape pottery; but to brighten, to strengthen, to refine, or to form a single living spirit, never enters into our estimate of advantages. And all the evil to which that cry is urging our myriads can be met only in one way: not by teaching nor preaching, for to teach them is but to show them their misery, and to preach to them, if we do nothing more than preach, is to mock at it. It can be met only by a right understanding, on the part of all classes, of what kinds of labor are good for men, raising them, and making them happy; by a determined sacrifice of such convenience, or beauty, or cheapness as is to be got only by the degradation of the workman; and by equally determined demand for the products and results of healthy and ennobling labor.

§ XVII. And how, it will be asked, are these products to be recognized, and this demand to be regulated? Easily: by the observance of three broad and simple rules:

1. Never encourage the manufacture of any article not 166absolutely necessary, in the production of which Invention has no share.

2. Never demand an exact finish for its own sake, but only for some practical or noble end.

3. Never encourage imitation or copying of any kind, except for the sake of preserving record of great works.

The second of these principles is the only one which directly rises out of the consideration of our immediate subject; but I shall briefly explain the meaning and extent of the first also, reserving the enforcement of the third for another place.

1. Never encourage the manufacture of anything not necessary, in the production of which invention has no share.

For instance. Glass beads are utterly unnecessary, and there is no design or thought employed in their manufacture. They are formed by first drawing out the glass into rods; these rods are chopped up into fragments of the size of beads by the human hand, and the fragments are then rounded in the furnace. The men who chop up the rods sit at their work all day, their hands vibrating with a perpetual and exquisitely timed palsy, and the beads dropping beneath their vibration like hail. Neither they, nor the men who draw out the rods, or fuse the fragments, have the smallest occasion for the use of any single human faculty; and every young lady, therefore, who buys glass beads is engaged in the slave-trade, and in a much more cruel one than that which we have so long been endeavoring to put down.

But glass cups and vessels may become the subjects of exquisite invention; and if in buying these we pay for the invention, that is to say for the beautiful form, or color, or engraving, and not for mere finish of execution, we are doing good to humanity.

§ XVIII. So, again, the cutting of precious stones, in all ordinary cases, requires little exertion of any mental faculty; some tact and judgment in avoiding flaws, and so on, but nothing to bring out the whole mind. Every person who wears cut jewels merely for the sake of their value is, therefore, a slave-driver.

But the working of the goldsmith, and the various designing 167of grouped jewellery and enamel-work, may become the subject of the most noble human intelligence. Therefore, money spent in the purchase of well-designed plate, of precious engraved vases, cameos, or enamels, does good to humanity; and, in work of this kind, jewels may be employed to heighten its splendor; and their cutting is then a price paid for the attainment of a noble end, and thus perfectly allowable.

§ XIX. I shall perhaps press this law farther elsewhere, but our immediate concern is chiefly with the second, namely, never to demand an exact finish, when it does not lead to a noble end. For observe, I have only dwelt upon the rudeness of Gothic, or any other kind of imperfectness, as admirable, where it was impossible to get design or thought without it. If you are to have the thought of a rough and untaught man, you must have it in a rough and untaught way; but from an educated man, who can without effort express his thoughts in an educated way, take the graceful expression, and be thankful. Only get the thought, and do not silence the peasant because he cannot speak good grammar, or until you have taught him his grammar. Grammar and refinement are good things, both, only be sure of the better thing first. And thus in art, delicate finish is desirable from the greatest masters, and is always given by them. In some places Michael Angelo, Leonardo, Phidias, Perugino, Turner, all finished with the most exquisite care; and the finish they give always leads to the fuller accomplishment of their noble purposes. But lower men than these cannot finish, for it requires consummate knowledge to finish consummately, and then we must take their thoughts as they are able to give them. So the rule is simple: Always look for invention first, and after that, for such execution as will help the invention, and as the inventor is capable of without painful effort, and no more. Above all, demand no refinement of execution where there is no thought, for that is slaves’ work, unredeemed. Rather choose rough work than smooth work, so only that the practical purpose be answered, and never imagine there is reason to be proud of anything that may be accomplished by patience and sandpaper.

168

§ XX. I shall only give one example, which however will show the reader what I mean, from the manufacture already alluded to, that of glass. Our modern glass is exquisitely clear in its substance, true in its form, accurate in its cutting. We are proud of this. We ought to be ashamed of it. The old Venice glass was muddy, inaccurate in all its forms, and clumsily cut, if at all. And the old Venetian was justly proud of it. For there is this difference between the English and Venetian workman, that the former thinks only of accurately matching his patterns, and getting his curves perfectly true and his edges perfectly sharp, and becomes a mere machine for rounding curves and sharpening edges, while the old Venetian cared not a whit whether his edges were sharp or not, but he invented a new design for every glass that he made, and never moulded a handle or a lip without a new fancy in it. And therefore, though some Venetian glass is ugly and clumsy enough, when made by clumsy and uninventive workmen, other Venetian glass is so lovely in its forms that no price is too great for it; and we never see the same form in it twice. Now you cannot have the finish and the varied form too. If the workman is thinking about his edges, he cannot be thinking of his design; if of his design, he cannot think of his edges. Choose whether you will pay for the lovely form or the perfect finish, and choose at the same moment whether you will make the worker a man or a grindstone.

§ XXI. Nay, but the reader interrupts me,—“If the workman can design beautifully, I would not have him kept at the furnace. Let him be taken away and made a gentleman, and have a studio, and design his glass there, and I will have it blown and cut for him by common workmen, and so I will have my design and my finish too.”

All ideas of this kind are founded upon two mistaken suppositions: the first, that one man’s thoughts can be, or ought to be, executed by another man’s hands; the second, that manual labor is a degradation, when it is governed by intellect.

On a large scale, and in work determinable by line and rule, it is indeed both possible and necessary that the thoughts 169of one man should be carried out by the labor of others; in this sense I have already defined the best architecture to be the expression of the mind of manhood by the hands of childhood. But on a smaller scale, and in a design which cannot be mathematically defined, one man’s thoughts can never be expressed by another: and the difference between the spirit of touch of the man who is inventing, and of the man who is obeying directions, is often all the difference between a great and a common work of art. How wide the separation is between original and second-hand execution, I shall endeavor to show elsewhere; it is not so much to our purpose here as to mark the other and more fatal error of despising manual labor when governed by intellect; for it is no less fatal an error to despise it when thus regulated by intellect, than to value it for its own sake. We are always in these days endeavoring to separate the two; we want one man to be always thinking, and another to be always working, and we call one a gentleman, and the other an operative; whereas the workman ought often to be thinking, and the thinker often to be working, and both should be gentlemen, in the best sense. As it is, we make both ungentle, the one envying, the other despising, his brother; and the mass of society is made up of morbid thinkers, and miserable workers. Now it is only by labor that thought can be made healthy, and only by thought that labor can be made happy, and the two cannot be separated with impunity. It would be well if all of us were good handicraftsmen in some kind, and the dishonor of manual labor done away with altogether; so that though there should still be a trenchant distinction of race between nobles and commoners, there should not, among the latter, be a trenchant distinction of employment, as between idle and working men, or between men of liberal and illiberal professions. All professions should be liberal, and there should be less pride felt in peculiarity of employment, and more in excellence of achievement. And yet more, in each several profession, no master should be too proud to do its hardest work. The painter should grind his own colors; the architect work in the mason’s 170yard with his men; the master-manufacturer be himself a more skilful operative than any man in his mills; and the distinction between one man and another be only in experience and skill, and the authority and wealth which these must naturally and justly obtain.

§ XXII. I should be led far from the matter in hand, if I were to pursue this interesting subject. Enough, I trust, has been said to show the reader that the rudeness or imperfection which at first rendered the term “Gothic” one of reproach is indeed, when rightly understood, one of the most noble characters of Christian architecture, and not only a noble but an essential one. It seems a fantastic paradox, but it is nevertheless a most important truth, that no architecture can be truly noble which is not imperfect. And this is easily demonstrable. For since the architect, whom we will suppose capable of doing all in perfection, cannot execute the whole with his own hands, he must either make slaves of his workmen in the old Greek, and present English fashion, and level his work to a slave’s capacities, which is to degrade it; or else he must take his workmen as he finds them, and let them show their weaknesses together with their strength, which will involve the Gothic imperfection, but render the whole work as noble as the intellect of the age can make it.

§ XXIII. But the principle may be stated more broadly still. I have confined the illustration of it to architecture, but I must not leave it as if true of architecture only. Hitherto I have used the words imperfect and perfect merely to distinguish between work grossly unskilful, and work executed with average precision and science; and I have been pleading that any degree of unskilfulness should be admitted, so only that the laborer’s mind had room for expression. But, accurately speaking, no good work whatever can be perfect, and the demand for perfection is always a sign of a misunderstanding of the ends of art.

§ XXIV. This for two reasons, both based on everlasting laws. The first, that no great man ever stops working till he has reached his point of failure; that is to say, his mind is 171always far in advance of his powers of execution, and the latter will now and then give way in trying to follow it; besides that he will always give to the inferior portions of his work only such inferior attention as they require; and according to his greatness he becomes so accustomed to the feeling of dissatisfaction with the best he can do, that in moments of lassitude or anger with himself he will not care though the beholder be dissatisfied also. I believe there has only been one man who would not acknowledge this necessity, and strove always to reach perfection, Leonardo; the end of his vain effort being merely that he would take ten years to a picture, and leave it unfinished. And therefore, if we are to have great men working at all, or less men doing their best, the work will be imperfect, however beautiful. Of human work none but what is bad can be perfect, in its own bad way.58

§ XXV. The second reason is, that imperfection is in some sort essential to all that we know of life. It is the sign of life in a mortal body, that is to say, of a state of progress and change. Nothing that lives is, or can be, rigidly perfect; part of it is decaying, part nascent. The foxglove blossom,—a third part bud, a third part past, a third part in full bloom,—is a type of the life of this world. And in all things that live there are certain, irregularities and deficiencies which are not only signs of life, but sources of beauty. No human face is exactly the same in its lines on each side, no leaf perfect in its lobes, no branch in its symmetry. All admit irregularity as they imply change; and to banish imperfection is to destroy expression, to check exertion, to paralyse vitality. All things are literally better, lovelier, and more beloved for the imperfections which have been divinely appointed, that the law of human life may be Effort, and the law of human judgment, Mercy.

Accept this then for a universal law, that neither architecture 172nor any other noble work of man can be good unless it be imperfect; and let us be prepared for the otherwise strange fact, which we shall discern clearly as we approach the period of the Renaissance, that the first cause of the fall of the arts of Europe was a relentless requirement of perfection, incapable alike either of being silenced by veneration for greatness, or softened into forgiveness of simplicity.

Thus far then of the Rudeness or Savageness, which is the first mental element of Gothic architecture. It is an element in many other healthy architectures also, as in Byzantine and Romanesque; but true Gothic cannot exist without it.

§ XXVI. The second mental element above named was Changefulness, or Variety.

I have already enforced the allowing independent operation to the inferior workman, simply as a duty to him, and as ennobling the architecture by rendering it more Christian. We have now to consider what reward we obtain for the performance of this duty, namely, the perpetual variety of every feature of the building.

Wherever the workman is utterly enslaved, the parts of the building must of course be absolutely like each other; for the perfection of his execution can only be reached by exercising him in doing one thing, and giving him nothing else to do. The degree in which the workman is degraded may be thus known at a glance, by observing whether the several parts of the building are similar or not; and if, as in Greek work, all the capitals are alike, and all the mouldings unvaried, then the degradation is complete; if, as in Egyptian or Ninevite work, though the manner of executing certain figures is always the same, the order of design is perpetually varied, the degradation is less total; if, as in Gothic work, there is perpetual change both in design and execution, the workman must have been altogether set free.

§ XXVII. How much the beholder gains from the liberty of the laborer may perhaps be questioned in England, where one of the strongest instincts in nearly every mind is that Love of Order which makes us desire that our house windows should 173pair like our carriage horses, and allows us to yield our faith unhesitatingly to architectural theories which fix a form for everything and forbid variation from it. I would not impeach love of order: it is one of the most useful elements of the English mind; it helps us in our commerce and in all purely practical matters; and it is in many cases one of the foundation stones of morality. Only do not let us suppose that love of order is love of art. It is true that order, in its highest sense, is one of the necessities of art, just as time is a necessity of music; but love of order has no more to do with our right enjoyment of architecture or painting, than love of punctuality with the appreciation of an opera. Experience, I fear, teaches us that accurate and methodical habits in daily life are seldom characteristic of those who either quickly perceive, or richly possess, the creative powers of art; there is, however, nothing inconsistent between the two instincts, and nothing to hinder us from retaining our business habits, and yet fully allowing and enjoying the noblest gifts of Invention. We already do so, in every other branch of art except architecture, and we only do not so there because we have been taught that it would be wrong. Our architects gravely inform us that, as there are four rules of arithmetic, there are five orders of architecture; we, in our simplicity, think that this sounds consistent, and believe them. They inform us also that there is one proper form for Corinthian capitals, another for Doric, and another for Ionic. We, considering that there is also a proper form for the letters A, B, and C, think that this also sounds consistent, and accept the proposition. Understanding, therefore, that one form of the said capitals is proper, and no other, and having a conscientious horror of all impropriety, we allow the architect to provide us with the said capitals, of the proper form, in such and such a quantity, and in all other points to take care that the legal forms are observed; which having done, we rest in forced confidence that we are well housed.

