Lectures on Architecture and Painting, Delivered at Edinburgh in November 1853

50. And now, I can conceive only of one objection as likely still to arise in your minds, which I must briefly meet. Your pictures, and other smaller works of art, you can carry with you, wherever you live; your house must be left behind. Indeed, I believe that the wandering habits which have now become almost necessary to our existence, lie more at the root of our bad architecture than any other character of modern times. We always look upon our houses as mere temporary lodgings. We are always hoping to get larger and finer ones, or are forced, in some way or other, to live where we do not choose, and in continual expectation of changing our place of abode. In the present state of society, this is in a great measure unavoidable; but let us remember it is an evil; and that so far as it is avoidable, it becomes our duty to check the impulse. It is not for me to lead you at present into any consideration of a matter so closely touching your private interests and feelings; but it surely is a subject for serious thought, whether it might not be better for many of us, if, on attaining a certain position in life, we determined, with God's permission, to choose a home in which to live and die,—a home not to be increased by adding stone to stone and field to field, but which, being enough for all our wishes at that period, we should resolve to be satisfied with forever. Consider this; and also, whether we ought not to be more in the habit of seeking honor from our descendants than our ancestors; thinking it better to be nobly remembered than nobly born; and striving so to live, that our sons, and our sons' sons, for ages to come, might still lead their children reverently to the doors out of which we had been carried to the grave, saying, "Look: This was his house: This was his chamber."

51. I believe that you can bring forward no other serious objection to the principles for which I am pleading. They are so simple, and, it seems to me, so incontrovertible, that I trust you will not leave this room, without determining, as you have opportunity, to do something to advance this long-neglected art of domestic architecture. The reasons I have laid before you would have weight, even were I to ask you to go to some considerable expenditure beyond what you at present are accustomed to devote to such purposes; but nothing more would be needed than the diversion of expenditures, at present scattered and unconsidered, into a single and effective channel. Nay, the mere interest of the money which we are accustomed to keep dormant by us in the form of plate and jewelry, would alone be enough to sustain a school of magnificent architecture. And although, in highly wrought plate, and in finely designed jewelry, noble art may occasionally exist, yet in general both jewels and services of silver are matters of ostentation, much more than sources of intellectual pleasure. There are also many evils connected with them—they are a care to their possessors, a temptation to the dishonest, and a trouble and bitterness to the poor. So that I cannot but think that part of the wealth which now lies buried in these doubtful luxuries, might most wisely and kindly be thrown into a form which would give perpetual pleasure, not to its possessor only, but to thousands besides, and neither tempt the unprincipled, nor inflame the envious, nor mortify the poor; while, supposing that your own dignity was dear to you, this, you may rely upon it, would be more impressed upon others by the nobleness of your house-walls than by the glistening of your sideboards.

Fig. 19.

PLATE XII.

52. And even supposing that some additional expenditure were required for this purpose, are we indeed so much poorer than our ancestors, that we cannot now, in all the power of Britain, afford to do what was done by every small republic, by every independent city, in the Middle Ages, throughout France, Italy, and Germany? I am not aware of a vestige of domestic architecture, belonging to the great mediæval periods, which, according to its material and character, is not richly decorated. But look here (fig. 19), look to what an extent decoration has been carried in the domestic edifices of a city, I suppose not much superior in importance, commercially speaking, to Manchester, Liverpool, or Birmingham—namely, Rouen, in Normandy. This is a garret window, still existing there,—a garret window built by William de Bourgtheroude in the early part of the sixteenth century. I show it you, first, as a proof of what may be made of the features of domestic buildings we are apt to disdain; and secondly, as another example of a beautiful use of the pointed arch, filled by the solid shield of stone, and inclosing a square casement. It is indeed a peculiarly rich and beautiful instance, but it is a type of which many examples still exist in France, and of which many once existed in your own Scotland, of ruder work indeed, but admirable always in the effect upon the outline of the building.18

53. I do not, however, hope that you will often be able to go as far as this in decoration; in fact I would rather recommend a simpler style to you, founded on earlier examples; but, if possible, aided by color, introduced in various kinds of naturally colored stones. I have observed that your Scottish lapidaries have admirable taste and skill in the disposition of the pebbles of your brooches and other ornaments of dress; and I have not the least doubt that the genius of your country would, if directed to this particular style of architecture, produce works as beautiful as they would be thoroughly national. The Gothic of Florence, which owes at least the half of its beauty to the art of inlaying, would furnish you with exquisite examples; its sculpture is indeed the most perfect which was ever produced by the Gothic schools; but, besides this rich sculpture, all its flat surfaces are inlaid with colored stones, much being done with a green serpentine, which forms the greater part of the coast of Genoa. You have, I believe, large beds of this rock in Scotland, and other stones besides, peculiarly Scottish, calculated to form as noble a school of color as ever existed.19

