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CHAP. 11 1. Taran fs marked likeness between the virtue of man and the enlightenment ofthe globeleihabite—the same diminishing ‘radaton in vigour up tothe Hints of their domains, the same ‘essential separation fom thee contraries—the same twilight at ‘the meating ofthe two: a something wider belt than the He here the work rolls int night, that strange twilight of the vires; that dusky debateable land, wherein zeal becomes ine tence and temperance becomes severity, and justice becomes truly, and faith superstition, and each and all vanish foto loom, Nevertheless, withthe greater number of thm, though their Alinsess inreases gradually, we tay mark the moment of their sunset; and, happily, may turn the shadow back by the way by which ie Bad gone down? but for one the line of the horizon is irregular and undefined; and this, te the very equator and airdle of them all—Trth; that only one of which dhere are n0 degrees, bot breaks and rent continslly; ha pill ofthe earth, yet a dloudy pill; that golden and narrow lin, which the very powers and vires tha lan uponit bend which policy and pre ence conceal which Kindness and court x modify which eourage ‘overshadows with his shield, imagination covers with her wings, fand charity dims with her tears, How dificult must the mainte nance of tat authority be, which wile thas to restrain the hos tty of all the worst principles of man, as also to restrain the disorders of hia bes shich is continually assaulted by the one snd betrayed bythe aher and which regards with thesameseve- rity the lightest and the boldest violations offs law | There are Sone fats alight in the sight of love, some erors slight in the ra sre Lowe oF soz ‘estimate of wiadom ; bt tr forgives ao ins and endures no ‘We do nt enough consider this; nor enough dread the slit nd condousl occasions of ofeace against her, We are too ‘much in the habit of looking at falsehood in its dark- ‘est associations, and through the colour of purposes. That indignation which we profess to feel ‘at deceit absolute, i indeed only at deceit malicious. "We resent calumny, hypocrisy, and treachery, because ‘they harm us, not because they are untrue. Take the deteaction and the mischief from the untruth, and we are little offended by it; turn it into praise, and we may be pleased with it, And yet nor treachery that do the largest sum of mischief in ‘the world; they are continually crushed, and are felt only in being conquered, But it is the glistening and softly spoken lie; the amiable fallacy; the patriotic Ii of the historian, the provident lie of the politician, the zealous lie of the partizan, the merciful lie of the fiend, and the careless lie of each man to himself, that cast that black mystery over humanity, through which we thank any man who pierces, as we would ‘thank one who dug a well ina desert; happy, that the thirst for truth still remaine with us, even when we have wilflly left the fountains of it. 3 worst is not calumay = Dyn ito mre pei "dott ‘own cued and are cli being conquered” mut be mle at ‘tees, Tal we how eww yar all se Sno Sonus bw ne sts fhe apr nd, evel sre tase op sam Fi Ie would be well if morass les fequenty confused. the ‘greatness ofa sin with is unpardooableness. The two characters frealtogeher dines. The greatness of fault depeads partly (on the nature of the parson against whom itis committed, partly ‘pon the extent oft consequences. Is pardonableness depends, ‘humanly speaking, on the degree of temptation to it. One clas of crcomstances determines the weight of the ataching ‘nishment; the oer, the claim to remission of punishment: and ‘Shoe i isnot alway easy for mato estinate che relative weight, nor always possible fr them to know the relative consequences, oferine, i 6 usually wise in them to quit the care of such nice ‘measurements, and to Took to the othr and clearer condition of cbt, eteeming chose faults worst which are commit ‘under least temptation, T donot mean to diminish the Mame ofthe ijaious and mations sin, ofthe selish and deliberate falsiy: yet i seems to me that tbe shortest way to check the darker forms of dost isto act watch more serupulous aginst those which have singled untegarded and uncharted, with the current of cur fie. Do not let ut Ue at all. Do not think of ‘ove falsity ab harmless, and another as sight, and another as unintended. Castthem lle: they may be light and acidental; but they are an ugly sot from the smoke f the pi, for all that and itis better that our hearts abould be swept clean of them, ‘without over cae as to whichis largest or Blackest. Speaking truth is Hike writing fir and comes only by practice; i ele matter of wil than of habit and T doubt if any occasion can be trivial which permis the practice and formation of such a habit, To speak and act truth with constancy and precision is nearly as difficult, and perhaps as merito- rows, as to speak it under intimidation or penalty; and it isa strange thought how many men there are, as I trust, who would hold to it at the cost of fortune oF life for one who would hold to it at the cost of a Little daily trouble. And seeing that of al sin there is, 3 see ase oF 28on ‘perhaps, no one more flatly opposite to the Almighty, no one more “ wanting the good of virtue and of being,” ‘than this of lying, it fe surely a strange incolence to fa {nto the foulness of it on light or on no temptation, and surely becoming an honourable man to resolve, that, whatever semblances or fallacies the necessary course ‘of his Ife may compet him to bear or to believe, none shall disturb the serenity of his voluntary actions, nor diminish the reality of his chosen delights. TH, Tf this be just and wise for trths sake, mach more sit acces forthe sake ofthe delights over which she has influence Fr, as I advocated the expression of the Spirit of Sacrifice in the act and pleasures of men, aot as if thereby those ats could furter the case of religion, but Bocuse most assuredly they right therein be infaitely ennobled themselves, 20 T would have the Spirit or Lamp of Truth clear in the hearts of ovr artists and handierafmen, aot ar if the tuthal practice of handicrafts could far advance the cause of tu, but because T ‘would fin ste the handicrafts themselves urged by he spurs (Of chivalry: and it indeed, marvelous to see what power and Coniverality there are in this single principle, and how ia the consling or forgetting of it lies half the dignity or decline of fvery art and act of man, [ have before endeavoured to show its range and power in plating; and I believe a volume, instead cofachapte, might be written on its authority ver all that is feat in architecture, Bat I mast be content with the force ot few and familar instance, baieving that the occasions of is manifestation may be mote easly dicovered by a desie tbe ‘ue, than embraced by aa analyse of uth, ‘Only iia very necessary inthe outset to mark clearly wherein ‘consats the exence of illiey 38 distinguished from fancy." spiny ioe pone wat + early inp wor any? st for ty mow at eke a ning at oly pt ‘Signo bt nd one ee oh snd Gas oe ch eer ‘rus um op rae 2 IIL For it might be at frst thought that the whole kingdom of imagination was one of deception also, Not $0: the action of the imagination is a voluntary gs absent or possible; and the pleasure and nobility of the ima- ination partly consist in ite knowledge and contem- plation of them as such, i « in the knowledge of their actual absence or impossibility at the moment of their apparent presence or reality. When the imagination Aeceives, it becomes madness. It is a noble faculty so long as it confesses its own ideality; when it ceases to confess this, itis insanity. All the difference lies in the fact of the confession, in there being no deception It is necessary to our rank as spiritual creatures, that ‘we should be able to invent and to behold what 18 not: ‘and to our rank as moral creatures, that we should ‘know and confess at the same time that itis not. TV. Again, it might be thooght, and has been thought, that the whole art of painting Se nothing cse than an endeaveur to ecuive. Not 0? it is onthe contrary, a statement of eran facts ia the claret posible way. For instance: I desire to give an acount of @ mountain o of rock; I begia by teling fis chage, But words will not do this dstiety, and Craw te shape, and any, “This was its shape” Next: T would fain represent its colour; but words will nt do this ether, and dye the paper, and say," This was ie csloue” Such a prosess may ‘be arred on unt the scene appearsto exis anda high pleasure say be taken ints apparent existence. Thies a communicated acto imagination, but no lie. The lie en consist only in an seri fis existence (which ie never for one instant made, Seana ew he iets gare kaon thom tobe mA ‘am ia tar wo of ey epee 00 do summoning of the conceptions of 1 * ‘ree Ler oF TROT Implied, or believed), or else in false statements of forms and colours (which ar, indeed, made and belived to our great lis, continually). And observe, also, that so degrading thing = ‘deception in even the approach and appearance of it that all pling which even reaches the mark of apparent realisation i tlegraded in so ding. T ave enough insisted on this pont ia another pace. V. The violtions of truth, which dshonour