§ XXVIII. But our higher instincts are not deceived. We take no pleasure in the building provided for us, resembling that which we take in a new book or a new picture. We may 174be proud of its size, complacent in its correctness, and happy in its convenience. We may take the same pleasure in its symmetry and workmanship as in a well-ordered room, or a skilful piece of manufacture. And this we suppose to be all the pleasure that architecture was ever intended to give us. The idea of reading a building as we would read Milton or Dante, and getting the same kind of delight out of the stones as out of the stanzas, never enters our minds for a moment. And for good reason:—There is indeed rhythm in the verses, quite as strict as the symmetries or rhythm of the architecture, and a thousand times more beautiful, but there is something else than rhythm. The verses were neither made to order, nor to match, as the capitals were; and we have therefore a kind of pleasure in them other than a sense of propriety. But it requires a strong effort of common sense to shake ourselves quit of all that we have been taught for the last two centuries, and wake to the perception of a truth just as simple and certain as it is new: that great art, whether expressing itself in words, colors, or stones, does not say the same thing over and over again; that the merit of architectural, as of every other art, consists in its saying new and different things; that to repeat itself is no more a characteristic of genius in marble than it is of genius in print; and that we may, without offending any laws of good taste, require of an architect, as we do of a novelist, that he should be not only correct, but entertaining.

Yet all this is true, and self-evident; only hidden from us, as many other self-evident things are, by false teaching. Nothing is a great work of art, for the production of which either rules or models can be given. Exactly so far as architecture works on known rules, and from given models, it is not an art, but a manufacture; and it is, of the two procedures, rather less rational (because more easy) to copy capitals or mouldings from Phidias, and call ourselves architects, than to copy heads and hands from Titian, and call ourselves painters.

§ XXIX. Let us then understand at once, that change or variety is as much a necessity to the human heart and brain in buildings as in books; that there is no merit, though there 175is some occasional use, in monotony; and that we must no more expect to derive either pleasure or profit from an architecture whose ornaments are of one pattern, and whose pillars are of one proportion, than we should out of a universe in which the clouds were all of one shape, and the trees all of one size.

§ XXX. And this we confess in deeds, though not in words. All the pleasure which the people of the nineteenth century take in art, is in pictures, sculpture, minor objects of virtù, or mediæval architecture, which we enjoy under the term picturesque: no pleasure is taken anywhere in modern buildings, and we find all men of true feeling delighting to escape out of modern cities into natural scenery: hence, as I shall hereafter show, that peculiar love of landscape which is characteristic of the age. It would be well, if, in all other matters, we were as ready to put up with what we dislike, for the sake of compliance with established law, as we are in architecture.

§ XXXI. How so debased a law ever came to be established, we shall see when we come to describe the Renaissance schools: here we have only to note, as the second most essential element of the Gothic spirit, that it broke through that law wherever it found it in existence; it not only dared, but delighted in, the infringement of every servile principle; and invented a series of forms of which the merit was, not merely that they were new, but that they were capable of perpetual novelty. The pointed arch was not merely a bold variation from the round, but it admitted of millions of variations in itself; for the proportions of a pointed arch are changeable to infinity, while a circular arch is always the same. The grouped shaft was not merely a bold variation from the single one, but it admitted of millions of variations in its grouping, and in the proportions resultant from its grouping. The introduction of tracery was not only a startling change in the treatment of window lights, but admitted endless changes in the interlacement of the tracery bars themselves. So that, while in all living Christian architecture the love of variety exists, the Gothic schools exhibited that love in culminating energy; and 176their influence, wherever it extended itself, may be sooner and farther traced by this character than by any other; the tendency to the adoption of Gothic types being always first shown by greater irregularity and richer variation in the forms of the architecture it is about to supersede, long before the appearance of the pointed arch or of any other recognizable outward sign of the Gothic mind.

§ XXXII. We must, however, herein note carefully what distinction there is between a healthy and a diseased love of change; for as it was in healthy love of change that the Gothic architecture rose, it was partly in consequence of diseased love of change that it was destroyed. In order to understand this clearly, it will be necessary to consider the different ways in which change and monotony are presented to us in nature; both having their use, like darkness and light, and the one incapable of being enjoyed without the other: change being most delightful after some prolongation of monotony, as light appears most brilliant after the eyes have been for some time closed.

§ XXXIII. I believe that the true relations of monotony and change may be most simply understood by observing them in music. We may therein notice, first, that there is a sublimity and majesty in monotony which there is not in rapid or frequent variation. This is true throughout all nature. The greater part of the sublimity of the sea depends on its monotony; so also that of desolate moor and mountain scenery; and especially the sublimity of motion, as in the quiet, unchanged fall and rise of an engine beam. So also there is sublimity in darkness which there is not in light.

§ XXXIV. Again, monotony after a certain time, or beyond a certain degree, becomes either uninteresting or intolerable, and the musician is obliged to break it in one or two ways: either while the air or passage is perpetually repeated, its notes are variously enriched and harmonized; or else, after a certain number of repeated passages, an entirely new passage is introduced, which is more or less delightful according to the length of the previous monotony. Nature, of course, uses 177both these kinds of variation perpetually. The sea-waves, resembling each other in general mass, but none like its brother in minor divisions and curves, are a monotony of the first kind; the great plain, broken by an emergent rock or clump of trees, is a monotony of the second.

§ XXXV. Farther: in order to the enjoyment of the change in either case, a certain degree of patience is required from the hearer or observer. In the first case, he must be satisfied to endure with patience the recurrence of the great masses of sound or form, and to seek for entertainment in a careful watchfulness of the minor details. In the second case, he must bear patiently the infliction of the monotony for some moments, in order to feel the full refreshment of the change. This is true even of the shortest musical passage in which the element of monotony is employed. In cases of more majestic monotony, the patience required is so considerable that it becomes a kind of pain,—a price paid for the future pleasure.

§ XXXVI. Again: the talent of the composer is not in the monotony, but in the changes: he may show feeling and taste by his use of monotony in certain places or degrees; that is to say, by his various employment of it; but it is always in the new arrangement or invention that his intellect is shown, and not in the monotony which relieves it.

Lastly: if the pleasure of change be too often repeated, it ceases to be delightful, for then change itself becomes monotonous, and we are driven to seek delight in extreme and fantastic degrees of it. This is the diseased love of change of which we have above spoken.

§ XXXVII. From these facts we may gather generally that monotony is, and ought to be, in itself painful to us, just as darkness is; that an architecture which is altogether monotonous is a dark or dead architecture; and, of those who love it, it may be truly said, “they love darkness rather than light.” But monotony in certain measure, used in order to give value to change, and, above all, that transparent monotony which, like the shadows of a great painter, suffers all manner of dimly suggested form to be seen through the body of it, is an essential 178in architectural as in all other composition; and the endurance of monotony has about the same place in a healthy mind that the endurance of darkness has: that is to say, as a strong intellect will have pleasure in the solemnities of storm and twilight, and in the broken and mysterious lights that gleam among them, rather than in mere brilliancy and glare, while a frivolous mind will dread the shadow and the storm; and as a great man will be ready to endure much darkness of fortune in order to reach greater eminence of power or felicity, while an inferior man will not pay the price; exactly in like manner a great mind will accept, or even delight in, monotony which would be wearisome to an inferior intellect, because it has more patience and power of expectation, and is ready to pay the full price for the great future pleasure of change. But in all cases it is not that the noble nature loves monotony, any more than it loves darkness or pain. But it can bear with it, and receives a high pleasure in the endurance or patience, a pleasure necessary to the well-being of this world; while those who will not submit to the temporary sameness, but rush from one change to another, gradually dull the edge of change itself, and bring a shadow and weariness over the whole world from which there is no more escape.

§ XXXVIII. From these general uses of variety in the economy of the world, we may at once understand its use and abuse in architecture. The variety of the Gothic schools is the more healthy and beautiful, because in many cases it is entirely unstudied, and results, not from the mere love of change, but from practical necessities. For in one point of view Gothic is not only the best, but the only rational architecture, as being that which can fit itself most easily to all services, vulgar or noble. Undefined in its slope of roof, height of shaft, breadth of arch, or disposition of ground plan, it can shrink into a turret, expand into a hall, coil into a staircase, or spring into a spire, with undegraded grace and unexhausted energy; and whenever it finds occasion for change in its form or purpose, it submits to it without the slightest sense of loss either to its unity or majesty,—subtle and flexible like a fiery 179serpent, but ever attentive to the voice of the charmer. And it is one of the chief virtues of the Gothic builders, that they never suffered ideas of outside symmetries and consistencies to interfere with the real use and value of what they did. If they wanted a window, they opened one; a room, they added one; a buttress, they built one; utterly regardless of any established conventionalities of external appearance, knowing (as indeed it always happened) that such daring interruptions of the formal plan would rather give additional interest to its symmetry than injure it. So that, in the best times of Gothic, a useless window would rather have been opened in an unexpected place for the sake of the surprise, than a useful one forbidden for the sake of symmetry. Every successive architect, employed upon a great work, built the pieces he added in his own way, utterly regardless of the style adopted by his predecessors; and if two towers were raised in nominal correspondence at the sides of a cathedral front, one was nearly sure to be different from the other, and in each the style at the top to be different from the style at the bottom.59

§ XXXIX. These marked variations were, however, only permitted as part of the great system of perpetual change which ran through every member of Gothic design, and rendered it as endless a field for the beholder’s inquiry, as for the builder’s imagination: change, which in the best schools is subtle and delicate, and rendered more delightful by intermingling of a noble monotony; in the more barbaric schools is somewhat fantastic and redundant; but, in all, a necessary and constant condition of the life of the school. Sometimes the variety is in one feature, sometimes in another; it may be in the capitals or crockets, in the niches or the traceries, or in all together, but in some one or other of the features it will be found always. If the mouldings are constant, the surface sculpture will change; if the capitals are of a fixed design, the traceries will change; if the traceries are monotonous, the capitals will 180change; and if even, as in some fine schools, the early English for example, there is the slightest approximation to an unvarying type of mouldings, capitals, and floral decoration, the variety is found in the disposition of the masses, and in the figure sculpture.

§ XL. I must now refer for a moment, before we quit the consideration of this, the second mental element of Gothic, to the opening of the third chapter of the “Seven Lamps of Architecture,” in which the distinction was drawn (§ 2) between man gathering and man governing; between his acceptance of the sources of delight from nature, and his developement of authoritative or imaginative power in their arrangement: for the two mental elements, not only of Gothic, but of all good architecture, which we have just been examining, belong to it, and are admirable in it, chiefly as it is, more than any other subject of art, the work of man, and the expression of the average power of man. A picture or poem is often little more than a feeble utterance of man’s admiration of something out of himself; but architecture approaches more to a creation of his own, born of his necessities, and expressive of his nature. It is also, in some sort, the work of the whole race, while the picture or statue are the work of one only, in most cases more highly gifted than his fellows. And therefore we may expect that the first two elements of good architecture should be expressive of some great truths commonly belonging to the whole race, and necessary to be understood or felt by them in all their work that they do under the sun. And observe what they are: the confession of Imperfection and the confession of Desire of Change. The building of the bird and the bee needs not express anything like this. It is perfect and unchanging. But just because we are something better than birds or bees, our building must confess that we have not reached the perfection we can imagine, and cannot rest in the condition we have attained. If we pretend to have reached either perfection or satisfaction, we have degraded ourselves and our work. God’s work only may express that; but ours may never have that sentence written upon it,—“And behold, it was very good.” 181And, observe again, it is not merely as it renders the edifice a book of various knowledge, or a mine of precious thought, that variety is essential to its nobleness. The vital principle is not the love of Knowledge, but the love of Change. It is that strange disquietude of the Gothic spirit that is its greatness; that restlessness of the dreaming mind, that wanders hither and thither among the niches, and flickers feverishly around the pinnacles, and frets and fades in labyrinthine knots and shadows along wall and roof, and yet is not satisfied, nor shall be satisfied. The Greek could stay in his triglyph furrow, and be at peace; but the work of the Gothic heart is fretwork still, and it can neither rest in, nor from, its labor, but must pass on, sleeplessly, until its love of change shall be pacified for ever in the change that must come alike on them that wake and them that sleep.

§ XLI. The third constituent element of the Gothic mind was stated to be Naturalism; that is to say, the love of natural objects for their own sake, and the effort to represent them frankly, unconstrained by artistical laws.

This characteristic of the style partly follows in necessary connexion with those named above. For, so soon as the workman is left free to represent what subjects he chooses, he must look to the nature that is round him for material, and will endeavor to represent it as he sees it, with more or less accuracy according to the skill he possesses, and with much play of fancy, but with small respect for law. There is, however, a marked distinction between the imaginations of the Western and Eastern races, even when both are left free; the Western, or Gothic, delighting most in the representation of facts, and the Eastern (Arabian, Persian, and Chinese) in the harmony of colors and forms. Each of these intellectual dispositions has its particular forms of error and abuse, which, though I have often before stated, I must here again briefly explain; and this the rather, because the word Naturalism is, in one of its senses, justly used as a term of reproach, and the questions respecting the real relations of art and nature are so many and so confused throughout all the schools of Europe at this day, 182that I cannot clearly enunciate any single truth without appearing to admit, in fellowship with it, some kind of error, unless the reader will bear with me in entering into such an analysis of the subject as will serve us for general guidance.

