222 Architecture in the United States* 



both employed and deserve a more attentive consideration. Let us 

 prepare ourselves for it by some notice of the object of the Godiic 

 style. 



We adverted to these in a brief comparisoDj in the last article, 

 between this and the Grecian architecture. The latter aims only 

 at gratifying the taste : to this point it concentrates all its pow- 

 ers, and while success is rendered difficult by the singleness of its 

 aim, the pleasure is of the most thrilling kind, when it does suc- 

 ceed. The Gothic operates on all our sensations. With the pleas- 

 ures of taste are mingled astonishment, fear, wonder, awe ; we 

 are delighted, but it is solemn delight j we w^ould criticise, but 

 our faculties become overpowered and subdued j w^e feel weak and 

 humbled, and then loose all recollection of ourselves amid the ma- 

 jesty and the exalted grandeur of the scene* These are the most 

 prominent effects of a Gothic edifice, and should be the object of 

 its various parts. The arch of the second order is well adapted to 

 such a result. It is in perfect keeping with the tall clustering pillars, 

 one of the greatest ornaments of the art, and by the height to which 

 it rises, adds to tlic vastness of tlie dimensions, another striking trait 

 in the Gothic style. At the same time it has in itself much grandeur 

 and nobleness of expression. The uniform sweep of the semicircle 

 is not devoid of gracefulness, but when used in the larger kind of 

 arches, it has an air of heaviness, which requires strong supports to 

 correspond. When it springs from pillars, tliey are accordingly 

 made short and of large diameter- The same remark as to heavi- 

 ness, will apply to the Gothic arch of the third order, which, as has 

 been said, is depressed below a semicircle, and which, as it ap- 

 proaches the horizontal line of the Grecian entablature, requires its 

 column to approach In the same degree to those of the Grecian style. 

 This heaviness is relieved somewhat, it is true, by the pointed char- 

 acter which It still in some degree retains, but still there remains the 

 incongruity between a tall, light pillar, and a low flat arch above. 

 There is another consideration arising partly from taste, partly from 

 mechanical considerations. I refer to lateral pressure. This in the 

 depressed arch is very great. The Gotliic style, as has been said, 

 delights in creating mechanical difficulties, and in the exhibitions oi 

 skill which they occasion, but the beholder must be made to see tliat 

 they are overcome ; otherwise the sensation we receive from them is 

 a painful one. Mine have never failed to be of that character, where 

 a wide sweep of low arch has been presented without any thing to 



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