poetry and ining, ar ths forthe most part confined tothe treatment of their subjects, But in architecture another and a ess sable, ‘more contemptible violation of trth is posible; a direct flity of aserton respecting the ature of material, or the quanti oflabour. And this sin the fll sense of the word, wrong fe ia aa truly deserving of reprobation as any other moral elingency itis unworthy ace of architects and of aatons and ithas been a sign, wherever thas widely and wth toleration ‘existed of a cingular debacement of the ars; that itis not a sign of worse than this, of general want of severe probity, can be accounted for only by ourknowledge ofthe strange separation ‘whichis for some centuries existed between the art and all ‘other subjects of human intlleet as mater of conseenes. This withdrawal of concientiousness {fom among the faites con ‘cemed with art, while thas destroyed the arts themselves, has alo rendered in a measure mugatory the evidence which ether ‘wise they might have preseated respecting the character of the respective nations among whom they Iave been edsvated; otherwise, it might appear more than strange that a nation 50 Aistnguished frie general uprightnes and faith asthe English, shoal admis in thir architectare moe of poten, coneaient, fd deo than any other ofthis or of pat time ‘They are admitted inthouhslessness, but wich ftal eect wpon the aria which they are practised, If there were no other causes or the failsres which of late ave marked every great oxion for architectural exertion, these petty dishonestes would be ‘enough to account forall Tes the frst step, and not the last, towards greatness, to do away with these; the first, because se tase oF taoTH. a so evidently and easly ia our power. We may not be able to command good, or bentifl, or inventive, architecture but we fam command an honest architecture: che meagrenss of poverty ‘may be pardoned, the stemness of wiity expected; but what is there but som forthe meanness of deception ? VI. Architectural Deoets are broadly t be considered under three heads — Tat, The miggestion fa made of structure o suppor, other ‘han the trae one ; as in pendants of late Gothic rots. ‘2nd. The painting of surfaces to represent some other material ‘than hat of which they actly consi (ar inthe marbling of wood) o the deceptive representation of sculptured onatnent upon them. ‘i, The use of castor machine-made oraments of any kind ‘Now, may be broadly stated, shat architectre willbe sole exactly in the degree in which all these false expedients are Avoided. Nevertheless there ar certain degresef them, which, ‘owing to thor feequent usage, of to other causes, have so far Tost che mature of deeit at to be admissible; as, fr instance, -Flding, which isin architectare no deceit, because itis therein ‘ot understood for gold; while in jewellery iis a deceit because it iso understood and therefore altoether to be reprehendad. So that there arise, ia the application of the strict rules of Tight, many exceptions and niceties of conscience’ which fet us 28 briely ae posible examine. VI1, ts Strucral Deceits!” 1 have Hmited these to the determined and purposed suggestion ofa mode of seppart other than the trie one The architect i not downd to. exhibit structure: nor are we to complain of him for concealing it any ‘more than we shold regret tat the outer surfaces ofthe human frame conceal much ofits anatomy ; nevertheless, that balding ‘wll generally be the nobles, which to an intelligent eye discovers fhe great secrets ofits srocire, ax an animal form does, alk ‘ough fom a earls observer they may be concealed. In uta ee nds yal a ae consider in hie Fa se Lae oF tor, the vating of Gothic rot iti no deceit to throw the strength into the sibs of i and make the iotermediate vault a mere hell Such a structure would be presumed by an fotligent, fbverve, the fist time he sa sucha roof: and the beauty of ts tracer would be enfanced to him fthey enfesod and allowed the lines of i main strength. If, however, the intermediate Shell were made of wood instead of stone, and whitewashed t0 Took like the rst—thie woeld, ofcourse, be direct deceit, and altogether unpardonable “There iy however, certain deception necessarily ocurrng in Gothic architectare, which relates ot to the points but tthe rmannes, of support. The fesemblanee in its salts and ribs to the enteral lations of stems and branches, which has been the round of so muck folsh specalation, necessarily induces in the Ind ofthe epecator a sense or bli of eorespondent iateral Sractre; that ito say, of a Sbrous and continuous strength from the root into the limbs, and aa elasticity communisted ards sient forthe support of the ramified portions. The fen of the real condions,of = great weight of cling thrown ‘upon certain narrow jointed lines, which have atendeney party to be evushed, and partly t separate and be pushed outwards, it ‘wih difieaty received; and the more 20 when the pillars woud ‘esi unassisted, oo alight for dhe weight, and are supported by enteral fying buttresses as inthe ape of Beauvais, and other Sich achievements ofthe bolder Gothic. Now, there i a nice ‘question of conscience in thi, which we shall arly see bat by Considering that when the mind informed beyond the possiblity of mistake at the tre ature of things, the acting it with a Contrary impression, however stint, # no dishonesty, but, on ‘he contrary a legitimate appeal tothe imagination, Forinstance the greater pat of the happines which we have n contemplating loud, rest from the impression of their having: masive, Tuinous, warm, and mosntan lke surfaces; and our delight in the sky frequently depends upon or considering it a8 a blue ‘vault, Bat i we choose, we may know the eontar, in oth instanes and easly aacerain the cloud tobe a damp fog, or & sre 14sr oF Tart ” rit of snow dakes; and he sky to be aightless abyss. There fs therefore, ao dishonesty, while there is much delight, inthe inresnblycontary impression. a the same way, 0 long ase see the somes and ots, and are not decived at to the points of sopportin any pice of architecture, we may rather praise than regret the dexterousarices which eompel us to fel ae if there ‘were fibre ints safe and if in its ranches, Nor seven the encelment ofthe support ofthe external buts eprehemsible, so log as the pillars are not sensibly inadequate to their duty. For the weight ofa rot is acrcumstance of which the spectator generally bas 20 ides, and the provisions fr, consequently, i= ‘eumstances whose necessity of adaptation he could not unde sand. Tt sno deceit therefore, when the weight to be bore is necessarily unknown, to conceal also the means of bearing it leaving enlyto be pereived so much ofthe support asi indeed adeqsate to the weight supposed, For the stats do, indeed, bear a5 much as they are ever imagined eo beat, and the system ‘of aded supports no more, at a mater of conscience, to be eshibited, than, in the human or any other form, mechanical provisions for those faneions which are themselves unpercived. But the moment that the conditions of weight are compre. hended, both truth and fang eequte that the conditions of support should be alo comprehended. Nothing can be worse, ithe a jug by the taste or the consciene, than afetedly Inadequate supports suspension in air and other such wicks snd vanes" ‘VILL. With deceptive concealments of structure are 1 be lased, though still more blamenble, deceptive ascmpsonscf i, =the introduction of members which should have, of profes Ihave, a duty, and have none. One ofthe moss genera instances ofthis will be found inthe form of the Rying buttres in late 1 Purine ar hte spe kb Me Hope oS Sep woh 1. ot owen 9, boas Ite even Se Sepia ac bp Kig Coleg Chae Canin ecm ‘he mary ala peel oh oro spn Deyn dein 8 ‘rum naar of U7 Gothie. The we of that member i ofcourse to convey support fom one pier to another when the plan of the building renders it necenary or desinble that the supporting masses should be ded into groupe; tke most frequent necessity of this kind arising from the intermediate range of chapels or aisles berween the nave or choir walls and ther spring piers The natural, healthy, and beautiful arrangement ie that of a steeply sloping ‘tar of stone, sustained by an arch with it spandsl carried farthest dowa on the lowest side, and dying into the vertical of he outer per; that ler being, of cour, not square, but ‘ather a piece of wall eta eight angles to the supported walls, fd if peed be, crowned by a pinnacle to give it greater weight. “The whale arrangement ie exquisitely carried oat inthe choi of Beauvais, In later Gothic the piasacle became gradually a decorative member, and was woud in all places merely forthe sake of ts beauty. There is 90 objection to this; iti just as Tefal to build a pinacl frie beauty as a tower but also the Jutiresbucatne decorative member and was usd, Sst where iewas not wanted, an, stconly, in forms in whieh i ould be of ro use, becoming a mere Be, aot between the pier and wal but between the wall and the top of the decorative pinnacle, thus sttaching faelf to the very point where its thrust, it i made fny, could not be resist. The most flagrant instance of his Iarbas that I remember, (hough i preva gatlly in allshe spires ofthe Netherlands) ix the lantern of St. Ouen at Rove ‘where