The Seven Lamps Of Architecture Part 2

One of the most general instances of this will be found in the form of the flying b.u.t.tress in late Gothic. The use of that member is, of course, to convey support from one pier to another when the plan of the building renders it necessary or desirable that the supporting ma.s.ses should be divided into groups, the most frequent necessity of this kind arising from the intermediate range of chapels or aisles between the nave or choir walls and their supporting piers. The natural, healthy, and beautiful arrangement is that of a steeply sloping bar of stone, sustained by an arch with its spandril carried farthest down on the lowest side, and dying into the vertical of the outer pier; that pier being, of course, not square, but rather a piece of wall set at right angles to the supported walls, and, if need be, crowned by a pinnacle to give it greater weight. The whole arrangement is exquisitely carried out in the choir of Beauvais. In later Gothic the pinnacle became gradually a decorative member, and was used in all places merely for the sake of its beauty. There is no objection to this; it is just as lawful to build a pinnacle for its beauty as a tower; but also the b.u.t.tress became a decorative member; and was used, first, where it was not wanted, and, secondly, in forms in which it could be of no use, becoming a mere tie, not between the pier and wall, but between the wall and the top of the decorative pinnacle, thus attaching itself to the very point where its thrust, if it made any, could not be resisted. The most flagrant instance of this barbarism that I remember (though it prevails partially in all the spires of the Netherlands), is the lantern of St. Ouen at Rouen, where the pierced b.u.t.tress, having an ogee curve, looks about as much calculated to bear a thrust as a switch of willow; and the pinnacles, huge and richly decorated, have evidently no work to do whatsoever, but stand round the central tower, like four idle servants, as they are--heraldic supporters, that central tower being merely a hollow crown, which needs no more b.u.t.tressing than a basket does. In fact, I do not know anything more strange or unwise than the praise lavished upon this lantern; it is one of the basest pieces of Gothic in Europe; its flamboyant traceries of the last and most degraded forms;[5]

and its entire plan and decoration resembling, and deserving little more credit than, the burnt sugar ornaments of elaborate confectionery. There are hardly any of the magnificent and serene constructions of the early Gothic which have not, in the course of time, been gradually thinned and pared away into these skeletons, which sometimes indeed, when their lines truly follow the structure of the original ma.s.ses, have an interest like that of the fibrous framework of leaves from which the substance has been dissolved, but which are usually distorted as well as emaciated, and remain but the sickly phantoms and mockeries of things that were; they are to true architecture what the Greek ghost was to the armed and living frame; and the very winds that whistle through the threads of them, are to the diapasoned echoes of the ancient walls, as to the voice of the man was the pining of the spectre.[6]

IX. Perhaps the most fruitful source of these kinds of corruption which we have to guard against in recent times, is one which, nevertheless, comes in a "questionable shape," and of which it is not easy to determine the proper laws and limits; I mean the use of iron. The definition of the art of architecture, given in the first chapter, is independent of its materials: nevertheless, that art having been, up to the beginning of the present century, practised for the most part in clay, stone, or wood, it has resulted that the sense of proportion and the laws of structure have been based, the one altogether, the other in great part, on the necessities consequent on the employment of those materials; and that the entire or princ.i.p.al employment of metallic framework would, therefore, be generally felt as a departure from the first principles of the art. Abstractedly there appears no reason why iron should not be used as well as wood; and the time is probably near when a new system of architectural laws will be developed, adapted entirely to metallic construction. But I believe that the tendency of all present sympathy and a.s.sociation is to limit the idea of architecture to non-metallic work; and that not without reason. For architecture being in its perfection the earliest, as in its elements it is necessarily the first, of arts, will always precede, in any barbarous nation, the possession of the science necessary either for the obtaining or the management of iron. Its first existence and its earliest laws must, therefore, depend upon the use of materials accessible in quant.i.ty, and on the surface of the earth; that is to say, clay, wood, or stone: and as I think it cannot but be generally felt that one of the chief dignities of architecture is its historical use; and since the latter is partly dependent on consistency of style, it will be felt right to retain as far as may be, even in periods of more advanced science, the materials and principles of earlier ages.

X. But whether this be granted me or not, the fact is, that every idea respecting size, proportion, decoration, or construction, on which we are at present in the habit of acting or judging, depends on presupposition of such materials: and as I both feel myself unable to escape the influence of these prejudices, and believe that my readers will be equally so, it may be perhaps permitted to me to a.s.sume that true architecture does not admit iron as a constructive material,[7] and that such works as the cast-iron central spire of Rouen Cathedral, or the iron roofs and pillars of our railway stations, and of some of our churches, are not architecture at all. Yet it is evident that metals may, and sometimes must, enter into the construction to a certain extent, as nails in wooden architecture, and therefore as legitimately rivets and solderings in stone; neither can we well deny to the Gothic architect the power of supporting statues, pinnacles, or traceries by iron bars; and if we grant this I do not see how we can help allowing Brunelleschi his iron chain around the dome of Florence, or the builders of Salisbury their elaborate iron binding of the central tower.[8] If, however, we would not fall into the old sophistry of the grains of corn and the heap, we must find a rule which may enable us to stop somewhere.

