The Rhythm of Life Part 1

The Rhythm of Life.

by Alice Meynell.

If life is not always poetical, it is at least metrical. Periodicity rules over the mental experience of man, according to the path of the orbit of his thoughts. Distances are not gauged, ellipses not measured, velocities not ascertained, times not known. Nevertheless, the recurrence is sure. What the mind suffered last week, or last year, it does not suffer now; but it will suffer again next week or next year.

Happiness is not a matter of events; it depends upon the tides of the mind. Disease is metrical, closing in at shorter and shorter periods towards death, sweeping abroad at longer and longer intervals towards recovery. Sorrow for one cause was intolerable yesterday, and will be intolerable tomorrow; today it is easy to bear, but the cause has not pa.s.sed. Even the burden of a spiritual distress unsolved is bound to leave the heart to a temporary peace; and remorse itself does not remain--it returns. Gaiety takes us by a dear surprise. If we had made a course of notes of its visits, we might have been on the watch, and would have had an expectation instead of a discovery. No one makes such observations; in all the diaries of students of the interior world, there have never come to light the records of the Kepler of such cycles. But Thomas a Kempis knew of the recurrences, if he did not measure them. In his cell alone with the elements--'What wouldst thou more than these? for out of these were all things made'--he learnt the stay to be found in the depth of the hour of bitterness, and the remembrance that restrains the soul at the coming of the moment of delight, giving it a more conscious welcome, but presaging for it an inexorable flight. And 'rarely, rarely comest thou,' sighed Sh.e.l.ley, not to Delight merely, but to the Spirit of Delight. Delight can be compelled beforehand, called, and constrained to our service--Ariel can be bound to a daily task; but such artificial violence throws life out of metre, and it is not the spirit that is thus compelled. _That_ flits upon an orbit elliptically or parabolically or hyperbolically curved, keeping no man knows what trysts with Time.

It seems fit that Sh.e.l.ley and the author of the _Imitation_ should both have been keen and simple enough to perceive these flights, and to guess at the order of this periodicity. Both souls were in close touch with the spirits of their several worlds, and no deliberate human rules, no infractions of the liberty and law of the universal movement, kept from them the knowledge of recurrences. _Eppur si muove_. They knew that presence does not exist without absence; they knew that what is just upon its flight of farewell is already on its long path of return. They knew that what is approaching to the very touch is hastening towards departure. 'O wind,' cried Sh.e.l.ley, in autumn,

'O wind, If winter comes, can spring be far behind?'

They knew that the flux is equal to the reflux; that to interrupt with unlawful recurrences, out of time, is to weaken the impulse of onset and retreat; the sweep and impetus of movement. To live in constant efforts after an equal life, whether the equality be sought in mental production, or in spiritual sweetness, or in the joy of the senses, is to live without either rest or full activity. The souls of certain of the saints, being singularly simple and single, have been in the most complete subjection to the law of periodicity. Ecstasy and desolation visited them by seasons. They endured, during s.p.a.ces of vacant time, the interior loss of all for which they had sacrificed the world. They rejoiced in the uncovenanted beat.i.tude of sweetness alighting in their hearts. Like them are the poets whom, three times or ten times in the course of a long life, the Muse has approached, touched, and forsaken.

And yet hardly like them; not always so docile, nor so wholly prepared for the departure, the brevity, of the golden and irrevocable hour. Few poets have fully recognised the metrical absence of their Muse. For full recognition is expressed in one only way--silence.

It has been found that several tribes in Africa and in America wors.h.i.+p the moon, and not the sun; a great number wors.h.i.+p both; but no tribes are known to adore the sun, and not the moon. For the periodicity of the sun is still in part a secret; but that of the moon is modestly apparent, perpetually influential. On her depend the tides; and she is Selene, mother of Herse, bringer of the dews that recurrently irrigate lands where rain is rare. More than any other companion of earth is she the Measurer. Early Indo-Germanic languages knew her by that name. Her metrical phases are the symbol of the order of recurrence. Constancy in approach and in departure is the reason of her inconstancies. Juliet will not receive a vow spoken in invocation of the moon; but Juliet did not live to know that love itself has tidal times--lapses and ebbs which are due to the metrical rule of the interior heart, but which the lover vainly and unkindly attributes to some outward alteration in the beloved.