the pier buuzes, having an ogee carve, Jooks about sinch ealeulated to beara dust as a switch of willow ; and the pinnacles, huge and richly decorated, kave evidently no work todo whatsoever, but stand round the central tower like four {dle servants as they are—herldie supporter that central tower being merely a hollow crown, which needs no more butresing than a basket does, In fact, I do at know any thing more strange or unwise than the praise lavished upon this lantern; i js one ofthe bast pees of Gothie in Europe its lamboyant treceries being ofthe lst and ost dogradet forms; and * se Arends I. ‘Tue Lowe op re » ‘tr plan and decoration resembling, and deserving litle more credit than the burt sugar oraments f elaborate confectionery. ‘There are hardy any of the mageifcent and serene methods of constrostion inthe early Goth, which kave not, the course of time, been gradually thinned and pared away into these skele- tons, which sometines indeed, wheather lines traly fallow the structure of the original masses, have an interest Uke that of the fibrous framework of leaves from which the substance has been dissolved, but which are usually distorted ae well a ema ated and remain but the sickly phantoms and mockerce of things that were; they are tp tue architects what the Greck host was to the armed and living fre; andthe very winds that white through the thread of them, ae to the depasoned ‘echoes ofthe ancient walls 2520 the voice of the man was the Dining of the specs 1X. Perhaps the mos frit source of these kinds of corp Yion which we have to guard agnict in recent times, is one hich, nevertheless, comes in a "questionable shape," and of hich it isnot easy to determine the proper laws and limits; T mean the use of ion. The definition of the at of architecture, given in the fit Chapter, is independent of its mates Nevertheless that art Raving been, opto the beginning of the resent century, practised for the most part inlay, sone, or wood thas resued that the sense of proportion and the laws of structure have been based, the one altogether, the eter in great ary on the necessities consequent on the employment of those ‘materials; and thatthe entire or principal employment of metalic. Sramework woul therfore, be generally tata departure fom the fist principles of the ar.” Abstactedly thee appears no reason mhy ion should ot be used ae well as wood and the ‘ine is probably nee when a new system of architectural laws will be developed, adapted ently to metalic constriction. But I belive thatthe tendency ofall present™ sympathy and eat” oe day ih | nt) pp the ergs expe whch Ie spy Eeveing Hl hd hy sar ta Sat shor ery Eagan in ean nt rv ane sosion i o lint the He of acitttre to sn-mtalic ort and at not wut rneon. For achtrtre being in Io peanon te cae avn laconic the fot af arty wil lay precede in any orbaros ai, the pos fh ee men ie fr he ang {he mangement fon, I fit tence and scat we tat tte, depend pon he wo of mal cre uly aod on the sue ofthe erty tht sy cay, Sloot sone’ and ay 1 ok cone tbe geno ft {iat aco the che digae frcitestare Mtr Sd nce the le rly penn om costae of iwi el right in far ax uy, even in pros af tno advanced sens he stele and pre of er ue Stat wheter thie te gtd me oF no the et that very iden repent ss proportion, Jesoaion, contraction, sth we tea rf ab ang Sg Spends on pecsappston och water: ad st Ina unbl t tcye te infec of hse pie ad Teheve tat my readers wl be ely a my be peas ferme to me to anne tat tre nite docs no ait Eilts comtacive mata and tha suc works ca ion coneal sre of Rowen Cathe or the ion roof ad pln of eras stats ad of some of oar cule ae Mov rhc a ale, Vet eviet that meta ay ad Somtines ms ener ino the censteton to cain ete Sale in wooden achiec, an therefore, as gate Tc ad elegy intone} ner con we wl nye the ‘Cnc ariee the power of supporting ote, pnne, oF rcv by ton brand we eth 1 dante howe Se ep allowing Brash ison cae sound he dome of Florence orth bls of Slay hice ro nding fhe cour tower, however we wosk! act ll nto he Sl apy of the gio cr ad he esp, we ms Bd vwcasn a rule which may enable ust sop somewhere, This rule i ier T think, that metals may be used as a coment but not ‘me xe oF or a 8 a saffort, For as coments of other kinds are often 9 strong that the stones may casier be broken than separated, and the wall becomes a solid mass, without for that reason losing the character of architecture, there is no reason why, when a nation has obtained the knowledge and practice of iron work, metal rods oF rivets should not be used in the place of cement, ‘nd establish the same or a greater strength and adhe rence, without in any wise indueing departure from the types and system of architecture before established ; hor does i¢ make any difference, except aa to sight. Hiness, whether the metal bands or rods so employed be in the body of the wall or on ita exterior, or set az stays and cross-bands; so only that the use of them be always and distinctly one which might be super seded by mere strength of cement; as for instance if a pinnacle or mullion be propped or tied by an iron band, itis evident that the iron only prevents the separation ‘of the stones by lateral force, which the cement would Jhave done, had it been strong enough, But the ‘moment that the iron in the least degree takes the place of the stone, and acts by ite resistance to erush- ing, and bears superincumbent weight, or if it acts by ‘ts own weight as a counterpoise, and so supersedes the use of pinnacles or buttresses in resisting a lateral ‘rus, or if in the form of a rod oF girder, it is used to do what wooden beams would have done as well, that instant the building ceases, so far as such applications ‘of metal extend, to be true architecture." wot rhc” ed apg poet Gy ay [ioe Shan inte tna s maar eee ee gee eee eee ee Se rae aes ene neers a eee uate Seer eee creer eeas ae ee cea eee es See ee eet eee Tey eer eee ee rere ne are ‘ue tase oF ROTH. a rae of the dovciling and various adjusting of stones; for when any artioe is necessary to help the mort, certainly this ought tw come before the use of meal, fort isbothsaferand morc honest 1 eannot ste that any objection can be made tothe fting of the stones in any shapes the architec pleases; for although ie would notbe desirable ose builngs pt together ike Chines psley there must always bea check upon sach an abuse ofthe practie in its difelty; nor is it necesary tat it shoul be always ex bite, so that tbe understood by the spectator as an ade help, and that no principal stones ate introduced in potions spparently imposible for them to sean, although a idle here ‘and thers in unimportant features, may sometimes serve to dre ‘the eye tthe masonry, and make i interesting, ab well at 9 sive a delightful sense of a kind of necromantic power in the architect, ‘There is prety one in the lintel of the lateral door of the cathedral of Prato (Plate IV. fig. 4); where the mainte ‘nance of the visibly separate stones altsnate marble and serpen tine cannot be understood uni thei rescuing seen below Bath Block i of couse, ofthe frm given in fig 5. ZXIIL Las, before leaving the mbjet of structural desi, 1 would remind the architect who thinks that Iam unnecessary and narrowly liiting his resources or his a, thatthe highest Amon fteatness and the highest wisdom are shown, the first Mesa ina measure dependeat on dhe use of metal let not security are toch ute be reprehendeds so only that as much is done as may be, inant sey nd sh eke Boece iE Stun neyo rb oe sit an ela oe me ey well cect nein yt realy Tuten eg ri Sohgryertan rs Sy ngage ee a Sear en fatten sa fs and no tg onthe ttn Sah oni eee Append by & noble submission to, the second by a thoughtfal ei Providence for, certain voluntarily admitted restraints. mt Nothing is more evident than this, in that supreme government which is the example, aa itis the centre, of all others. The Divine Wisdom is, and can be, shown to us only in its meeting and contending with the dificulties which are voluntarily, and jor the sate of that eontat, admitted by the Divine Omnipotence: and these dificulties, observe, occur in the form of aturel laws oF ordinances, which might, at many “4 se to oF raUTH. times and in countless ways, be infringed with appa- rent advantage, but which are never infringed, whst- ever costly arrangements or adaptations their obser ‘vance may necessitate for the accomplishment of given purposes. ‘The example most apposite to our present subject is the structure of the bones of animals. No reason can be given, I believe, why the aystem of the higher animals should not have been made capable, as that of the /nfuoris is, of secreting flint, instead of phosphate of lime, of, more naturally still, carbon ; so framing the bones of adamant at once. ‘The clephant fr shinoceres, had the earthy part of their bones been ‘made of diamond, might have been as agile and light fas grasshoppers, and other animals might have been framed, far more magnificently colossal than any that walk the earth, In other worlds we may, perhaps, see such creations; a creation for every element, and clements infinite, But the architecture of animal dors is appointed by God to be a marble architecture, hot a flint nor adamant architecture; and all manner of expedients are adopted to attain the utmost degree of strength