DOI Page / Citation link:
https://doi.org/10.11588/diglit.26747#0047
INTEODUCTION.
xliii
as grand, witEout losing its apparent size. In the other case, hy
employing the principles which the Gothic architects elaborated with
such pains, the apparent dimensions might have been increased without
detracting from its solidity, and the arch rendered one of' the sublimest
buiidings in the world.
St. Peter’s at Kome is an example of a total neglect of these
principles. Its great nave is divided into only four bays, and the
proportions and ornaments of these, borrowed generally from external
architecture, are so gigantic that no one can realize the true dimen-
sions of the church but by the study of the plan; and it is not too
much to assert, that had that cathedral been built in the Gothic style,
during the 13th or 14th century, with the same dimensions, it would
appear as if from one-third to one-half larger, and would have been
the most sublime as well as the largest temple ever erected.
It would be easy to multiply examples to show to wThat perfection
the science of proportion was carried during the existence of a true
style of architecture, and how satisfactory the result is, even upon
those who are not aware of the cause; and on tlie other hand, how
miserable are the failures that result either from the ignorance or
neglect of its rules. Enough, it is hoped, has been said to show that
not only are the apparent proportions of a building very much under
the control of an architect independent of its lineal dimensions, but
also that he has it in his power so to proportion every part as to give
value to all those around it, and to produce that harmony which in
architecture, as well as in music or in painting, is the very essence of
a true or satisfactory utterance.
VIII.—Ornament.
Architectural ornament is of two kinds, constructive and decorative.
By the former is meant all those contrivances, such as capitals, brackets,
vaulting shafts, and the like, which serve to explain or give expression
to the construction; by the latter, such as mouldings, frets, foliage,
&c., which give grace and life either to tlie actual constructive forms,
or to the constructive decoration.
In mere building or engineering, the construction being all in all,
it is left to tell its own tale in its own prosaic nakedness ; but in true
architecture the construction is always subordinate, and with an excess
of strength it need not show itself unless it is expedient to do so ; but
even in an artistic point of view it always is expedient. The vault,
for instance, of a Gothic cathedral might just as easily spring from a
bracket or a corbel as from a shaft, and in early experiments this was
often tried; but the effect was unsatisfactory, and a vaulting shaft was
carried down to the capital of the pillar, and afterwards to the floor :
by this means the eye was satisfied, the thin reed-like shafts being
sufficient to explain that the vault rested on the solid ground, and
an apparent propriety and stability were given to the whole. These
shafts not being necessary constructively, the artist could make them
of any form or size he thought inost proper, and consequently, instead
xliii
as grand, witEout losing its apparent size. In the other case, hy
employing the principles which the Gothic architects elaborated with
such pains, the apparent dimensions might have been increased without
detracting from its solidity, and the arch rendered one of' the sublimest
buiidings in the world.
St. Peter’s at Kome is an example of a total neglect of these
principles. Its great nave is divided into only four bays, and the
proportions and ornaments of these, borrowed generally from external
architecture, are so gigantic that no one can realize the true dimen-
sions of the church but by the study of the plan; and it is not too
much to assert, that had that cathedral been built in the Gothic style,
during the 13th or 14th century, with the same dimensions, it would
appear as if from one-third to one-half larger, and would have been
the most sublime as well as the largest temple ever erected.
It would be easy to multiply examples to show to wThat perfection
the science of proportion was carried during the existence of a true
style of architecture, and how satisfactory the result is, even upon
those who are not aware of the cause; and on tlie other hand, how
miserable are the failures that result either from the ignorance or
neglect of its rules. Enough, it is hoped, has been said to show that
not only are the apparent proportions of a building very much under
the control of an architect independent of its lineal dimensions, but
also that he has it in his power so to proportion every part as to give
value to all those around it, and to produce that harmony which in
architecture, as well as in music or in painting, is the very essence of
a true or satisfactory utterance.
VIII.—Ornament.
Architectural ornament is of two kinds, constructive and decorative.
By the former is meant all those contrivances, such as capitals, brackets,
vaulting shafts, and the like, which serve to explain or give expression
to the construction; by the latter, such as mouldings, frets, foliage,
&c., which give grace and life either to tlie actual constructive forms,
or to the constructive decoration.
In mere building or engineering, the construction being all in all,
it is left to tell its own tale in its own prosaic nakedness ; but in true
architecture the construction is always subordinate, and with an excess
of strength it need not show itself unless it is expedient to do so ; but
even in an artistic point of view it always is expedient. The vault,
for instance, of a Gothic cathedral might just as easily spring from a
bracket or a corbel as from a shaft, and in early experiments this was
often tried; but the effect was unsatisfactory, and a vaulting shaft was
carried down to the capital of the pillar, and afterwards to the floor :
by this means the eye was satisfied, the thin reed-like shafts being
sufficient to explain that the vault rested on the solid ground, and
an apparent propriety and stability were given to the whole. These
shafts not being necessary constructively, the artist could make them
of any form or size he thought inost proper, and consequently, instead