For man--except those elect already named--is hardly aware of periodicity. The individual man either never learns it fully, or learns it late. And he learns it so late, because it is a matter of c.u.mulative experience upon which c.u.mulative evidence is lacking. It is in the after- part of each life that the law is learnt so definitely as to do away with the hope or fear of continuance. That young sorrow comes so near to despair is a result of this young ignorance. So is the early hope of great achievement. Life seems so long, and its capacity so great, to one who knows nothing of all the intervals it needs must hold--intervals between aspirations, between actions, pauses as inevitable as the pauses of sleep. And life looks impossible to the young unfortunate, unaware of the inevitable and unfailing refreshment. It would be for their peace to learn that there is a tide in the affairs of men, in a sense more subtle--if it is not too audacious to add a meaning to Shakespeare--than the phrase was meant to contain. Their joy is flying away from them on its way home; their life will wax and wane; and if they would be wise, they must wake and rest in its phases, knowing that they are ruled by the law that commands all things--a sun's revolutions and the rhythmic pangs of maternity.

DECIVILISED

The difficulty of dealing--in the course of any critical duty--with decivilised man lies in this: when you accuse him of vulgarity--sparing him no doubt the word--he defends himself against the charge of barbarism. Especially from new soil--transatlantic, colonial--he faces you, bronzed, with a half conviction of savagery, partly persuaded of his own youthfulness of race. He writes, and recites, poems about ranches and canyons; they are designed to betray the recklessness of his nature and to reveal the good that lurks in the lawless ways of a young society.

He is there to explain himself, voluble, with a glossary for his own artless slang. But his colonialism is only provincialism very articulate. The new air does but make old decadences seem more stale; the young soil does but set into fresh conditions the ready-made, the uncostly, the refuse feeling of a race decivilising. American fancy played long this pattering part of youth. The New-Englander hastened to a.s.sure you with so self-denying a face he did not wear war-paint and feathers, that it became doubly difficult to communicate to him that you had suspected him of nothing wilder than a second-hand dress coat. And when it was a question not of rebuke, but of praise, the American was ill- content with the word of the judicious who lauded him for some delicate successes in continuing something of the literature of England, something of the art of France; he was more eager for the applause that stimulated him to write romances and to paint panoramic landscape, after brief training in academies of native inspiration. Even now English voices, with violent commonplace, are constantly calling upon America to begin--to begin, for the world is expectant. Whereas there is no beginning for her, but instead a continuity which only a constant care can guide into sustained refinement and can save from decivilisation.

But decivilised man is not peculiar to new soil. The English town, too, knows him in all his dailiness. In England, too, he has a literature, an art, a music, all his own--derived from many and various things of price.

Trash, in the fulness of its in simplicity and cheapness, is impossible without a beautiful past. Its chief characteristic--which is futility, not failure--could not be achieved but by the long abuse, the rotatory reproduction, the quotidian disgrace, of the utterances of Art, especially the utterance by words. Gaiety, vigour, vitality, the organic quality, purity, simplicity, precision--all these are among the antecedents of trash. It is after them; it is also, alas, because of them. And nothing can be much sadder than such a proof of what may possibly be the failure of derivation.

Evidently we cannot choose our posterity. Reversing the steps of time, we may, indeed, choose backwards. We may give our thoughts n.o.ble forefathers. Well begotten, well born our fancies must be; they shall be also well derived. We have a voice in decreeing our inheritance, and not our inheritance only, but our heredity. Our minds may trace upwards and follow their ways to the best well-heads of the arts. The very habit of our thoughts may be persuaded one way unawares by their antenatal history. Their companions must be lovely, but need be no lovelier than their ancestors; and being so fathered and so husbanded, our thoughts may be intrusted to keep the counsels of literature.

Such is our confidence in a descent we know. But, of a sequel which of us is sure? Which of us is secured against the dangers of subsequent depreciation? And, moreover, which of us shall trace the contemporary tendencies, the one towards honour, the other towards dishonour? Or who shall discover why derivation becomes degeneration, and where and when and how the b.a.s.t.a.r.dy befalls? The decivilised have every grace as the antecedent of their vulgarities, every distinction as the precedent of their mediocrities. No ballad-concert song, feign it sigh, frolic, or laugh, but has the excuse that the feint was suggested, was made easy, by some living sweetness once. Nor are the decivilised to blame as having in their own persons possessed civilisation and marred it. They did not possess it; they were born into some tendency to derogation, into an inclination for things mentally inexpensive. And the tendency can hardly do other than continue. Nothing can look duller than the future of this second-hand and multiplying world. Men need not be common merely because they are many; but the infection of commonness once begun in the many, what dulness in their future! To the eye that has reluctantly discovered this truth--that the vulgarised are not _un_civilised, and that there is no growth for them--it does not look like a future at all. More ballad- concerts, more quaint English, more robustious barytone songs, more piecemeal pictures, more anxious decoration, more colonial poetry, more young nations with withered traditions. Yet it is before this prospect that the provincial overseas lifts up his voice in a boast or a promise common enough among the incapable young, but pardonable only in senility.

