Sir George Gilbert Scott

“ The whole tendency, too, of the onward movement of the art was towards increased height; and, while walls and pillars might avail themselves to the full of this upward striving, it was hard that the arch—the very essence of the style—should be condemned to unalterable stuntiness. Proportion evidently claimed that the arch should have its fair share in the increasing height of the buildings, yet the inexorable semicircle said, “Nay, my proportions are fixed. You may lengthen your straight lines as you please; but by no law of science can my height exceed one-half of my width.” ”

“ Why, then, if all its essential characteristics are to be found in ancient examples, do we call this form of dome “modern”? I would reply that, though its elementary ideas were old, their systematic combination, and the vast scale on which they were worked out, is due to the architects of the Renaissance. It is, in my opinion, their greatest achievement, being the union of the Classic with the Byzantine and the Mediæval ideals, and the working them into a feature which no previous style had produced in so complete a manner or on so noble a scale. ”

“ It suffers also from a degree of capriciousness even among its abler and more art-loving followers, who, jealous, perhaps, or contemptuous of others, refuse to co-operate in any steady purpose, and who, morbidly keen in their perceptions of beauty, are apt to follow momentary fancies—now favouring one type, and now another, and, perhaps, reviving styles little allied to their purpose, as if the object of the age were to revive just for revival’s sake, rather than to gather in these extraneous beauties to enrich the resources and to widen the capabilities of one received style. ”

“ No bolder idea was ever introduced in constructive architecture; for now the dome, instead of being, as at the Pantheon, supported firmly by a solid wall throughout every portion of its circumference, finds its conditions absolutely reversed; for in no portion of its circumference has it now a solid support, but all floats upon vacuity, suggesting the poetical similitude to Procopius that the Dome of St. Sophia appeared as if suspended by a chain from heaven. ”

“ If I were lecturing on architecture, in the broadest form of the expression, I must treat throughout of construction, and of its decoration, pari passu, as the latter has but little meaning if severed from the former, which is its groundwork. And, even in lectures from this chair, where architecture is viewed specially in its character as a Fine Art, it is still impossible—as indeed it would be undesirable—wholly to sever that higher characteristic from the more practical phase to which it owes its origin. ”

“ If Gothic architecture is that on which your loving choice has fallen, you are more happily situated. Then you are not studying an imported art, but that of your own country; you have not to travel widely from home to study its noblest productions, for they are at your very doors; you have not to go through a long course of book-study, treating of examples of art which you have no means of seeing and studying with your own eyes ”

“ On the contrary, at no period when a genuine, unborrowed style of architecture has prevailed, has any knowledge whatever existed of the history of art; nor at any period previous to our own has the history of architecture—beyond a very limited knowledge of that of Greece and Rome—been viewed as an object of study.
From the dawn of civilisation to what is known as “the revival of letters,” the leading nations of the world possessed each a genuine architecture of their own ”

“ The moulded capital and the foliated capital are things of all time. The voluted capital was an accidental introduction from the East, and has no permanent meaning, wonderful though it be.
The special features, however, for artistic study in Grecian architecture, of whatever order, are the exquisiteness of its proportions, the purity of its lines, the refinement of its mouldings and enrichments, and the superhuman instinct it evinces for delicacy and almost spirituality in the refinement and perfection of every line ”

“ My present one will carry on the same subject into its culminating development—The Dome.
Strongly as my tendencies towards our own Mediæval architecture draw me towards the modes of vaulting which prevail in our own ancient buildings, and which formed the subject of my later lectures, I am bound to{229} admit that the noblest of all forms by which a space can be covered is the dome; and, much more than this, that of all architectural forms it is the most sublime and the most poetic, and is susceptible of, and demands, the highest artistic treatment. ”

