to the old, or true Gothic, Palace; the third angle belongs to the
Renaissance imitation of it: therefore, at the first two angles, it is
the Gothic spirit which is going to speak to us; and, at the third, the
Renaissance spirit.
The reader remembers, I trust, that the most characteristic sentiment of
all that we traced in the working of the Gothic heart, was the frank
confession of its own weakness; and I must anticipate, for a moment, the
results of our inquiry in subsequent chapters, so far as to state that
the principal element in the Renaissance spirit, is its firm confidence
in its own wisdom.
Hear, then, the two spirits speak for themselves.
The first main sculpture of the Gothic Palace is on what I have called
the angle of the Fig-tree:
Its subject is the FALL OF MAN.
The second sculpture is on the angle of the Vine:
Its subject is the DRUNKENNESS OF NOAH.
The Renaissance sculpture is on the Judgment angle:
Its subject is the JUDGMENT OF SOLOMON.
It is impossible to overstate, or to regard with too much admiration,
the significance of this single fact. It is as if the palace had been
built at various epochs, and preserved uninjured to this day, for the
sole purpose of teaching us the difference in the temper of the two
schools.