Читать книгу Sticks and Stones: A Study of American Architecture and Civilization - Lewis Mumford - Страница 6

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We have learned in recent years to appreciate the felicities of eighteenth-century colonial architecture, and even the earlier seventeenth-century style is now coming into its own, in the sense that it is being imitated by architects who have an eye for picturesque effects; but we lose our perspective altogether if we think that the charm of an old New England house can be recaptured by designing overhanging second stories or panelled interiors. The just design, the careful execution, the fine style that brings all the houses into harmony no matter how diverse the purposes they served—for the farmhouse shares its characteristics with the mill, and the mill with the meeting-house—was the outcome of a common spirit, nourished by men who had divided the land fairly and who shared adversity and good fortune together. When the frame of the house is to be raised, a man’s neighbors will lend him a hand; if the harvest is in danger, every man goes out into the fields, even if his own crop is not at stake; if a whale founders on the beach, even the smallest boy bears a hand, and gets a share of the reward. All these practices were not without their subtle effect upon craftsmanship.

Schooled in the traditions of his guild, the medieval carpenter pours his all into the work. Since sale does not enter into the bargain, it is both to his patron’s advantage to give him the best materials, and to his own advantage to make the most of them. If at first, in the haste of settlement, the colonists are content with makeshifts, they are nevertheless done in the traditional fashion—not the log cabins of later days, but, more probably, wattle and daub huts like those of the charcoal burners in the English forests. In some points, the prevailing English tradition does not fit the raw climate of the north, and presently the half-timbered houses of some of the earlier settlers would be covered by clapboards for greater warmth, as in the eighteenth century their interiors were lined with panelled pine or oak, instead of the rough plaster. No matter what the material or mode, the carpenter works not simply for hire, but for dear life’s sake, and as a baker’s dozen numbers thirteen, so a piece of handicraft contains not merely the workmanship itself, but a bit of the worker’s soul, for good measure. The new invention of the gambrel roof, which gave additional room to the second story without raising the roof-tree, is a product of this system; and the variation in its length and pitch in New England, New Jersey, and New York is a witness to the freedom of design that prevailed throughout the work.

These seventeenth-century houses, built at first with one or two rooms, and then as luxury increased and family needs multiplied with as many as four, would doubtless seem unspeakably crude and mean to the resident of Floral Heights; indeed, if our present requirements for housing were so simple it would not be quite so difficult to meet our perpetual shortage. As a matter of fact, however, these early provincial houses were well up to the standards for a similar homestead in England; and in some ways were a distinct advance. Just as all the separate courses on a restaurant menu were a few hundred years ago cooked in the same pot, so the different subdivisions of the modern house were originally combined into a single room, which was not merely kitchen, workroom, and living quarters, but which also, at least in winter, served as a stable for the more delicate members of the barnyard. By the time America was settled the division into rooms had just commenced among the better sort of farmer: the barn had split off from the rest of the house, and the bedchamber was becoming a separate apartment. As the seventeenth century lengthened, this division of functions became more familiar in the provincial house.

Let us take a brief look at one of these seventeenth-century buildings; let us say, the John Ward house in Salem which still survives as a relic. As one approaches the village on some November day, when the leaves are no longer on the trees to obscure the vista, one feels the dynamic quality of medieval architecture—a quality altogether different from the prudent regularities of the later Georgian mode. It is not merely a matter of painted gables, leaded, diamond-paned windows, overhanging second stories, much as these would perhaps remind us of a medieval European town. What would attract one is the feeling, not of formal abstract design, but of growth: the house has developed as the family within it has prospered, and brought forth children; as sons and daughters have married, as children have become more numerous, there have been additions: by a lean-to at one end the kitchen has achieved a separate existence, for instance; and these unpainted, weathered oaken masses pile up with a cumulative richness of effect.

Every step that brings one nearer to the house alters the relation of the planes formed by the gable ends; and so one must have got the same effect in these old village streets as one gets today when one skirts around, let us say, Notre Dame in Paris, now overwhelmed by the towers at the front, and now seeing them reduced to nothing by the tall spire in the rear. So the building seems in motion, as well as the spectator; and this quality delights the eye quite as much as formal decoration, which the architecture of the seventeenth century in America almost completely lacked.

The Puritan had his failings; and this lack of decoration was perhaps the most important one in architecture. In his devotion to books and in his love for music, even psalm-music, the Puritan was not immune to art; but he was suspicious of the image, and one is tempted to read into his idol-breaking a positive visual defect, akin to the Daltonism or color blindness of the Quakers. Whereas medieval architecture had cherished the sculptor and the painter, even in the commonest vernacular work, the Puritans looked upon every diversion of the eye as a diversion from the Lord, and, by forbidding a respectable union between the artist and the useful arts, they finally turned the artist out on the streets, to pander to the first fine gentleman who would give him a kind word or a coin. Whereas Puritan buildings in the seventeenth century were straightforward and honestly bent to fulfill their functions, the Puritan did not see that ornament itself may be functional, too, when it expresses some positive gesture of the spirit. The bareness of the seventeenth century paved the way for the finicking graces of the eighteenth.