This rule is, I think, that metals may be used as a _cement_ but not as a _support_. For as cements of other kinds are often so strong that the stones may easier be broken than separated, and the wall becomes a solid ma.s.s 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 or rivets should not be used in the place of cement, and establish the same or a greater strength and adherence, without in any wise inducing departure from the types and system of architecture before established; nor does it make any difference except as to sightliness, whether the metal bands or rods so employed, be in the body of the wall or on its exterior, or set as stays and cross-bands; so only that the use of them be always and distinctly one which might be superseded by mere strength of cement; as for instance if a pinnacle or mullion be propped or tied by an iron band, it is evident that the iron only prevents the separation of the stones by lateral force, which the cement would have 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 its resistance to crus.h.i.+ng, and bears superinc.u.mbent weight, or if it acts by its own weight as a counterpoise, and so supersedes the use of pinnacles or b.u.t.tresses in resisting a lateral thrust, or if, in the form of a rod or 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.

XI. The limit, however, thus determined, is an ultimate one, and it is well in all things to be cautious how we approach the utmost limit of lawfulness; so that, although the employment of metal within this limit cannot be considered as destroying the very being and nature of architecture, it will, if, extravagant and frequent, derogate from the dignity of the work, as well as (which is especially to our present point) from its honesty. For although the spectator is not informed as to the quant.i.ty or strength of the cement employed, he will generally conceive the stones of the building to be separable and his estimate of the skill of the architect will be based in a great measure on his supposition of this condition, and of the difficulties attendant upon it: so that it is always more honorable, and it has a tendency to render the style of architecture both more masculine and more scientific, to employ stone and mortar simply as such, and to do as much as possible with the weight of the one and the strength of the other, and rather sometimes to forego a grace, or to confess a weakness, than attain the one, or conceal the other, by means verging upon dishonesty.

Nevertheless, where the design is of such delicacy and slightness as, in some parts of very fair and finished edifices, it is desirable that it should be; and where both its completion and security are in a measure dependent on the use of metal, let not such use be reprehended; so only that as much is done as may be, by good mortar and good masonry; and no slovenly workmans.h.i.+p admitted through confidence in the iron helps; for it is in this license as in that of wine, a man may use it for his infirmities, but not for his nourishment.

XII. And, in order to avoid an over use of this liberty, it would be well to consider what application may be conveniently made of the dovetailing and various adjusting of stones; for when any artifice is necessary to help the mortar, certainly this ought to come before the use of metal, for it is both safer and more honest. I cannot see that any objection can be made to the fitting of the stones in any shapes the architect pleases: for although it would not be desirable to see buildings put together like Chinese puzzles, there must always be a check upon such an abuse of the practice in its difficulty; nor is it necessary that it should be always exhibited, so that it be understood by the spectator as an admitted help, and that no princ.i.p.al stones are introduced in positions apparently impossible for them to retain, although a riddle here and there, in unimportant features, may sometimes serve to draw the eye to the masonry, and make it interesting, as well as to give a delightful sense of a kind of necromantic power in the architect. There is a pretty one in the lintel of the lateral door of the cathedral of Prato (Plate IV. fig. 4.); where the maintenance of the visibly separate stones, alternate marble and serpentine, cannot be understood until their cross-cutting is seen below. Each block is, of course, of the form given in fig. 5.

XIII. Lastly, before leaving the subject of structural deceits, I would remind the architect who thinks that I am unnecessarily and narrowly limiting his resources or his art, that the highest greatness and the highest wisdom are shown, the first by a n.o.ble submission to, the second by a thoughtful providence for, certain voluntarily admitted restraints.

Nothing is more evident than this, in that supreme government which is the example, as it is the centre, of all others. The Divine Wisdom is, and can be, shown to us only in its meeting and contending with the difficulties which are voluntarily, and _for the sake of that contest_, admitted by the Divine Omnipotence: and these difficulties, observe, occur in the form of natural laws or ordinances, which might, at many times and in countless ways, be infringed with apparent advantage, but which are never infringed, whatever costly arrangements or adaptations their observance 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 system of the higher animals should not have been made capable, as that of the _Infusoria_ is, of secreting flint, instead of phosphate of lime, or more naturally still, carbon; so framing the bones of adamant at once. The elephant or rhinoceros, had the earthy part of their bones been made of diamond, might have been as agile and light as gra.s.shoppers, 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 elements infinite. But the architecture of animals _here_, is appointed by G.o.d to be a marble architecture, not 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 limitation.