and size possible under that great limite tion, ‘The jaw of the ichthyosaurus is pieced and riveted, the leg of the megatherium is afoot thick, and the head of the myodon hat a double skull; we, in our ‘wisdom, should, doubtless, have given the lizard a stecl jaw, and the myodon a cast-iron headpiece, and for- {gotten the great principle to which all creation bears ie Lan oF sno 6 may seem, not only authoritative perfection, but even the perfection of Obedience—an obedience to His own Jaws: and in the cumbrous movement of those un- wwieldiest of His creatures, we are reminded, even in His divine essence, of that attribute of uprightness in the human creature; “that sweareth to his own hurt, land changeth not.” XIV, and Surface Deccits, Those may be generally defined a the indocng the spposition of some form of material which ‘oes not actualy exist; as commonly ia the painting of wood to represent marble, of in the painng of omaments in doep- tive rele, e, But we must be careful to observe, thatthe ev of them consists slays im deftly attempted dation, and that itis a matter of some nicety to mark the point where ‘Secepton begins or ends “Thus, for instance, the roo of Milan Cathedral is seemingly covered with elaborate fan tracery, forcibly enough painted to tenable iin its dar and removed postion, to dectve a careless fuerver This is, of course, gross degradation ; i destroys uch fof the dignity even ofthe rest ofthe bulding, and isin the very ‘rongest erm to be reprehended. “The oo o the Sistine Chapel has much architectural design in rill ingle with the Ggures ofits fesoes; and the ef Be increase of dignity Tn what lies the distinctive character? {In eo points, principally »—The first thatthe architecture i so closely associated with the figures and has so grand fellowship ‘vith them in its forms and east shadows, that both are at once Tate to be of a piece; and as the Rigures must necessarily be ‘painted the arehitectare is known to beso too. There is thas 0 deception, “The second that 80 great a painter as Michael Angelo Arseni= ‘would always stop short, in euch minor parts of his Sv:pne design, of the degree of vulgar force which would be Siti witness, that order and system are nobler things than power. But God shows us in Himself, strange as it 6 {ue Lax oF TRUTH necessary to induce the supposition of their reality; and, strangely aa it may sound, would never paint badly enough to deceive. ‘But though right and wrong are thus found broadly. ‘opposed in works severally so mean and to mighty the roof of Milan and that of the Sistine, there are works neither so great nor so mean, in which the limits of right are vaguely defined, and will need some care to determine; care only, however, to apply accurately the broad principle with which we set out, that no form ror material is to be desi represented, XV. Evidendy, thea, painting confessedly suc, is no desep- tion; it does not assert any material whatever. Whether it be ‘on wood or on stone or, as naturally wil be supposed, on plaster, oes not mater. Whatever the material, good painting makes it amore precious; nor ca it ever bes to deceive respecting the round of which i gives ue no iaformation, To cover brick wth plaster, and this plaster with fresco, therefore, perfectly legit- ‘mate; andas desiablea mode of decoration, asi i constant the great periods. Verona and Venice ate now scen deprived of ‘more tha lf theis former splendour it depended far more on ‘ther frescoes than thei masbles. The plaster i this casei tobe considered asthe geno groandon panel orcaavas, Dut tocover brick with cement, and to divide this cement with joins that it say lok Hike stone, isto tell a flechood; and is just a8 ote temptiblea procedure asthe other noble. TE bing Inf to pine then, i i awful to pnt everthing ? So long as the painting ia confensed—yes; bit if, even inthe lightest degre, he sense oft be lost, and the thing painted be ‘supposed rel—no. Let us take afew instanses. In the Campo Santo at Pisa, cach fresco is surrounded with a border composed ‘of flat coloured patterns of great clegance—no part of it ia t= tempted relief ‘The certainty of da surface being thos secore, the figures though the sie of life, donot decuive, andthe artist ‘tu Le or Teor o thenceorward is at liberty to pt forth his wile power, and to lead us through fils, and groves, and depth of pleasant land. scape, and soothe us withthe sweet clearness of far of sky, and yet never loe the severity of his primal purpose of echitecural ‘ecoetion In the Camera di Correggio of San Lodovico at Parma, the trellises of vine shadow the walls 2¢ if with an acteal arbour and the groups of cldre, peping through the oval openings, Tascous ineslour and faint in light, may well be expected every instant to break though, or hide bchind the covert. The grace oftheir attitudes, and the evident greatnes of the whole work, ‘mark chat it is painting, and barely redcem it from the change falsehood; but even so saved, itis utely unworthy to tke place among sobleor legitimate architeeural decoration. Tn the cupola of the duomo of Pazma the sime painter has represented the Assumption with so much deceptive power, that he has made a dome of some thity fect dameter loa ikea ‘loudewrapt opening inthe seventh heaven, erowded with arash ing Sea of angels. Is this wrong? Not 20: forthe subject at once precludes the possibly of deception. We might have taken the Vines fora verable pergola, and the children for its haunting Fagaai: bot we know the stayed cloud and moveless angels must be man’s work let him put is wost strength to i and ‘welome; he ean enchant us, but eanot betray. ‘We may thas apply the rule to the highest, ae well asthe art of dally cezurenee always remembering that more ito be Tongiven tothe great painter than to che mere decorative wore ‘man; and this especially, bcaare the former, even in desepive portion, will ot wick us so grossly; as we have jst sen in Corrggio, wherea worse painter would have made the thing lok, Tike feat one, Theres, however, in room, ils, or garden decoration, some Sting admission of tickers ofthis kind, as of pictured landscapes at the extremities of alleys and areades, and caligs like skies, o painted with proloagations upwards of the architecture of the wall, which things have sometines a certain Toxury and pleasureablenes in places meant for idleness, 8 sie tasr o 07 and are innocent enough as long as they are regarded as mere ys TXVL Touching the fale representation of material, the ques: tion is infinitely more simple, andthe Inw more seceping all sich imitations ae utterly base and inadmisfle. Te is melan- choly to hiak of the time and expense los in marbling the shop fronts of London alone and of he waste of our resources in aba Ite Vanities, fa things about which no moral ears, by which no ‘eye is ever arrested, unless pinflly, and which donot ad one Wht to comfort, oF cleanliness, oF even to that great object of commercial art—conspicuousnes. But in architectuecf higher rank, how mach more iit be condensed Thave made ita tule inthe present work not to blame specially; but 1 may, perhaps, be pernittd, while Texprest my sincere admiration of the very noble entance and general architecture of the British “Muscum, to expres alto my ragret tha the noble granite foun dation ofthe staircase should be mocked at ite landing by 20 Jmietion, the more Bameable because tolerably succes. ‘The only effect of i isto eas suspicion upon the true stones below, and upon every bit of granite afterwars encountered. One feels fa doube, after tof the honesty of Memnon himsel. But even this, however derogatory to the noble atchitecture around ii less painful han the want of fling with which, in eur cheap modern churches, we suf the wall deorator to erect about the lar frameworks and pedinentsdaubed with mottled colour, and to dyein thesame fashion such skeletons ce eareatares of eokomns as may emerge above the pews this snot merely bad taste; it is no unimportant or excusable evr which brings even these shadows of vanity and falechood into the house of prayer, The firs condition which ust feeling requires in chute furniture that i should besimple and unaected, nt fiious nor tawdry, Te-may not be ia our power to makeit bei, bt lett a least, be pure and if we cannot permit mush to the architec, do not lee us permit anything t» dhe upholsterers if we keep to solid stone and sold wood, whitewashed, if we like, fr clealines ‘sake, (for whitewash has go often been uscd as the dress of aable sue tae or treme, a things tha it has thenee received a kind of nobility ite it rust be a bad design indeed, which is gromly ofenive. I re collect no instance ofa want of ered character orf any macked and painful ugliness, in the simplest or dhe most awkwardly bull village chureh, where stone and wood were roughly and nakedly used, and the windows Laticed with white plas, But the smoothly stuccoed wall the Hat rots with ventilator rmaments, the barred windows veith jaundiend borders and dead ground square panes, the gilded or bronzed wood, the painted iron, the ‘wretched upboltery of eartains and cushions and pew head ad altar rlings and Biemingham metal eandlesticks, a above all, the green and yelow sickness of the flze marble—dinguses al, ‘observe; fallehoods all—who are they who like these