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§ I. We now know where we are to look for subjects of decoration. The next question is, as the reader must remember, how to treat or express these subjects.

There are evidently two branches of treatment: the first being the expression, or rendering to the eye and mind, of the thing itself; and the second, the arrangement of the thing so expressed: both of these being quite distinct from the placing of the ornament in proper parts of the building. For instance, suppose we take a vine-leaf for our subject. The first question is, how to cut the vine-leaf? Shall we cut its ribs and notches on the edge, or only its general outline? and so on. Then, how to arrange the vine-leaves when we have them; whether symmetrically, or at random; or unsymmetrically, yet within certain limits? All these I call questions of treatment. Then, whether the vine-leaves so arranged are to be set on the capital of a pillar or on its shaft, I call a question of place.

§ II. So, then, the questions of mere treatment are twofold, how to express, and how to arrange. And expression is to the mind or the sight. Therefore, the inquiry becomes really threefold:—

1. How ornament is to be expressed with reference to the mind.

2. How ornament is to be arranged with reference to the sight.

3. How ornament is to be arranged with reference to both.

§ III. (1.) How is ornament to be treated with reference to the mind?

If, to produce a good or beautiful ornament, it were only necessary to produce a perfect piece of sculpture, and if a well cut group of flowers or animals were indeed an ornament wherever it might be placed, the work of the architect would be comparatively easy. Sculpture and architecture would become separate arts; and the architect would order so many pieces of such subject and size as he needed, without troubling himself with any questions but those of disposition and proportion. But this is not so. No perfect piece either of painting or sculpture is an architectural ornament at all, except in that vague sense in which any beautiful thing is said to ornament the place it is in. Thus we say that pictures ornament a room; but we should not thank an architect who told us that his design, to be complete, required a Titian to be put in one corner of it, and a Velasquez in the other; and it is just as unreasonable to call perfect sculpture, niched in, or encrusted on a building, a portion of the ornament of that building, as it would be to hang pictures by the way of ornament on the outside of it. It is very possible that the sculptured work may be harmoniously associated with the building, or the building executed with reference to it; but in this latter case the architecture is subordinate to the sculpture, as in the Medicean chapel, and I believe also in the Parthenon. And so far from the perfection of the work conducing to its ornamental purpose, we may say, with entire security, that its perfection, in some degree, unfits it for its purpose, and that no absolutely complete sculpture can be decoratively right. We have a familiar instance in the flower-work of St. Paul’s, which is probably, in the abstract, as perfect flower sculpture as could be produced at the time; and which is just as rational an ornament of the building as so many valuable Van Huysums, framed and glazed and hung up over each window.

§ IV. The especial condition of true ornament is, that it be beautiful in its place, and nowhere else, and that it aid the effect of every portion of the building over which it has influence; that it does not, by its richness, make other parts bald, or, by its delicacy, make other parts coarse. Every one of its qualities has reference to its place and use: and it is fitted for its service by what would be faults and deficiencies if it had no especial duty. Ornament, the servant, is often formal, where sculpture, the master, would have been free; the servant is often silent where the master would have been eloquent; or hurried, where the master would have been serene.

§ V. How far this subordination is in different situations to be expressed, or how far it may be surrendered, and ornament, the servant, be permitted to have independent will; and by what means the subordination is best to be expressed when it is required, are by far the most difficult questions I have ever tried to work out respecting any branch of art; for, in many of the examples to which I look as authoritative in their majesty of effect, it is almost impossible to say whether the abstraction or imperfection of the sculpture was owing to the choice, or the incapacity of the workman; and, if to the latter, how far the result of fortunate incapacity can be imitated by prudent self-restraint. The reader, I think, will understand this at once by considering the effect of the illuminations of an old missal. In their bold rejection of all principles of perspective, light and shade, and drawing, they are infinitely more ornamental to the page, owing to the vivid opposition of their bright colors and quaint lines, than if they had been drawn by Da Vinci himself: and so the Arena chapel is far more brightly decorated by the archaic frescoes of Giotti, than the Stanze of the Vatican are by those of Raffaelle. But how far it is possible to recur to such archaicism, or to make up for it by any voluntary abandonment of power, I cannot as yet venture in any wise to determine.