The jaw of the ichthyosaurus is pieced and riveted, the leg of the megatherium is a foot thick, and the head of the myodon has a double skull; we, in our wisdom, should, doubtless, have given the lizard a steel jaw, and the myodon a cast-iron headpiece, and forgotten the great principle to which all creation bears witness, that order and system are n.o.bler things than power. But G.o.d shows us in Himself, strange as it may seem, not only authoritative perfection, but even the perfection of Obedience--an obedience to His own laws: and in the c.u.mbrous movement of those unwieldiest 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 and changeth not."

XIV. 2d. Surface Deceits. These may be generally defined as the inducing the supposition of some form or material which does not actually exist; as commonly in the painting of wood to represent marble, or in the painting of ornaments in deceptive relief, &c. But we must be careful to observe, that the evil of them consists always in definitely attempted _deception_, and that it is a matter of some nicety to mark the point where deception begins or ends.

Thus, for instance, the roof of Milan Cathedral is seemingly covered with elaborate fan tracery, forcibly enough painted to enable it, in its dark and removed position, to deceive a careless observer. This is, of course, gross degradation; it destroys much of the dignity even of the rest of the building, and is in the very strongest terms to be reprehended.

The roof of the Sistine Chapel has much architectural design in grissaille mingled with the figures of its frescoes; and the effect is increase of dignity.

In what lies the distinctive character?

In two points, princ.i.p.ally:--First. That the architecture is so closely a.s.sociated with the figures, and has so grand fellows.h.i.+p with them in its forms and cast shadows, that both are at once felt to be of a piece; and as the figures must necessarily be painted, the architecture is known to be so too. There is thus no deception.

Second. That so great a painter as Michael Angelo would always stop short in such minor parts of his design, of the degree of vulgar force which would be necessary to induce the supposition of their reality; and, strangely as 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 so mighty as 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 nor material is to be _deceptively_ represented.

XV. Evidently, then, painting, confessedly such, is no deception: it does not a.s.sert any material whatever. Whether it be on wood or on stone, or, as will naturally be supposed, on plaster, does not matter.

Whatever the material, good painting makes it more precious; nor can it ever be said to deceive respecting the ground of which it gives us no information. To cover brick with plaster, and this plaster with fresco, is, therefore, perfectly legitimate; and as desirable a mode of decoration as it is constant in the great periods. Verona and Venice are now seen deprived of more than half their former splendor; it depended far more on their frescoes than their marbles. The plaster, in this case, is to be considered as the gesso ground on panel or canvas. But to cover brick with cement, and to divide this cement with joints that it may look like stone, is to tell a falsehood; and is just as contemptible a procedure as the other is n.o.ble.

It being lawful to paint then, is it lawful to paint everything? So long as the painting is confessed--yes; but if, even in the slightest degree, the sense of it be lost, and the thing painted be supposed real--no. Let us take a few instances. In the Campo Santo at Pisa, each fresco is surrounded with a border composed of flat colored patterns of great elegance--no part of it in attempted relief. The certainty of flat surface being thus secured, the figures, though the size of life, do not deceive, and the artist thenceforward is at liberty to put forth his whole power, and to lead us through fields and groves, and depths of pleasant landscape, and to soothe us with the sweet clearness of far off sky, and yet never lose the severity of his primal purpose of architectural decoration.

In the Camera di Correggio of San Lodovico at Parma, the trellises of vine shadow the walls, as if with an actual arbor; and the troops of children, peeping through the oval openings, luscious in color and faint in light, may well be expected every instant to break through, or hide behind the covert. The grace of their att.i.tudes, and the evident greatness of the whole work, mark that it is painting, and barely redeem it from the charge of falsehood; but even so saved, it is utterly unworthy to take a place among n.o.ble or legitimate architectural decoration.

In the cupola of the duomo of Parma the same painter has represented the a.s.sumption with so much deceptive power, that he has made a dome of some thirty feet diameter look like a cloud-wrapt opening in the seventh heaven, crowded with a rus.h.i.+ng sea of angels. Is this wrong? Not so: for the subject at once precludes the possibility of deception. We might have taken the vines for a veritable perG.o.da, and the children for its haunting ragazzi; but we know the stayed clouds and moveless angels must be man's work; let him put his utmost strength to it and welcome, he can enchant us, but cannot betray.

We may thus apply the rule to the highest, as well as the art of daily occurrence, always remembering that more is to be forgiven to the great painter than to the mere decorative workman; and this especially, because the former, even in deceptive portions, will not trick us so grossly; as we have just seen in Correggio, where a worse painter would have made the thing look like life at once. There is, however, in room, villa, or garden decoration, some fitting admission of trickeries of this kind, as of pictured landscapes at the extremities of alleys and arcades, and ceilings like skies, or painted with prolongations upwards of the architecture of the walls, which things have sometimes a certain luxury and pleasureableness in places meant for idleness, and are innocent enough as long as they are regarded as mere toys.

