The Gothic style exists by virtue of oppositions, contrasts in effects
and in balance. They built huge bare walls, but in the upper heights
ornamentation flourishes and abounds. There the "increase and multiply"
of the Bible has been figuratively carried out.
Once the basis of construction was established, the masons embellished
the "line" by admirable ornamentation, due to their splendid
workmanship. We should never forget that modeling supplies the
life-blood to the mass; without it we can have neither grace nor power.
Formerly I did not understand the architecture; I merely saw the
lacework of the Gothic. But even in my conception of that I was
mistaken, for I thought it a caprice of genius. I did not know that it
had a scientific _raison d'être_; namely, to break and soften the line.
Now I see its importance: it rounds off the outlines; it gives them life
and warmth. These statues, these graceful caryatids, propping up the
portals, these copings in the covings, are like vegetation which softens
the rigid summit of a wall. There again we find the Gothic artists as
skilful colorists as the cleverest painters, because they have gained
insight from the vegetation of our country. In our plants, in our trees,
all is light and shadowy, and from them they gained their wonderful
mastery of the art of depth, which brings out the finest shadings of
light, the mellowness of half-tints. To-day we misuse black, the medium
of power. We use it too extensively; we put it everywhere for the sake
of effect, and therefore lose its effect entirely.
The Gothic is nature transposed and reproduced in stone. To show
admiration for this form of art is to preserve the memory of the
creation. The artist is the confidant of nature. Shakspere says in "King
Lear," we
... take upon 's the mystery of things,
As if we were God's spies.