He promises the world a literature, an art, that shall be new because his forest is untracked and his town just built. But what the newness is to be he cannot tell. Certain words were dreadful once in the mouth of desperate old age. Dreadful and pitiable as the threat of an impotent king, what shall we name them when they are the promise of an impotent people? 'I will do such things: what they are yet I know not.'

A REMEMBRANCE

When the memories of two or three persons now upon earth shall be rolled up and sealed with their records within them, there will be no remembrance left open, except this, of a man whose silence seems better worth interpreting than the speech of many another. Of himself he has left no vestiges. It was a common reproach against him that he never acknowledged the obligation to any kind of restlessness. The kingdom of heaven suffereth violence, but as he did none there was nothing for it but that the kingdom of heaven should yield to his leisure. The delicate, the abstinent, the reticent graces were his in the heroic degree. Where shall I find a pen fastidious enough to define and limit and enforce so many significant negatives? Words seem to offend by too much a.s.sertion, and to check the suggestions of his reserve. That reserve was life-long. Loving literature, he never lifted a pen except to write a letter. He was not inarticulate, he was only silent. He had an exquisite style from which to refrain. The things he abstained from were all exquisite. They were brought from far to undergo his judgment, if haply he might have selected them. Things ign.o.ble never approached near enough for his refusal; they had not with him so much as that negative connexion. If I had to equip an author I should ask no better than to arm him and invest him with precisely the riches that were renounced by the man whose intellect, by integrity, had become a presence- chamber.

It was by holding session among so many implicit safeguards that he taught, rather than by precepts. Few were these in his speech, but his personality made laws for me. It was a subtle education, for it persuaded insensibly to a conception of my own. How, if he would not define, could I know what things were and what were not worthy of his gentle and implacable judgment? I must needs judge them for myself, yet he constrained me in the judging. Within that constraint and under that stimulus, which seemed to touch the ultimate springs of thoughts before they sprang, I began to discern all things in literature and in life--in the chast.i.ty of letters and in the honour of life--that I was bound to love. Not the things of one character only, but excellent things of every character. There was no tyranny in such a method. His idleness justified itself by the liberality it permitted to his taste. Never having made his love of letters further a secondary purpose, never having bound the literary genius--that delicate Ariel--to any kind of servitude, never having so much as permitted himself a prejudice whereby some of his delights should be stinted while others were indulged beyond the sanctions of modest reason, he barely tolerated his own preferences, which lay somewhat on the hither side of full effectiveness of style.

These the range of his reading confessed by certain exclusions.

Nevertheless it was not of deficiencies that he was patient: he did but respect the power of pause, and he disliked violence chiefly because violence is apt to confess its own limits. Perhaps, indeed, his own fine negatives made him only the more sensible of any lack of those literary qualities that are bound in their full complement to hold themselves at the disposal of the consummate author--to stand and wait, if they may do no more.

Men said that he led a _dilettante_ life. They reproached him with the selflessness that made him somewhat languid. Others, they seemed to aver, were amateurs at this art or that; he was an amateur at living. So it was, in the sense that he never grasped at happiness, and that many of the things he had held slipped from his disinterested hands. So it was, too, in this unintended sense; he loved life. How should he not have loved a life that his living made honourable? How should he not have loved all arts, in which his choice was delicate, liberal, instructed, studious, docile, austere? An amateur man he might have been called, too, because he was not discomposed by his own experiences, or shaken by the discovery which life brings to us-that the negative quality of which Buddhism seems to accuse all good is partaken by our happiness. He had always prayed temperate prayers and harboured probable wishes. His sensibility was extreme, but his thought was generalised. When he had joy he tempered it not in the common way by meditation upon the general sorrow but by a recollection of the general pleasure. It was his finest distinction to desire no differences, no remembrance, but loss among the innumerable forgotten. And when he suffered, it was with so quick a nerve and yet so wide an apprehension that the race seemed to suffer in him. He pitied not himself so tenderly as mankind, of whose capacity for pain he was then feelingly persuaded. His darkening eyes said in the extreme hour: 'I have compa.s.sion on the mult.i.tude.'