XVI. Touching the false representation of material, the question is infinitely more simple, and the law more sweeping; all such imitations are utterly base and inadmissible. It is melancholy to think of the time and expense lost in marbling the shop fronts of London alone, and of the waste of our resources in absolute vanities, in things about which no mortal cares, by which no eye is ever arrested, unless painfully, and which do not add one whit to comfort or cleanliness, or even to that great object of commercial art--conspicuousness. But in architecture of a higher rank, how much more is it to be condemned? I have made it a rule in the present work not to blame specifically; but I may, perhaps, be permitted, while I express my sincere admiration of the very n.o.ble entrance and general architecture of the British Museum, to express also my regret that the n.o.ble granite foundation of the staircase should be mocked at its landing by an imitation, the more blameable because tolerably successful. The only effect of it is to cast a suspicion upon the true stones below, and upon every bit of granite afterwards encountered. One feels a doubt, after it, of the honesty of Memnon himself. But even this, however derogatory to the n.o.ble architecture around it, is less painful than the want of feeling with which, in our cheap modern churches, we suffer the wall decorator to erect about the altar frameworks and pediments daubed with mottled color, and to dye in the same fas.h.i.+ons such skeletons or caricatures of columns as may emerge above the pews; this is not merely bad taste; it is no unimportant or excusable error which brings even these shadows of vanity and falsehood into the house of prayer. The first condition which just feeling requires in church furniture is, that it should be simple and unaffected, not fict.i.tious nor tawdry. It may be in our power to make it beautiful, but let it at least be pure; and if we cannot permit much to the architect, do not let us permit anything to the upholsterer; if we keep to solid stone and solid wood, whitewashed, if we like, for cleanliness' sake (for whitewash has so often been used as the dress of n.o.ble things that it has thence received a kind of n.o.bility itself), it must be a bad design indeed which is grossly offensive. I recollect no instance of a want of sacred character, or of any marked and painful ugliness, in the simplest or the most awkwardly built village church, where stone and wood were roughly and nakedly used, and the windows latticed with white gla.s.s. But the smoothly stuccoed walls, the flat roofs with ventilator ornaments, the barred windows with jaundiced borders and dead ground square panes, the gilded or bronzed wood, the painted iron, the wretched upholstery of curtains and cus.h.i.+ons, and pew heads and altar railings, and Birmingham metal candlesticks, and, above all, the green and yellow sickness of the false marble--disguises all, observe; falsehoods all--who are they who like these things? who defend them? who do them? I have never spoken to any one who _did_ like them, though to many who thought them matters of no consequence. Perhaps not to religion (though I cannot but believe that there are many to whom, as to myself, such things are serious obstacles to the repose of mind and temper which should precede devotional exercises); but to the general tone of our judgment and feeling--yes; for a.s.suredly we shall regard, with tolerance, if not with affection, whatever forms of material things we have been in the habit of a.s.sociating with our wors.h.i.+p, and be little prepared to detect or blame hypocrisy, meanness, and disguise in other kinds of decoration when we suffer objects belonging to the most solemn of all services to be tricked out in a fas.h.i.+on so fict.i.tious and unseemly.

XVII. Painting, however, is not the only mode in which material may be concealed, or rather simulated; for merely to conceal is, as we have seen, no wrong. Whitewash, for instance, though often (by no means always) to be regretted as a concealment, is not to be blamed as a falsity. It shows itself for what it is, and a.s.serts nothing of what is beneath it. Gilding has become, from its frequent use, equally innocent.

It is understood for what it is, a film merely, and is, therefore, allowable to any extent. I do not say expedient: it is one of the most abused means of magnificence we possess, and I much doubt whether any use we ever make of it, balances that loss of pleasure, which, from the frequent sight and perpetual suspicion of it, we suffer in the contemplation of anything that is verily of gold. I think gold was meant to be seldom seen and to be admired as a precious thing; and I sometimes wish that truth should so far literally prevail as that all should be gold that glittered, or rather that nothing should glitter that was not gold. Nevertheless, nature herself does not dispense with such semblance, but uses light for it; and I have too great a love for old and saintly art to part with its burnished field, or radiant nimbus; only it should be used with respect, and to express magnificence, or sacredness, and not in lavish vanity, or in sign painting. Of its expedience, however, any more than of that of color, it is not here the place to speak; we are endeavoring to determine what is lawful, not what is desirable. Of other and less common modes of disguising surface, as of powder of lapis lazuli, or mosaic imitations of colored stones, I need hardly speak. The rule will apply to all alike, that whatever is pretended, is wrong; commonly enforced also by the exceeding ugliness and insufficient appearance of such methods, as lately in the style of renovation by which half the houses in Venice have been defaced, the brick covered first with stucco, and this painted with zigzag veins in imitation of alabaster. But there is one more form of architectural fiction, which is so constant in the great periods that it needs respectful judgment. I mean the facing of brick with precious stone.

