EXPRESSION IN ARCHITECTURE. 



art instruments are graceful in form, and, while so, they are, though the work of man, 

 also reflections of the work of God. 



The representing literally the use of a building b}-- means of sculpture or painting, with 

 a view to rendering the work completely phonetic, good taste, I think, would not sanc- 

 tion: the phonetic quality is not called for or desirable in architecture, — nor are painting 

 and sculpture higher arts than architecture, from being phonetic: if they were, the lowest 

 branch of literature might claim precedence of it. The subject of Paul preaching at 

 Athens, on the facade, or in the pediment of a building, would speak plainly enough of 

 Christian worship; but this mode of expression would be more prosaic than poetical, and 

 would remind us too much of the significant hat or boot of colossal dimensions, that pro- 

 ject into some of our trading streets. 



T observed above that one style is better fitted for expressing a given character than 

 another. Now, this peculiar and exclusive fitness for one purpose, eminently character- 

 izes the Gothic or pointed style of architecture, which deserves separate notice here. The 

 Gothic system is not what many of the advocates of the classic styles have asserted it to 

 be, — an incoherent style, unnatural and false to principle, devoid of all harmony and pro- 

 portions. Nor is it full of inconsistencies and caprices, as contended by others. Incon- 

 sistencies and caprices appear only at first sight, and to superficial or prejudiced observers. 

 The great monuments of this style evince the most striking intention of purpose, and a 

 power of expressive grandeur and sublimity in harmony with that purpose, which no 

 other system could have secured. But Gothic architecture, notwithstanding, will never 

 become the universal style. It is only adapted to the expression of qualities analogous 

 to sacred uses, and will be the more sacred in its associations from being exclusively de- 

 voted to such uses. The cathedrals and churches erected during the Gothic period were 

 exactly adapted to the Roman Catholic ritual — the form of devotion then in use, to pro- 

 cessions and every other ceremony connected with the religious service of the day. Music, 

 for example, was an important part of the service, and the cathedrals were built so as to 

 give the finest effect to music: thej'^ were covered interiorly Avith sculptural and pictorial 

 decoration in harmony with the spirit, and symbolizing the leading points of belief; and 

 like the maze of material beauty in nature speaking also of the eternal splendor and sub- 

 limity. There was a completeness of adaptation, a conspiracy for the expression of one 

 idea, perhaps never before or since exhibited. "Then," says Meuzel, in his history of 

 Germany, " the pile resounded and spoke, like God from the clouds, from its lofty tower, 

 or alternately sorrowed and rejoiced, like man, in the deep swelling organ: the arts of the 

 founder and musician were each devoted to the service of the Church." The Tudor style 

 is suited to all buildings of a domestic character, but ecclesiastical Gothic, applied to civil 

 or domestic purposes, is out of its natural element, and must present to the eye of taste 

 inconsistency of the grossest kind. It can have no harmony or sympathy with ideas and 

 enternrizes of earth, which it seems to spurn. It speaks not home to men's " every day 

 business and bosoms." It is all-aspiring, like the flame, heavenward; and finds a solu- 

 tion of its mystery only in the faith that points to worlds 



" Far above the clouds and beyond the tomb." 



In respect of mere sensuous beauty, it (Gothic architecture) cannot compare with the 

 Greek, which possesses the most exquisite adaptation of form and style to every variety 

 of purpose; but I have spoken of it as regards its vitality and power and truthfulness to 

 its original and peculiar purpose: as regards its application to ecclesiastical uses and power 

 analogous and symbolical expression, Gothic architecture is a perfect system ; it fills a 

 and holy place in art, to which it Is wonderfully, we might almost say divinely, 