§ VI. So, on the other hand, in many instances of finished work in which I find most to regret or to reprobate, I can hardly distinguish what is erroneous in principle from what is vulgar in execution. For instance, in most Romanesque churches of Italy, the porches are guarded by gigantic animals, lions or griffins, of admirable severity of design; yet, in many cases, of so rude workmanship, that it can hardly be determined how much of this severity was intentional—how much involuntary: in the cathedral of Genoa two modern lions have, in imitation of this ancient custom, been placed on the steps of its west front; and the Italian sculptor, thinking himself a marvellous great man because he knew what lions were really like, has copied them, in the menagerie, with great success, and produced two hairy and well-whiskered beasts, as like to real lions as he could possibly cut them. One wishes them back in the menagerie for his pains; but it is impossible to say how far the offence of their presence is owing to the mere stupidity and vulgarity of the sculpture, and how far we might have been delighted with a realisation, carried to nearly the same length by Ghiberti or Michael Angelo. (I say nearly, because neither Ghiberti nor Michael Angelo would ever have attempted, or permitted, entire realisation, even in independent sculpture.)

§ VII. In spite of these embarrassments, however, some few certainties may be marked in the treatment of past architecture, and secure conclusions deduced for future practice. There is first, for instance, the assuredly intended and resolute abstraction of the Ninevite and Egyptian sculptors. The men who cut those granite lions in the Egyptian room of the British Museum, and who carved the calm faces of those Ninevite kings, knew much more, both of lions and kings, than they chose to express. Then there is the Greek system, in which the human sculpture is perfect, the architecture and animal sculpture is subordinate to it, and the architectural ornament severely subordinated to this again, so as to be composed of little more than abstract lines: and, finally, there is the peculiarly mediæval system, in which the inferior details are carried to as great or greater imitative perfection as the higher sculpture; and the subordination is chiefly effected by symmetries of arrangement, and quaintnesses of treatment, respecting which it is difficult to say how far they resulted from intention, and how far from incapacity.

§ VIII. Now of these systems, the Ninevite and Egyptian are altogether opposed to modern habits of thought and action; they are sculptures evidently executed under absolute authorities, physical and mental, such as cannot at present exist. The Greek system presupposes the possession of a Phidias; it is ridiculous to talk of building in the Greek manner; you may build a Greek shell or box, such as the Greek intended to contain sculpture, but you have not the sculpture to put in it. Find your Phidias first, and your new Phidias will very soon settle all your architectural difficulties in very unexpected ways indeed; but until you find him, do not think yourselves architects while you go on copying those poor subordinations, and secondary and tertiary orders of ornament, which the Greek put on the shell of his sculpture. Some of them, beads, and dentils, and such like, are as good as they can be for their work, and you may use them for subordinate work still; but they are nothing to be proud of, especially when you did not invent them: and others of them are mistakes and impertinences in the Greek himself, such as his so-called honeysuckle ornaments and others, in which there is a starched and dull suggestion of vegetable form, and yet no real resemblance nor life, for the conditions of them result from his own conceit of himself, and ignorance of the physical sciences, and want of relish for common nature, and vain fancy that he could improve everything he touched, and that he honored it by taking it into his service: by freedom from which conceits the true Christian architecture is distinguished—not by points to its arches.

§ IX. There remains, therefore, only the mediæval system, in which I think, generally, more completion is permitted (though this often because more was possible) in the inferior than in the higher portions of ornamental subject. Leaves, and birds, and lizards are realised, or nearly so; men and quadrupeds formalised. For observe, the smaller and inferior subject remains subordinate, however richly finished; but the human sculpture can only be subordinate by being imperfect. The realisation is, however, in all cases, dangerous except under most skilful management, and the abstraction, if true and noble, is almost always more delightful.70

VIII.

DECORATION BY DISKS.

PALAZZO DEI BADOARI PARTECIPAZZI.

§ X. What, then, is noble abstraction? It is taking first the essential elements of the thing to be represented, then the rest in the order of importance (so that wherever we pause we shall always have obtained more than we leave behind), and using any expedient to impress what we want upon the mind, without caring about the mere literal accuracy of such expedient. Suppose, for instance, we have to represent a peacock: now a peacock has a graceful neck, so has a swan; it has a high crest, so has a cockatoo; it has a long tail, so has a bird of Paradise. But the whole spirit and power of peacock is in those eyes of the tail. It is true, the argus pheasant, and one or two more birds, have something like them, but nothing for a moment comparable to them in brilliancy: express the gleaming of the blue eyes through the plumage, and you have nearly all you want of peacock, but without this, nothing; and yet those eyes are not in relief; a rigidly true sculpture of a peacock’s form could have no eyes—nothing but feathers. Here, then, enters the stratagem of sculpture; you must cut the eyes in relief, somehow or another; see how it is done in the peacock on the opposite page; it is so done by nearly all the Byzantine sculptors: this particular peacock is meant to be seen at some distance (how far off I know not, for it is an interpolation in the building where it occurs, of which more hereafter), but at all events at a distance of thirty or forty feet; I have put it close to you that you may see plainly the rude rings and rods which stand for the eyes and quills, but at the just distance their effect is perfect.