XVIII. It is well known, that what is meant by a church's being built of marble is, in nearly all cases, 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 ma.s.sy 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 clearly understood that a marble facing does not 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 ma.s.s of them enough to build with, there is no resource but this of veneering; nor is there anything to be alleged against it on the head of durability, such work having been by experience found to last as long, and in as perfect condition, as any kind of masonry. It is, therefore, to be considered as simply an art of mosaic on a large scale, the ground being of brick, or any other material; and when lovely stones are to be obtained, it is a manner which should be thoroughly understood, and often practised.

Nevertheless, as we esteem the shaft of a column 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 gold, silver, agate, or ivory; so I think the walls themselves may be regarded with a more just complacency if they are known to be all of n.o.ble substance; and that rightly weighing the demands of the two principles of which we have hitherto spoken--Sacrifice and Truth, we should sometimes rather spare external ornament than diminish the unseen value and consistency of what we do; and I believe that a better manner of design, and a more careful and studious, if less abundant decoration would follow, upon the consciousness of thoroughness in the substance. And, indeed, this is to be remembered, with respect to all the points we have examined; that while we have traced the limits of license, we have not fixed those of that high rect.i.tude which refuses license. It is thus true that there is no falsity, and much beauty in the use of external color, and that it is lawful to paint either pictures or patterns on whatever surfaces may seem to need enrichment. But it is not less true, that such practices are essentially unarchitectural; and while we cannot say that there is actual danger in an over use of them, seeing that they have been _always_ used most lavishly in the times of most n.o.ble art, yet they divide the work into two parts and kinds, one of less durability than the other, which dies away from it in process of ages, and leaves it, unless it have n.o.ble qualities of its own, naked and bare. That enduring n.o.blesse I should, therefore, call truly architectural; and it is not until this has been secured that the accessory power of painting may be called in, for the delight of the immediate time; nor this, as I think, until every resource of a more stable kind has been exhausted. The true colors of architecture are those of natural stone, and I would fain see these taken advantage of to the full. Every variety of hue, from pale yellow to purple, pa.s.sing through orange, red, and brown, is entirely at our command; nearly every kind of green and gray is also attainable: and with these, and pure white, what harmonies might we not achieve? Of stained and variegated stone, the quant.i.ty is unlimited, the kinds innumerable; where brighter colors are required, let gla.s.s, and gold protected by gla.s.s, be used in mosaic--a kind of work as durable as the solid stone, and incapable of losing its l.u.s.tre by time--and let the painter's work be reserved for the shadowed _loggia_ and inner chamber.

This is the true and faithful way of building; where this cannot be, the device of external coloring may, indeed, be employed without dishonor; but it must be with the warning reflection, that a time will come when such aids must pa.s.s away, and when the building will be judged in its lifelessness, dying the death of the dolphin. Better the less bright, more enduring fabric. The transparent alabasters of San Miniato, and the mosaics of St. Mark's, 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 iris out of the cloud; and the temples whose azure and purple once flamed above the Grecian promontories, stand in their faded whiteness, like snows which the sunset has left cold.

[Ill.u.s.tration: PLATE II.--(Page 55--Vol. V.) PART OF THE CATHEDRAL OF ST. LO, NORMANDY.]

XIX. The last form of fallacy which it will be remembered we had to deprecate, was the subst.i.tution of cast or machine work for that of the hand, generally expressible as Operative Deceit.

There are two reasons, both weighty, against this practice; one, that all cast and machine work is bad, as work; the other, that it is dishonest. Of its badness, I shall speak in another place, that being evidently no efficient reason against its use when other cannot be had.

Its dishonesty, however, which, to my mind, is of the grossest kind, is, I think, a sufficient reason to determine absolute and unconditional rejection of it.