THE SUN

Nowhere else does the greater light so rule the day, so measure, so divide, so reign, make so imperial laws, so visibly kindle, so immediately quicken, so suddenly efface, so banish, so restore, as in a plain like this of Suffolk with its enormous sky. The curious have an insufficient motive for going to the mountains if they do it to see the sunrise. The sun that leaps from a mountain peak is a sun past the dew of his birth; he has walked some way towards the common fires of noon.

But on the flat country the uprising is early and fresh, the arc is wide, the career is long. The most distant clouds, converging in the beautiful and little-studied order of cloud-perspective (for most painters treat clouds as though they formed perpendicular and not horizontal scenery), are those that gather at the central point of sunrise. On the plain, and there only, can the construction--but that is too little vital a word; I should rather say the organism--the unity, the design, of a sky be understood. The light wind that has been moving all night is seen to have not worked at random. It has shepherded some small flocks of cloud afield and folded others. There's husbandry in Heaven. And the order has, or seems to have, the sun for its midst. Not a line, not a curve, but confesses its members.h.i.+p in a design declared from horizon to horizon.

To see the system of a sky in fragments is to miss what I learn to look for in all achieved works of Nature and art: the organism that is unity and life. It is the unity and life of painting. The Early Victorian picture--(the school is still in full career, but essentially it belongs to that triumphal period)--is but a dull sum of things put together, in concourse, not in relation; but the true picture is _one_, however mult.i.tudinous it may be, for it is composed of relations gathered together in the unity of perception, of intention, and of light. It is organic. Moreover, how truly relation is the condition of life may be understood from the extinct state of the English stage, which resembles nothing so much as a Royal Academy picture. Even though the actors may be added together with something like vivacity (though that is rare), they have no vitality in common. They are not members one of another. If the Church and Stage Guild be still in existence, it would do much for the art by teaching that Scriptural maxim. I think, furthermore, that the life of our bodies has never been defined so suggestively as by one who named it a living relation of lifeless atoms. Could the value of relation be more curiously set forth? And one might penetrate some way towards a consideration of the vascular organism of a true literary style in which there is a vital relation of otherwise lifeless word with word.

And wherein lies the progress of architecture from the stupidity of the pyramid and the dead weight of the Cyclopean wall to the spring and the flight of the ogival arch, but in a quasi-organic relation? But the way of such thoughts might be intricate, and the sun rules me to simplicity.

He reigns as centrally in the blue sky as in the clouds. One October of late had days absolutely cloudless. I should not have certainly known it had there been a hill in sight. The gradations of the blue are incalculable, infinite, and they deepen from the central fire. As to the earthly scenery, there are but two 'views' on the plain; for the aspect of the light is the whole landscape. To look with the sun or against the sun--this is the alternative splendour. To look with the sun is to face a golden country, shadowless, serene, n.o.ble and strong in light, with a certain lack of relief that suggests--to those who dream of landscape--the country of a dream. The serried pines, and the lighted fields, and the golden ricks of the farms are dyed with the sun as one might paint with a colour. Bright as it is, the glow is rather the dye of sunlight than its luminosity. For by a kind of paradox the luminous landscape is that which is full of shadows--the landscape before you when you turn and face the sun. Not only every reed and rush of the salt marshes, every uncertain aspen-leaf of the few trees, but every particle of the October air shows a shadow and makes a mystery of the light. There is nothing but shadow and sun; colour is absorbed and the landscape is reduced to a s.h.i.+ning simplicity. Thus is the dominant sun sufficient for his day. His pa.s.sage kindles to unconsuming fires and quenches into living ashes. No incidents save of his causing, no delight save of his giving: from the sunrise, when the larks, not for pairing, but for play, sing the only virginal song of the year--a heart younger than Spring's in the season of decline--even to the sunset, when the herons scream together in the shallows. And the sun dominates by his absence, compelling the low country to sadness in the melancholy night.

THE FLOWER

There is a form of oppression that has not until now been confessed by those who suffer from it or who are partic.i.p.ants, as mere witnesses, in its tyranny. It is the obsession of man by the flower. In the shape of the flower his own paltriness revisits him--his triviality, his sloth, his cheapness, his wholesale habitualness, his slatternly ostentation.