§ XI. And the simplicity of the means here employed may help us, both to some clear understanding of the spirit of Ninevite and Egyptian work, and to some perception of the kind of enfantillage or archaicism to which it may be possible, even in days of advanced science, legitimately to return. The architect has no right, as we said before, to require of us a picture of Titian’s in order to complete his design; neither has he the right to calculate on the co-operation of perfect sculptors, in subordinate capacities. Far from this; his business is to dispense with such aid altogether, and to devise such a system of ornament as shall be capable of execution by uninventive and even unintelligent workmen; for supposing that he required noble sculpture for his ornament, how far would this at once limit the number and the scale of possible buildings? Architecture is the work of nations; but we cannot have nations of great sculptors. Every house in every street of every city ought to be good architecture, but we cannot have Flaxman or Thorwaldsen at work upon it: nor, even if we chose only to devote ourselves to our public buildings, could the mass and majesty of them be great, if we required all to be executed by great men; greatness is not to be had in the required quantity. Giotto may design a campanile, but he cannot carve it; he can only carve one or two of the bas-reliefs at the base of it. And with every increase of your fastidiousness in the execution of your ornament, you diminish the possible number and grandeur of your buildings. Do not think you can educate your workmen, or that the demand for perfection will increase the supply: educated imbecility and finessed foolishness are the worst of all imbecilities and foolishnesses; and there is no free-trade measure, which will ever lower the price of brains—there is no California of common sense. Exactly in the degree in which you require your decoration to be wrought by thoughtful men, you diminish the extent and number of architectural works. Your business as an architect, is to calculate only on the co-operation of inferior men, to think for them, and to indicate for them such expressions of your thoughts as the weakest capacity can comprehend and the feeblest hand can execute. This is the definition of the purest architectural abstractions. They are the deep and laborious thoughts of the greatest men, put into such easy letters that they can be written by the simplest. They are expressions of the mind of manhood by the hands of childhood.

§ XII. And now suppose one of those old Ninevite or Egyptian builders, with a couple of thousand men—mud-bred, onion-eating creatures—under him, to be set to work, like so many ants, on his temple sculptures. What is he to do with them? He can put them through a granitic exercise of current hand; he can teach them all how to curl hair thoroughly into croche-cœurs, as you teach a bench of school-boys how to shape pothooks; he can teach them all how to draw long eyes and straight noses, and how to copy accurately certain well-defined lines. Then he fits his own great design to their capacities; he takes out of king, or lion, or god, as much as was expressible by croche-cœurs and granitic pothooks; he throws this into noble forms of his own imagining, and having mapped out their lines so that there can be no possibility of error, sets his two thousand men to work upon them, with a will, and so many onions a day.

§ XIII. I said those times cannot now return. We have, with Christianity, recognised the individual value of every soul; and there is no intelligence so feeble but that its single ray may in some sort contribute to the general light. This is the glory of Gothic architecture, that every jot and tittle, every point and niche of it, affords room, fuel, and focus for individual fire. But you cease to acknowledge this, and you refuse to accept the help of the lesser mind, if you require the work to be all executed in a great manner. Your business is to think out all of it nobly, to dictate the expression of it as far as your dictation can assist the less elevated intelligence: then to leave this, aided and taught as far as may be, to its own simple act and effort; and to rejoice in its simplicity if not in its power, and in its vitality if not in its science.

§ XIV. We have, then, three orders of ornament, classed according to the degrees of correspondence of the executive and conceptive minds. We have the servile ornament, in which the executive is absolutely subjected to the inventive—the ornament of the great Eastern nations, more especially Hamite, and all pre-Christian, yet thoroughly noble in its submissiveness. Then we have the mediæval system, in which the mind of the inferior workman is recognised, and has full room for action, but is guided and ennobled by the ruling mind. This is the truly Christian and only perfect system. Finally, we have ornaments expressing the endeavor to equalise the executive and inventive—endeavor which is Renaissance and revolutionary, and destructive of all noble architecture.

§ XV. Thus far, then, of the incompleteness or simplicity of execution necessary in architectural ornament, as referred to the mind. Next we have to consider that which is required when it is referred to the sight, and the various modifications of treatment which are rendered necessary by the variation of its distance from the eye. I say necessary: not merely expedient or economical. It is foolish to carve what is to be seen forty feet off with the delicacy which the eye demands within two yards; not merely because such delicacy is lost in the distance, but because it is a great deal worse than lost:—the delicate work has actually worse effect in the distance than rough work. This is a fact well known to painters, and, for the most part, acknowledged by the critics of painters, namely, that there is a certain distance for which a picture is painted; and that the finish, which is delightful if that distance be small, is actually injurious if the distance be great: and, moreover, that there is a particular method of handling which none but consummate artists reach, which has its effects at the intended distance, and is altogether hieroglyphical and unintelligible at any other. This, I say, is acknowledged in painting, but it is not practically acknowledged in architecture; nor until my attention was especially directed to it, had I myself any idea of the care with which this great question was studied by the mediæval architects. On my first careful examination of the capitals of the upper arcade of the Ducal Palace at Venice, I was induced, by their singular inferiority of workmanship, to suppose them posterior to those of the lower arcade. It was not till I discovered that some of those which I thought the worst above, were the best when seen from below, that I obtained the key to this marvellous system of adaptation; a system which I afterwards found carried out in every building of the great times which I had opportunity of examining.

