History of Sculpture, Painting, and ArchitectureMemes, J. S. (John Smythe)
Philosophy
History of Sculpture, Painting, and Architecture
Memes, J. S. (John Smythe)
Art -- History
----the tall pile,
Whose ancient pillars rear their marble heads,
Bearing aloft the arch'd and pond'rous roof,
By its own weight stands steadfast and immoveable;
yet neither the judgment nor the fancy experiences those continually
increasing emotions of delight which a Grecian building inspires.
Again, the associations connected with Gothic structures are temporary,
and, in great measure, local. They are dependent on our assurance of
antiquity. Remove from such their antique reminiscences, and venerable
traditions, and they are despoiled of all, or good part, of their power
over the imagination. With religious Gothic, our associations are more
congenial; the holiness of the sentiment mingles its permanency even
with the abstract forms; we love the very semblance of the place,
Where, through the long-drawn aisle and fretted vault,
The pealing anthem swells the note of praise!
But there can be no doubt that this effect is accidental, not
intrinsic; for decidedly the most impressive interiors in Europe are
those in churches on classic models. To such style we are, indeed,
not accustomed; yet certain it is, the first Christian hymn, when
Christianity had now obtained a temple, rose to heaven from amid the
beauteous majesty of the Grecian orders. Sublime associations, how much
more in unison with the simple grandeur of the reformed service, than
the austerity and superstitious gloom of Gothic erection!
As a system, then, adapted to its own age--as possessing independent,
if not dignified, principles, we consider the pure Gothic, as now
described, as one of the most singular and ingenious modes of
architectonic science. But in its revived and modern application no
useful purpose can be served, whether of good taste or legitimate
effect.
III. Having thus considered, at some length, the only original and
distinguishing characteristics of the architecture of the middle age;
the revival of classic forms, as already described, and therefore
offering little of novelty, seems to require here only brief notice.
Indeed, to render a detailed account interesting, would introduce
discussions too lengthened for our limits, on the present state of the
art in the different countries of Europe.
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Elsewhere in the archive
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account