§ XLII. We are to remember, in the first place, that the arrangement of colors and lines is an art analogous to the composition60 of music, and entirely independent of the representation of facts. Good coloring does not necessarily convey the image of anything but itself. It consists in certain proportions and arrangements of rays of light, but not in likenesses to anything. A few touches of certain greys and purples laid by a master’s hand on white paper, will be good coloring; as more touches are added beside them, we may find out that they were intended to represent a dove’s neck, and we may praise, as the drawing advances, the perfect imitation of the dove’s neck. But the good coloring does not consist in that imitation, but in the abstract qualities and relations of the grey and purple.

In like manner, as soon as a great sculptor begins to shape his work out of the block, we shall see that its lines are nobly arranged, and of noble character. We may not have the slightest idea for what the forms are intended, whether they are of man or beast, of vegetation or drapery. Their likeness to anything does not affect their nobleness. They are magnificent forms, and that is all we need care to know of them, in order to say whether the workman is a good or bad sculptor.

183

§ XLIII. Now the noblest art is an exact unison of the abstract value, with the imitative power, of forms and colors. It is the noblest composition, used to express the noblest facts. But the human mind cannot in general unite the two perfections: it either pursues the fact to the neglect of the composition, or pursues the composition to the neglect of the fact.

§ XLIV. And it is intended by the Deity that it should do this; the best art is not always wanted. Facts are often wanted without art, as in a geological diagram; and art often without facts, as in a Turkey carpet. And most men have been made capable of giving either one or the other, but not both; only one or two, the very highest, can give both.

Observe then. Men are universally divided, as respects their artistical qualifications, into three great classes; a right, a left, and a centre. On the right side are the men of facts, on the left the men of design,61 in the centre the men of both.

The three classes of course pass into each other by imperceptible gradations. The men of facts are hardly ever altogether without powers of design; the men of design are always in some measure cognizant of facts; and as each class possesses more or less of the powers of the opposite one, it approaches to the character of the central class. Few men, even in that central rank, are so exactly throned on the summit of the crest that they cannot be perceived to incline in the least one way or the other, embracing both horizons with their glance. Now each of these classes has, as I above said, a healthy function in the world, and correlative diseases or unhealthy functions; and, when the work of either of them is seen in its morbid condition, we are apt to find fault with the class of workmen, instead of finding fault only with the particular abuse which has perverted their action.

184

§ XLV. Let us first take an instance of the healthy action of the three classes on a simple subject, so as fully to understand the distinction between them, and then we shall more easily examine the corruptions to which they are liable. Fig. 1 in Plate VI. is a spray of vine with a bough of cherry-tree, which I have outlined from nature as accurately as I could, without in the least endeavoring to compose or arrange the form. It is a simple piece of fact-work, healthy and good as such, and useful to any one who wanted to know plain truths about tendrils of vines, but there is no attempt at design in it. Plate XIX., below, represents a branch of vine used to decorate the angle of the Ducal Palace. It is faithful as a representation of vine, and yet so designed that every leaf serves an architectural purpose, and could not be spared from its place without harm. This is central work; fact and design together. Fig. 2 in Plate VI. is a spandril from St. Mark’s, in which the forms of the vine are dimly suggested, the object of the design being merely to obtain graceful lines and well proportioned masses upon the gold ground. There is not the least attempt to inform the spectator of any facts about the growth of the vine; there are no stalks or tendrils,—merely running bands with leaves emergent from them, of which nothing but the outline is taken from the vine, and even that imperfectly. This is design, unregardful of facts.

Now the work is, in all these three cases, perfectly healthy. Fig. 1 is not bad work because it has not design, nor Fig. 2 bad work because it has not facts. The object of the one is to give pleasure through truth, and of the other to give pleasure through composition. And both are right.

What, then, are the diseased operations to which the three classes of workmen are liable?

§ XLVI. Primarily, two; affecting the two inferior classes:

1st, When either of those two classes Despises the other:

2nd, When either of the two classes Envies the other; producing, therefore, four forms of dangerous error.

First, when the men of facts despise design. This is the 185error of the common Dutch painters, of merely imitative painters of still life, flowers, &c., and other men who, having either the gift of accurate imitation or strong sympathies with nature, suppose that all is done when the imitation is perfected or sympathy expressed. A large body of English landscapists come into this class, including most clever sketchers from nature, who fancy that to get a sky of true tone, and a gleam of sunshine or sweep of shower faithfully expressed, is all that can be required of art. These men are generally themselves answerable for much of their deadness of feeling to the higher qualities of composition. They probably have not originally the high gifts of design, but they lose such powers as they originally possessed by despising, and refusing to study, the results of great power of design in others. Their knowledge, as far as it goes, being accurate, they are usually presumptuous and self-conceited, and gradually become incapable of admiring anything but what is like their own works. They see nothing in the works of great designers but the faults, and do harm almost incalculable in the European society of the present day by sneering at the compositions of the greatest men of the earlier ages,62 because they do not absolutely tally with their own ideas of “Nature.”

§ XLVII. The second form of error is when the men of design despise facts. All noble design must deal with facts to a certain extent, for there is no food for it but in nature. The best colorist invents best by taking hints from natural colors; from birds, skies, or groups of figures. And if, in the delight of inventing fantastic color and form the truths of nature are wilfully neglected, the intellect becomes comparatively decrepit, and that state of art results which we find among the Chinese. The Greek designers delighted in the facts of the human form, and became great in consequence; but the facts of lower nature were disregarded by them, and their inferior ornament became, therefore, dead and valueless.

186

§ XLVIII. The third form of error is when the men of facts envy design: that is to say, when, having only imitative powers, they refuse to employ those powers upon the visible world around them; but, having been taught that composition is the end of art, strive to obtain the inventive powers which nature has denied them, study nothing but the works of reputed designers, and perish in a fungous growth of plagiarism and laws of art.

Here was the great error of the beginning of this century; it is the error of the meanest kind of men that employ themselves in painting, and it is the most fatal of all, rendering those who fall into it utterly useless, incapable of helping the world with either truth or fancy, while, in all probability, they deceive it by base resemblances of both, until it hardly recognizes truth or fancy when they really exist.

§ XLIX. The fourth form of error is when the men of design envy facts; that is to say, when the temptation of closely imitating nature leads them to forget their own proper ornamental function, and when they lose the power of the composition for the sake of graphic truth; as, for instance, in the hawthorn moulding so often spoken of round the porch of Bourges Cathedral, which, though very lovely, might perhaps, as we saw above, have been better, if the old builder, in his excessive desire to make it look like hawthorn, had not painted it green.

§ L. It is, however, carefully to be noted, that the two morbid conditions to which the men of facts are liable are much more dangerous and harmful than those to which the men of design are liable. The morbid state of men of design injures themselves only; that of the men of facts injures the whole world. The Chinese porcelain-painter is, indeed, not so great a man as he might be, but he does not want to break everything that is not porcelain; but the modern English fact-hunter, despising design, wants to destroy everything that does not agree with his own notions of truth, and becomes the most dangerous and despicable of iconoclasts, excited by egotism instead of religion. Again: the Bourges sculptor, painting his 187hawthorns green, did indeed somewhat hurt the effect of his own beautiful design, but did not prevent any one from loving hawthorn: but Sir George Beaumont, trying to make Constable paint grass brown instead of green, was setting himself between Constable and nature, blinding the painter, and blaspheming the work of God.

§ LI. So much, then, of the diseases of the inferior classes, caused by their envying or despising each other. It is evident that the men of the central class cannot be liable to any morbid operation of this kind, they possessing the powers of both.

But there is another order of diseases which affect all the three classes, considered with respect to their pursuit of facts. For observe, all the three classes are in some degree pursuers of facts; even the men of design not being in any case altogether independent of external truth. Now, considering them all as more or less searchers after truth, there is another triple division to be made of them. Everything presented to them in nature has good and evil mingled in it: and artists, considered as searchers after truth, are again to be divided into three great classes, a right, a left, and a centre. Those on the right perceive, and pursue, the good, and leave the evil: those in the centre, the greatest, perceive and pursue the good and evil together, the whole thing as it verily is: those on the left perceive and pursue the evil, and leave the good.

§ LII. The first class, I say, take the good and leave the evil. Out of whatever is presented to them, they gather what it has of grace, and life, and light, and holiness, and leave all, or at least as much as possible, of the rest undrawn. The faces of their figures express no evil passions; the skies of their landscapes are without storm; the prevalent character of their color is brightness, and of their chiaroscuro fulness of light. The early Italian and Flemish painters, Angelico and Hemling, Perugino, Francia, Raffaelle in his best time, John Bellini, and our own Stothard, belong eminently to this class.

§ LIII. The second, or greatest class, render all that they see in nature unhesitatingly, with a kind of divine grasp and government of the whole, sympathizing with all the good, and 188yet confessing, permitting, and bringing good out of the evil also. Their subject is infinite as nature, their color equally balanced between splendor and sadness, reaching occasionally the highest degrees of both, and their chiaroscuro equally balanced between light and shade.

The principal men of this class are Michael Angelo, Leonardo, Giotto, Tintoret, and Turner. Raffaelle in his second time, Titian, and Rubens are transitional; the first inclining to the eclectic, and the last two to the impure class, Raffaelle rarely giving all the evil, Titian and Rubens rarely all the good.

§ LIV. The last class perceive and imitate evil only. They cannot draw the trunk of a tree without blasting and shattering it, nor a sky except covered with stormy clouds: they delight in the beggary and brutality of the human race; their color is for the most part subdued or lurid, and the greatest spaces of their pictures are occupied by darkness.

Happily the examples of this class are seldom seen in perfection. Salvator Rosa and Caravaggio are the most characteristic: the other men belonging to it approach towards the central rank by imperceptible gradations, as they perceive and represent more and more of good. But Murillo, Zurbaran, Camillo Procaccini, Rembrandt, and Teniers, all belong naturally to this lower class.

§ LV. Now, observe: the three classes into which artists were previously divided, of men of fact, men of design, and men of both, are all of Divine institution; but of these latter three, the last is in no wise of Divine institution. It is entirely human, and the men who belong to it have sunk into it by their own faults. They are, so far forth, either useless or harmful men. It is indeed good that evil should be occasionally represented, even in its worst forms, but never that it should be taken delight in: and the mighty men of the central class will always give us all that is needful of it; sometimes, as Hogarth did, dwelling upon it bitterly as satirists,—but this with the more effect, because they will neither exaggerate it, nor represent it mercilessly, and without the atoning points that all 189evil shows to a Divinely guided glance, even at its deepest. So then, though the third class will always, I fear, in some measure exist, the two necessary classes are only the first two; and this is so far acknowledged by the general sense of men, that the basest class has been confounded with the second; and painters have been divided commonly only into two ranks, now known, I believe, throughout Europe by the names which they first received in Italy, “Puristi and Naturalisti.” Since, however, in the existing state of things, the degraded or evil-loving class, though less defined than that of the Puristi, is just as vast as it is indistinct, this division has done infinite dishonor to the great faithful painters of nature: and it has long been one of the objects I have had most at heart to show that, in reality, the Purists, in their sanctity, are less separated from these natural painters than the Sensualists in their foulness; and that the difference, though less discernible, is in reality greater, between the man who pursues evil for its own sake, and him who bears with it for the sake of truth, than between this latter and the man who will not endure it at all.

§ LVI. Let us, then, endeavor briefly to mark the real relations of these three vast ranks of men, whom I shall call, for convenience in speaking of them, Purists, Naturalists, and Sensualists; not that these terms express their real characters, but I know no word, and cannot coin a convenient one, which would accurately express the opposite of Purist; and I keep the terms Purist and Naturalist in order to comply, as far as possible, with the established usage of language on the Continent. Now, observe: in saying that nearly everything presented to us in nature has mingling in it of good and evil, I do not mean that nature is conceivably improvable, or that anything that God has made could be called evil, if we could see far enough into its uses, but that, with respect to immediate effects or appearances, it may be so, just as the hard rind or bitter kernel of a fruit may be an evil to the eater, though in the one is the protection of the fruit, and in the other its continuance. The Purist, therefore, does not mend nature, but 190receives from nature and from God that which is good for him; while the Sensualist fills himself “with the husks that the swine did eat.”

The three classes may, therefore, be likened to men reaping wheat, of which the Purists take the fine flour, and the Sensualists the chaff and straw, but the Naturalists take all home, and make their cake of the one, and their couch of the other.

§ LVII. For instance. We know more certainly every day that whatever appears to us harmful in the universe has some beneficent or necessary operation; that the storm which destroys a harvest brightens the sunbeams for harvests yet unsown, and that the volcano which buries a city preserves a thousand from destruction. But the evil is not for the time less fearful, because we have learned it to be necessary; and we easily understand the timidity or the tenderness of the spirit which would withdraw itself from the presence of destruction, and create in its imagination a world of which the peace should be unbroken, in which the sky should not darken nor the sea rage, in which the leaf should not change nor the blossom wither. That man is greater, however, who contemplates with an equal mind the alternations of terror and of beauty; who, not rejoicing less beneath the sunny sky, can bear also to watch the bars of twilight narrowing on the horizon; and, not less sensible to the blessing of the peace of nature, can rejoice in the magnificence of the ordinances by which that peace is protected and secured. But separated from both by an immeasurable distance would be the man who delighted in convulsion and disease for their own sake; who found his daily food in the disorder of nature mingled with the suffering of humanity; and watched joyfully at the right hand of the Angel whose appointed work is to destroy as well as to accuse, while the corners of the House of feasting were struck by the wind from the wilderness.

