(1834 - 1896)
William Morris (24 March 1834 – 3 October 1896) was a British textile designer, poet, novelist, translator and socialist activist associated with the British Arts and Crafts Movement. He was a major contributor to the revival of traditional British textile arts and methods of production. His literary contributions helped to establish the modern fantasy genre, while he helped win acceptance of socialism in fin de siècle Great Britain. (From : Wikipedia.org.)
By the word Architecture is, I suppose, commonly understood the art of ornamental building, and in this sense I shall often have to use it here. Yet I would not like you to think of its productions merely as well constructed and well proportioned buildings, each one of which is handed over by the architect to other artists to finish, after his designs have been carried out (as we say) by a number of mechanical workers, who are not artists. A true architectural work rather is a building duly provided with all necessary furniture, decorated with all due ornament, according to the use, quality, and dignity of the building, from mere moldings or abstract lines, to the great epical works of sculpture and painting, which, except as decorations of the nobler form of such buildings, cannot be produced at all. So looked on, a work of architecture is a harmonious cooperative work of art, inclusive of all the serious arts, all those which are not engaged in the production of mere toys, or of ephemeral prettinesses.
Now, these works of art are man's expression of the value of life, and also the production of them makes his life of value: and since they can only be produced by the general good-will and help of the public, their continuous production, or the existence of the true Art of Architecture, betokens a society which, whatever elements of change it may bear within it, may be called stable, since it is founded on the happy exercise of the energies of the most useful part of its population.
What the absence of this Art of Architecture may betoken in the long run it is not easy for us to say: because that lack belongs only to these later times of the world's history, which as yet we cannot fairly see, because they are too near to us; but clearly in the present it indicates a transference of the interest of civilized men from the development of the human and intellectual energies of the race to the development of its mechanical energies. If this tendency is to go along the logical road of development, it must be said that it will destroy the arts of design and all that is analogous to them in literature; but the logical outcome of obvious tendencies is often thwarted by the historical development; that is, by what I can call by no better name than the collective will of mankind; and unless my hopes deceive me, I should say that this process has already begun, that there is a revolt on foot against the utilitarianism which threatens to destroy the Arts; and that it is deeper rooted than a mere passing fashion. For myself I do not indeed believe that this revolt can effect much, so long as the present state of society lasts; but as I am sure that great changes which will bring about a new state of society are rapidly advancing upon us, I think it is a matter of much importance that these two revolts should join hands, or at least should learn to understand one another. If the New society when it comes (itself the result of the ceaseless evolution of countless years of tradition) should find the world cut off from all tradition of art, all aspiration towards the beauty which man has proved that he can create, much time will be lost in running hither and thither after the new thread of art; many lives will be barren of a manly pleasure which the world can ill afford to lose even for a short time. I ask you, therefore, to accept what follows as a contribution toward the revolt against utilitarianism, toward the attempt at catching-up the slender thread of tradition before it be too late.
Now, that Harmonious Architectural unit, inclusive of the arts in general, is no mere dream. I have said that it is only in these later times that it has become extinct: until the rise of modern society, no Civilization, no Barbarism has been without it in some form; but it reached its fullest development in the Middle Ages, an epoch really more remote from our modern habits of life and thought than the older civilizations were, though an important part of its life was carried on in our own country by men of our own blood. Nevertheless, remote as those times are from ours, if we are ever to have architecture at all, we must take up the thread of tradition there and nowhere else, because that Gothic Architecture is the most completely organic form of the Art which the world has seen; the break in the thread of tradition could only occur there: all the former developments tended thitherward, and to ignore this fact and attempt to catch up the thread before that point was reached, would be a mere piece of artificiality, betokening, not new birth, but a corruption into mere whim of the ancient traditions.
In order to illustrate this position of mine, I must ask you to allow me to run very briefly over the historical sequence of events which led to Gothic Architecture and its fall, and to pardon me for stating familiar and elementary facts which are necessary for my purpose. I must admit also that in doing this I must mostly take my illustrations from works that appear on the face of them to belong to the category of ornamental building, rather than that of those complete and inclusive works of which I have spoken. But this incompleteness is only on the surface; to those who study them they appear as belonging to the class of complete architectural works; they are lacking in completeness only through the consequences of the lapse of time and the folly of men, who did not know what they were, who, pretending to use them, marred their real use as works of art; or in a similar spirit abused them by making them serve their turn as instruments to express their passing passion and spite of the hour.
