DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.6914#0068
36 ARCHITECTURAL ANTIQUITIES.
The author of the " Ornaments of Churches Considered" p. 83, attributes the
origin of the Pointed style to the Gothic architects of the time of Theodoric, king
of the Ostrogoths. But the Goths, as Hawkins observes, had no peculiar style
of architecture; and Theodoric and other Gothic princes employed Greek or
Italian artists in the construction of their churches and other buildings.94 There
is, however, a singular passage in the works of Cassiodorus, who was chancellor
to Theodoric in the sixth century ; which passage Tiraboschi, who cites it in his
History of Italian Literature,25 supposes to relate to " Gothic Architecture," and
infers from it, that the buildings of that age resembled those of the modern pointed
style. Mr. Gunn quotes this passage, but without deducing from it any positive
conclusion : it may be thus translated : " What shall we say,"—exclaims Cassio-
dorus,—" of the columns of a reed-like slenderness ? Those most sublime piles
of building seem as if they were supported by some erected spears ; and that,
which from the quality of the substance it was necessary to hollow out into
concave canals, you would rather suppose to have been cast; you would judge
that to be made of wax which you behold polished, of the hardest metals; and
the junctures of the marbles you call natural veins; thus, while the eyes are
deceived, praise is demonstrated to have grown from miracles."96
The precise meaning of the author in this passage is by no means obvious, and
little assistance can be obtained from the context. The piece from which it is
taken is a formula addressed to the prsefect of the city on the public architects.
The composition, which is of no great length, relates more to sculpture than to
architecture, and is written in a declamatory style. In the sentences preceding the
passage quoted, Cassiodorus praises the beauty of ancient sculpture, the origin of
which he attributes to the Tuscans ; and he then gives a rhetorical description of
a real or imaginary group of statuary, consisting of horses • immediately sub-
sequent to which appears the passage in question ; and after it are introduced an
enumeration and list of the seven ancient wonders of the world. That the writer
1+ " History of the Origin of Gothic Architecture," 8vo. p. 5, 33.
15 Edit. Firenz. 1776, 8vo. t. v. 1. i. c. 7, p. 120.
26 " Quid dicamus columnarum junceam proceritatem ? Moles illas sublimissiraas fabricarum, quasi
quibusdam erectis hastilibus contineri, et substantia qualitate concavis canalibus excavatas, ut magis ipsas
sestimes fuisse transfusas: ceris judices factum, quod metallicis durissimis videas oxpolitum : marmorum
juncturas venas dicas genitales: ubi dum falluntur oculi laus probatur crevisse miraculis." Cassiod. Var.
1. vii. formul. 15.
The author of the " Ornaments of Churches Considered" p. 83, attributes the
origin of the Pointed style to the Gothic architects of the time of Theodoric, king
of the Ostrogoths. But the Goths, as Hawkins observes, had no peculiar style
of architecture; and Theodoric and other Gothic princes employed Greek or
Italian artists in the construction of their churches and other buildings.94 There
is, however, a singular passage in the works of Cassiodorus, who was chancellor
to Theodoric in the sixth century ; which passage Tiraboschi, who cites it in his
History of Italian Literature,25 supposes to relate to " Gothic Architecture," and
infers from it, that the buildings of that age resembled those of the modern pointed
style. Mr. Gunn quotes this passage, but without deducing from it any positive
conclusion : it may be thus translated : " What shall we say,"—exclaims Cassio-
dorus,—" of the columns of a reed-like slenderness ? Those most sublime piles
of building seem as if they were supported by some erected spears ; and that,
which from the quality of the substance it was necessary to hollow out into
concave canals, you would rather suppose to have been cast; you would judge
that to be made of wax which you behold polished, of the hardest metals; and
the junctures of the marbles you call natural veins; thus, while the eyes are
deceived, praise is demonstrated to have grown from miracles."96
The precise meaning of the author in this passage is by no means obvious, and
little assistance can be obtained from the context. The piece from which it is
taken is a formula addressed to the prsefect of the city on the public architects.
The composition, which is of no great length, relates more to sculpture than to
architecture, and is written in a declamatory style. In the sentences preceding the
passage quoted, Cassiodorus praises the beauty of ancient sculpture, the origin of
which he attributes to the Tuscans ; and he then gives a rhetorical description of
a real or imaginary group of statuary, consisting of horses • immediately sub-
sequent to which appears the passage in question ; and after it are introduced an
enumeration and list of the seven ancient wonders of the world. That the writer
1+ " History of the Origin of Gothic Architecture," 8vo. p. 5, 33.
15 Edit. Firenz. 1776, 8vo. t. v. 1. i. c. 7, p. 120.
26 " Quid dicamus columnarum junceam proceritatem ? Moles illas sublimissiraas fabricarum, quasi
quibusdam erectis hastilibus contineri, et substantia qualitate concavis canalibus excavatas, ut magis ipsas
sestimes fuisse transfusas: ceris judices factum, quod metallicis durissimis videas oxpolitum : marmorum
juncturas venas dicas genitales: ubi dum falluntur oculi laus probatur crevisse miraculis." Cassiod. Var.
1. vii. formul. 15.