§ LVIII. And far more is this true, when the subject of contemplation is humanity itself. The passions of mankind are partly protective, partly beneficent, like the chaff and grain of the corn; but none without their use, none without nobleness 191when seen in balanced unity with the rest of the spirit which they are charged to defend. The passions of which the end is the continuance of the race; the indignation which is to arm it against injustice, or strengthen it to resist wanton injury; and the fear63 which lies at the root of prudence, reverence, and awe, are all honorable and beautiful, so long as man is regarded in his relations to the existing world. The religious Purist, striving to conceive him withdrawn from those relations, effaces from the countenance the traces of all transitory passion, illumines it with holy hope and love, and seals it with the serenity of heavenly peace; he conceals the forms of the body by the deep-folded garment, or else represents them under severely chastened types, and would rather paint them emaciated by the fast, or pale from the torture, than strengthened by exertion, or flushed by emotion. But the great Naturalist takes the human being in its wholeness, in its mortal as well as its spiritual strength. Capable of sounding and sympathizing with the whole range of its passions, he brings one majestic harmony out of them all; he represents it fearlessly in all its acts and thoughts, in its haste, its anger, its sensuality, and its pride, as well as in its fortitude or faith, but makes it noble in them all; he casts aside the veil from the body, and beholds the mysteries of its form like an angel looking down on an inferior creature: there is nothing which he is reluctant to behold, nothing that he is ashamed to confess; with all that lives, triumphing, falling, or suffering, he claims kindred, either in majesty or in mercy, yet standing, in a sort, afar off, unmoved even in the deepness of his sympathy; for the spirit within him is too thoughtful to be grieved, too brave to be appalled, and too pure to be polluted.

§ LIX. How far beneath these two ranks of men shall we place, in the scale of being, those whose pleasure is only in sin or in suffering; who habitually contemplate humanity in poverty or decrepitude, fury or sensuality; whose works are either temptations to its weakness, or triumphs over its ruin, and recognize 192no other subjects for thought or admiration than the subtlety of the robber, the rage of the soldier, or the joy of the Sybarite. It seems strange, when thus definitely stated, that such a school should exist. Yet consider a little what gaps and blanks would disfigure our gallery and chamber walls, in places that we have long approached with reverence, if every picture, every statue, were removed from them, of which the subject was either the vice or the misery of mankind, portrayed without any moral purpose: consider the innumerable groups having reference merely to various forms of passion, low or high; drunken revels and brawls among peasants, gambling or fighting scenes among soldiers, amours and intrigues among every class, brutal battle pieces, banditti subjects, gluts of torture and death in famine, wreck, or slaughter, for the sake merely of the excitement,—that quickening and suppling of the dull spirit that cannot be gained for it but by bathing it in blood, afterward to wither back into stained and stiffened apathy; and then that whole vast false heaven of sensual passion, full of nymphs, satyrs, graces, goddesses, and I know not what, from its high seventh circle in Correggio’s Antiope, down to the Grecized ballet-dancers and smirking Cupids of the Parisian upholsterer. Sweep away all this, remorselessly, and see how much art we should have left.

§ LX. And yet these are only the grossest manifestations of the tendency of the school. There are subtler, yet not less certain, signs of it in the works of men who stand high in the world’s list of sacred painters. I doubt not that the reader was surprised when I named Murillo among the men of this third rank. Yet, go into the Dulwich Gallery, and meditate for a little over that much celebrated picture of the two beggar boys, one eating lying on the ground, the other standing beside him. We have among our own painters one who cannot indeed be set beside Murillo as a painter of Madonnas, for he is a pure Naturalist, and, never having seen a Madonna, does not paint any; but who, as a painter of beggar or peasant boys, may be set beside Murillo, or any one else,—W. Hunt. He loves peasant boys, because he finds them more roughly and picturesquely 193dressed, and more healthily colored, than others. And he paints all that he sees in them fearlessly; all the health and humor, and freshness, and vitality, together with such awkwardness and stupidity, and what else of negative or positive harm there may be in the creature; but yet so that on the whole we love it, and find it perhaps even beautiful, or if not, at least we see that there is capability of good in it, rather than of evil; and all is lighted up by a sunshine and sweet color that makes the smock-frock as precious as cloth of gold. But look at those two ragged and vicious vagrants that Murillo has gathered out of the street. You smile at first, because they are eating so naturally, and their roguery is so complete. But is there anything else than roguery there, or was it well for the painter to give his time to the painting of those repulsive and wicked children? Do you feel moved with any charity towards children as you look at them? Are we the least more likely to take any interest in ragged schools, or to help the next pauper child that comes in our way, because the painter has shown us a cunning beggar feeding greedily? Mark the choice of the act. He might have shown hunger in other ways, and given interest to even this act of eating, by making the face wasted, or the eye wistful. But he did not care to do this. He delighted merely in the disgusting manner of eating, the food filling the cheek; the boy is not hungry, else he would not turn round to talk and grin as he eats.

§ LXI. But observe another point in the lower figure. It lies so that the sole of the foot is turned towards the spectator; not because it would have lain less easily in another attitude, but that the painter may draw, and exhibit, the grey dust engrained in the foot. Do not call this the painting of nature: it is mere delight in foulness. The lesson, if there be any, in the picture, is not one whit the stronger. We all know that a beggar’s bare foot cannot be clean; there is no need to thrust its degradation into the light, as if no human imagination were vigorous enough for its conception.

§ LXII. The position of the Sensualists, in treatment of landscape, is less distinctly marked than in that of the figure: because 194even the wildest passions of nature are noble: but the inclination is manifested by carelessness in marking generic form in trees and flowers: by their preferring confused and irregular arrangements of foliage or foreground to symmetrical and simple grouping; by their general choice of such picturesqueness as results from decay, disorder, and disease, rather than of that which is consistent with the perfection of the things in which it is found; and by their imperfect rendering of the elements of strength and beauty in all things. I propose to work out this subject fully in the last volume of “Modern Painters;” but I trust that enough has been here said to enable the reader to understand the relations of the three great classes of artists, and therefore also the kinds of morbid condition into which the two higher (for the last has no other than a morbid condition) are liable to fall. For, since the function of the Naturalists is to represent, as far as may be, the whole of nature, and the Purists to represent what is absolutely good for some special purpose or time, it is evident that both are liable to error from shortness of sight, and the last also from weakness of judgment. I say, in the first place, both may err from shortness of sight, from not seeing all that there is in nature; seeing only the outsides of things, or those points of them which bear least on the matter in hand. For instance, a modern continental Naturalist sees the anatomy of a limb thoroughly, but does not see its color against the sky, which latter fact is to a painter far the more important of the two. And because it is always easier to see the surface than the depth of things, the full sight of them requiring the highest powers of penetration, sympathy, and imagination, the world is full of vulgar Naturalists: not Sensualists, observe, not men who delight in evil; but men who never see the deepest good, and who bring discredit on all painting of Nature by the little that they discover in her. And the Purist, besides being liable to this same shortsightedness, is liable also to fatal errors of judgment; for he may think that good which is not so, and that the highest good which is the least. And thus the world is 195full of vulgar Purists,64 who bring discredit on all selection by the silliness of their choice; and this the more, because the very becoming a Purist is commonly indicative of some slight degree of weakness, readiness to be offended, or narrowness of understanding of the ends of things: the greatest men being, in all times of art, Naturalists, without any exception; and the greatest Purists being those who approach nearest to the Naturalists, as Benozzo Gozzoli and Perugino. Hence there is a tendency in the Naturalists to despise the Purists, and in the Purists to be offended with the Naturalists (not understanding them, and confounding them with the Sensualists); and this is grievously harmful to both.

§ LXIII. Of the various forms of resultant mischief it is not here the place to speak: the reader may already be somewhat wearied with a statement which has led us apparently so far from our immediate subject. But the digression was necessary, in order that I might clearly define the sense in which I use the word Naturalism when I state it to be the third most essential characteristic of Gothic architecture. I mean that the Gothic builders belong to the central or greatest rank in both the classifications of artists which we have just made; that, considering all artists as either men of design, men of facts, or 196men of both, the Gothic builders were men of both; and that again, considering all artists as either Purists, Naturalists, or Sensualists, the Gothic builders were Naturalists.

§ LXIV. I say first, that the Gothic builders were of that central class which unites fact with design; but that the part of the work which was more especially their own was the truthfulness. Their power of artistical invention or arrangement was not greater than that of Romanesque and Byzantine workmen: by those workmen they were taught the principles, and from them received their models, of design; but to the ornamental feeling and rich fancy of the Byzantine the Gothic builder added a love of fact which is never found in the South. Both Greek and Roman used conventional foliage in their ornament, passing into something that was not foliage at all, knotting itself into strange cup-like buds or clusters, and growing out of lifeless rods instead of stems; the Gothic sculptor received these types, at first, as things that ought to be, just as we have a second time received them; but he could not rest in them. He saw there was no veracity in them, no knowledge, no vitality. Do what he would, he could not help liking the true leaves better; and cautiously, a little at a time, he put more of nature into his work, until at last it was all true, retaining, nevertheless, every valuable character of the original well-disciplined and designed arrangement.65

§ LXV. Nor is it only in external and visible subject that the Gothic workman wrought for truth: he is as firm in his rendering of imaginative as of actual truth; that is to say, when an idea would have been by a Roman, or Byzantine, symbolically represented, the Gothic mind realizes it to the utmost. For instance, the purgatorial fire is represented in the mosaic of Torcello (Romanesque) as a red stream, longitudinally striped like a riband, descending out of the throne of Christ, and gradually extending itself to envelope the wicked. When we are once informed what this means, it is enough for 197its purpose; but the Gothic inventor does not leave the sign in need of interpretation. He makes the fire as like real fire as he can; and in the porch of St. Maclou at Rouen the sculptured flames burst out of the Hades gate, and flicker up, in writhing tongues of stone, through the interstices of the niches, as if the church itself were on fire. This is an extreme instance, but it is all the more illustrative of the entire difference in temper and thought between the two schools of art, and of the intense love of veracity which influenced the Gothic design.

§ LXVI. I do not say that this love of veracity is always healthy in its operation. I have above noticed the errors into which it falls from despising design; and there is another kind of error noticeable in the instance just given, in which the love of truth is too hasty, and seizes on a surface truth instead of an inner one. For in representing the Hades fire, it is not the mere form of the flame which needs most to be told, but its unquenchableness, its Divine ordainment and limitation, and its inner fierceness, not physical and material, but in being the expression of the wrath of God. And these things are not to be told by imitating the fire that flashes out of a bundle of sticks. If we think over his symbol a little, we shall perhaps find that the Romanesque builder told more truth in that likeness of a blood-red stream, flowing between definite shores and out of God’s throne, and expanding, as if fed by a perpetual current, into the lake wherein the wicked are cast, than the Gothic builder in those torch-flickerings about his niches. But this is not to our immediate purpose; I am not at present to insist upon the faults into which the love of truth was led in the later Gothic times, but on the feeling itself, as a glorious and peculiar characteristic of the Northern builders. For, observe, it is not, even in the above instance, love of truth, but want of thought, which causes the fault. The love of truth, as such, is good, but when it is misdirected by thoughtlessness or over-excited by vanity, and either seizes on facts of small value, or gathers them chiefly that it may boast of its grasp and apprehension, its work may well become dull or offensive. Yet let us not, therefore, blame the inherent love of facts, but 198the incautiousness of their selection, and impertinence of their statement.

§ LXVII. I said, in the second place, that Gothic work, when referred to the arrangement of all art, as purist, naturalist, or sensualist, was naturalist. This character follows necessarily on its extreme love of truth, prevailing over the sense of beauty, and causing it to take delight in portraiture of every kind, and to express the various characters of the human countenance and form, as it did the varieties of leaves and the ruggedness of branches. And this tendency is both increased and ennobled by the same Christian humility which we saw expressed in the first character of Gothic work, its rudeness. For as that resulted from a humility which confessed the imperfection of the workman, so this naturalist portraiture is rendered more faithful by the humility which confesses the imperfection of the subject. The Greek sculptor could neither bear to confess his own feebleness, nor to tell the faults of the forms that he portrayed. But the Christian workman, believing that all is finally to work together for good, freely confesses both, and neither seeks to disguise his own roughness of work, nor his subject’s roughness of make. Yet this frankness being joined, for the most part, with depth of religious feeling in other directions, and especially with charity, there is sometimes a tendency to Purism in the best Gothic sculpture; so that it frequently reaches great dignity of form and tenderness of expression, yet never so as to lose the veracity of portraiture, wherever portraiture is possible: not exalting its kings into demi-gods, nor its saints into archangels, but giving what kingliness and sanctity was in them, to the full, mixed with due record of their faults; and this in the most part with a great indifference like that of Scripture history, which sets down, with unmoved and unexcusing resoluteness, the virtues and errors of all men of whom it speaks, often leaving the reader to form his own estimate of them, without an indication of the judgment of the historian. And this veracity is carried out by the Gothic sculptors in the minuteness and generality, as well as the equity, of their delineation: for they do not limit their 199art to the portraiture of saints and kings, but introduce the most familiar scenes and most simple subjects; filling up the backgrounds of Scripture histories with vivid and curious representations of the commonest incidents of daily life, and availing themselves of every occasion in which, either as a symbol, or an explanation of a scene or time, the things familiar to the eye of the workman could be introduced and made of account. Hence Gothic sculpture and painting are not only full of valuable portraiture of the greatest men, but copious records of all the domestic customs and inferior arts of the ages in which it flourished.66

§ LXVIII. There is, however, one direction in which the Naturalism of the Gothic workmen is peculiarly manifested; and this direction is even more characteristic of the school than the Naturalism itself; I mean their peculiar fondness for the forms of Vegetation. In rendering the various circumstances of daily life, Egyptian and Ninevite sculpture is as frank and as diffuse as the Gothic. From the highest pomps of state or triumphs of battle, to the most trivial domestic arts and amusements, all is taken advantage of to fill the field of granite with the perpetual interest of a crowded drama; and the early Lombardic and Romanesque sculpture is equally copious in its description of the familiar circumstances of war and the chase. But in all the scenes portrayed by the workmen of these nations, vegetation occurs only as an explanatory accessory; the reed is introduced to mark the course of the river, or the tree to mark the covert of the wild beast, or the ambush of the enemy, but there is no especial interest in the forms of the vegetation strong enough to induce them to make it a subject of separate and accurate study. Again, among the nations who followed the arts of design exclusively, the forms of foliage 200introduced were meagre and general, and their real intricacy and life were neither admired nor expressed. But to the Gothic workman the living foliage became a subject of intense affection, and he struggled to render all its characters with as much accuracy as was compatible with the laws of his design and the nature of his material, not unfrequently tempted in his enthusiasm to transgress the one and disguise the other.