things? ‘who defend them? who do them? Thave never spoken to any fone who ike tem, though to many who thought them ates of mo consequence. Perhape not to religion; (hough T eannot but believe that there are many 9 whom, as to mel, such ‘things are serious obstales to the repose of mind and temper hich should procede devotional exertises ) but to the general tone of our jodgment and feling—yes; for ansuredly we shall regard, with tolerance if not with action, whatever forms of ‘materi things we have ben in the habit of associating with our ‘worship, and be litle prepared to detect or blame hypoctny, reanness, and digguige in other kinds of decoration, when we sulfer objets belonging wo the mot solemn of all services to be tricked out in farhion so fttious and unseemly. XVIL. Palatng, however, isnot the onky moe in which ma- terial may be coneraled or rather sinlated; formerly ta conceal is, a5 we have seen, no wrong. —Whitewath, for instance though ‘often (by no means always) to be regretted a a concealment, ‘ot to be blamed as falsity. It shows itself for what i i, ‘and asserts nothing of what is beneath it. Gilding hae become, from its frequent use, equally innocent. Te is understood for ‘what it i a film merely, and i therfore, allowable to any ‘extent: T'do not say expedient: i ie one of the most abused ‘means of magnfcence we possess, nd I mich doubt whether ° sme nase oF merTH, ny use we ever make of lances that los of pleasure, which, Soom the frequent sight and perpetal suspicion of i, we suet in the contemplation of any thing cat is wry of gold. 1 chink gold was meant to be seldom soca, and to be admired as a precious thing; and T sometimes wish tat wuth should oo far literally preval as that all should be gold that glitered, or rather that nothing should glitter that was not god, Nevertheless [Nature here does not dispense with such semblance, But uses lightfor it: and T have too great love fr old and saintly at to prt with is burnished field, orradiant nimbus;oaly i hosld be sed with respect, and to express magnificence, or sacredness, And notin lavish vanity, rin sign painting, its expediene, Iowever, any more than that of colour, its not ere the place speak; we arc endeavouring to determine whats lawful, not what is desirable, Of other and less commoa modes of disguising surface, at of powder of lapis Izu, or most imitations of coloured stones, I need hardly speak. The rule wil apply to all, alike, that whatever is pretended, is wrong ; commoaly enforced also by the exceeding ugliness and insiicient appearance of such methods as lately ia the style of ronovation By which half the houses in Venice have been defaced, the brick covered fist with ‘stucco, and this painted wih igang veins in imiaton of labacter Bue there is one more form of architectural ftion, which 20 constant inthe grent periods that it needs respect judgment mean the facing of brick wih prosious sone. XVIIL It is well known, that what is meant by @ church's being built of marble only that a veneering of marble has been fastened on the rough brick wall, built with certain projections to * receive it; and that what appear to be massy stones, are nothing more than external slabs. [Now it is evident, that, in this case, the question of right is on the same ground as in that of gilding. If it be cleanly understood that a marble facing does not in nearly all eases, sme tase oF RoE st pretend or imply a marble wall, there is no harm in it; and as it is also evident that, when very precious Stones are used, as jaspers and serpentines, it must become, not only an extravagant and vain increase of expense, but sometimes an actual impossibility, to ‘obtain mass of them enough to build with, there is no resource but this of veneering; nor is there any thing to be alleged against it on the head of durability, such work having been by experience found to last as long, and in aa perfect condition, a¢ any kind of masonry. It i, therefore, to be considered as simply an art of mosaic on a large scale, the ground being of brick, oF any other material; and when lovely stones are to he obtained, it is a manner which should be thoroughly ‘understood, and often practised. Nevertheless, as we esteem the shaft of a columa more highly for its being of a single block, and as we do not regret the loss of substance and value which there is in things of solid sold, silver, agate, of ivory; so I think that walls them- selves may be regarded with a more just complacency 4 they are known to be all of noble substance; and ‘that rightly weighing the demands of the two prin- ciples of which we have hitherto spoken—Sacrifce and ‘Truth, —we should sometimes rather spare external fomament than diminish the unseen value and con- sistency of what we do; and I believe that a better manner of design, and a more eateful and studious, if less abundant, decoration would follow, upon the consciousness of thoroughness in the substance. Ané, Indced, this isto be remembered, with respect to all the points s ‘hur Lo or ravri wwe have examined; that while we have traced the limits of Troon we have not xed those of that high rectitude which refuses Heense, Ita thus trae that there is no falsity, and mich ‘beauty, in the wse of extemal colour, snl that it ix Lawfal t saint either pictures or patter on whatever surfaces may stem toneed entchment. But tis not less tus that auch practices are estentilly unarchitetral; and while we cannot say that there i acual danger ia an over we of them, seeing that they have bean afuyys used most lavishly in the times of most noble are, yet they divide the work into two parts and kinds, fone of lest durability than the other, which dies away fom it Jn process of ages, and leaves it, unless it have noble qualities ofits own, naked and bare. That enduring noblese I shoul, ‘therefore, call uly architectural; and isnot ual this has bees Sceured that the accessory power of paiting may be ell in, for the delight of the immediate time; nor this 35 T think, un every resource ofa more stable ind has been exhausted, The true colours of architecture are those of natural stone, fand T would fain see these taken advantage of to the full, Every variety of hue, from pale yellow to purple, passing through orange, red, and brown, is entirely at ‘our command; nearly every kind of green and grey ‘also attainable; and with these, and pure white, what harmonies might we not achieve? OF stained and variegated stone, the quantity is untimited, the kinds innumerable; where brighter colours are required, let ‘lass, and gold protected by glass, be used in mosaic— ind of work at durable as the solid stone, and incapable of losing its lustre by time—and let the painter's work be reserved for the shadowed loggia land inner chamber, Tis is the true and faithful way ff building; where this cannot be, the device of ex- ternal colouring may, indeed, be employed without crue taur oF THOM ss ishonour; but it must be with the warning reflection, ‘that a time will come when such aids must pass away, and when the building will be judged in its lfelessnes dying the death of the dolphin. Better the less bright, more enduring fabric, ‘The transparent alabasters of ‘San Miniato, and the mosaics of St. Mari’, are more ‘warmly filled, and more brightly touched, by every return of morning and evening rays; while the hues of our cathedrals have died like the irs out of the cloud and the temples whove azure and purple once famed above the Grecian promontories, stand in their faded whiteness, like snows which the sunset has left col. XIX. The lst form offillacy which twillbe remembered we tad to deprecate, was the subatation of castor machine work for that ofthe hand, generally expressible as Operative Desi. “There are two reasons, both weighty, agaist this practice one that ll ast and machine work is bad, as work; the other, that iis dishonest. Ofitsbadness shall speak in nother place, ‘Hat being evidently no ecient eason agaist its use when other fannot be had, It dishonesty, however, which omy mind, fof the grosses kind, I thik, asufcient reason to determine Abente and unconditional rejection of “Omament, a Ihave often befine cbserved, has two enicely Aisin sources of agreableness: ong that ofthe abstract beaty tf its forma, which, forthe present, we will xppoteto be the same wheter they come from the hand or the machine; the oer, the ‘enve of hurt Ibo and are spent upon it. How great this Tater influence we may pea judge, by considering that there ie nota chute of weeds growing ia any eenny of ruin” which as nota beauty inl espects ary equal and in some, immese 1 1d yaa meni ae i, 1 SSP ae gma Sy nr ett oO Py {He Lowe oF sont, surly superior to that of the most elaborate sculpture of ix stones: and that al our interest inthe carved work, our sense of fits richness, shoug te teniola les ich than the Knot of east Desde it; of ts delicacy though tia thousand es delicate ofits admiraMenes, though a milinfld lose admirable; results from our consciousness ofits Being the work of poor, umsy, toilome ma Ite tue dlightelacs depends on oar discover- ing in tthe recon of thoughts and tens and als, and hear breakings-—of eecoveries and jeyflneses of races: all hi caw be traced by a practised eye; but, granting t even cbacue, ts presumed or understood; ad in that isthe wert ofthe