54. And, now, I have but two things more to say to you in conclusion.

Most of the lecturers whom you allow to address you, lay before you views of the sciences they profess, which are either generally received, or incontrovertible. I come before you at a disadvantage; for I cannot conscientiously tell you anything about architecture but what is at variance with all commonly received views upon the subject. I come before you, professedly to speak of things forgotten or things disputed; and I lay before you, not accepted principles, but questions at issue. Of those questions you are to be the judges, and to you I appeal. You must not, when you leave this room, if you feel doubtful of the truth of what I have said, refer yourselves to some architect of established reputation, and ask him whether I am right or not. You might as well, had you lived in the sixteenth century, have asked a Roman Catholic archbishop his opinion of the first reformer. I deny his jurisdiction; I refuse his decision. I call upon you to be Bereans in architecture, as you are in religion, and to search into these things for yourselves. Remember that, however candid a man may be, it is too much to expect of him when his career in life has been successful, to turn suddenly on the highway, and to declare that all he has learned has been false, and all he has done, worthless; yet nothing less than such a declaration as this must be made by nearly every existing architect, before he admitted the truth of one word that I have said to you this evening. You must be prepared, therefore, to hear my opinions attacked with all the virulence of established interest, and all the pertinacity of confirmed prejudice; you will hear them made the subjects of every species of satire and invective; but one kind of opposition to them you will never hear; you will never hear them met by quiet, steady, rational argument; for that is the one way in which they cannot be met. You will constantly hear me accused—you yourselves may be the first to accuse me—of presumption in speaking thus confidently against the established authority of ages. Presumption! Yes, if I had spoken on my own authority; but I have appealed to two incontrovertible and irrefragable witnesses—to the nature that is around you—to the reason that is within you. And if you are willing in this matter to take the voice of authority against that of nature and of reason, take it in other things also. Take it in religion, as you do in architecture. It is not by a Scottish audience—not by the descendants of the Reformer and the Covenanter—that I expected to be met with a refusal to believe that the world might possibly have been wrong for three hundred years, in their ways of carving stones and setting up of pillars, when they know that they were wrong for twelve hundred years, in their marking how the roads divided, that led to Hell and Heaven.

55. You must expect at first that there will be difficulties and inconsistencies in carrying out the new style; but they will soon be conquered if you attempt not too much at once. Do not be afraid of incongruities—do not think of unities of effect. Introduce your Gothic line by line and stone by stone; never mind mixing it with your present architecture; your existing houses will be none the worse for having little bits of better work fitted to them; build a porch, or point a window, if you can do nothing else; and remember that it is the glory of Gothic architecture that it can do anything. Whatever you really and seriously want, Gothic will do for you; but it must be an earnest want. It is its pride to accommodate itself to your needs; and the one general law under which it acts is simply this,—find out what will make you comfortable, build that in the strongest and boldest way, and then set your fancy free in the decoration of it. Don't do anything to imitate this cathedral or that, however beautiful. Do what is convenient; and if the form be a new one, so much the better; then set your mason's wits to work, to find out some new way of treating it. Only be steadily determined that, even if you cannot get the best Gothic, at least you will have no Greek; and in a few years' time—in less time than you could learn a new science or a new language thoroughly—the whole art of your native country will be reanimated.

56. And, now, lastly. When this shall be accomplished, do not think it will make little difference to you, and that you will be little the happier, or little the better for it. You have at present no conception, and can have none, how much you would enjoy a truly beautiful architecture; but I can give you a proof of it which none of you will be able to deny. You will all assuredly admit this principle,—that whatever temporal things are spoken of in the Bible as emblems of the highest spiritual blessings, must be good things in themselves. You would allow that bread, for instance, would not have been used as an emblem of the word of life, unless it had been good, and necessary for man; nor water used as the emblem of sanctification, unless it also had been good and necessary for man. You will allow that oil, and honey, and balm are good, when David says, "Let the righteous reprove me; it shall be an excellent oil;" or, "How sweet are thy words unto my taste; yea, sweeter than honey to my mouth;" or, when Jeremiah cries out in his weeping, "Is there no balm in Gilead? is there no physician there?" You would admit at once that the man who said there was no taste in the literal honey, and no healing in the literal balm, must be of distorted judgment, since God had used them as emblems of spiritual sweetness and healing. And how, then, will you evade the conclusion, that there must be joy, and comfort, and instruction in the literal beauty of architecture, when God, descending in His utmost love to the distressed Jerusalem, and addressing to her His most precious and solemn promises, speaks to her in such words as these: "Oh, thou afflicted, tossed with tempest, and not comforted,"—What shall be done to her?—What brightest emblem of blessing will God set before her? "Behold, I will lay thy stones with fair colors, and thy foundations with sapphires; and I will make thy windows of agates, and thy gates of carbuncles, and all thy borders of pleasant stones." Nor is this merely an emblem of spiritual blessing; for that blessing is added in the concluding words, "And all thy children shall be taught of the Lord, and great shall be the peace of thy children."