§ LXIX. There is a peculiar significancy in this, indicative both of higher civilization and gentler temperament, than had before been manifested in architecture. Rudeness, and the love of change, which we have insisted upon as the first elements of Gothic, are also elements common to all healthy schools. But here is a softer element mingled with them, peculiar to the Gothic itself. The rudeness or ignorance which would have been painfully exposed in the treatment of the human form, are still not so great as to prevent the successful rendering of the wayside herbage; and the love of change, which becomes morbid and feverish in following the haste of the hunter, and the rage of the combatant, is at once soothed and satisfied as it watches the wandering of the tendril, and the budding of the flower. Nor is this all: the new direction of mental interest marks an infinite change in the means and the habits of life. The nations whose chief support was in the chase, whose chief interest was in the battle, whose chief pleasure was in the banquet, would take small care respecting the shapes of leaves and flowers; and notice little in the forms of the forest trees which sheltered them, except the signs indicative of the wood which would make the toughest lance, the closest roof, or the clearest fire. The affectionate observation of the grace and outward character of vegetation is the sure sign of a more tranquil and gentle existence, sustained by the gifts, and gladdened by the splendor, of the earth. In that careful distinction of species, and richness of delicate and undisturbed organization, which characterize the Gothic design, there is the history of rural and thoughtful life, influenced by habitual tenderness, and devoted to subtle inquiry; and every discriminating and delicate touch of the chisel, as it rounds the 201petal or guides the branch, is a prophecy of the developement of the entire body of the natural sciences, beginning with that of medicine, of the recovery of literature, and the establishment of the most necessary principles of domestic wisdom and national peace.

§ LXX. I have before alluded to the strange and vain supposition, that the original conception of Gothic architecture had been derived from vegetation,—from the symmetry of avenues, and the interlacing of branches. It is a supposition which never could have existed for a moment in the mind of any person acquainted with early Gothic; but, however idle as a theory, it is most valuable as a testimony to the character of the perfected style. It is precisely because the reverse of this theory is the fact, because the Gothic did not arise out of, but develope itself into, a resemblance to vegetation, that this resemblance is so instructive as an indication of the temper of the builders. It was no chance suggestion of the form of an arch from the bending of a bough, but a gradual and continual discovery of a beauty in natural forms which could be more and more perfectly transferred into those of stone, that influenced at once the heart of the people, and the form of the edifice. The Gothic architecture arose in massy and mountainous strength, axe-hewn, and iron-bound, block heaved upon block by the monk’s enthusiasm and the soldier’s force; and cramped and stanchioned into such weight of grisly wall, as might bury the anchoret in darkness, and beat back the utmost storm of battle, suffering but by the same narrow crosslet the passing of the sunbeam, or of the arrow. Gradually, as that monkish enthusiasm became more thoughtful, and as the sound of war became more and more intermittent beyond the gates of the convent or the keep, the stony pillar grew slender and the vaulted roof grew light, till they had wreathed themselves into the semblance of the summer woods at their fairest, and of the dead field-flowers, long trodden down in blood, sweet monumental statues were set to bloom for ever, beneath the porch of the temple, or the canopy of the tomb.

§ LXXI. Nor is it only as a sign of greater gentleness or 202refinement of mind, but as a proof of the best possible direction of this refinement, that the tendency of the Gothic to the expression of vegetative life is to be admired. That sentence of Genesis, “I have given thee every green herb for meat,” like all the rest of the book, has a profound symbolical as well as a literal meaning. It is not merely the nourishment of the body, but the food of the soul, that is intended. The green herb is, of all nature, that which is most essential to the healthy spiritual life of man. Most of us do not need fine scenery; the precipice and the mountain peak are not intended to be seen by all men,—perhaps their power is greatest over those who are unaccustomed to them. But trees, and fields, and flowers were made for all, and are necessary for all. God has connected the labor which is essential to the bodily sustenance, with the pleasures which are healthiest for the heart; and while He made the ground stubborn, He made its herbage fragrant, and its blossoms fair. The proudest architecture that man can build has no higher honor than to bear the image and recall the memory of that grass of the field which is, at once, the type and the support of his existence; the goodly building is then most glorious when it is sculptured into the likeness of the leaves of Paradise; and the great Gothic spirit, as we showed it to be noble in its disquietude, is also noble in its hold of nature; it is, indeed, like the dove of Noah, in that she found no rest upon the face of the waters,—but like her in this also, “Lo, in her mouth was an olive branch, plucked off.”

§ LXXII. The fourth essential element of the Gothic mind was above stated to be the sense of the Grotesque; but I shall defer the endeavor to define this most curious and subtle character until we have occasion to examine one of the divisions of the Renaissance schools, which was morbidly influenced by it (Vol. III. Chap. III.). It is the less necessary to insist upon it here, because every reader familiar with Gothic architecture must understand what I mean, and will, I believe, have no hesitation in admitting that the tendency to delight in fantastic and ludicrous, as well as in sublime, images, is a universal instinct of the Gothic imagination.

203

§ LXXIII. The fifth element above named was Rigidity; and this character I must endeavor carefully to define, for neither the word I have used, nor any other that I can think of, will express it accurately. For I mean, not merely stable, but active rigidity; the peculiar energy which gives tension to movement, and stiffness to resistance, which makes the fiercest lightning forked rather than curved, and the stoutest oak-branch angular rather than bending, and is as much seen in the quivering of the lance as in the glittering of the icicle.

§ LXXIV. I have before had occasion (Vol. I. Chap. XIII. § VII.) to note some manifestations of this energy or fixedness; but it must be still more attentively considered here, as it shows itself throughout the whole structure and decoration of Gothic work. Egyptian and Greek buildings stand, for the most part, by their own weight and mass, one stone passively incumbent on another: but in the Gothic vaults and traceries there is a stiffness analogous to that of the bones of a limb, or fibres of a tree; an elastic tension and communication of force from part to part, and also a studious expression of this throughout every visible line of the building. And, in like manner, the Greek and Egyptian ornament is either mere surface engraving, as if the face of the wall had been stamped with a seal, or its lines are flowing, lithe, and luxuriant; in either case, there is no expression of energy in framework of the ornament itself. But the Gothic ornament stands out in prickly independence, and frosty fortitude, jutting into crockets, and freezing into pinnacles; here starting up into a monster, there germinating into a blossom; anon knitting itself into a branch, alternately thorny, bossy, and bristly, or writhed into every form of nervous entanglement; but, even when most graceful, never for an instant languid, always quickset; erring, if at all, ever on the side of brusquerie.

§ LXXV. The feelings or habits in the workman which give rise to this character in the work, are more complicated and various than those indicated by any other sculptural expression hitherto named. There is, first, the habit of hard and rapid working; the industry of the tribes of the North, quickened 204by the coldness of the climate, and giving an expression of sharp energy to all they do (as above noted, Vol. I. Chap. XIII. § VII.), as opposed to the languor of the Southern tribes, however much of fire there may be in the heart of that languor, for lava itself may flow languidly. There is also the habit of finding enjoyment in the signs of cold, which is never found, I believe, in the inhabitants of countries south of the Alps. Cold is to them an unredeemed evil, to be suffered, and forgotten as soon as may be; but the long winter of the North forces the Goth (I mean the Englishman, Frenchman, Dane, or German), if he would lead a happy life at all, to find sources of happiness in foul weather as well as fair, and to rejoice in the leafless as well as in the shady forest. And this we do with all our hearts; finding perhaps nearly as much contentment by the Christmas fire as in the summer sunshine, and gaining health and strength on the ice-fields of winter, as well as among the meadows of spring. So that there is nothing adverse or painful to our feelings in the cramped and stiffened structure of vegetation checked by cold; and instead of seeking, like the Southern sculptor, to express only the softness of leafage nourished in all tenderness, and tempted into all luxuriance by warm winds and glowing rays, we find pleasure in dwelling upon the crabbed, perverse, and morose animation of plants that have known little kindness from earth or heaven, but, season after season, have had their best efforts palsied by frost, their brightest buds buried under snow, and their goodliest limbs lopped by tempest.

§ LXXVI. There are many subtle sympathies and affections which join to confirm the Gothic mind in this peculiar choice of subject; and when we add to the influence of these, the necessities consequent upon the employment of a rougher material, compelling the workman to seek for vigor of effect, rather than refinement of texture or accuracy of form, we have direct and manifest causes for much of the difference between the northern and southern cast of conception: but there are indirect causes holding a far more important place in the Gothic heart, though less immediate in their influence 205on design. Strength of will, independence of character, resoluteness of purpose, impatience of undue control, and that general tendency to set the individual reason against authority, and the individual deed against destiny, which, in the Northern tribes, has opposed itself throughout all ages to the languid submission, in the Southern, of thought to tradition, and purpose to fatality, are all more or less traceable in the rigid lines, vigorous and various masses, and daringly projecting and independent structure of the Northern Gothic ornament: while the opposite feelings are in like manner legible in the graceful and softly guided waves and wreathed bands, in which Southern decoration is constantly disposed; in its tendency to lose its independence, and fuse itself into the surface of the masses upon which it is traced; and in the expression seen so often, in the arrangement of those masses themselves, of an abandonment of their strength to an inevitable necessity, or a listless repose.

§ LXXVII. There is virtue in the measure, and error in the excess, of both these characters of mind, and in both of the styles which they have created; the best architecture, and the best temper, are those which unite them both; and this fifth impulse of the Gothic heart is therefore that which needs most caution in its indulgence. It is more definitely Gothic than any other, but the best Gothic building is not that which is most Gothic: it can hardly be too frank in its confession of rudeness, hardly too rich in its changefulness, hardly too faithful in its naturalism; but it may go too far in its rigidity, and, like the great Puritan spirit in its extreme, lose itself either in frivolity of division, or perversity of purpose.67 It actually did so in its later times; but it is gladdening to remember that in its utmost nobleness, the very temper which has been 206thought most adverse to it, the Protestant spirit of self-dependence and inquiry, was expressed in its every line. Faith and aspiration there were, in every Christian ecclesiastical building, from the first century to the fifteenth; but the moral habits to which England in this age owes the kind of greatness that she has,—the habits of philosophical investigation, of accurate thought, of domestic seclusion and independence, of stern self-reliance, and sincere upright searching into religious truth,—were only traceable in the features which were the distinctive creation of the Gothic schools, in the veined foliage, and thorny fretwork, and shadowy niche, and buttressed pier, and fearless height of subtle pinnacle and crested tower, sent like an “unperplexed question up to Heaven.”68

§ LXXVIII. Last, because the least essential, of the constituent elements of this noble school, was placed that of Redundance,—the uncalculating bestowal of the wealth of its labor. There is, indeed, much Gothic, and that of the best period, in which this element is hardly traceable, and which depends for its effect almost exclusively on loveliness of simple design and grace of uninvolved proportion: still, in the most characteristic buildings, a certain portion of their effect depends upon accumulation of ornament; and many of those which have most influence on the minds of men, have attained it by means of this attribute alone. And although, by careful study of the school, it is possible to arrive at a condition of taste which shall be better contented by a few perfect lines than by a whole façade covered with fretwork, the building which only satisfies such a taste is not to be considered the best. For the very first requirement of Gothic architecture being, as we saw above, that it shall both admit the aid, and appeal to the admiration, of the rudest as well as the most refined minds, the richness of the work is, paradoxical as the statement may appear, a part of its humility. No architecture is so haughty as 207that which is simple; which refuses to address the eye, except in a few clear and forceful lines; which implies, in offering so little to our regards, that all it has offered is perfect; and disdains, either by the complexity or the attractiveness of its features, to embarrass our investigation, or betray us into delight. That humility, which is the very life of the Gothic school, is shown not only in the imperfection, but in the accumulation, of ornament. The inferior rank of the workman is often shown as much in the richness, as the roughness, of his work; and if the co-operation of every hand, and the sympathy of every heart, are to be received, we must be content to allow the redundance which disguises the failure of the feeble, and wins the regard of the inattentive. There are, however, far nobler interests mingling, in the Gothic heart, with the rude love of decorative accumulation: a magnificent enthusiasm, which feels as if it never could do enough to reach the fulness of its ideal; an unselfishness of sacrifice, which would rather cast fruitless labor before the altar than stand idle in the market; and, finally, a profound sympathy with the fulness and wealth of the material universe, rising out of that Naturalism whose operation we have already endeavored to define. The sculptor who sought for his models among the forest leaves, could not but quickly and deeply feel that complexity need not involve the loss of grace, nor richness that of repose; and every hour which he spent in the study of the minute and various work of Nature, made him feel more forcibly the barrenness of what was best in that of man: nor is it to be wondered at, that, seeing her perfect and exquisite creations poured forth in a profusion which conception could not grasp nor calculation sum, he should think that it ill became him to be niggardly of his own rude craftsmanship; and where he saw throughout the universe a faultless beauty lavished on measureless spaces of broidered field and blooming mountain, to grudge his poor and imperfect labor to the few stones that he had raised one upon another, for habitation or memorial. The years of his life passed away before his task was accomplished; but generation succeeded generation with unwearied enthusiasm, 208and the cathedral front was at last lost in the tapestry of its traceries, like a rock among the thickets and herbage of spring.

