[Footnote 1: [most]]
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No. 415. Thursday, June 26, 1712. Addison.
'Adde tot egregias urbes, operumque laborem.'
Virg.
Having already shewn how the Fancy is affected by the Works of Nature,
and afterwards considered in general both the Works of Nature and of
Art, how they mutually assist and compleat each other, in forming such
Scenes and Prospects as are most apt to delight the Mind of the
Beholder, I shall in this Paper throw together some Reflections on that
Particular Art, which has a more immediate Tendency, than any other, to
produce those Primary Pleasures of the Imagination, which have hitherto
been the Subject of this Discourse. The Art I mean is that of
Architecture, which I shall consider only with regard to the Light in
which the foregoing Speculations have placed it, without entring into
those Rules and Maxims which the great Masters of Architecture have laid
down, and explained at large in numberless Treatises upon that Subject.
Greatness, in the Works of Architecture, may be considered as relating
to the Bulk and Body of the Structure, or to the Manner in which it is
built. As for the first, we find the Ancients, especially among the
Eastern Nations of the World, infinitely superior to the Moderns.
Not to mention the Tower of Babel, of which an old Author says, there
were the Foundations to be seen in his time, which looked like a
spacious Mountain; what could be more noble than the Walls of Babylon,
its hanging Gardens, and its Temple to Jupiter Belus, that rose a Mile
high by Eight several Stories, each Story a Furlong in Height, and on
the Top of which was the Babylonian Observatory; I might here, likewise,
take Notice of the huge Rock that was cut into the Figure of Semiramis,
with the smaller Rocks that lay by it in the Shape of Tributary Kings;
the prodigious Basin, or artificial Lake, which took in the whole
Euphrates, till such time as a new Canal was formed for its Reception,
with the several Trenches through which that River was conveyed. I know
there are persons who look upon some of these Wonders of Art as
Fabulous, but I cannot find any [Grand [1]] for such a Suspicion, unless
it be that we have no such Works among us at present. There were indeed
many greater Advantages for Building in those Times, and in that Part of
the World, than have been met with ever since. The Earth was extremely
fruitful, Men lived generally on Pasturage, which requires a much
smaller number of Hands than Agriculture: There were few Trades to
employ the busie Part of Mankind, and fewer Arts and Sciences to give
Work to Men of Speculative Tempers; and what is more than all the rest,
the Prince was absolute; so that when he went to War, he put himself at
the Head of a whole People: As we find Semiramis leading her [three [2]]
Millions to the Field, and yet over-powered by the Number of her
Enemies. 'Tis no wonder, therefore, when she was at Peace, and turned
her Thoughts on Building, that she could accomplish so great Works, with
such a prodigious Multitude of Labourers: Besides that, in her Climate,
there was small Interruption of Frosts and Winters, which make the
Northern Workmen lie half the Year Idle. I might mention too, among the
Benefits of the Climate, what Historians say of the Earth, that it
sweated out a Bitumen or natural kind of Mortar, which is doubtless the
same with that mentioned in Holy Writ, as contributing to the Structure
of Babel. Slime they used instead of Mortar.
In Egypt we still see their Pyramids, which answer to the Descriptions
that have been made of them; and I question not but a traveller might
find out some Remains of the Labyrinth that covered a whole Province,
and had a hundred Temples disposed among its several Quarters and
Divisions.
The Wall of China is one of these Eastern Pieces of Magnificence, which
makes a Figure even in the Map of the World, altho an Account of it
would have been thought Fabulous, were not the Wall it self still
extant.
We are obliged to Devotion for the noblest Buildings that have adornd
the several Countries of the World. It is this which has set Men at work
on Temples and Publick Places of Worship, not only that they might, by
the Magnificence of the Building, invite the Deity to reside within it,
but that such stupendous Works might, at the same time, open the Mind to
vast Conceptions, and fit it to converse with the Divinity of the Place.
For every thing that is Majestick imprints an Awfulness and Reverence on
the Mind of the Beholder, and strikes in with the Natural Greatness of
the Soul.