thing, js as mach as the worth of any thing else wecall precious. The ‘worth afa diamond i simply the understanding of the time ‘st take to lok for it before tis found; andthe worth of an frmament i the time it must tke before ie can be cut, Tt has an intrinsic value besides, which the diamond hae not; (ora ‘iamond has no more real beauty than a piace of glass) but To not spel ofthat a present; I place the two on the same groin and T suppose that hand-wrought oraament ean no more be frenerlly known fom machine work, than a diamond can be Kowa fom paste: ay, thatthe later may deceive, fora momeat, the mass a5 the other the jeweller’, eye; and that it can be detested only by the closest examination, Yet exaclly as a ‘woman of fecing would not weae fale jewels so would a bilder ‘of honour dada fase omaments, ‘The wing of them jst at dlowaright and inescasabe ae. You use that which pretends toa worth which ie has not; which pretnds to have eat and to be what ie did not, and is ot; ii an imposition, 2 vulgarity, an impeniaence, and a sin. Down with it to the ‘round, grind it to powder, leave its ragged place upon the wal, father; you Ive not paid for i you have no business with ‘you do not want it. Nobody wants armaments in this word, coe nets ed the tener harmony ofa. Ser ate he lpn eens pp CV or af cums on nthe gr eno ea, cat a ncn ena ng singed hin the et ss ‘ux Lo oF RUTH ss Ita oi a ce soe eal Lt See ‘nlite tn ac og isan een se Ta a ey pn er bra me spree ely Sh ed at Sy el ie a mer neces en ie Va, Shc yay awe Se i is le ei te nh Sane STi neo eis ht to oft ei a a hy Sec ene a aap he pac ated ayy Poa tl yi ya sedtvicend atlas Sn cB a nostic koe Fp ga as we eh miei oa Sc feet tect oli ts tors hes sn lee sity" hyn ce nae iy ea wo oi nee tae lat tintrendsy cscs crypenes pan eos neo vee pehgmieepe nee ae Senne Se Soames ‘Eevee ntepataten obo ay "Pestle 6 sine tase op oT, worthless; anda pine of tra cotta, raf lasur of Pais, which thas beea teoughe bythe human hand, is worth all the stone in Canara ext by machinery. It, indeed, possible, and even ‘nut for men to sink into machines themscives, 30 that even hand work has all the characters of mechanism; ofthe diference ‘tween living and dead hand-wore {shall spel: presently jal that [ask at presenti, what i i lays inoue power eo secure the confession of what we have done, and what we have given ‘sothat when we wie stone at all” (sinesallstone i naturally sup posed o be carved by hand) we mst not earve it by machinery either must we use any artical stone est nto shape, nor any stucco oraments of the colar of stone, or which might fa any ‘wise be mistaken fori as the stucco mouldings ia the corte of the Plato Veeshio at Florence, which cast a shame and sspicon over every part of the building. But for dutle and fosile material, as clay, ioe, and bronze, since these wll sully De supposed to have beta east or tampa it isa ou pleasure to employ them as we will; remembering that they become precious, or others, jst in proportion to the hasd-work pon ‘them, ort the clearness of their reception ofthe hand-awork of their mould, But I believe no eause to have been more active in the degradation of our national feeling for beauty than the constant use of cast-iron ornaments. ‘The common ison work of the middle ages was as simple as it was effective, composed of leafage cut fat cout of sheet iron, and twisted at the workman's will No omaments, on the contrary, are 0 cold, clumsy, and vulgar, so essentially incapable of a fine line oF shadow, as those of cast-iron; and while, on the score of truth, we can hardly allege any thing against them, since they are always distinguishable, ata glance, from se fie the rents nat couple en" The cocaion en Athos bower ee nega eoagy and ‘te awe oF tre, 7 ‘wrought and hammered work, and stand only for what they are, yet I feel very strongly that there is no hope ‘of the progress ofthe arts of any nation which indulges fn these vulgar and cheap substitutes for real decora- ton. ‘Their ineficiency and paitriness I shall endea- vour to show more conclusively in another place; enforcing only, at present, the general conclusion that, if even honest or allowable, they are things in which we can never take just pride of pleasure, and must never be employed in any place wherein they might either themselves obtain the credit of being other and better than they are, or be associated with the ‘thoroughly downright work to which it would be a sgrace to be found in their company. ‘Such ate, believe, the thee principal kindsoffilsey by which architecture Table to be corrupted’ there are, however, ther and more subtle forms oft galt which es les easy toguaed by definite Iw, than bythe wateflnes of a manly and una fected spirit. For, as it hasbeen above noticed, there are certain kinds of deception which extend to impressions and ideas only; of which some are, indeed, of noble we, a that above refered to, the aorescent look of lofty Gothic aisles bit of whch the ‘most part have 50 much of legerdemain and tickery about thew, {hat they will ower any tye fa which they considerably preva nd they are likely to prevail when once they are amid, blag apt to cate the fancy alke of uninventvearchitctandfecinge fess spectators; just as mean and shallow minds are in other ‘ates, delighted with the sense of overreaching, of tekled withthe const of doteting the tention to over seach: and dthen sublctis ofthis kind are accompanied by the display of ‘sich dexteros stone-cating, or architectural sleight of hand, 35 ‘may become, even by itsel a subject of admiration, it isa great hance if the pursit of them do not gradually dw us say s ‘mE ar oF Ror, fom all egard and eae forthe nobler character of the at, and nd in ie total paralysis or extinction. And against this there no guarding, but by stern disdain ofall display of dexterity and ingenious device, and by puting dh whole force of our fancy into the arrangement of masses and forms, caring 20 more how these masses and forms are wrought out, than great psinter cares which way his pencil tikes" Te would be easy to give ‘many instances ofthe danger of these wicks and vanities; but I Shall confine myself to the examination of one which as, as 1 think, been the exsoe of the allo Gothic architecture throughout TBarope, I mean the sytem of intersctoal mouldings, which, ‘on accnon of ite great importance, and for the sake ofthe general reader, I may, perhaps, be pardoned for explaining clementarly TXXI. Irmust in the Best place, however, refer to Professor ‘Will's account of the origin of eacery, given in the sixth chap ter of his" Architecture of the Middle Ages since the pub Tiaton of which I have been not ile amazed to hear of any attempis made to remciate the inexcumbly abeurd theory of its derivation fom imitated vegetable form—inexcusaby, Tsay, cause the smallest acquaintance with early Gothie architecture ‘would have informed ehe supporters of that theory of the simple fac, that, exactly in proportion &o the antiquity of the work, the imitation ofeach orgie forms less and inthe earliest examples does not exis at all There cannot be the shadow of a question, in the mind of a person fasiiariged wih any single sere of con secative examples that tracery arose fom the gradual enlarge ‘ment of the penetrations of the shield of stone which, usally ‘supported by a central pila, oceupied the had of exly windows Profesor Will, perhaps, confines his observations somewhat too abyolutely tothe double subarch Uhave given, ia Plate VIL fg ‘an interesting case of re penetration ofa high and simply treed shield, fom the church of the Brenitai at Padua. But the more frequent and typical frm scat ofthe double subare, eat ner deca vy mh Rove, ich may oa tn ands pd pr echey Hama: arterial ‘Sarton aye ated bt a tay be ‘roe tase o rar Pa decorated with varios perengs ofthe space between ead the superior arch; with a simple weal under a round are, in the ‘Ablaye aux Hames, Caen (Plate IIL. fg. 1); with's very Deautlly proportioned quatretl in the tforiam of Eu, and that ofthe choir of Lien; with quatrefi, aif, and sept- fol a the eranaept towers of Roven, (Pate U1. fg») swith a trefoil awlewanly, and very smal quatrefil above, at Coutnces (Plawe TIE fg. 3): then, with multiplications of the same fares, pointed or round, giving very clumsy shapes of the inter. imeiate tons, (ig 4, fom one of the nave chapels of Rowen, fg. from one of the nave chapels of Bayeux) and finaly, by thinning out the tory cbs reaching conditions ike tat ofthe lorious typical form of the clerestry of the apse of Beanvas, (ig. 6). XXII. Now, it will be atid that, doring the whole of this process theatenion x kepe ie n he forms of the penetrations, that isto say, ofthe lights at acon fom the Interior not of the Intermediate stone. All che grace ofthe window a inthe etline ofits lighe; and I have drawn all thee tracerice at seen from within in oeder to show the effect of the Tight thus treated, at Sirs in fr off and separate stars, and then gradvally enlarging, approaching, uasl they come aad stand over us, a it were, filling the whole space with their elgence. And i inthis pause ofthe star, that we have the great, pur, and perfect form, of French Gothic; it war at the itssant when the rudeness of the intermediate space had been finaly conquered, when