Ornament, as I have often before observed, has two entirely distinct sources of agreeableness: one, that of the abstract beauty of its forms, which, for the present, we will suppose to be the same whether they come from the hand or the machine; the other, the sense of human labor and care spent upon it. How great this latter influence we may perhaps judge, by considering that there is not a cl.u.s.ter of weeds growing in any cranny of ruin which has not a beauty in all respects _nearly_ equal, and, in some, immeasurably superior, to that of the most elaborate sculpture of its stones: and that all our interest in the carved work, our sense of its richness, though it is tenfold less rich than the knots of gra.s.s beside it; of its delicacy, though it is a thousand fold less delicate; of its admirableness, though a millionfold less admirable; results from our consciousness of its being the work of poor, clumsy, toilsome man. Its true delightfulness depends on our discovering in it the record of thoughts, and intents, and trials, and heart-breakings--of recoveries and joyfulnesses of success: all this _can_ be traced by a practised eye; but, granting it even obscure, it is presumed or understood; and in that is the worth of the thing, just as much as the worth of anything else we call precious. The worth of a diamond is simply the understanding of the time it must take to look for it before it can be cut. It has an intrinsic value besides, which the diamond has not (for a diamond has no more real beauty than a piece of gla.s.s); but I do not speak of that at present; I place the two on the same ground; and I suppose that hand-wrought ornament can no more be generally known from machine work, than a diamond can be known from paste; nay, that the latter may deceive, for a moment, the mason's, as the other the jeweller's eye; and that it can be detected only by the closest examination. Yet exactly as a woman of feeling would not wear false jewels, so would a builder of honor disdain false ornaments. The using of them is just as downright and inexcusable a lie. You use that which pretends to a worth which it has not; which pretends to have cost, and to be, what it did not, and is not; it is an imposition, a vulgarity, an impertinence, and a sin. Down with it to the ground, grind it to powder, leave its ragged place upon the wall, rather; you have not paid for it, you have no business with it, you do not want it. n.o.body wants ornaments in this world, but everybody wants integrity. All the fair devices that ever were fancied, are not worth a lie. Leave your walls as bare as a planed board, or build them of baked mud and chopped straw, if need be; but do not rough-cast them with falsehood.

This, then, being our general law, and I hold it for a more imperative one than any other I have a.s.serted; and this kind of dishonesty the meanest, as the least necessary; for ornament is an extravagant and inessential thing; and, therefore, if fallacious, utterly base--this, I say, being our general law, there are, nevertheless, certain exceptions respecting particular substances and their uses.

XX. Thus in the use of brick; since that is known to be originally moulded, there is no reason why it should not be moulded into diverse forms. It will never be supposed to have been cut, and therefore, will cause no deception; it will have only the credit it deserves. In flat countries, far from any quarry of stone, cast brick may be legitimately, and most successfully, used in decoration, and that elaborate, and even refined. The brick mouldings of the Palazzo Pepoli at Bologna, and those which run round the market-place of Vercelli, are among the richest in Italy. So also, tile and porcelain work, of which the former is grotesquely, but successfully, employed in the domestic architecture of France, colored tiles being inserted in the diamond s.p.a.ces between the crossing timbers; and the latter admirably in Tuscany, in external bas-reliefs, by the Robbia family, in which works, while we cannot but sometimes regret the useless and ill-arranged colors, we would by no means blame the employment of a material which, whatever its defects, excels every other in permanence, and, perhaps, requires even greater skill in its management than marble. For it is not the material, but the absence of the human labor, which makes the thing worthless; and a piece of terra cotta, or of plaster of Paris, which has been wrought by human hand, is worth all the stone in Carrara, cut by machinery. It is, indeed, possible, and even usual, for men to sink into machines themselves, so that even hand-work has all the characters of mechanism; of the difference between living and dead hand-work I shall speak presently; all that I ask at present is, what it is always in our power to secure--the confession of what we have done, and what we have given; so that when we use stone at all, since all stone is naturally supposed to be carved by hand, we must not carve it by machinery; neither must we use any artificial stone cast into shape, nor any stucco ornaments of the color of stone, or which might in anywise be mistaken for it, as the stucco mouldings in the cortile of the Palazzo Vecchio at Florence, which cast a shame and suspicion over every part of the building. But for ductile and fusible materials, as clay, iron, and bronze, since these will usually be supposed to have been cast or stamped, it is at our pleasure to employ them as we will; remembering that they become precious, or otherwise, just in proportion to the hand-work upon them, or to the clearness of their reception of the hand-work of their mould.

But I believe no cause to have been more active in the degradation of our natural feeling for beauty, than the constant use of cast iron ornaments. The common iron work of the middle ages was as simple as it was effective, composed of leaf.a.ge cut flat out of sheet iron, and twisted at the workman's will. No ornaments, on the contrary, are so cold, clumsy, and vulgar, so essentially incapable of a fine line, or shadow, as those of cast iron; and while, on the score of truth, we can hardly allege anything against them, since they are always distinguishable, at a glance, from wrought and hammered work, and stand only for what they are, yet I feel very strongly that there is no hope of the progress of the arts of any nation which indulges in these vulgar and cheap subst.i.tutes for real decoration. Their inefficiency and paltriness I shall endeavor 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 or 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 a.s.sociated with the downright work to which it would be a disgrace to be found in their company.

Such are, I believe, the three princ.i.p.al kinds of fallacy by which architecture is liable to be corrupted; there are, however, other and more subtle forms of it, against which it is less easy to guard by definite law, than by the watchfulness of a manly and unaffected spirit.