§ LXXIX. We have now, I believe, obtained a view approaching to completeness of the various moral or imaginative elements which composed the inner spirit of Gothic architecture. We have, in the second place, to define its outward form.

Now, as the Gothic spirit is made up of several elements, some of which may, in particular examples, be wanting, so the Gothic form is made up of minor conditions of form, some of which may, in particular examples, be imperfectly developed.

We cannot say, therefore, that a building is either Gothic or not Gothic in form, any more than we can in spirit. We can only say that it is more or less Gothic, in proportion to the number of Gothic forms which it unites.

§ LXXX. There have been made lately many subtle and ingenious endeavors to base the definition of Gothic form entirely upon the roof-vaulting; endeavors which are both forced and futile: for many of the best Gothic buildings in the world have roofs of timber, which have no more connexion with the main structure of the walls of the edifice than a hat has with that of the head it protects; and other Gothic buildings are merely enclosures of spaces, as ramparts and walls, or enclosures of gardens or cloisters, and have no roofs at all, in the sense in which the word “roof” is commonly accepted. But every reader who has ever taken the slightest interest in architecture must know that there is a great popular impression on this matter, which maintains itself stiffly in its old form, in spite of all ratiocination and definition; namely, that a flat lintel from pillar to pillar is Grecian, a round arch Norman or Romanesque, and a pointed arch Gothic.

And the old popular notion, as far as it goes, is perfectly right, and can never be bettered. The most striking outward feature in all Gothic architecture is, that it is composed of pointed arches, as in Romanesque that it is in like manner 209composed of round; and this distinction would be quite as clear, though the roofs were taken off every cathedral in Europe. And yet, if we examine carefully into the real force and meaning of the term “roof” we shall perhaps be able to retain the old popular idea in a definition of Gothic architecture which shall also express whatever dependence that architecture has upon true forms of roofing.

§ LXXXI. In Chap. XIII. of the first volume, the reader will remember that roofs were considered as generally divided into two parts; the roof proper, that is to say, the shell, vault, or ceiling, internally visible; and the roof-mask, which protects this lower roof from the weather. In some buildings these parts are united in one framework; but, in most, they are more or less independent of each other, and in nearly all Gothic buildings there is considerable interval between them.

Now it will often happen, as above noticed, that owing to the nature of the apartments required, or the materials at hand, the roof proper may be flat, coved, or domed, in buildings which in their walls employ pointed arches, and are, in the straitest sense of the word, Gothic in all other respects. Yet so far forth as the roofing alone is concerned, they are not Gothic unless the pointed arch be the principal form adopted either in the stone vaulting or the timbers of the roof proper.

I shall say then, in the first place, that “Gothic architecture is that which uses, if possible, the pointed arch in the roof proper.” This is the first step in our definition.

§ LXXXII. Secondly. Although there may be many advisable or necessary forms for the lower roof or ceiling, there is, in cold countries exposed to rain and snow, only one advisable form for the roof-mask, and that is the gable, for this alone will throw off both rain and snow from all parts of its surface as speedily as possible. Snow can lodge on the top of a dome, not on the ridge of a gable. And thus, as far as roofing is concerned, the gable is a far more essential feature of Northern architecture than the pointed vault, for the one is a thorough 210necessity, the other often a graceful conventionality: the gable occurs in the timber roof of every dwelling-house and every cottage, but not the vault; and the gable built on a polygonal or circular plan, is the origin of the turret and spire;69 and all the so-called aspiration of Gothic architecture is, as above noticed (Vol. I. Chap. XII. § VI.), nothing more than its developement. So that we must add to our definition another clause, which will be, at present, by far the most important, and it will stand thus: “Gothic architecture is that which uses the pointed arch for the roof proper, and the gable for the roof-mask.”

§ LXXXIII. And here, in passing, let us notice a principle as true in architecture as in morals. It is not the compelled, but the wilful, transgression of law which corrupts the character. Sin is not in the act, but in the choice. It is a law for Gothic architecture, that it shall use the pointed arch for its roof proper; but because, in many cases of domestic building, this becomes impossible for want of room (the whole height of the apartment being required everywhere), or in various other ways inconvenient, flat ceilings may be used, and yet the Gothic shall not lose its purity. But in the roof-mask, there can be no necessity nor reason for a change of form: the gable is the best; and if any other—dome, or bulging crown, or whatsoever else—be employed at all, it must be in pure caprice, and wilful transgression of law. And wherever, therefore, this is done, the Gothic has lost its character; it is pure Gothic no more.

Fig. VIII. Fig. VIII. § LXXXIV. And this last clause of the definition is to be more strongly insisted upon, because it includes multitudes of buildings, especially domestic, which are Gothic in spirit, but which we are not in the habit of embracing in our general conception of Gothic architecture; multitudes of street dwelling-houses and straggling country farm-houses, built with little care for beauty, or observance of Gothic laws in vaults or windows, and yet maintaining their character by the sharp 211and quaint gables of the roofs. And, for the reason just given, a house is far more Gothic which has square windows, and a boldly gabled roof, than the one which has pointed arches for the windows, and a domed or flat roof. For it often happened in the best Gothic times, as it must in all times, that it was more easy and convenient to make a window square than pointed; not but that, as above emphatically stated, the richness of church architecture was also found in domestic; and systematically “when the pointed arch was used in the church it was used in the street,” only in all times there were cases in which men could not build as they would, and were obliged to construct their doors or windows in the readiest way; and this readiest way was then, in small work, as it will be to the end of time, to put a flat stone for a lintel and build the windows as in Fig. VIII.; and the occurrence of such windows in a building or a street will not un-Gothicize them, so long as the bold gable roof be retained, and the spirit of the work be visibly Gothic in other respects. But if the roof be wilfully and conspicuously of any other form than the gable,—if it be domed, or Turkish, or Chinese,—the building has positive corruption mingled with its Gothic elements, in proportion to the conspicuousness of the roof; and, if not absolutely un-Gothicized, can maintain its character only by such vigor of vital Gothic energy in other parts as shall cause the roof to be forgotten, thrown off like an eschar from the living frame. Nevertheless, we must always admit that it may be forgotten, and that if the Gothic seal be indeed set firmly on the walls, we are not to cavil at the forms reserved for the tiles and leads. For, observe, as our definition at present stands, being understood of large roofs only, it will allow a conical glass-furnace to be a Gothic building, but will not allow so much, either of the Duomo of Florence, or the Baptistery of Pisa. We must either mend it, therefore, or understand it in some broader sense.

212

§ LXXXV. And now, if the reader will look back to the fifth paragraph of Chap. III. Vol. I., he will find that I carefully extended my definition of a roof so as to include more than is usually understood by the term. It was there said to be the covering of a space, narrow or wide. It does not in the least signify, with respect to the real nature of the covering, whether the space protected be two feet wide, or ten; though in the one case we call the protection an arch, in the other a vault or roof. But the real point to be considered is, the manner in which this protection stands, and not whether it is narrow or broad. We call the vaulting of a bridge "an arch,” because it is narrow with respect to the river it crosses; but if it were built above us on the ground, we should call it a waggon vault, because then we should feel the breadth of it. The real question is the nature of the curve, not the extent of space over which it is carried: and this is more the case with respect to Gothic than to any other architecture; for, in the greater number of instances, the form of the roof is entirely dependent on the ribs; the domical shells being constructed in all kinds of inclinations, quite undeterminable by the eye, and all that is definite in their character being fixed by the curves of the ribs.

Fig. IX. Fig. IX. Fig. X. Fig. X. § LXXXVI. Let us then consider our definition as including the narrowest arch, or tracery bar, as well as the broadest roof, and it will be nearly a perfect one. For the fact is, that all good Gothic is nothing more than the developement, in various ways, and on every conceivable scale, of the group formed by the pointed arch for the bearing line below, and the gable for the protecting line above; and from the huge, gray, shaly slope of the cathedral roof, with its elastic pointed vaults beneath, to the slight crown-like points that enrich the smallest niche of its doorway, one law and one expression will be found in all. The modes of support and of decoration are infinitely various, but the real character of the building, in all good Gothic, depends upon the single lines of the gable over the pointed arch, Fig. IX., endlessly rearranged or 213repeated. The larger woodcut, Fig. X., represents three characteristic conditions of the treatment of the group: a, from a tomb at Verona (1328); b, one of the lateral porches at Abbeville; c, one of the uppermost points of the great western façade of Rouen Cathedral; both these last being, I believe, early work of the fifteenth century. The forms of the pure early English and French Gothic are too well known to need any notice; my reason will appear presently for choosing, by way of example, these somewhat rare conditions.

§ LXXXVII. But, first, let us try whether we cannot get the forms of the other great architectures of the world broadly expressed by relations of the same lines into which we have compressed the Gothic. We may easily do this if the reader will first allow me to remind him of the true nature of the pointed arch, as it was expressed in § X. Chap. X. of the first volume. It was said there, that it ought to be called a “curved gable,” for, strictly speaking, an “arch” cannot be “pointed.” The so-called pointed arch ought always to be considered as a gable, with its sides curved in order to enable them to bear pressure from without. Thus considering it, there are but three ways 214in which an interval between piers can be bridged,—the three ways represented by A, B, and C, Fig. XI.,70 on page 213,—A, the lintel; B, the round arch; C, the gable. All the architects in the world will never discover any other ways of bridging a space than these three; they may vary the curve of the arch, or curve the sides of the gable, or break them; but in doing this they are merely modifying or subdividing, not adding to the generic forms.

§ LXXXVIII. Now there are three good architectures in the world, and there never can be more, correspondent to each of these three simple ways of covering in a space, which is the original function of all architectures. And those three architectures are pure exactly in proportion to the simplicity and directness with which they express the condition of roofing on which they are founded. They have many interesting varieties, according to their scale, manner of decoration, and character of the nations by whom they are practised, but all their varieties are finally referable to the three great heads:—

A, Greek: Architecture of the Lintel.

B, Romanesque: Architecture of the Round Arch.

C, Gothic: Architecture of the Gable.

Fig. XI. Fig. XI. The three names, Greek, Romanesque, and Gothic, are indeed inaccurate when used in this vast sense, because they imply national limitations; but the three architectures may nevertheless not unfitly receive their names from those nations by whom they were carried to the highest perfections. We may thus briefly state their existing varieties.

§ LXXXIX. A. GREEK: Lintel Architecture. The worst of the three; and, considered with reference to stone construction, always in some measure barbarous. Its simplest type is 215Stonehenge; its most refined, the Parthenon; its noblest, the Temple of Karnak.

In the hands of the Egyptian, it is sublime; in those of the Greek, pure; in those of the Roman, rich; and in those of the Renaissance builder, effeminate.

B. Romanesque: Round-arch Architecture. Never thoroughly developed until Christian times. It falls into two great branches, Eastern and Western, or Byzantine and Lombardic; changing respectively in process of time, with certain helps from each other, into Arabian Gothic and Teutonic Gothic. Its most perfect Lombardic type is the Duomo of Pisa; its most perfect Byzantine type (I believe), St. Mark’s at Venice. Its highest glory is, that it has no corruption. It perishes in giving birth to another architecture as noble as itself.

C. Gothic: Architecture of the Gable. The daughter of the Romanesque; and, like the Romanesque, divided into two great branches, Western and Eastern, or pure Gothic and Arabian Gothic; of which the latter is called Gothic, only because it has many Gothic forms, pointed arches, vaults, &c., but its spirit remains Byzantine, more especially in the form of the roof-mask, of which, with respect to these three great families, we have next to determine the typical form.

§ XC. For, observe, the distinctions we have hitherto been stating, depend on the form of the stones first laid from pier to pier; that is to say, of the simplest condition of roofs proper. Adding the relations of the roof-mask to these lines, we shall have the perfect type of form for each school.

Fig. XII. Fig. XII. In the Greek, the Western Romanesque, and Western Gothic, the roof-mask is the gable: in the Eastern Romanesque, and Eastern Gothic, it is the dome: but I have not studied the roofing of either of these last two groups, and shall not venture to generalize them in a diagram. But the three groups, in the hands of the Western builders, may be thus simply represented: a, Fig. XII., 216Greek;71 b, Western Romanesque; c, Western, or true, Gothic.

Now, observe, first, that the relation of the roof-mask to the roof proper, in the Greek type, forms that pediment which gives its most striking character to the temple, and is the principal recipient of its sculptural decoration. The relation of these lines, therefore, is just as important in the Greek as in the Gothic schools.