These return to him and wreak upon him their dull revenges. What the tyranny really had grown to can be gauged nowhere so well as in country lodgings, where the most ordinary things of design and decoration have sifted down and gathered together, so that foolish ornament gains a c.u.mulative force and achieves a conspicuous commonness. Stem and petal and leaf--the fluent forms that a man has not by heart but certainly by rote--are woven, printed, cast, and stamped wherever restlessness and insimplicity have feared to leave plain s.p.a.ces. The most ugly of all imaginable rooms, which is probably the parlour of a farm-house arrayed for those whom Americans call summer-boarders, is beset with flowers. It blooms, a dry, woollen, papery, cast-iron garden. The floor flourishes with blossoms adust, poorly conventionalised into a kind of order; the table-cover is ablaze with a more realistic florescence; the wall-paper is set with bunches; the rigid machine-lace curtain is all of roses and lilies in its very construction, over the muslin blinds an impotent sprig is scattered. In the worsted rosettes of the bell-ropes, in the plaster picture-frames, in the painted tea-tray and on the cups, in the pediment of the sideboard, in the ornament that crowns the barometer, in the finials of sofa and arm-chair, in the finger-plates of the 'grained'

door, is to be seen the ineffectual portrait or to be traced the stale inspiration of the flower. And what is this bossiness around the grate but some blunt, black-leaded garland? The recital is wearisome, but the retribution of the flower is precisely weariness. It is the persecution of man, the haunting of his trivial visions, and the oppression of his inconsiderable brain.

The man so possessed suffers the lot of the weakling--subjection to the smallest of the things he has abused. The designer of cheap patterns is no more inevitably ridden by the flower than is the vain and transitory author by the phrase. But I had rather learn my decoration of the j.a.panese, and place against the blank wall one pot plain from the wheel, holding one singular branch in blossom, in the att.i.tude and accident of growth. And I could wish abstention to exist, and even to be evident, in my words. In literature as in all else man merits his subjection to trivialities by a kind of economical greed. A condition for using justly and gaily any decoration would seem to be a certain reluctance.

Ornament--strange as the doctrine sounds in a world decivilised--was in the beginning intended to be something jocund; and jocundity was never to be achieved but by postponement, deference, and modesty. Nor can the prodigality of the meadows in May be quoted in dispute. For Nature has something even more severe than moderation: she has an innumerable singleness. Her b.u.t.ter-cup meadows are not prodigal; they show mult.i.tude, but not multiplicity, and multiplicity is exactly the disgrace of decoration. Who has ever multiplied or repeated his delights? or who has ever gained the granting of the most foolish of his wishes--the prayer for reiteration? It is a curious slight to generous Fate that man should, like a child, ask for one thing many times. Her answer every time is a resembling but new and single gift; until the day when she shall make the one tremendous difference among her gifts--and make it perhaps in secret--by naming one of them the ultimate. What, for novelty, what, for singleness, what, for separateness, can equal the last? Of many thousand kisses the poor last--but even the kisses of your mouth are all numbered.

UNSTABLE EQUILIBRIUM

It is princ.i.p.ally for the sake of the leg that a change in the dress of man is so much to be desired. The leg, completing as it does the form of man, should make a great part of that human scenery which is at least as important as the scenery of geological structure, or the scenery of architecture, or the scenery of vegetation, but which the lovers of mountains and the preservers of ancient buildings have consented to ignore. The leg is the best part of the figure, inasmuch as it has the finest lines and therewith those slender, diminis.h.i.+ng forms which, coming at the base of the human structure, show it to be a thing of life by its unstable equilibrium. A lifeless structure is in stable equilibrium; the body, springing, poised, upon its fine ankles and narrow feet, never stands without implying and expressing life. It is the leg that first suggested the phantasy of flight. We imagine wings to the figure that is erect upon the vital and tense legs of man; and the herald Mercury, because of his station, looks new-lighted. All this is true of the best leg, and the best leg is the man's. That of the young child, in which the Italian schools of painting delighted, has neither movement nor supporting strength. In the case of the woman's figure it is the foot, with its extreme proportional smallness, that gives the precious instability, the spring and balance that are so organic. But man should no longer disguise the long lines, the strong forms, in those lengths of piping or tubing that are of all garments the most stupid. Inexpressive of what they clothe as no kind of concealing drapery could ever be, they are neither implicitly nor explicitly good raiment. It is hardly possible to err by violence in denouncing them. Why, when a bad writer is praised for 'clothing his thought,' it is to modern raiment that one's nimble fancy flies--fain of completing the beautiful metaphor!

The human scenery: yes, costume could make a crowd something other than the ma.s.s of sooty colour--dark without depth--and the multiplication of undignified forms that fill the streets, and demonstrate, and strike, and listen to the democrat. For the undistinguished are very important by their numbers. These are they who make the look of the artificial world.

