322 The Evolution of Architecture. 



tion. The account he gives of the origins of the most sym- 

 metrical and the most irregular forms is at least original, 

 and his claim to it does not invite dispute. But, as for the 

 resemblance of Gothic architecture to vegetable forms, he is 

 one of many in remarking the analogy between a groined 

 nave and an avenue of trees with interlacing branches, and 

 in contending that the former is a copy of the latter. But 

 " an avenue of trees " is quite as artificial as a cathedral nave, 

 and, while it is possible that the latter suggested the for- 

 mer, it is certain that the former did not suggest the latter. 

 We know perfectly well how the groined nave arose, and we 

 know that its actual origin furnishes illustrations of the 

 doctrine of evolution second in force and beauty to no 

 others in its imperial range. One approaches the west front 

 of Winchester Cathedral from a magnificent avenue of trees 

 that interlace their branches overhead. Entering the cathe- 

 dral, you find the nave, I can not say built, but decorated, in 

 the perpendicular style. England has nothing else to show 

 so like an avenue of trees. But how feeble is the impres- 

 sion in comparison with the avenue without ! Man's art, 

 though at its best, is ever feeble when compared with the 

 majestic handiwork of God. 



It is an interesting comment on Mr. Spencer's account of 

 architectural origins that Mr. Sidney Colvin, who is " wise 

 unto salvation'^ in such matters, classifies architecture with 

 music as a non-imitative art. He is well aware that in the 

 pastoral symphony and elsewhere there are imitations of 

 natural sounds, and that in architecture, especially in deco- 

 ration, there is much imitation, more or less conventional, 

 of vegetable and animal forms. But these facts do not 

 affect the main conclusion that as music in general " ap- 

 peals to our faculties for taking pleasure in non-imitative 

 combinations of transitory sound, so architecture appeals 

 to our faculties for taking pleasure in non-imitative com- 

 binations of stationary mass " " combinations of line, 

 light and shade, color, proportion, interval, alternation of 

 plain and decorated parts, regularity and variety in regu- 

 larity, apparent stability, vastness, appropriateness, and so 

 on." Further than to set architecture with music as a non- 

 imitative art over against the three other fine arts sculpt- 

 ure, painting, and poetry, which are non-imitative in this 

 matter of classification I do not care to go. The different 

 classifications have been almost as many as the attempts to 

 classify. That men so radically different in their methods 