Fig. XIII. Fig. XIII. § XCI. Secondly, the reader must observe the difference of steepness in the Romanesque and Gothic gables. This is not an unimportant distinction, nor an undecided one. The Romanesque gable does not pass gradually into the more elevated form; there is a great gulf between the two; the whole effect of all Southern architecture being dependent upon the use of the flat gable, and of all Northern upon that of the acute. I need not here dwell upon the difference between the lines of an Italian village, or the flat tops of most Italian towers, and the peaked gables and spires of the North, attaining their most fantastic developement, I believe, in Belgium: but it may be well to state the law of separation, namely, that a Gothic gable must have all its angles acute, and a Romanesque 217one must have the upper one obtuse: or, to give the reader a simple practical rule, take any gable, a or b, Fig. XIII., and strike a semicircle on its base; if its top rises above the semicircle, as at b, it is a Gothic gable; if it falls beneath it, a Romanesque one; but the best forms in each group are those which are distinctly steep, or distinctly low. In the figure f is, perhaps, the average of Romanesque slope, and g of Gothic.

Fig. XIV. Fig. XIV. § XCII. But although we do not find a transition from one school into the other in the slope of the gables, there is often a confusion between the two schools in the association of the gable with the arch below it. It has just been stated that the pure Romanesque condition is the round arch under the low gable, a, Fig. XIV., and the pure Gothic condition is the pointed arch under the high gable, b. But in the passage from one style to the other, we sometimes find the two conditions reversed; the pointed arch under a low gable, as d, or the round arch under a high gable, as c. The form d occurs in the tombs of Verona, and c in the doors of Venice.

§ XCIII. We have thus determined the relation of Gothic to the other architectures of the world, as far as regards the main lines of its construction; but there is still one word which needs to be added to our definition of its form, with respect to a part of its decoration, which rises out of that construction. We have seen that the first condition of its form is, that it shall have pointed arches. When Gothic is perfect, therefore, it will follow that the pointed arches must be built in the strongest possible manner.

218

Fig. XV. Fig. XV. Now, if the reader will look back to Chapter XI. of Vol. I., he will find the subject of the masonry of the pointed arch discussed at length, and the conclusion deduced, that of all possible forms of the pointed arch (a certain weight of material being given), that generically represented at e, Fig. XV., is the strongest. In fact, the reader can see in a moment that the weakness of the pointed arch is in its flanks, and that by merely thickening them gradually at this point all chance of fracture is removed. Or, perhaps, more simply still:—Suppose a gable built of stone, as at a, and pressed upon from without by a weight in the direction of the arrow, clearly it would be liable to fall in, as at b. To prevent this, we make a pointed arch of it, as at c; and now it cannot fall inwards, but if pressed upon from above may give way outwards, as at d. But at last we build as at e, and now it can neither fall out nor in.

§ XCIV. The forms of arch thus obtained, with a pointed projection called a cusp on each side, must for ever be delightful to the human mind, as being expressive of the utmost strength and permanency obtainable with a given mass of material. But it was not by any such process of reasoning, nor with any reference to laws of construction, that the cusp was originally invented. It is merely the special application to the arch of the great ornamental system of Foliation; or the adaptation of the forms of leafage which has been above insisted upon as the principal characteristic of Gothic Naturalism. This love of foliage was exactly proportioned, in its 219intensity, to the increase of strength in the Gothic spirit: in the Southern Gothic it is soft leafage that is most loved; in the Northern thorny leafage. And if we take up any Northern illuminated manuscript of the great Gothic time, we shall find every one of its leaf ornaments surrounded by a thorny structure laid round it in gold or in color; sometimes apparently copied faithfully from the prickly developement of the root of the leaf in the thistle, running along the stems and branches exactly as the thistle leaf does along its own stem, and with sharp spines proceeding from the points, as in Fig. XVI. At other times, and for the most part in work in the thirteenth century, the golden ground takes the form of pure and severe cusps, sometimes enclosing the leaves, sometimes filling up the forks of the branches (as in the example fig. 1, Plate I. Vol. III.), passing imperceptibly from the distinctly vegetable condition (in which it is just as certainly representative of the thorn, as other parts of the design are of the bud, leaf, and fruit) into the crests on the necks, or the membranous sails of the wings, of serpents, dragons, and other grotesques, as in Fig. XVII., and into rich and vague fantasies of curvature; among which, however, the pure cusped system of the pointed arch is continually discernible, not accidentally, but designedly indicated, and connecting itself with the literally architectural portions of the design.

Fig. XVI. Fig. XVI. Fig. XVII. Fig. XVII. § XCV. The system, then, of what is called Foliation, whether simple, as in the cusped arch, or complicated, as in tracery, rose out of this love of leafage; not that the form of the arch 220is intended to imitate a leaf, but to be invested with the same characters of beauty which the designer had discovered in the leaf. Observe, there is a wide difference between these two intentions. The idea that large Gothic structure, in arches and roofs, was intended to imitate vegetation is, as above noticed, untenable for an instant in the front of facts. But the Gothic builder perceived that, in the leaves which he copied for his minor decorations, there was a peculiar beauty, arising from certain characters of curvature in outline, and certain methods of subdivision and of radiation in structure. On a small scale, in his sculptures and his missal-painting, he copied the leaf or thorn itself; on a large scale he adopted from it its abstract sources of beauty, and gave the same kinds of curvatures and the same species of subdivision to the outline of his arches, so far as was consistent with their strength, never, in any single instance, suggesting the resemblance to leafage by irregularity of outline, but keeping the structure perfectly simple, and, as we have seen, so consistent with the best principles of masonry, that in the finest Gothic designs of arches, which are always single cusped (the cinquefoiled arch being licentious, though in early work often very lovely), it is literally impossible, without consulting the context of the building, to say whether the cusps have been added for the sake of beauty or of strength; nor, though in mediæval architecture they were, I believe, assuredly first employed in mere love of their picturesque form, am I absolutely certain that their earliest invention was not a structural effort. For the earliest cusps with which I am acquainted are those used in the vaults of the great galleries of the Serapeum, discovered in 1850 by M. Maniette at Memphis, and described by Colonel Hamilton in a paper read in February last before the Royal Society of Literature.72 The roofs of its galleries were admirably shown in Colonel Hamilton’s drawings made to scale upon the spot, and their profile is a cusped round arch, perfectly 221pure and simple; but whether thrown into this form for the sake of strength or of grace, I am unable to say.

§ XCVI. It is evident, however, that the structural advantage of the cusp is available only in the case of arches on a comparatively small scale. If the arch becomes very large, the projections under the flanks must become too ponderous to be secure; the suspended weight of stone would be liable to break off, and such arches are therefore never constructed with heavy cusps, but rendered secure by general mass of masonry; and what additional appearance of support may be thought necessary (sometimes a considerable degree of actual support) is given by means of tracery.

Fig. XVIII. Fig. XVIII. § XCVII. Of what I stated in the second chapter of the “Seven Lamps” respecting the nature of tracery, I need repeat here only this much, that it began in the use of penetrations through the stone-work of windows or walls, cut into forms which looked like stars when seen from within, and like leaves when seen from without: the name foil or feuille being universally applied to the separate lobes of their extremities, and the pleasure received from them being the same as that which we feel in the triple, quadruple, or other radiated leaves of vegetation, joined with the perception of a severely geometrical order and symmetry. A few of the most common forms are represented, unconfused by exterior mouldings, in Fig. XVIII., and the best traceries are nothing more than close clusters of such forms, with mouldings following their outlines.

222

§ XCVIII. The term “foliated,” therefore, is equally descriptive of the most perfect conditions both of the simple arch and of the traceries by which, in later Gothic, it is filled; and this foliation is an essential character of the style. No Gothic is either good or characteristic which is not foliated either in its arches or apertures. Sometimes the bearing arches are foliated, and the ornamentation above composed of figure sculpture; sometimes the bearing arches are plain, and the ornamentation above them is composed of foliated apertures. But the element of foliation must enter somewhere, or the style is imperfect. And our final definition of Gothic will, therefore, stand thus:—

“Foliated Architecture, which uses the pointed arch for the roof proper, and the gable for the roof-mask.”

§ XCIX. And now there is but one point more to be examined, and we have done.

Fig. XIX. Fig. XIX. Foliation, while it is the most distinctive and peculiar, is also the easiest method of decoration which Gothic architecture possesses; and, although in the disposition of the proportions and forms of foils, the most noble imagination may be shown, yet a builder without imagination at all, or any other faculty of design, can produce some effect upon the mass of his work by merely covering it with foolish foliation. Throw any number of crossing lines together at random, as in Fig. XIX., and fill their squares and oblong openings with quatrefoils and cinquefoils, and you will immediately have what will stand, with most people, for very satisfactory Gothic. The slightest possible acquaintance with existing forms will enable any architect to vary his patterns of 223foliation with as much ease as he would those of a kaleidoscope, and to produce a building which the present European public will think magnificent, though there may not be, from foundation to coping, one ray of invention, or any other intellectual merit, in the whole mass of it. But floral decoration, and the disposition of mouldings, require some skill and thought; and, if they are to be agreeable at all, must be verily invented, or accurately copied. They cannot be drawn altogether at random, without becoming so commonplace as to involve detection: and although, as I have just said, the noblest imagination may be shown in the dispositions of traceries, there is far more room for its play and power when those traceries are associated with floral or animal ornament; and it is probable, à priori, that, wherever true invention exists, such ornament will be employed in profusion.

§ C. Now, all Gothic may be divided into two vast schools, one early, the other late;73 of which the former, noble, inventive, and progressive, uses the element of foliation moderately, that of floral and figure sculpture decoration profusely; the latter, ignoble, uninventive, and declining, uses foliation immoderately, floral and figure sculpture subordinately. The two schools touch each other at that instant of momentous change, dwelt upon in the “Seven Lamps,” chap, ii., a period later or earlier in different districts, but which may be broadly stated as the middle of the fourteenth century; both styles being, of course, in their highest excellence at the moment when they meet, the one ascending to the point of junction, the one declining from it, but, at first, not in any marked degree, and only showing the characters which justify its being above called, generically, ignoble, as its declension reaches steeper slope.

§ CI. Of these two great schools, the first uses foliation only in large and simple masses, and covers the minor members, 224cusps, &c., of that foliation, with various sculpture. The latter decorates foliation itself with minor foliation, and breaks its traceries into endless and lace-like subdivision of tracery.

A few instances will explain the difference clearly. Fig. 2, Plate XII., represents half of an eight-foiled aperture from Salisbury; where the element of foliation is employed in the larger disposition of the starry form; but in the decoration of the cusp it has entirely disappeared, and the ornament is floral.

XII. LINEAR AND SURFACE GOTHIC. LINEAR AND SURFACE GOTHIC. But in fig. 1, which is part of a fringe round one of the later windows in Rouen Cathedral, the foliation is first carried boldly round the arch, and then each cusp of it divided into other forms of foliation. The two larger canopies of niches below, figs. 5 and 6, are respectively those seen at the flanks of the two uppermost examples of gabled Gothic in Fig. X., p. 213. Those examples were there chosen in order also to illustrate the distinction in the character of ornamentation which we are at present examining; and if the reader will look back to them, and compare their methods of treatment, he will at once be enabled to fix that distinction clearly in his mind. He will observe that in the uppermost the element of foliation is scrupulously confined to the bearing arches of the gable, and of the lateral niches, so that, on any given side of the monument, only three foliated arches are discernible. All the rest of the ornamentation is “bossy sculpture,” set on the broad marble surface. On the point of the gable are set the shield and dog-crest of the Scalas, with its bronze wings, as of a dragon, thrown out from it on either side; below, an admirably sculptured oak-tree fills the centre of the field; beneath it is the death of Abel, Abel lying dead upon his face on one side, Cain opposite, looking up to heaven in terror: the border of the arch is formed of various leafage, alternating with the scala shield; and the cusps are each filled by one flower, and two broad flowing leaves. The whole is exquisitely relieved by color; the ground being of pale red Verona marble, and the statues and foliage of white Carrara marble, inlaid.

225

§ CII. The figure below it, b, represents the southern lateral door of the principal church in Abbeville: the smallness of the scale compelled me to make it somewhat heavier in the lines of its traceries than it is in reality, but the door itself is one of the most exquisite pieces of flamboyant Gothic in the world; and it is interesting to see the shield introduced here, at the point of the gable, in exactly the same manner as in the upper example, and with precisely the same purpose,—to stay the eye in its ascent, and to keep it from being offended by the sharp point of the gable, the reversed angle of the shield being so energetic as completely to balance the upward tendency of the great convergent lines. It will be seen, however, as this example is studied, that its other decorations are altogether different from those of the Veronese tomb; that, here, the whole effect is dependent on mere multiplications of similar lines of tracery, sculpture being hardly introduced except in the seated statue under the central niche, and, formerly, in groups filling the shadowy hollows under the small niches in the archivolt, but broken away in the Revolution. And if now we turn to Plate XII., just passed, and examine the heads of the two lateral niches there given from each of these monuments on a larger scale, the contrast will be yet more apparent. The one from Abbeville (fig. 5), though it contains much floral work of the crisp Northern kind in its finial and crockets, yet depends for all its effect on the various patterns of foliation with which its spaces are filled; and it is so cut through and through that it is hardly stronger than a piece of lace: whereas the pinnacle from Verona depends for its effect on one broad mass of shadow, boldly shaped into the trefoil in its bearing arch; and there is no other trefoil on that side of the niche. All the rest of its decoration is floral, or by almonds and bosses; and its surface of stone is unpierced, and kept in broad light, and the mass of it thick and strong enough to stand for as many more centuries as it has already stood, scatheless, in the open street of Verona. The figures 3 and 4, above each niche, show how the same principles are carried out into the smallest details of the two edifices, 3 being 226the moulding which borders the gable at Abbeville, and 4, that in the same position at Verona; and as thus in all cases the distinction in their treatment remains the same, the one attracting the eye to broad sculptured surfaces, the other to involutions of intricate lines, I shall hereafter characterize the two schools, whenever I have occasion to refer to them, the one as Surface-Gothic, the other as Linear-Gothic.