§ XVI. There are two distinct modes in which this adaptation is effected. In the first, the same designs which are delicately worked when near the eye, are rudely cut, and have far fewer details when they are removed from it. In this method it is not always easy to distinguish economy from skill, or slovenliness from science. But, in the second method, a different design is adopted, composed of fewer parts and of simpler lines, and this is cut with exquisite precision. This is of course the higher method, and the more satisfactory proof of purpose; but an equal degree of imperfection is found in both kinds when they are seen close; in the first, a bald execution of a perfect design; the second, a baldness of design with perfect execution. And in these very imperfections lies the admirableness of the ornament.

§ XVII. It may be asked whether, in advocating this adaptation to the distance of the eye, I obey my adopted rule of observance of natural law. Are not all natural things, it may be asked, as lovely near as far away? Nay, not so. Look at the clouds, and watch the delicate sculpture of their alabaster sides, and the rounded lustre of their magnificent rolling. They are meant to be beheld far away; they were shaped for their place, high above your head; approach them, and they fuse into vague mists, or whirl away in fierce fragments of thunderous vapor. Look at the crest of the Alp, from the far-away plains over which its light is cast, whence human souls have communion with it by their myriads. The child looks up to it in the dawn, and the husbandman in the burden and heat of the day, and the old man in the going down of the sun, and it is to them all as the celestial city on the world’s horizon; dyed with the depth of heaven, and clothed with the calm of eternity. There was it set, for holy dominion, by Him who marked for the sun his journey, and bade the moon know her going down. It was built for its place in the far-off sky; approach it, and as the sound of the voice of man dies away about its foundations, and the tide of human life, shallowed upon the vast aërial shore, is at last met by the Eternal “Here shall thy waves be stayed,” the glory of its aspect fades into blanched fearfulness; its purple walls are rent into grisly rocks, its silver fretwork saddened into wasting snow, the storm-brands of ages are on its breast, the ashes of its own ruin lie solemnly on its white raiment.

Nor in such instances as these alone, though strangely enough, the discrepancy between apparent and actual beauty is greater in proportion to the unapproachableness of the object, is the law observed. For every distance from the eye there is a peculiar kind of beauty, or a different system of lines of form; the sight of that beauty is reserved for that distance, and for that alone. If you approach nearer, that kind of beauty is lost, and another succeeds, to be disorganised and reduced to strange and incomprehensible means and appliances in its turn. If you desire to perceive the great harmonies of the form of a rocky mountain, you must not ascend upon its sides. All is there disorder and accident, or seems so; sudden starts of its shattered beds hither and thither; ugly struggles of unexpected strength from under the ground; fallen fragments, toppling one over another into more helpless fall. Retire from it, and, as your eye commands it more and more, as you see the ruined mountain world with a wider glance, behold! dim sympathies begin to busy themselves in the disjointed mass; line binds itself into stealthy fellowship with line; group by group, the helpless fragments gather themselves into ordered companies; new captains of hosts and masses of battalions become visible, one by one, and far away answers of foot to foot, and of bone to bone, until the powerless chaos is seen risen up with girded loins, and not one piece of all the unregarded heap could now be spared from the mystic whole.

§ XVIII. Now it is indeed true that where nature loses one kind of beauty, as you approach it, she substitutes another; this is worthy of her infinite power: and, as we shall see, art can sometimes follow her even in doing this; but all I insist upon at present is, that the several effects of nature are each worked with means referred to a particular distance, and producing their effect at that distance only. Take a singular and marked instance: When the sun rises behind a ridge of pines, and those pines are seen from a distance of a mile or two, against his light, the whole form of the tree, trunk, branches, and all, becomes one frostwork of intensely brilliant silver, which is relieved against the clear sky like a burning fringe, for some distance on either side of the sun.71 Now suppose that a person who had never seen pines were, for the first time in his life, to see them under this strange aspect, and, reasoning as to the means by which such effect could be produced, laboriously to approach the eastern ridge, how would he be amazed to find that the fiery spectres had been produced by trees with swarthy and grey trunks, and dark green leaves! We, in our simplicity, if we had been required to produce such an appearance, should have built up trees of chased silver, with trunks of glass, and then been grievously amazed to find that, at two miles off, neither silver nor glass were any more visible; but nature knew better, and prepared for her fairy work with the strong branches and dark leaves, in her own mysterious way.