“ Among the churches of that city we find one type of great elegance, the Church of St. Nicodemus (Fig. 430) , in which the dome occupies the width of what we should call the nave and its aisles; each side of the square over which it stands being divided into three unequal arches, over which it rises on a lofty drum, and is carried on eight pendentives. This forms a most elegant interior, susceptible of many varieties; and, from the spacious central space which it affords, seems the most valuable type on which to found a domed design for a modern church. ”

“ When thus perfect, it must have formed an interior of surpassing beauty, lighted as it was solely through the central eye, and the light tempered by the linen veil stretched across its rich bronze cornice, which still remains round the opening, and retains vestiges of gilding. The Pantheon can scarcely be called a daring effort of construction, because its vast solidity seems to defy all doubts as to its duration. ”

“ It may be said that the yearning after abstract beauty unlinked with utility is the higher and more spiritual sentiment; but, on the other hand, if we look around us throughout the creations of nature, we are prompted to reply that, in linking beauty with utility, we are more directly imitating Him who made man in His own image, and in whose works this union of the useful and the beautiful is one of the most universal characteristics.
Architecture, then, as distinguished from mere building, is the decoration of construction. ”

“ Thus, at Glastonbury, at Salisbury, in the choir of Westminster, in the naves of York and Winchester, and in the Chapels of King’s College and of Henry VII. we have a series of works, all belonging to the same general type of architecture, yet presenting diversities the most marked and beauties the most varied. ”

“ I hold the study of the contemporary buildings of neighbouring countries, especially those of France, to be essential to the due understanding of our own, and of the style as a whole; but this affords no excuse for the neglect of English architecture, to which, beyond all question, we are bound, as English architects, to direct our primary attention, and which will repay our study by a series of special beauties of its own, which have of late years been almost wholly overlooked. ”

“ It was an absolutely new phase of art, bearing no kind of resemblance to its early progenitors. Where their characteristics were horizontality of line, directly downward pressure, a clinging closely to mother-earth, and an imperturbable repose,—we may almost say an eternal sleep,—those of this new creation were an upward soaring, an apparent inversion of gravitation into a striving towards heaven, and a vivacious wakefulness in every feature. Constructively, instead of the mere support of dead weight, its principle is the systematic balancing of an infinity of diagonal pressures ”

“ Though I intend to choose my illustrations almost wholly from buildings in our own country, it would be taking a very narrow view of our subject if we were to consider the great round-arched style otherwise than as a whole, and our own portion of it other than as a branch of that mighty bifurcated tree whose boughs, whether growing from its eastern or its western stem, spread themselves over the whole civilised world. ”

“ It must be clear, even on the most superficial glance, that the vaulting over of extended areas is a matter of far greater intricacy, and requiring vastly more thought and contrivance, than the mere arching over of an opening in a wall; and though its primary elements are simple, I must beg you to follow me over easy ground,—and ground already trodden in my previous lectures,—because these early and simple steps are needful to the due appreciation of the more advanced and complex ones which we shall presently have to consider. ”

“ The actual origin of Greek architecture is buried in impenetrable obscurity. If the building called the{300} Treasury of Atreus, or the Tomb of Agamemnon, was really of that period, it would distinctly prove that what we now know as Grecian architecture was unknown to the heroes in the “Iliad,” inasmuch as over its entrance remains a little piece of highly-decorative columnar work, bearing no resemblance to the subsequent architecture of Greece, and going far to prove that these early inhabitants of Greece had a style of building which did not evince a timber but a stone original. ”

“ We have followed out our arched construction, and the process by which it was rendered at once susceptible and productive of artistic beauty, till we might fancy it to need nothing but the gradual additions of refined art to render it a perfect style; and it would be both an interesting and a profitable field of speculation to take up the style at such a point, and to{178} study how best to clothe it with the charms of the highest art, irrespective of our knowledge of its historical destiny; how, in fact, to perfect our round-arched style to the highest and most refined artistic status ”