They are man generalised; as units they inevitably lack something of interest; all the more have they c.u.mulative effect. It would be well if we could persuade the average man to take on a certain human dignity in the clothing of his average body. Unfortunately he will be slow to be changed. And as to the poorer part of the ma.s.s, so wretched are their national customs--and the wretchedest of them all the wearing of other men's old raiment--that they must wait for reform until the reformed dress, which the reformers have not yet put on, shall have turned second- hand.

THE UNIT OF THE WORLD

The quarrel of Art with Nature goes on apace. The painters have long been talking of selecting, then of rejecting, or even, with Mr. Whistler, of supplanting. And then Mr. Oscar Wilde, in the witty and delicate series of inversions which he headed 'The Decay of Lying,' declared war with all the irresponsibility naturally attending an act so serious. He seems to affirm that Nature is less proportionate to man than is architecture; that the house is built and the sofa is made measurable by the unit measure of the body; but that the landscape is set to some other scale. 'I prefer houses to the open air. In a house we all feel of the proper proportions. Egotism itself, which is so necessary to a proper sense of human dignity, is absolutely the result of indoor life.'

Nevertheless, before it is too late, let me a.s.sert that though nature is not always clearly and obviously made to man's measure, he is yet the unit by which she is measurable. The proportion may be far to seek at times, but the proportion is there. Man's farms about the lower Alps, his summer pastures aloft, have their relation to the whole construction of the range; and the range is great because it is great in regard to the village lodged in a steep valley in the foot hills. The relation of flower and fruit to his hands and mouth, to his capacity and senses (I am dealing with size, and nothing else), is a very commonplace of our conditions in the world. The arm of man is sufficient to dig just as deep as the harvest is to be sown. And if some of the cheerful little evidences of the more popular forms of teleology are apt to be baffled, or indefinitely postponed, by the retorts that suggest themselves to the modern child, there remains the subtle and indisputable witness borne by art itself: the body of man composes with the ma.s.s and the detail of the world. The picture is irrefutable, and the picture arranges the figure amongst its natural accessories in the landscape, and would not have them otherwise.

But there is one conspicuous thing in the world to which man has not served as a unit of proportion, and that one thing is a popularly revered triumph of that very art of architecture in which Mr. Oscar Wilde has confidence for keeping things in scale. Human ingenuity in designing St.

Peter's on the Vatican, has achieved this one exception to the universal harmony--a harmony enriched by discords, but always on one certain scale of notes--which the body makes with the details of the earth. It is not in the landscape, where Mr. Oscar Wilde has too rashly looked for contempt and contumely, but in the art he holds precious as the minister to man's egotism, that man's Ego is defied. St. Peter's is not necessarily too large (though on other grounds its size might be liable to correction); it is simply out of relation to the most vital thing on the earth--the thing which has supplied some secret rod to measure the waves withal, and the whales, the sea-wall cliffs, the ears of wheat, the cedar-branches, pines and diamonds and apples. Now, Emerson would certainly not have felt the soft shock and stimulus of delight to which he confesses himself to be liable at the first touch of certain phrases, had not the words in every case enclosed a promise of further truth and of a second pleasure. One of these swift and fruitful experiences visited him with the saying--grown popular through him--that an architect should have a knowledge of anatomy. There is a.s.suredly a germ and a promise in the phrase. It delights us, first, because it seems to recognise the organic, as distinct from the merely constructive, character of finely civilised architecture; and next, it persuades us that Vitruvius had in truth discovered the key to size--the unit that is sometimes so obscurely, yet always so absolutely, the measure of what is great and small among things animate and inanimate. And in spite of themselves the architects of St. Peter's were constrained to take something from man; they refused his height for their scale, but they tried to use his shape for their ornament. And so in the blankest dearth of fancy that ever befel architect or builder they imagined human beings bigger than the human beings of experience; and by means of these, carved in stone and inlaid in mosaic, they set up a relation of their own. The basilica was related to the colossal figure (as a church more wisely measured would have been to living man), and so ceased to be large; and nothing more important was finally achieved than transposal of the whole work into another scale of proportions--a scale in which the body of man was not the unit. The pile of stones that make St. Peter's is a very little thing in comparison with Soracte; but man, and man's wife, and the unequal statures of his children, are in touch with the structure of the mountain rather than with that of the church which has been conceived without reference to the vital and fundamental rule of his inches.