§ XIX. Now this is exactly what you have to do with your good ornament. It may be that it is capable of being approached, as well as likely to be seen far away, and then it ought to have microscopic qualities, as the pine leaves have, which will bear approach. But your calculation of its purpose is for a glory to be produced at a given distance; it may be here, or may be there, but it is a given distance; and the excellence of the ornament depends upon its fitting that distance, and being seen better there than anywhere else, and having a particular function and form which it can only discharge and assume there. You are never to say that ornament has great merit because “you cannot see the beauty of it here;” but, it has great merit because “you can see its beauty here only.” And to give it this merit is just about as difficult a task as I could well set you. I have above noted the two ways in which it is done: the one, being merely rough cutting, may be passed over; the other, which is scientific alteration of design, falls, itself, into two great branches, Simplification and Emphasis.

A word or two is necessary on each of these heads.

§ XX. When an ornamental work is intended to be seen near, if its composition be indeed fine, the subdued and delicate portions of the design lead to, and unite, the energetic parts, and those energetic parts form with the rest a whole, in which their own immediate relations to each other are not perceived. Remove this design to a distance, and the connecting delicacies vanish, the energies alone remain, now either disconnected altogether, or assuming with each other new relations, which, not having been intended by the designer, will probably be painful. There is a like, and a more palpable, effect, in the retirement of a band of music in which the instruments are of very unequal powers; the fluting and fifeing expire, the drumming remains, and that in a painful arrangement, as demanding something which is unheard. In like manner, as the designer at arm’s length removes or elevates his work, fine gradations, and roundings, and incidents, vanish, and a totally unexpected arrangement is established between the remainder of the markings, certainly confused, and in all probability painful.

§ XXI. The art of architectural design is therefore, first, the preparation for this beforehand, the rejection of all the delicate passages as worse than useless, and the fixing the thought upon the arrangement of the features which will remain visible far away. Nor does this always imply a diminution of resource; for, while it may be assumed as a law that fine modulation of surface in light becomes quickly invisible as the object retires, there are a softness and mystery given to the harder markings, which enable them to be safely used as media of expression. There is an exquisite example of this use, in the head of the Adam of the Ducal Palace. It is only at the height of 17 or 18 feet above the eye; nevertheless, the sculptor felt it was no use to trouble himself about drawing the corners of the mouth, or the lines of the lips, delicately, at that distance; his object has been to mark them clearly, and to prevent accidental shadows from concealing them, or altering their expression. The lips are cut thin and sharp, so that their line cannot be mistaken, and a good deep drill-hole struck into the angle of the mouth; the eye is anxious and questioning, and one is surprised, from below, to perceive a kind of darkness in the iris of it, neither like color, nor like a circular furrow. The expedient can only be discovered by ascending to the level of the head; it is one which would have been quite inadmissible except in distant work, six drill-holes cut into the iris, round a central one for the pupil.

§ XXII. By just calculation, like this, of the means at our disposal, by beautiful arrangement of the prominent features, and by choice of different subjects for different places, choosing the broadest forms for the farthest distance, it is possible to give the impression, not only of perfection, but of an exquisite delicacy, to the most distant ornament. And this is the true sign of the right having been done, and the utmost possible power attained:—The spectator should be satisfied to stay in his place, feeling the decoration, wherever it may be, equally rich, full, and lovely: not desiring to climb the steeples in order to examine it, but sure that he has it all, where he is. Perhaps the capitals of the cathedral of Genoa are the best instances of absolute perfection in this kind: seen from below, they appear as rich as the frosted silver of the Strada degli Orefici; and the nearer you approach them, the less delicate they seem.

§ XXIII. This is, however, not the only mode, though the best, in which ornament is adapted for distance. The other is emphasis—the unnatural insisting upon explanatory lines, where the subject would otherwise become unintelligible. It is to be remembered that, by a deep and narrow incision, an architect has the power, at least in sunshine, of drawing a black line on stone, just as vigorously as it can be drawn with chalk on grey paper; and that he may thus, wherever and in the degree that he chooses, substitute chalk sketching for sculpture. They are curiously mingled by the Romans. The bas-reliefs of the Arc d’Orange are small, and would be confused, though in bold relief, if they depended for intelligibility on the relief only; but each figure is outlined by a strong incision at its edge into the background, and all the ornaments on the armor are simply drawn with incised lines, and not cut out at all. A similar use of lines is made by the Gothic nations in all their early sculpture, and with delicious effect. Now, to draw a mere pattern—as, for instance, the bearings of a shield—with these simple incisions, would, I suppose, occupy an able sculptor twenty minutes or half an hour; and the pattern is then clearly seen, under all circumstances of light and shade; there can be no mistake about it, and no missing it. To carve out the bearings in due and finished relief would occupy a long summer’s day, and the results would be feeble and indecipherable in the best lights, and in some lights totally and hopelessly invisible, ignored, non-existant. Now the Renaissance architects, and our modern ones, despise the simple expedient of the rough Roman or barbarian. They do not care to be understood. They care only to speak finely, and be thought great orators, if one could only hear them. So I leave you to choose between the old men, who took minutes to tell things plainly, and the modern men, who take days to tell them unintelligibly.