For, as it has been above noticed, there are certain kinds of deception which extend to impressions and ideas only; of which some are, indeed, of a n.o.ble use, as that above referred to, the arborescent look of lofty Gothic aisles; but of which the most part have so much of legerdemain and trickery about them, that they will lower any style in which they considerably prevail; and they are likely to prevail when once they are admitted, being apt to catch the fancy alike of uninventive architects and feelingless spectators; just as mean and shallow minds are, in other matters, delighted with the sense of over-reaching, or tickled with the conceit of detecting the intention to over-reach; and when subtleties of this kind are accompanied by the display of such dextrous stone-cutting, or architectural sleight of hand, as may become, even by itself, a subject of admiration, it is a great chance if the pursuit of them do not gradually draw us away from all regard and care for the n.o.bler character of the art, and end in its total paralysis or extinction. And against this there is no guarding, but by stern disdain of all display of dexterity and ingenious device, and by putting the whole force of our fancy into the arrangement of ma.s.ses and forms, caring no more how these ma.s.ses and forms are wrought out, than a great painter cares which way his pencil strikes. It would be easy to give many instances of the danger of these tricks and vanities; but I shall confine myself to the examination of one which has, as I think, been the cause of the fall of Gothic architecture throughout Europe. I mean the system of intersectional mouldings, which, on account of its great importance, and for the sake of the general reader, I may, perhaps, be pardoned for explaining elementarily.

XXI. I must, in the first place, however, refer to Professor Willis's account of the origin of tracery, given in the sixth chapter of his Architecture of the Middle Ages; since the publication of which I have been not a little amazed to hear of any attempts made to resuscitate the inexcusably absurd theory of its derivation from imitated vegetable form--inexcusably, I say, because the smallest acquaintance with early Gothic architecture would have informed the supporters of that theory of the simple fact, that, exactly in proportion to the antiquity of the work, the imitation of such organic forms is less, and in the earliest examples does not exist at all. There cannot be the shadow of a question, in the mind of a person familiarised with any single series of consecutive examples, that tracery arose from the gradual enlargement of the penetrations of the s.h.i.+eld of stone which, usually supported by a central pillar, occupied the head of early windows. Professor Willis, perhaps, confines his observations somewhat too absolutely to the double sub-arch. I have given, in Plate VII. fig. 2, an interesting case of rude penetration of a high and simply trefoiled s.h.i.+eld, from the church of the Eremitani at Padua. But the more frequent and typical form is that of the double sub-arch, decorated with various piercings of the s.p.a.ce between it and the superior arch; with a simple trefoil under a round arch, in the Abbaye aux Hommes, Caen[9] (Plate III. fig. 1); with a very beautifully proportioned quatrefoil, in the triforium of Eu, and that of the choir of Lisieux; with quatrefoils, sixfoils, and septfoils, in the transept towers of Rouen (Plate III. fig. 2); with a trefoil awkwardly, and very small quatrefoil above, at Coutances, (Plate III.

fig. 3); then, with multiplications of the same figures, pointed or round, giving very clumsy shapes of the intermediate stone (fig. 4, from one of the nave chapels of Rouen, fig. 5, from one of the nave chapels of Bayeaux), and finally, by thinning out the stony ribs, reaching conditions like that of the glorious typical form of the clerestory of the apse of Beauvais (fig. 6).

[Ill.u.s.tration: PLATE III.--(Page 60--Vol. V.) TRACERIES FROM CAEN, BAYEUX, ROUEN, AND BEAVAIS.]

XXII. Now, it will be noticed that, during the whole of this process, the attention is kept fixed on the forms of the penetrations, that is to say, of the lights as seen from the interior, not of the intermediate stone. All the grace of the window is in the outline of its light; and I have drawn all these traceries as seen from within, in order to show the effect of the light thus treated, at first in far off and separate stars, and then gradually enlarging, approaching, until they come and stand over us, as it were, filling the whole s.p.a.ce with their effulgence. And it is in this pause of the star, that we have the great, pure, and perfect form of French Gothic; it was at the instant when the rudeness of the intermediate s.p.a.ce had been finally conquered, when the light had expanded to its fullest, and yet had not lost its radiant unity, princ.i.p.ality, and visible first causing of the whole, that we have the most exquisite feeling and most faultless judgments in the management alike of the tracery and decorations. I have given, in Plate X., an exquisite example of it, from a panel decoration of the b.u.t.tresses of the north door of Rouen; and in order that the reader may understand what truly fine Gothic work is, and how n.o.bly it unites fantasy and law, as well as for our immediate purpose, it will be well that he should examine its sections and mouldings in detail (they are described in the fourth Chapter, -- xxvii.), and that the more carefully, because this design belongs to a period in which the most important change took place in the spirit of Gothic architecture, which, perhaps, ever resulted from the natural progress of any art. That tracery marks a pause between the laying aside of one great ruling principle, and the taking up of another; a pause as marked, as clear, as conspicuous to the distant view of after times, as to the distant glance of the traveller is the culminating ridge of the mountain chain over which he has pa.s.sed.