In the Second place we are to consider Greatness of Manner in
Architecture, which has such Force upon the Imagination, that a small
Building, where it appears, shall give the Mind nobler Ideas than one of
twenty times the Bulk, where the Manner is ordinary or little. Thus,
perhaps, a Man would have been more astonished with the Majestick Air
that appeared in one of [Lysippus's [3]] Statues of Alexander, tho' no
bigger than the Life, than he might have been with Mount Athos, had it
been cut into the Figure of the Hero, according to the Proposal of
Phidias, [4] with a River in one Hand, and a City in the other.
Let any one reflect on the Disposition of Mind he finds in himself, at
his first Entrance into the Pantheon at Rome, and how his Imagination is
filled with something Great and Amazing; and, at the same time, consider
how little, in proportion, he is affected with the Inside of a Gothick
Cathedral, tho' it be five times larger than the other; which can arise
from nothing else, but the Greatness of the Manner in the one, and the
Meanness in the other.
I have seen an Observation upon this Subject in a French Author, which
very much pleased me. It is in Monsieur Freart's Parallel of the Ancient
and Modern Architecture. I shall give it the Reader with the same Terms
of Art which he has made use of. I am observing (says he) a thing which,
in my Opinion, is very curious, whence it proceeds, that in the same
Quantity of Superficies, the one Manner seems great and magnificent, and
the other poor and trifling; the Reason is fine and uncommon. I say
then, that to introduce into Architecture this Grandeur of Manner, we
ought so to proceed, that the Division of the Principal Members of the
Order may consist but of few Parts, that they be all great and of a bold
and ample Relievo, and Swelling; and that the Eye, beholding nothing
little and mean, the Imagination may be more vigorously touched and
affected with the Work that stands before it. For example; In a Cornice,
if the Gola or Cynatium of the Corona, the Coping, the Modillions or
Dentelli, make a noble Show by their graceful Projections, if we see
none of that ordinary Confusion which is the Result of those little
Cavities, Quarter Rounds of the Astragal and I know not how many other
intermingled Particulars, which produce no Effect in great and massy
Works, and which very unprofitably take up place to the Prejudice of the
Principal Member, it is most certain that this Manner will appear Solemn
and Great; as on the contrary, that it will have but a poor and mean
Effect, where there is a Redundancy of those smaller Ornaments, which
divide and scatter the Angles of the Sight into such a Multitude of
Rays, so pressed together that the whole will appear but a Confusion.
Among all the Figures in Architecture, there are none that have a
greater Air than the Concave and the Convex, and we find in all the
Ancient and Modern Architecture, as well in the remote Parts of China,
as in Countries nearer home, that round Pillars and Vaulted Roofs make a
great Part of those Buildings which are designed for Pomp and
Magnificence. The Reason I take to be, because in these Figures we
generally see more of the Body, than in those of other Kinds. There are,
indeed, Figures of Bodies, where the Eye may take in two Thirds of the
Surface; but as in such Bodies the Sight must split upon several Angles,
it does not take in one uniform Idea, but several Ideas of the same
kind. Look upon the Outside of a Dome, your Eye half surrounds it; look
up into the Inside, and at one Glance you have all the Prospect of it;
the entire Concavity falls into your Eye at once, the Sight being as the
Center that collects and gathers into it the Lines of the whole
Circumference: In a Square Pillar, the Sight often takes in but a fourth
Part of the Surface: and in a Square Concave, must move up and down to
the different Sides, before it is Master of all the inward Surface. For
this Reason, the Fancy is infinitely more struck with the View of the
open Air, and Skies, that passes through an Arch, than what comes
through a Square, or any other Figure. The Figure of the Rainbow does
not contribute less to its Magnificence, than the Colours to its Beauty,
as it is very poetically described by the Son of Sirach: Look upon the
Rainbow and praise him that made it; very beautiful it is in its
Brightness; it encompasses the Heavens with a glorious Circle, and the
Hands of the [most High [5]] have bended it.
Having thus spoken of that Greatness which affects the Mind in
Architecture, I might next shew the Pleasure that arises in the
Imagination from what appears new and beautiful in this Art; but as
every Beholder has naturally a greater Taste of these two Perfections in
every Building which offers it self to his View, than of that which I
have hitherto considered, I shall not trouble my Reader with any
Reflections upon it. It is sufficient for my present Purpose, to
observe, that there is nothing in this whole Art which pleases the
Imagination, but as it is Great, Uncommon, or Beautiful.