the light had expanded to it falls, and yet ad not los its adit sity, prinsipaity, and visible fret enssing of the whole, cht wwe have the most exulsite flag and most fauless judgments fn the management alle ofthe tracery and decorations, have given, in Pate Xan exquisite xample of it froma panel deco ‘ton of the butzesses of the north daoe of Rouen; and inorder thatthe reader may understand what truly fine Gothie works, sd how nobly ities fantasy’ aed aw, as well or ou ne Ate porpos, wil be well dat he should examine its sections and mouldings in dtl (they ae described inthe fourth Chapter, 60 sme naqr oF TROT { svi), and thatthe more carefully, because this design belongs toa pesiod in which the most important change took place in the prt of Gothic architecture, whic, pehaps,ever resale fom the natural progress of any art. ‘That tracery masks a pase between the lying ase of one great eling principle, and the faking up of another; a pause as marked, as clear, as con Spicuoas to the distant view of afer Ges, ab to the distant lance of the traveller is the clminatng sdge of the mountain hain over which he has passed. Tt was the great watershed of Gothic art. Before i, all bad been ascent; afer it all vas decline; both, indeed, by winding paths and varied slopes; both interrupted, like the gradual rise and fll ofthe gasses of the Alpes by great mountain outers, slated or branching from the entral chain, and by retrograde or parallel dircetons of the alleys of acces, But the track ofthe human mid is traceable Up to that glorious ridge, ina continvou line, and thence down- wards, Like a silver one— ‘mi sn ig le esha Hwee ater ‘Ad at that point and tht instant, reaching the place that wat rnearet heaven, the builders looked bac, for the last te, tothe tay by which they had come, and the eens throwgh which hee tly conse had passed. They taraed away from them and hee rmoming light sl descended towards a new horizon, fora tne inthe waomth of western sua, but plangiag with every Forward step into more cold and melancholy shade TXXIIL, The change of which 1 speak, is expressible in few words; but ote more important, more radically influential, oud fotbe, It was the subrittion ofthe fixe forthe mass, as the ‘ment of decoration socom wht, hat Mise e Dain i aie oo ‘rn Lae oF RET 6 We have cen the mode ia which the openings or penetration ofthe window expanded, until what we, at fi, awkwat forms of ntermedite stone, became delete lies of tracery; and T have been careful in pointing et the peculiar attention bestowed ‘on the proportin and decoration ofthe mouldings of the window at Rouen, in Plate X, as compared with earlier mouldings, be- ‘aus tat beauty and eare are singly significant. They mark thatthe taceries had cawgit dese of thearehitact” Up tothat tine, up to the very last instant in which the reduction and thinning ofthe itervening stn was consummated, his eye had bees an the openings only, on the stare of Tight. Heid not care aout the stone; a rue border of moulding war all be needed, ie was the penetrating shape which he was watching, But when dat shape had received its last posible expansion, land when the stonework became an arrangement of graceful and parla ine, that arrangement, ike some form in a pct, ‘unseen and accidentally developed, stack suddenly, ineitably, ‘onthe sight. Te had Iieally not Been seen before. Te Hashed fut in an instant av an independent form. Te berame a feature ofthe work. The acitet took it under his eae, thought over 4 and dinette ite members a2 we ee. ‘Now, the gree pause was atthe moment when the space and the dividing tone-work were both equally considered, It did ot ast fity years.” ‘The forms ofthe tracery were seized with 2 cildch delight inthe novel source of beauty; and the inter vening space was cast aside, as an element of decoration, fo ‘ever. Thave confined myzel in following this change, tthe ‘window, asthe feature in which ieiclearet.Buthe transition ‘the same in every member of arcitocure; andits importance ‘an hardly be understood, unless we take the pain to trace i a the universal, of which lusatons,itlevant to our present ‘orpose, wl be found in the third Chapter. T pare bere the ‘question of truth, relating to che treatment ofthe mouldings tenth Dienst Arec he etd atonal (Site medicine oe acy tar "Toit ead eae oe swe tase oF Rem XXIV. The reader will observe that, up to the fast ! expansion of the penetrations, the stone-work was necessarily considered, as it actually is, «if, and un- ylelding, It was s0, also, during the pause of which I have spoken, when the forms of the tracery were still, severe and pure; delicate indeed, but perfectly frm. ‘At the close of the period of pause, the first sign of serious change was like a low breeze, passing through the emaciated tracery, and making it tremble. It began, to undulate like the threads of a cobweb tifted by the wind. Itlost duced to the slenderness of threads, it began to be considered as possessing also their Rexibility. The architect was pleased with this his new fancy, and set himself to carry it out; and in a litte time, the bars of tracery were caused to appear to the eye as i they had ‘been woven together like a net, This was a change ‘which sacrificed a great principle of truth; it sacrificed the expression of the qualities of the material; and, however delightful its results in their first devetop- ‘ments, it was ultimately ruinous, essence as a structure of stone. Re- For, observe the difference between the supposition of ductility, and that of elastic structure noticed above in the resemblance to tree form, That resemblance was not sought, but necessary; it resulted from the natural conditions of strength in the pier or trunk, ‘and slenderness in the ribs oF branches, while many of the other suggested conditions of resemblance were perfectly true. A tree branch, though in @ certain sense flexible, is not ductile; it is as firm in its own ‘ur Lane of There 63 {form as the rib of stone; both of them will yield up to certain limits, both of them breaking when those timits fare exceeded; while the tree trunk will bend no more than the stone pillar. But when the tracery is assumed to be as yielding as a silken cord; when the whole fragility, clasticity, and weight of the material are to the eye, ifnot in terms, denied; when all the art of the architect is applied to disprove the Grst conditions of his working, and the fist attributes of his materials; ‘is is @ deliberate treachery, only redeemed from the charge of direct falschood by the visibility of the stone surface, and degrading all the traceries it affects exactly in the degree of ite presence.” XXV, Butihe decning and morbid nate ofthe Inter architects snot satisfedwith dhusmuchdenepton. ‘They were delighted withthe subtle charm they had erated and thoaght only of increasing its power. The next step was to consider and repretent the tracery as not only ductile, but pentrale; and wien two ‘mouldings met each othe, to manage their interoestion, so that fone should appear to pass through the ether, retaining its independence; or when two ran parallel to ch other, {0 re present the one a8 partly contained within te other, and party Apparent above it. This form of flty war that which eased hear The flexible raceres were often beaut, though they ‘were noble; but the penetrated traceres, rendered, a8 they finaly were, merely the means of exhibiting the dexterity ofthe stone-cutter, ansibiated both the beauty and dignity of the fd hin, sn mow afin, suded Ie bance of being gh pace by reo WHT ave x be yen nd ih EMA ct lt oo et al 6 sue tase or meer Gothic types. A system 9 momentous in its consequences deserves some detailed examination. XXVI_ In the drawing of the shafts ofthe door at Lisieux, under the spade ia Plate VIL, the reader will sce the ade fof managing the intersection of sinlar moulding which was ‘iver athe goeat periods. They melted into each other, fad became one at point ofthe crosing, or of ntact; and even the mggeston of se sharp intersection as thisof Lisieux is usualy ‘voided (this design being, of conse, only a pointed frm ofthe trler Norman arcade, in which the arches are interlaced, and Tie each over the preediag, and nder the fllowing one, 38 in Ansci’s tower at Canterbiry,) sie, in the plarality of designs, ‘when mouldings mest each ther, they coincide trough some eon [Herable portion of ther carves, meeting by contact, rather tha by inerscetion; and atthe point of coincidence the seton of ‘each separate moulding becomes common to thetwo thus meted ino each other, This, inthe junetion of the circles of the ‘window ofthe Palazzo Foscai, Pate VIIL, given accurately in fig. 8. Plate TV., the section across the Fines fs exacly the same ss thatacross any breaeof the separated monlding above, a5. Te ‘Sometimes however, happens that two dierent mouldings mect (och other, This was seldom permitted ia the great periods, land, when took pee, was most awkwardly managed. Fig. 1. Plate IV. gives the juction ofthe mouldings of the gable and ‘vertical, in the window ofthe spire of Salsbury, That ofthe {able ib composed ofa single, and that of the vertical, of a Aloe caveto, decorated with ball flowers; andthe larger single moulding swallows up one of the double ones, and pushes forward among the smaller alls withthe most