We may divide the history of the Art of Architecture into two periods, the Ancient and the Medieval: the Ancient again may be divided into two styles, the barbarian (in the Greek sense) and the classical. We have, then, three great styles to consider: The Barbarian, the Classical, and the Medieval. The two former, however, were partly synchronous, and at least overlapped somewhat. When the curtain of the stage of definite history first draws up, we find the small exclusive circle of the highest civilization, which was dominated by Hellenic thought and science, fitted with a very distinctive and orderly architectural style. That style appears to us to be, within its limits, one of extreme refinement, and perhaps seemed so to those who originally practiced it. Moreover, it is ornamented with figure-sculpture far advanced towards perfection even at an early period of its existence, and swiftly growing in technical excellence; yet for all that, it is, after all, a part of the general style of architecture of the Barbarian world, and only outgoes it in the excellence of its figure-sculpture and its refinement. The bones of it, its merely architectural part, are little changed from the Barbarian or primal building, which is a mere piling or jointing together of material, giving one no sense of growth in the building itself and no sense of the possibility of growth in the style.
The one Greek form of building with which we are really familiar, the columnar temple, though always built with blocks of stone, is clearly a deduction from the wooden god's-house or shrine, which was a necessary part of the equipment of the not very remote ancestors of the Periclean Greeks; nor had this god's-house changed so much as the city had changed from the Tribe, or the Worship of the City (the true religion of the Greeks) from the Worship of the Ancestors of the Tribe. In fact, rigid conservatism of form is an essential part of Greek architecture as we know it. From this conservatism of form there resulted a jostling between the building and its higher ornament. In early days, indeed, when some healthy barbarism yet clung to the sculpture, the discrepancy is not felt; but as increasing civilization demands from the sculptors more naturalism and less restraint, it becomes more and more obvious, and more and more painful; till at last it becomes clear that sculpture has ceased to be a part of architecture and has become an extraneous art bound to the building by habit or superstition. The form of the ornamental building of the Greeks, then, was very limited, had no capacity in it for development, and tended to divorce from its higher or epical ornament. What is to be said about the spirit of it which ruled that form? This I think; that the narrow superstition of the form of the Greek temple was not a matter of accident, but was the due expression of the exclusiveness and aristocratic arrogance of the ancient Greek mind, a natural result of which was a demand for pedantic perfection in all the parts and details of a building; so that the inferior parts of the ornament are so slavishly subordinated to the superior, that no invention or individuality is possible in them, whence comes a kind of bareness and blankness, a rejection in short of all romance, which does not indeed destroy their interest as relics of past history, but which puts the style of them aside as any possible foundation for the style of the future architecture of the world. It must be remembered also that this attempt at absolute perfection soon proved a snare to Greek architecture; for its could not be kept up long. It was easy indeed to ensure the perfect execution of a fret or a dentil; not so easy to ensure the perfection of the higher ornament: so that as Greek energy began to fall back from its high-water mark, the demand for absolute perfection became rather a demand for absolute plausibility, which speedily dragged the architectural arts into mere Academicism.