§ XXIV. All expedients of this kind, both of simplification and energy, for the expression of details at a distance where their actual forms would have been invisible, but more especially this linear method, I shall call Proutism; for the greatest master of the art in modern times has been Samuel Prout. He actually takes up buildings of the later times in which the ornament has been too refined for its place, and translates it into the energised linear ornament of earlier art: and to this power of taking the life and essence of decoration, and putting it into a perfectly intelligible form, when its own fulness would have been confused, is owing the especial power of his drawings. Nothing can be more closely analogous than the method with which an old Lombard uses his chisel, and that with which Prout uses the reed-pen; and we shall see presently farther correspondence in their feeling about the enrichment of luminous surfaces.

§ XXV. Now, all that has been hitherto said refers to ornament whose distance is fixed, or nearly so; as when it is at any considerable height from the ground, supposing the spectator to desire to see it, and to get as near it as he can. But the distance of ornament is never fixed to the general spectator. The tower of a cathedral is bound to look well, ten miles off, or five miles, or half a mile, or within fifty yards. The ornaments of its top have fixed distances, compared with those of its base; but quite unfixed distances in their relation to the great world: and the ornaments of the base have no fixed distance at all. They are bound to look well from the other side of the cathedral close, and to look equally well, or better, as we enter the cathedral door. How are we to manage this?

§ XXVI. As nature manages it. I said above, § XVII., that for every distance from the eye there was a different system of form in all natural objects: this is to be so then in architecture. The lesser ornament is to be grafted on the greater, and third or fourth orders of ornaments upon this again, as need may be, until we reach the limits of possible sight; each order of ornament being adapted for a different distance: first, for example, the great masses—the buttresses and stories and black windows and broad cornices of the tower, which give it make, and organism, as it rises over the horizon, half a score of miles away: then the traceries and shafts and pinnacles, which give it richness as we approach: then the niches and statues and knobs and flowers, which we can only see when we stand beneath it. At this third order of ornament, we may pause, in the upper portions; but on the roofs of the niches, and the robes of the statues, and the rolls of the mouldings, comes a fourth order of ornament, as delicate as the eye can follow, when any of these features may be approached.

§ XXVII. All good ornamentation is thus arborescent, as it were, one class of it branching out of another and sustained by it; and its nobility consists in this, that whatever order or class of it we may be contemplating, we shall find it subordinated to a greater, simpler, and more powerful; and if we then contemplate the greater order, we shall find it again subordinated to a greater still; until the greatest can only be quite grasped by retiring to the limits of distance commanding it.

And if this subordination be not complete, the ornament is bad: if the figurings and chasings and borderings of a dress be not subordinated to the folds of it—if the folds are not subordinate to the action and mass of the figure—if this action and mass not to the divisions of the recesses and shafts among which it stands—if these not to the shadows of the great arches and buttresses of the whole building, in each case there is error; much more if all be contending with each other and striving for attention at the same time.

§ XXVIII. It is nevertheless evident, that, however perfect this distribution, there cannot be orders adapted to every distance of the spectator. Between the ranks of ornament there must always be a bold separation; and there must be many intermediate distances, where we are too far off to see the lesser rank clearly, and yet too near to grasp the next higher rank wholly: and at all these distances the spectator will feel himself ill-placed, and will desire to go nearer or farther away. This must be the case in all noble work, natural or artificial. It is exactly the same with respect to Rouen cathedral or the Mont Blanc. We like to see them from the other side of the Seine, or of the lake of Geneva; from the Marché aux Fleurs, or the Valley of Chamouni; from the parapets of the apse, or the crags of the Montagne de la Côte: but there are intermediate distances which dissatisfy us in either case, and from which one is in haste either to advance or to retire.

§ XXIX. Directly opposed to this ordered, disciplined, well officered and variously ranked ornament, this type of divine, and therefore of all good human government, is the democratic ornament, in which all is equally influential, and has equal office and authority; that is to say, none of it any office nor authority, but a life of continual struggle for independence and notoriety, or of gambling for chance regards. The English perpendicular work is by far the worst of this kind that I know; its main idea, or decimal fraction of an idea, being to cover its walls with dull, successive, eternity of reticulation, to fill with equal foils the equal interstices between the equal bars, and charge the interminable blanks with statues and rosettes, invisible at a distance, and uninteresting near.

