SECTION XXXIV. LAW IV. _The shafts may sometimes be independent of the
construction._ Exactly in proportion to the importance which the
shaft assumes as a large jewel, is the diminution of its importance as a
sustaining member; for the delight which we receive in its abstract
bulk, and beauty of color, is altogether independent of any perception
of its adaptation to mechanical necessities. Like other beautiful things
in this world, its end is to _be_ beautiful; and, in proportion to
its beauty, it receives permission to be otherwise useless. We do not
blame emeralds and rubies because we cannot make them into heads of
hammers. Nay, so far from our admiration of the jewel shaft being
dependent on its doing work for us, it is very possible that a chief
part of its preciousness may consist in a delicacy, fragility, and
tenderness of material, which must render it utterly unfit for hard
work; and therefore that we shall admire it the more, because we
perceive that if we were to put much weight upon it, it would be
crushed. But, at all events, it is very clear that the primal object in
the placing of such shafts must be the display of their beauty to the
best advantage, and that therefore all imbedding of them in walls, or
crowding of them into groups, in any position in which either their real
size or any portion of their surface would be concealed, is either
inadmissible together, or objectionable in proportion to their value;
that no symmetrical or scientific arrangements of pillars are therefore
ever to be expected in buildings of this kind, and that all such are
even to be looked upon as positive errors and misapplications of
materials: but that, on the contrary, we must be constantly prepared to
see, and to see with admiration, shafts of great size and importance set
in places where their real service is little more than nominal, and
where the chief end of their existence is to catch the sunshine upon
their polished sides, and lead the eye into delighted wandering among
the mazes of their azure veins.
Public-domain text, read in full here on John Shaqi.
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