Blundering and cmsy simplicity, Incomparing the seaons its tobe observed ‘hat inthe upper one the lie @ 8 represents an actal vertical fn the plane of the window; wil in the ower one, the Tine « represents the horizontal in the plane of the window, indicated bby the persputive ined 'XXVIL, The very awkwardness with which such oceurrences of dticaly are met by the ealer builder, marks his dike of the ‘rue Lane op sun, 6s system and unwiliagnes to attrat the ye to sch arrangement, ‘Ther is another very clumsy on, inthe joneton of the vpper and subarches ofthe trifrum of Salisbury; but itis kept in the shade, and all the prominent jnctons are of mouldings ice each other, and managed with perfect simplicity. But 20 soon, asthe atention of the builders became, a8 we have just soon, fixed upon the lines of ouldings instead ofthe encowed space, those lines bayan to preserve an independent existence wherever they met; and diferent mouldings were studiously aoc, in order to obtain variety of intersectonal line. We most, how ver, do the late builders dhe jase to ote tat, in one case, the habit grew out of feling of proportion, more refined than ‘tht of eavier workmen, It shows iself fist inthe bases of Alvded pillars, oe arch mouldings. whove smaller shafts ad ‘rgially bases formed by the continued base of the conta, oF ‘other larger, ealunne wih which they were grouped; but tbe felt when the eye ofthe architect became fastidious, that the dimension of moulding which was right for the base ofa Targe shaft, was wrong for that of» small one, cach shaft had an ide pendent base at fist, chose of the smaller died simply down on that ofthe larger; but when the vera eetons ofboth eae complicated, the bases ofthe smaller shats were considered t0 exist within chose ofthe ge, and the placesof theiremergence, on this supposition, were calculated with dhe ulmost sey, and ct with siagule precision; so that an elaborate Inte base of a ‘divided column, a, for insta, of tone nthe nave of Abbeville, Tooks exactly a fit smaller shafts had all been fished to the ‘round St each with ts complete and intiate base, and then the comprehending base of dhe ental pier had ben moulded ‘over them in clay, aving their points and angles eickiag out Ther and there lke the edges of sharp exystals out of a nodule ‘ofearth. The exhibition of tecnica dexterity in wo of this indi often marvellous, the strangest posible shape of sections being calculated to a hairs breadth, and the ocumence of the under and emergent forms beng rendered, even in places where they are so slight shat they can hardly be detected but by the 66 se tote oF ToT Ie is impossible to render a very elaborate example of this kind intelligible, witht some fifty measured sections but fig 6 Pate IV. isa very interesting and simple one, fom the trent gate of Roven’" Its par ofthe tate of one ofthe narrow ‘rs between itsprincipal niches. Thesquare column &, having Biba with the profile pr, i supposed to contain within itself fouther similar one, set diagonally, an lied so far above the inclsing one, as that the recessed part ofits pro shal fall Dehind the projecting part ofthe outer one. ‘The ange of is ‘oper portion exactly meets the pane of the side of the upper Fhelosing shaft 4, and would, therefore, not be sen, unless two ‘eri cuts were mae to exhibit i which form two dae fines the whole way ap the shaft. Two small pilasters rer, lke Tastening atch, dhrough the junetion, onthe ontof the shafts ‘The sections taken respectively a the levels, will explain the hypothetical conszucion ofthe whole. Fig 7. a base oF Sone rather (for passages ofthis form oocur again and again on {he sha of famboyant work) of one of the smallest piers ofthe plesals which supported the Tost statues of the porch is Zecton below would be the same as #, and its construction, Mer what has been said of the other base, wil be at once perceived XXVIL, There was, however, i this kind of involution, mich to he dite aswell az reprehended; the proportions of " Pofnor Wiis wy Ti at mer wh eed ad we aia! the nt cra sso Gee aaron ove (EESHean eh l ny rna of cn Gai hp of ‘tentoat wek on rep nd wee her pig fe SREP in one, tc de pay by Per Wah ‘lermrs pba su ny his nek "On the Chace Ione Snot the Psneyet Se" met een No, naka ns of he pipe 1 saa tng Kenge th yhoo ln 28 SESSEED rat Sonat cngy on ual orm 1 mod cle + Int het cnmpnicrs oes ming othe ce ied roar Spchagetestcmes I cy th bles Bad neve ole ot ‘Zag ef ep at ie Tg veil mo The onion he ‘Retna bss ¥en trou nthe Pan Goma Deo, (Gop Ta ponbes hit baie ‘me Lae oP TRUTH 6 qanttes were always as beautiful ax they were iatiate; and, ‘though the lines of itesetion were harsh, they were exquisitely ‘opposed tothe fower-work af the iatepoving mouldings But the fancy did not stop here; it rose from the bases nto the sche and there, nt ding room enough for its exhibition, withdrew the exptale fom the heads even of engi shat, (ve cannot but admire, while we rege, the boldness ofthe men ‘who could defy the authority and enstom ofall the nations of the cath fora space of some three thousand years) in oner tat the arch moldiags might appear to emerge fom the pill, at its base they had been Tost in i and not terminate on the sbacus ofthe capital; then they ran the mouldings actors and ‘rough each other, a¢ the point of the arch; and finaly, not Sindng ther nataraldzetons enovgh to furnish a2 many oc sons of intersection asthe wisbed, bent them htherand thither, and et off their ends shor, when they had passed the pint of Jtereeton. Fig. 2. Plate IV, i part of fying butress fom the apse of St. Gervais at Flas, in which the moulding whose setion iraely given above at f (taken vertcally throgh the point) is arid thrice through eel inthe eros hi and two arches; and the Mt filet s cut of sharp at the end of the eos tar, for the mere pleasure of the truncation. Fig. i all of the headof a door ia dhe Stats of Sues in which the shaded part of the section of the joint, ¢ ge that of the arch inoue lng, whichis three tines redulientd, and six times intersected ‘by itself, the ends being cutoff when they became unmanageable, ‘This syle is, indced, ear exaggerated in Switaeland and Ger- ‘many, owing tothe imitation ia stone ofthe dovealing of wood, paricalarly of the inerseringof beameat the anges of ehlets; ‘butt only frnshes the more plain instanceof the danger of the fallacious system which, fom the begining, reprened. the German, and, in dhe end, ruined the French, Gothie, Te would be too pif a tsk to fallow further the cavcatares of frm and ecentices of treatment, which grew out of thie single abase—the fattened ach the shrunken pili, the lifes ora ment the ny moulding, the distorted aad extesvagant foliation, 8 sme vase oF RUTH ‘nil the time came when, over these wrecks and remnants, ‘eprived of all nity and principle rose the foul torent ofthe renaissance, and swept them all way So fell the great dynasty of medizval architecture” Tewas because it ad fost ow strength, ad disobeyed its own awa ~~ feeause is oer, and consistency and organisation, had een Token through that it ould oppose no resistance the shot ‘overwhelming innovation, And this observe all bsause it had Shore a single wuth. From thatone surtnder ofits integrity, from that one endeavour tonarume the semblance of what itwas tot aro the multitdinous forms of disease and deerepinude, fokich rotted away the plas ofits supremacy. Tt was Bot Teese its time was come; i was not Because it was scorned by the classical Romanist, or dreaded by the fthul Protestant, ‘That scorn and that fear it might have sue ‘ves and lived it would ave stood fot i stern comparison Ivith the enerated senstality ofthe renaissance; it would ave Tien in enewed and pure honowr, and with anew sul, from {he ashes into which ® rank, giving wp. its glory, asi had ‘recived it for the honour of Godbat is own truth was gone, fd fsa forever. There was no wisom nor strenge eft in ft to raise ie rom the dust; andthe error of zal, andthe soft. tse of lary, smote it down and dizolved itaway. Tt is good for us to remember this ar we tad upon the bare ground of is foundation, and stumble over ite scattered stones. Those rent lleton of pierced wall Uioagh whic ou eacwinds mean and. rman, strewing ther joie by joint, and bone by bon, alo. the bleak promontories on which the Pharos lights eame once ftom houses of prayer those grey arches and quiet ses tinder which the seep of our valleys fed and rest on the turf thae as buried their ltars—thoveshapeless heaps, tht are not > The song pgp vey pete rly The sot west ptt ty men anal en of FO TEGkCAD pull dh ttn ft pd Nome mt at Se icine wet an coup allen sce ovate oponis ofthe Barth, which lit our fds into strange and sudden banks ‘flowers, and stay our mountain streams with stones that are ‘ot their own, have other thoughts to ask frm us than those of ‘mourning forthe rage that despaied, or the fear that forsook them. I was not he obber, note fanati, nt the Maspemer, ‘who sealed the destruction tht they had wrought; the war, the ‘wrth, the trom, might have worked thie worst, and the strong walls would have rise, and the slight pillars would have started ‘gain from under the hand of the destroyer. But they could ot se out ofthe runs of ter own violated teat,

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