ADDENDA TO LECTURES I. AND II

57. The delivery of the foregoing lectures excited, as it may be imagined, considerable indignation among the architects who happened to hear them, and elicited various attempts at reply. As it seemed to have been expected by the writers of these replies, that in two lectures, each of them lasting not much more than an hour, I should have been able completely to discuss the philosophy and history of the architecture of the world, besides meeting every objection, and reconciling every apparent contradiction, which might suggest itself to the minds of hearers with whom, probably, from first to last, I had not a single exactly correspondent idea relating to the matters under discussion, it seems unnecessary to notice any of them in particular. But as this volume may perhaps fall into the hands of readers who have not time to refer to the works in which my views have been expressed more at large, and as I shall now not be able to write or to say anything more about architecture for some time to come, it may be useful to state here, and explain in the shortest possible compass, the main gist of the propositions which I desire to maintain respecting that art; and also to note and answer, once for all, such arguments as are ordinarily used by the architects of the modern school to controvert these propositions. They may be reduced under six heads.

1. That Gothic or Romanesque construction is nobler than Greek construction.

2. That ornamentation is the principal part of architecture.

3. That ornamentation should be visible.

4. That ornamentation should be natural.

5. That ornamentation should be thoughtful.

6. And that therefore Gothic ornamentation is nobler than Greek ornamentation, and Gothic architecture the only architecture which should now be built.

58. Proposition 1st.—Gothic or Romanesque construction is nobler than Greek construction.20 That is to say, building an arch, vault, or dome, is a nobler and more ingenious work than laying a flat stone or beam over the space to be covered. It is, for instance, a nobler and more ingenious thing to build an arched bridge over a stream, than to lay two pine-trunks across from bank to bank; and, in like manner, it is a nobler and more ingenious thing to build an arch over a window, door, or room, than to lay a single flat stone over the same space.

No architects have ever attempted seriously to controvert this proposition. Sometimes, however, they say that "of two ways of doing a thing, the best and most perfect is not always to be adopted, for there may be particular reasons for employing an inferior one." This I am perfectly ready to grant, only let them show their reasons in each particular case. Sometimes also they say, that there is a charm in the simple construction which is lost in the scientific one. This I am also perfectly ready to grant. There is a charm in Stonehenge which there is not in Amiens Cathedral, and a charm in an Alpine pine bridge which there is not in the Ponte della Trinità at Florence, and, in general, a charm in savageness which there is not in science. But do not let it be said, therefore, that savageness is science.

59. Proposition 2d.—Ornamentation is the principal part of architecture. That is to say, the highest nobility of a building does not consist in its being well built, but in its being nobly sculptured or painted.

This is always, and at the first hearing of it, very naturally, considered one of my most heretical propositions. It is also one of the most important I have to maintain; and it must be permitted me to explain it at some length. The first thing to be required of a building—not, observe, the highest thing, but the first thing—is that it shall answer its purposes completely, permanently, and at the smallest expense. If it is a house, it should be just of the size convenient for its owner, containing exactly the kind and number of rooms that he wants, with exactly the number of windows he wants, put in the places that he wants. If it is a church, it should be just large enough for its congregation, and of such shape and disposition as shall make them comfortable in it and let them hear well in it. If it be a public office, it should be so disposed as is most convenient for the clerks in their daily avocations; and so on; all this being utterly irrespective of external appearance or æsthetic considerations of any kind, and all being done solidly, securely, and at the smallest necessary cost.

The sacrifice of any of these first requirements to external appearance is a futility and absurdity. Rooms must not be darkened to make the ranges of windows symmetrical. Useless wings must not be added on one side, to balance useful wings on the other, but the house built with one wing, if the owner has no need of two; and so on.

60. But observe, in doing all this, there is no High, or as it is commonly called, Fine Art, required at all. There may be much science, together with the lower form of art, or "handicraft," but there is as yet no Fine Art. House-building, on these terms, is no higher thing than ship-building. It indeed will generally be found that the edifice designed with this masculine reference to utility, will have a charm about it, otherwise unattainable, just as a ship, constructed with simple reference to its service against powers of wind and wave, turns out one of the loveliest things that human hands produce. Still, we do not, and properly do not, hold ship-building to be a fine art, nor preserve in our memories the names of immortal ship-builders; neither, so long as the mere utility and constructive merit of the building are regarded, is architecture to be held a fine art, or are the names of architects to be remembered immortally. For any one may at any time be taught to build the ship, or (thus far) the house, and there is nothing deserving of immortality in doing what any one may be taught to do.