The early Lombardic, Veronese, and Norman work is the exact reverse of this; being divided first into large masses, and these masses covered with minute chasing and surface work, which fill them with interest, and yet do not disturb nor divide their greatness. The lights are kept broad and bright, and yet are found on near approach to be charged with intricate design. This, again, is a part of the great system of treatment which I shall hereafter call “Proutism;” much of what is thought mannerism and imperfection in Prout’s work, being the result of his determined resolution that minor details shall never break up his large masses of light.

§ XXX. Such are the main principles to be observed in the adaptation of ornament to the sight. We have lastly to inquire by what method, and in what quantities, the ornament, thus adapted to mental contemplation, and prepared for its physical position, may most wisely be arranged. I think the method ought first to be considered, and the quantity last; for the advisable quantity depends upon the method.

§ XXXI. It was said above, that the proper treatment or arrangement of ornament was that which expressed the laws and ways of Deity. Now, the subordination of visible orders to each other, just noted, is one expression of these. But there may also—must also—be a subordination and obedience of the parts of each order to some visible law, out of itself, but having reference to itself only (not to any upper order): some law which shall not oppress, but guide, limit, and sustain.

In the tenth chapter of the second volume of “Modern Painters,” the reader will find that I traced one part of the beauty of God’s creation to the expression of a self-restrained liberty: that is to say, the image of that perfection of divine action, which, though free to work in arbitrary methods, works always in consistent methods, called by us Laws.

Now, correspondingly, we find that when these natural objects are to become subjects of the art of man, their perfect treatment is an image of the perfection of human action: a voluntary submission to divine law.

It was suggested to me but lately by the friend to whose originality of thought I have before expressed my obligations, Mr. Newton, that the Greek pediment, with its enclosed sculptures, represented to the Greek mind the law of Fate, confining human action within limits not to be overpassed. I do not believe the Greeks ever distinctly thought of this; but the instinct of all the human race, since the world began, agrees in some expression of such limitation as one of the first necessities of good ornament.72 And this expression is heightened, rather than diminished, when some portion of the design slightly breaks the law to which the rest is subjected; it is like expressing the use of miracles in the divine government; or, perhaps, in slighter degrees, the relaxing of a law, generally imperative, in compliance with some more imperative need—the hungering of David. How eagerly this special infringement of a general law was sometimes sought by the mediæval workmen, I shall be frequently able to point out to the reader; but I remember just now a most curious instance, in an archivolt of a house in the Corte del Remer close to the Rialto at Venice. It is composed of a wreath of flower-work—a constant Byzantine design—with an animal in each coil; the whole enclosed between two fillets. Each animal, leaping or eating, scratching or biting, is kept nevertheless strictly within its coil, and between the fillets. Not the shake of an ear, not the tip of a tail, overpasses this appointed line, through a series of some five-and-twenty or thirty animals; until, on a sudden, and by mutual consent, two little beasts (not looking, for the rest, more rampant than the others), one on each side, lay their small paws across the enclosing fillet at exactly the same point of its course, and thus break the continuity of its line. Two ears of corn, or leaves, do the same thing in the mouldings round the northern door of the Baptistery at Florence.

§ XXXII. Observe, however, and this is of the utmost possible importance, that the value of this type does not consist in the mere shutting of the ornament into a certain space, but in the acknowledgment by the ornament of the fitness of the limitation—of its own perfect willingness to submit to it; nay, of a predisposition in itself to fall into the ordained form, without any direct expression of the command to do so; an anticipation of the authority, and an instant and willing submission to it, in every fibre and spray: not merely willing, but happy submission, as being pleased rather than vexed to have so beautiful a law suggested to it, and one which to follow is so justly in accordance with its own nature. You must not cut out a branch of hawthorn as it grows, and rule a triangle round it, and suppose that it is then submitted to law. Not a bit of it. It is only put in a cage, and will look as if it must get out, for its life, or wither in the confinement. But the spirit of triangle must be put into the hawthorn. It must suck in isoscelesism with its sap. Thorn and blossom, leaf and spray, must grow with an awful sense of triangular necessity upon them, for the guidance of which they are to be thankful, and to grow all the stronger and more gloriously. And though there may be a transgression here and there, and an adaptation to some other need, or a reaching forth to some other end greater even than the triangle, yet this liberty is to be always accepted under a solemn sense of special permission; and when the full form is reached and the entire submission expressed, and every blossom has a thrilling sense of its responsibility down into its tiniest stamen, you may take your terminal line away if you will. No need for it any more. The commandment is written on the heart of the thing.