“ Its first form, the Doric, as strictly and absolutely Greek; the second, the Ionic, as Greek in the main, but with a few suggestions from the land of the Great King; and the third, the Corinthian, as equally Greek, but with one single suggestion, perhaps from Egypt; the whole as the spontaneous creation of that most wonderful, in intellectual power, of all the races of man—that race, inspired as it would almost seem, of God, to be our instructors in literature and art, and our initiators in science, just as was another people to be the teachers of His holy religion. ”

“ As the Byzantine was the Christian architecture of the East, so was the Pointed style the culminating Christian architecture of our own group of nations in the West; and, while the former had the disadvantage of being developed during ages of gradually declining civilisation, the young and vigorous shoot which grew from it in the West had the immense advantage of developing itself during the vigorous upstriving of a new and better civilisation. ”

“ In our own country the Romans had not been overcome, but had simply withdrawn, so that the dissolution of art was a more rapid work than in most other parts of the old empire, while the early efforts of the Saxons were over and over again destroyed by the yet uncivilised and unchristianised Scandinavians, from the last of whose devastations there was hardly time to recover before the Anglo-Saxon monarchy was overthrown by the Normans. ”

“ So many of these vast edifices have given place to others of more advanced style, or have been recklessly destroyed, that we can now with difficulty realise the architectural status of a country where they were rising or were just completed in every town and (on a reduced scale) in almost every village;—a period when vast fortresses, such as the Tower of London and the stupendous keeps of Rochester, of Norwich, and of Headingham were specimens of the vernacular architecture to be seen all over the land ”

“ It was in these establishments,—so severely simple in their architecture,—that the lamp of piety and learning was preserved during the darkest period of our history; sending forth its light not only among the British islands but to Continental Europe; and here were followed up even the decorative arts,—as illumination, embroidery, and jewellery. Such, no doubt, was the famous monastery of Iona, which, as an able historian says, “soon became, morally and religiously, a spectacle as glorious as any that Christendom could afford.... ”

“ For each of the triangular gores of the dome we now substitute a vault, of which every vertical section parallel to the side of the square is a portion of a circle of the same diameter with those raised on the sides, while the angles of the intersection of these newly generated vaults are themselves semicircles. It is a perfectly accurate geometrical figure, none of whose salient lines are other than portions of circles, though the ridge or crown lines now become elliptical. It is a most useful development, as being much stronger than the ordinary groined vault. ”

“ The churches of this period were, no doubt, frequently of timber; but, of whatever material, were subjected,—first to the destructive effects of the repeated devastations of the Danes, and subsequently to the greater architectural ambition of the Normans which led to a perfect mania for reconstruction. The consequence is, that we have no cathedral or great abbey{27} or church remaining of this period, and have to content ourselves with such evidences of their style as may be gleaned from among ordinary parish churches for the most part in rural districts, and consequently of the humbler class. ”

“ Our ancients had to explore the remains of these far earlier days by the same faint glimmerings of legend and tradition as ourselves ... and to us, whose early youth is spent among the immortal lays, whose living substance is called up by even the pictured resemblance of these massive piles—monuments, as we would fain believe, of the days of Achilles and the Atridæ, and the old time before them—to us every rugged stone seems vocal with some old heroic legend. ”

“ When the Greek orders were adopted by the Romans—a most natural alliance, seeing that the Greeks built within a comparatively short distance from Rome on the south, and that the Etruscans in the north borrowed Greek decorative art—we find that they united with it an element in itself discordant with the simple static principle which gave such calm dignity to the Greek. It is, as I have heard, a saying among the Moslem builders in India that the arch “never sleeps;” it is always night and day pushing outward. ”

“ IN my last lecture I explained the general principles of groined or intersecting vaulting, and just carried on the subject through its simplest case,—the covering of a square space, or any repetition of square spaces, by the intersection of semi-cylindrical vaults; and I just showed how, by emphasising the outlines of the squares so covered by means of transverse ribs or angles, and by placing impost mouldings, pilasters, columns, or colonnettes in the sustaining piers, such a mode of covering a space might be readily made at once susceptible and suggestive of architectural treatment. ”