§ CIII. Now observe: it is not, at present, the question, whether the form of the Veronese niche, and the design of its flower-work, be as good as they might have been; but simply, which of the two architectural principles is the greater and better. And this we cannot hesitate for an instant in deciding. The Veronese Gothic is strong in its masonry, simple in its masses, but perpetual in its variety. The late French Gothic is weak in masonry, broken in mass, and repeats the same idea continually. It is very beautiful, but the Italian Gothic is the nobler style.

§ CIV. Yet, in saying that the French Gothic repeats one idea, I mean merely that it depends too much upon the foliation of its traceries. The disposition of the traceries themselves is endlessly varied and inventive; and indeed, the mind of the French workman was, perhaps, even richer in fancy than that of the Italian, only he had been taught a less noble style. This is especially to be remembered with respect to the subordination of figure sculpture above noticed as characteristic of the later Gothic.

It is not that such sculpture is wanting; on the contrary, it is often worked into richer groups, and carried out with a perfection of execution, far greater than those which adorn the earlier buildings: but, in the early work, it is vigorous, prominent, and essential to the beauty of the whole; in the late work it is enfeebled, and shrouded in the veil of tracery, from which it may often be removed with little harm to the general effect.74

227

Fig. XX. Fig. XX. § CV. Now the reader may rest assured that no principle of art is more absolute than this,—that a composition from which anything can be removed without doing mischief is always so far forth inferior. On this ground, therefore, if on no other, there can be no question, for a moment, which of the two schools is the greater; although there are many most noble works in the French traceried Gothic, having a sublimity of their own dependent on their extreme richness and grace of line, and for which we may be most grateful to their builders. And, indeed, the superiority of the Surface-Gothic cannot be completely felt, until we compare it with the more degraded Linear schools, as, for instance, with our own English Perpendicular. The ornaments of the Veronese niche, which we have used for our example, are by no means among the best of their school, yet they will serve our purpose for such a comparison. That of its pinnacle is composed of a single upright flowering plant, of which the stem shoots up through the centres of the leaves, and bears a pendent blossom, somewhat like that of the imperial lily. The leaves are thrown back from the stem with singular grace and freedom, and foreshortened, as if by a skilful painter, in the shallow marble relief. Their arrangement is roughly shown in the little woodcut at the side (Fig. XX.); and if the reader will simply try the experiment for himself,—first, of covering a piece of paper with crossed lines, as if for accounts, and filling all the interstices with any foliation that comes into his head, as in Figure XIX. above; and then, of trying to fill the point of a gable with a piece of 228leafage like that in Figure XX. above, putting the figure itself aside,—he will presently find that more thought and invention are required to design this single minute pinnacle, than to cover acres of ground with English perpendicular.

§ CVI. We have now, I believe, obtained a sufficiently accurate knowledge both of the spirit and form of Gothic architecture; but it may, perhaps, be useful to the general reader, if, in conclusion, I set down a few plain and practical rules for determining, in every instance, whether a given building be good Gothic or not, and, if not Gothic, whether its architecture is of a kind which will probably reward the pains of careful examination.

§ CVII. First. Look if the roof rises in a steep gable, high above the walls. If it does not do this, there is something wrong; the building is not quite pure Gothic, or has been altered.

§ CVIII. Secondly. Look if the principal windows and doors have pointed arches with gables over them. If not pointed arches, the building is not Gothic; if they have not any gables over them, it is either not pure, or not first-rate.

If, however, it has the steep roof, the pointed arch, and gable all united, it is nearly certain to be a Gothic building of a very fine time.

§ CIX. Thirdly. Look if the arches are cusped, or apertures foliated. If the building has met the first two conditions, it is sure to be foliated somewhere; but, if not everywhere, the parts which are unfoliated are imperfect, unless they are large bearing arches, or small and sharp arches in groups, forming a kind of foliation by their own multiplicity, and relieved by sculpture and rich mouldings. The upper windows, for instance, in the east end of Westminster Abbey are imperfect for want of foliation. If there be no foliation anywhere, the building is assuredly imperfect Gothic.

§ CX. Fourthly. If the building meets all the first three conditions, look if its arches in general, whether of windows and doors, or of minor ornamentation, are carried on true shafts with bases and capitals. If they are, then the building is assuredly of the finest Gothic style. It may still, perhaps, 229be an imitation, a feeble copy, or a bad example of a noble style; but the manner of it, having met all these four conditions, is assuredly first-rate.

If its apertures have not shafts and capitals, look if they are plain openings in the walls, studiously simple, and unmoulded at the sides; as, for instance, the arch in Plate XIX. Vol. I. If so, the building may still be of the finest Gothic, adapted to some domestic or military service. But if the sides of the window be moulded, and yet there are no capitals at the spring of the arch, it is assuredly of an inferior school.

This is all that is necessary to determine whether the building be of a fine Gothic style. The next tests to be applied are in order to discover whether it be good architecture or not: for it may be very impure Gothic, and yet very noble architecture; or it may be very pure Gothic, and yet, if a copy, or originally raised by an ungifted builder, very bad architecture.

If it belong to any of the great schools of color, its criticism becomes as complicated, and needs as much care, as that of a piece of music, and no general rules for it can be given; but if not—

§ CXI. First. See if it looks as if it had been built by strong men; if it has the sort of roughness, and largeness, and nonchalance, mixed in places with the exquisite tenderness which seems always to be the sign-manual of the broad vision, and massy power of men who can see past the work they are doing, and betray here and there something like disdain for it. If the building has this character, it is much already in its favor; it will go hard but it proves a noble one. If it has not this, but is altogether accurate, minute, and scrupulous in its workmanship, it must belong to either the very best or the very worst of schools: the very best, in which exquisite design is wrought out with untiring and conscientious care, as in the Giottesque Gothic; or the very worst, in which mechanism has taken the place of design. It is more likely, in general, that it should belong to the worst than the best: so that, on the whole, very accurate workmanship is to be esteemed a bad sign; and if there is nothing remarkable about the building but its precision, it may be passed at once with contempt.

230

§ CXII. Secondly. Observe if it be irregular, its different parts fitting themselves to different purposes, no one caring what becomes of them, so that they do their work. If one part always answers accurately to another part, it is sure to be a bad building; and the greater and more conspicuous the irregularities, the greater the chances are that it is a good one. For instance, in the Ducal Palace, of which a rough woodcut is given in Chap. VIII., the general idea is sternly symmetrical; but two windows are lower than the rest of the six; and if the reader will count the arches of the small arcade as far as to the great balcony, he will find it is not in the centre, but set to the right-hand side by the whole width of one of those arches. We may be pretty sure that the building is a good one; none but a master of his craft would have ventured to do this.

§ CXIII. Thirdly. Observe if all the traceries, capitals, and other ornaments are of perpetually varied design. If not, the work is assuredly bad.

§ CXIV. Lastly. Read the sculpture. Preparatory to reading it, you will have to discover whether it is legible (and, if legible, it is nearly certain to be worth reading). On a good building, the sculpture is always so set, and on such a scale, that at the ordinary distance from which the edifice is seen, the sculpture shall be thoroughly intelligible and interesting. In order to accomplish this, the uppermost statues will be ten or twelve feet high, and the upper ornamentation will be colossal, increasing in fineness as it descends, till on the foundation it will often be wrought as if for a precious cabinet in a king’s chamber; but the spectator will not notice that the upper sculptures are colossal. He will merely feel that he can see them plainly, and make them all out at his ease.

And, having ascertained this, let him set himself to read them. Thenceforward the criticism of the building is to be conducted precisely on the same principles as that of a book; and it must depend on the knowledge, feeling, and not a little on the industry and perseverance of the reader, whether, even in the case of the best works, he either perceive them to be great, or feel them to be entertaining.

56The third kind of ornament, the Renaissance, is that in which the inferior detail becomes principal, the executor of every minor portion being required to exhibit skill and possess knowledge as great as that which is possessed by the master of the design; and in the endeavor to endow him with this skill and knowledge, his own original power is overwhelmed, and the whole building becomes a wearisome exhibition of well-educated imbecility. We must fully inquire into the nature of this form of error, when we arrive at the examination of the Renaissance schools.

57Vide Preface to “Fair Maid of Perth.”

58The Elgin marbles are supposed by many persons to be “perfect.” In the most important portions they indeed approach perfection, but only there. The draperies are unfinished, the hair and wool of the animals are unfinished, and the entire bas-reliefs of the frieze are roughly cut.

59In the eighth chapter we shall see a remarkable instance of this sacrifice of symmetry to convenience in the arrangement of the windows of the Ducal Palace.

60I am always afraid to use this word “Composition;” it is so utterly misused in the general parlance respecting art. Nothing is more common than to hear divisions of art into “form, composition, and color,” or “light and shade and composition,” or “sentiment and composition,” or it matters not what else and composition; the speakers in each case attaching a perfectly different meaning to the word, generally an indistinct one, and always a wrong one. Composition is, in plain English, “putting together,” and it means the putting together of lines, of forms, of colors, of shades, or of ideas. Painters compose in color, compose in thought, compose in form, and compose in effect: the word being of use merely in order to express a scientific, disciplined, and inventive arrangement of any of these, instead of a merely natural or accidental one.

61Design is used in this place as expressive of the power to arrange lines and colors nobly. By facts, I mean facts perceived by the eye and mind, not facts accumulated by knowledge. See the chapter on Roman Renaissance (Vol. III. Chap. II.) for this distinction.

62“Earlier,” that is to say, pre-Raphaelite ages. Men of this stamp will praise Claude, and such other comparatively debased artists; but they cannot taste the work of the thirteenth century.

63Not selfish fear, caused by want of trust in God, or of resolution in the soul.

64I reserve for another place the full discussion of this interesting subject, which here would have led me too far; but it must be noted, in passing, that this vulgar Purism, which rejects truth, not because it is vicious, but because it is humble, and consists not in choosing what is good, but in disguising what is rough, extends itself into every species of art. The most definite instance of it is the dressing of characters of peasantry in an opera or ballet scene; and the walls of our exhibitions are full of works of art which “exalt nature” in the same way, not by revealing what is great in the heart, but by smoothing what is coarse in the complexion. There is nothing, I believe, so vulgar, so hopeless, so indicative of an irretrievably base mind, as this species of Purism. Of healthy Purism carried to the utmost endurable length in this direction, exalting the heart first, and the features with it, perhaps the most characteristic instance I can give is Stothard’s vignette to “Jorasse,” in Rogers’s Italy; at least it would be so if it could be seen beside a real group of Swiss girls. The poems of Rogers, compared with those of Crabbe, are admirable instances of the healthiest Purism and healthiest Naturalism in poetry. The first great Naturalists of Christian art were Orcagna and Giotto.

65The reader will understand this in a moment by glancing at Plate XX., the last in this volume, where the series 1 to 12 represents the change in one kind of leaf, from the Byzantine to the perfect Gothic.

66The best art either represents the facts of its own day, or, if facts of the past, expresses them with accessories of the time in which the work was done. All good art, representing past events, is therefore full of the most frank anachronism, and always ought to be. No painter has any business to be an antiquarian. We do not want his impressions or suppositions respecting things that are past. We want his clear assertions respecting things present.

67See the account of the meeting at Talla Linns, in 1682, given in the fourth chapter of the “Heart of Midlothian.” At length they arrived at the conclusion that “they who owned (or allowed) such names as Monday, Tuesday, January, February, and so forth, served themselves heirs to the same if not greater punishment than had been denounced against the idolaters of old.”

68See the beautiful description of Florence in Elizabeth Browning’s “Casa Guidi Windows,” which is not only a noble poem, but the only book I have seen which, favoring the Liberal cause in Italy, gives a just account of the incapacities of the modern Italian.

69Salisbury spire is only a tower with a polygonal gabled roof of stone, and so also the celebrated spires of Caen and Coutances.

70Or by the shaded portions of Fig. XXIX. Vol. I.

71The reader is not to suppose that Greek architecture had always, or often, flat ceilings, because I call its lintel the roof proper. He must remember I always use these terms of the first simple arrangements of materials that bridge a space; bringing in the real roof afterwards, if I can. In the case of Greek temples it would be vain to refer their structure to the real roof, for many were hypæthral, and without a roof at all. I am unfortunately more ignorant of Egyptian roofing than even of Arabian, so that I cannot bring this school into the diagram; but the gable appears to have been magnificently used for a bearing roof. Vide Mr. Fergusson’s section of the Pyramid of Geezeh, “Principles of Beauty in Art,” Plate I., and his expressions of admiration of Egyptian roof masonry, page 201.

72See ‘Athenæum,’ March 5th, 1853.

73Late, and chiefly confined to Northern countries, so that the two schools may be opposed either as Early and Late Gothic, or (in the fourteenth century) as Southern and Northern Gothic.

74In many of the best French Gothic churches, the groups of figures have been all broken away at the Revolution, without much harm to the picturesqueness, though with grievous loss to the historical value of the architecture: whereas, if from the niche at Verona we were to remove its floral ornaments, and the statue beneath it, nothing would remain but a rude square trefoiled shell, utterly valueless, or even ugly.