§ XXXIII. Then, besides this obedience to external law, there is the obedience to internal headship, which constitutes the unity of ornament, of which I think enough has been said for my present purpose in the chapter on Unity in the second vol. of “Modern Painters.” But I hardly know whether to arrange as an expression of a divine law, or a representation of a physical fact, the alternation of shade with light which, in equal succession, forms one of the chief elements of continuous ornament, and in some peculiar ones, such as dentils and billet mouldings, is the source of their only charm. The opposition of good and evil, the antagonism of the entire human system (so ably worked out by Lord Lindsay), the alternation of labor with rest, the mingling of life with death, or the actual physical fact of the division of light from darkness, and of the falling and rising of night and day, are all typified or represented by these chains of shade and light of which the eye never wearies, though their true meaning may never occur to the thoughts.

§ XXXIV. The next question respecting the arrangement of ornament is one closely connected also with its quantity. The system of creation is one in which “God’s creatures leap not, but express a feast, where all the guests sit close, and nothing wants.” It is also a feast, where there is nothing redundant. So, then, in distributing our ornament, there must never be any sense of gap or blank, neither any sense of there being a single member, or fragment of a member, which could be spared. Whatever has nothing to do, whatever could go without being missed, is not ornament; it is deformity and encumbrance. Away with it. And, on the other hand, care must be taken either to diffuse the ornament which we permit, in due relation over the whole building, or so to concentrate it, as never to leave a sense of its having got into knots, and curdled upon some points, and left the rest of the building whey. It is very difficult to give the rules, or analyse the feelings, which should direct us in this matter: for some shafts may be carved and others left unfinished, and that with advantage; some windows may be jewelled like Aladdin’s, and one left plain, and still with advantage; the door or doors, or a single turret, or the whole western façade of a church, or the apse or transept, may be made special subjects of decoration, and the rest left plain, and still sometimes with advantage. But in all such cases there is either sign of that feeling which I advocated in the First Chapter of the “Seven Lamps,” the desire of rather doing some portion of the building as we would have it, and leaving the rest plain, than doing the whole imperfectly; or else there is choice made of some important feature, to which, as more honorable than the rest, the decoration is confined. The evil is when, without system, and without preference of the nobler members, the ornament alternates between sickly luxuriance and sudden blankness. In many of our Scotch and English abbeys, especially Melrose, this is painfully felt; but the worst instance I have ever seen is the window in the side of the arch under the Wellington statue, next St. George’s Hospital. In the first place, a window has no business there at all; in the second, the bars of the window are not the proper place for decoration, especially wavy decoration, which one instantly fancies of cast iron; in the third, the richness of the ornament is a mere patch and eruption upon the wall, and one hardly knows whether to be most irritated at the affectation of severity in the rest, or at the vain luxuriance of the dissolute parallelogram.

§ XXXV. Finally, as regards quantity of ornament I have already said, again and again, you cannot have too much if it be good; that is, if it be thoroughly united and harmonised by the laws hitherto insisted upon. But you may easily have too much if you have more than you have sense to manage. For with every added order of ornament increases the difficulty of discipline. It is exactly the same as in war: you cannot, as an abstract law, have too many soldiers, but you may easily have more than the country is able to sustain, or than your generalship is competent to command. And every regiment which you cannot manage will, on the day of battle, be in your way, and encumber the movements it is not in disposition to sustain.

§ XXXVI. As an architect, therefore, you are modestly to measure your capacity of governing ornament. Remember, its essence—its being ornament at all, consists in its being governed. Lose your authority over it, let it command you, or lead you, or dictate to you in any wise, and it is an offence, an incumbrance, and a dishonor. And it is always ready to do this; wild to get the bit in its teeth, and rush forth on its own devices. Measure, therefore, your strength; and as long as there is no chance of mutiny, add soldier to soldier, battalion to battalion; but be assured that all are heartily in the cause, and that there is not one of whose position you are ignorant, or whose service you could spare.

70 Vide “Seven Lamps,” Chap. IV. § 34.

71 Shakspeare and Wordsworth (I think they only) have noticed this, Shakspeare, in Richard II.:—

“But when, from under this terrestrial ball,

He fires the proud tops of the eastern pines.”

And Wordsworth, in one of his minor poems, on leaving Italy:

“My thoughts become bright like yon edging of pines

On the steep’s lofty verge—how it blackened the air!

But, touched from behind by the sun, it now shines

With threads that seem part of his own silver hair.”

72 Some valuable remarks on this subject will be found in a notice of the “Seven Lamps” in the British Quarterly for August, 1849. I think, however, the writer attaches too great importance to one out of many ornamental necessities.