But when the house, or church, or other building is thus far designed, and the forms of its dead walls and dead roofs are up to this point determined, comes the divine part of the work—namely, to turn these dead walls into living ones. Only Deity, that is to say, those who are taught by Deity, can do that.

And that is to be done by painting and sculpture, that is to say, by ornamentation. Ornamentation is therefore the principal part of architecture, considered as a subject of fine art.

61. Now observe. It will at once follow from this principle, that a great architect must be a great sculptor or painter.

This is a universal law. No person who is not a great sculptor or painter can be an architect. If he is not a sculptor or painter, he can only be a builder.

The three greatest architects hitherto known in the world were Phidias, Giotto, and Michael Angelo; with all of whom, architecture was only their play, sculpture and painting their work. All great works of architecture in existence are either the work of single sculptors or painters, or of societies of sculptors and painters, acting collectively for a series of years. A Gothic cathedral is properly to be defined as a piece of the most magnificent associative sculpture, arranged on the noblest principles of building, for the service and delight of multitudes; and the proper definition of architecture, as distinguished from sculpture, is merely "the art of designing sculpture for a particular place, and placing it there on the best principles of building."

Hence it clearly follows, that in modern days we have no architects. The term "architecture" is not so much as understood by us. I am very sorry to be compelled to the discourtesy of stating this fact, but a fact it is, and a fact which it is necessary to state strongly.

Hence also it will follow, that the first thing necessary to the possession of a school of architecture is the formation of a school of able sculptors, and that till we have that, nothing we do can be called architecture at all.

62. This, then, being my second proposition, the so-called "architects" of the day, as the reader will imagine, are not willing to admit it, or to admit any statement which at all involves it; and every statement, tending in this direction, which I have hitherto made, has of course been met by eager opposition; opposition which perhaps would have been still more energetic, but that architects have not, I think, till lately, been quite aware of the lengths to which I was prepared to carry the principle.

The arguments, or assertions, which they generally employ against this second proposition and its consequences, are the following:

First. That the true nobility of architecture consists, not in decoration (or sculpture), but in the "disposition of masses," and that architecture is, in fact, the "art of proportion."

63. It is difficult to overstate the enormity of the ignorance which this popular statement implies. For the fact is, that all art, and all nature, depend on the "disposition of masses." Painting, sculpture, music, and poetry depend all equally on the "proportion," whether of colors, stones, notes, or words. Proportion is a principle, not of architecture, but of existence. It is by the laws of proportion that stars shine, that mountains stand, and rivers flow. Man can hardly perform any act of his life, can hardly utter two words of innocent speech, or move his hand in accordance with those words, without involving some reference, whether taught or instinctive, to the laws of proportion. And in the fine arts, it is impossible to move a single step, or to execute the smallest and simplest piece of work, without involving all those laws of proportion in their full complexity. To arrange (by invention) the folds of a piece of drapery, or dispose the locks of hair on the head of a statue, requires as much sense and knowledge of the laws of proportion, as to dispose the masses of a cathedral. The one are indeed smaller than the other, but the relations between 1, 2, 4, and 8, are precisely the same as the relations between 6, 12, 24, and 48. So that the assertion that "architecture is par excellence the art of proportion," could never be made except by persons who know nothing of art in general; and, in fact, never is made except by those architects, who, not being artists, fancy that the one poor æsthetic principle of which they are cognizant is the whole of art. They find that the "disposition of masses" is the only thing of importance in the art with which they are acquainted, and fancy therefore that it is peculiar to that art; whereas the fact is, that all great art begins exactly where theirs ends, with the "disposition of masses." The assertion that Greek architecture, as opposed to Gothic architecture, is the "architecture of proportion," is another of the results of the same broad ignorance. First, it is a calumny of the old Greek style itself, which, like every other good architecture that ever existed, depends more on its grand figure sculpture, than on its proportions of parts; so that to copy the form of the Parthenon without its friezes and frontal statuary, is like copying the figure of a human being without its eyes and mouth; and, in the second place, so far as modern Pseudo-Greek work does depend on its proportions more than Gothic work, it does so, not because it is better proportioned, but because it has nothing but proportion to depend upon. Gesture is in like manner of more importance to a pantomime actor than to a tragedian, not because his gesture is more refined, but because he has no tongue. And the proportions of our common Greek work are important to it undoubtedly, but not because they are or even can be more subtile than Gothic proportion, but because that work has no sculpture, nor color, nor imagination, nor sacredness, nor any other quality whatsoever in it, but ratios of measures. And it is difficult to express with sufficient force the absurdity of the supposition that there is more room for refinements of proportion in the relations of seven or eight equal pillars, with the triangular end of a roof above them, than between the shafts, and buttresses, and porches, and pinnacles, and vaultings, and towers, and all other doubly and trebly multiplied magnificences of membership which form the framework of a Gothic temple.