It was the great watershed of Gothic art. Before it, all had been ascent; after it, all was decline; both, indeed, by winding paths and varied slopes; both interrupted, like the gradual rise and fall of the pa.s.ses of the Alps, by great mountain outliers, isolated or branching from the central chain, and by retrograde or parallel directions of the valleys of access. But the track of the human mind is traceable up to that glorious ridge, in a continuous line, and thence downwards. Like a silver zone--

"Flung about carelessly, it s.h.i.+nes afar, Catching the eye in many a broken link, In many a turn and traverse, as it glides.

And oft above, and oft below, appears-- * * * * to him who journeys up As though it were another."

And at that point, and that instant, reaching the place that was nearest heaven, the builders looked back, for the last time, to the way by which they had come, and the scenes through which their early course had pa.s.sed. They turned away from them and their morning light, and descended towards a new horizon, for a time in the warmth of western sun, but plunging with every forward step into more cold and melancholy shade.

XXIII. The change of which I speak, is inexpressible in few words, but one more important, more radically influential, could not be. It was the subst.i.tution of the _line_ for the _ma.s.s_, as the element of decoration.

We have seen the mode in which the openings or penetration of the window expanded, until what were, at first, awkward forms of intermediate stone, became delicate lines of tracery: and I have been careful in pointing out the peculiar attention bestowed on the proportion and decoration of the mouldings of the window at Rouen, in Plate X., as compared with earlier mouldings, because that beauty and care are singularly significant. They mark that the traceries had _caught the eye_ of the architect. Up to that time, up to the very last instant in which the reduction and thinning of the intervening stone was consummated, his eye had been on the openings only, on the stars of light. He did not care about the stone, a rude border of moulding was all he needed, it was the penetrating shape which he was watching. But when that shape had received its last possible expansion, and when the stone-work became an arrangement of graceful and parallel lines, that arrangement, like some form in a picture, unseen and accidentally developed, struck suddenly, inevitably, on the sight. It had literally not been seen before. It flashed out in an instant as an independent form. It became a feature of the work. The architect took it under his care, thought over it, and distributed its members as we see.

Now, the great pause was at the moment when the s.p.a.ce and the dividing stone-work were both equally considered. It did not last fifty years.

The forms of the tracery were seized with a childish delight in the novel source of beauty; and the intervening s.p.a.ce was cast aside, as an element of decoration, for ever. I have confined myself, in following this change, to the window, as the feature in which it is clearest. But the transition is the same in every member of architecture; and its importance can hardly be understood, unless we take the pains to trace it in the universality, of which ill.u.s.trations, irrelevant to our present purpose, will be found in the third Chapter. I pursue here the question of truth, relating to the treatment of the mouldings.

XXIV. The reader will observe that, up to the last expansion of the penetrations, the stone-work was necessarily considered, as it actually is, _stiff_, and unyielding. It was so, also, during the pause of which I have spoken, when the forms of the tracery were still severe and pure; delicate indeed, but perfectly firm.

At the close of the period of pause, the first sign of serious change was like a low breeze, pa.s.sing through the emaciated tracery, and making it tremble. It began to undulate like the threads of a cobweb lifted by the wind. It lost its essence as a structure of stone. Reduced to the slenderness of threads, it began to be considered as possessing also their flexibility. The architect was pleased with this his new fancy, and set himself to carry it out; and in a little time, the bars of tracery were caused to appear to the eye as if 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 developments, it was ultimately ruinous.

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 or branches, while many of the other suggested conditions of resemblance were perfectly true. A tree branch, though in a certain sense flexible, is not ductile; it is as firm in its own form as the rib of stone; both of them will yield up to certain limits, both of them breaking when those limits are exceeded; while the tree trunk will bend no more than the stone pillar. But when the tracery is a.s.sumed to be as yielding as a silken cord; when the whole fragility, elasticity, and weight of the material are to the eye, if not in terms, denied; when all the art of the architect is applied to disprove the first conditions of his working, and the first attributes of his materials; _this_ is a deliberate treachery, only redeemed from the charge of direct falsehood by the visibility of the stone surface, and degrading all the traceries it affects exactly in the degree of its presence.

XXV. But the declining and morbid taste of the later architects, was not satisfied with thus much deception. They were delighted with the subtle charm they had created, and thought only of increasing its power. The next step was to consider and represent the tracery, as not only ductile, but penetrable; and when two mouldings met each other, to manage their intersection, so that one should appear to pa.s.s through the other, retaining its independence; or when two ran parallel to each other, to represent the one as partly contained within the other, and partly apparent above it. This form of falsity was that which crushed the art. The flexible traceries were often beautiful, though they were ign.o.ble; but the penetrated traceries, rendered, as they finally were, merely the means of exhibiting the dexterity of the stone-cutter, annihilated both the beauty and dignity of the Gothic types. A system so momentous in its consequences deserves some detailed examination.