But long before classical art reached the last depths of that degradation, it had brought to birth another style of architecture, the Roman style, which to start with was differentiated from the Greek by having the habitual use of the arch forced upon it. To my mind, organic Architecture, Architecture which must necessarily grow, dates from the habitual use of the arch, which, taking into consideration its combined utility and beauty, must be pronounced to be the greatest invention of the human race. Until the time when man not only had invented the arch, but had gathered boldness to use it habitually, architecture was necessarily so limited, that strong growth was impossible to it. It was quite natural that a people should crystallize the first convenient form of building they might happen upon, or, like the Greeks, accept a traditional form without aspiration towards anything more complex or interesting. Till the arch came into use, building men were the slaves of conditions of climate, materials, kind of labor available, and so forth. But once furnished with the arch, man has conquered Nature in the matter of building; he can defy the rigors of all climates under which men can live with fair comfort: splendid materials are not necessary to him; he can attain a good result from shabby and scrappy materials. When he wants size and span he does not need a horde of war-captured slaves to work for him; the free citizens (if there be any such) can do all that is needed without grinding their lives out before their time. The arch can do all that architecture needs, and in turn from the time when the arch comes into habitual use, the main artistic business of architecture is the decoration of the arch; the only satisfactory style is that which never disguises its office, but adorns and glorifies it. This the Roman architecture, the first style that used the arch, did not do. It used the arch frankly and simply indeed, in one part of its work, but did not adorn it; this part of the Roman building must, however, be called engineering rather than architecture, though its massive and simple dignity is a wonderful contrast to the horrible and restless nightmare of modern engineering. In the other side of its work, the ornamental side, Roman building used the arch and adorned it, but disguised its office, and pretended that the structure of its buildings was still that of the lintel, and that the arch bore no weight worth speaking of. For the Romans had no ornamental building of their own (perhaps we should say no art of their own) and therefore fitted their ideas of the ideas of the Greek sculpture-architect on to their own massive building; and as the Greek plastered his energetic and capable civilized sculpture on to the magnified shrine of his forefathers, so the Roman plastered sculpture, shrine, and all, on to the magnified shrine of his forefathers, so the Roman plastered sculpture, shrine, and all, on to his magnificent engineer's work. In fact, this kind of front-building or veneering was the main resource of Roman ornament; the construction and ornament did not interpenetrate; and to us at this date it seems doubtful if he gained by hiding with marble veneer the solid and beautiful construction of his wall of brick or concrete; since others have used marble far better than he did, but none have built a wall or turned an arch better. As to the Roman ornament, it is not in itself worth much sacrifice of interest in the construction: the Greek ornament was cruelly limited and conventional; but everything about it was in its place, and there was a reason for everything, even though that reason were founded on superstition. But the Roman ornament has no more freedom than the Greek, while it has lost the logic of the latter: it is rich and handsome, and that is all the reason it can give for its existence; nor does its execution and its design interpenetrate. One cannot conceive of the Greek ornament existing apart from the precision of its execution; but well as the Roman ornament is executed in all important works, one almost wishes it were less well executed, so that some mystery might be added to its florid handsomeness. Once again, it is a piece of necessary history, and to criticize it from the point of view of [the] work of to-day would be like finding fault with a geological epoch: and who can help feeling touched by its remnants which show crumbling and battered amid the incongruous mass of modern houses, amid the disorder, vulgarity and squalor of some modern town? If I have ventured to call your attention to what it was as architecture, it is because of the abuse of it which took place in later times and has even lasted into our own anti-architectural days; and because it is necessary to point out that it has not got the qualities essential to making it a foundation for any possible new-birth of the arts. In its own time it was for centuries the only thing that redeemed the academical period of classical art from mere nothingness, and though it may almost be said to have perished before the change came, yet in perishing it gave some token of the coming change, which indeed was as slow as the decay of imperial Rome herself. It was in the height of the tax-gathering period of the Roman Peace, in the last days of Diocletian (died 313) in the palace of Spalato which he built himself to rest in after he was satiated with rule, that the rebel, Change first showed in Roman art, and that the builders admitted that their false lintel was false, and that the arch could do without it.
This was the first obscure beginning of Gothic or organic Architecture; henceforth till the beginning of the modern epoch all is growth uninterrupted, however slow. Indeed, it is slow enough at first: Organic Architecture took two centuries to free itself from the fetters which the Academical ages had cast over it, and the Peace of Rome had vanished before it was free. But the full change came at last, and the architecture was born which logically should have supplanted the primitive lintel-architecture, of which the civilized style of Greece was the last development. Architecture was become organic; henceforth no academical period was possible to it, nothing but death could stop its growth.
The first expression of this freedom is called Byzantine Art, and there is nothing to object to in the name. For centuries Byzantium was the center of it, and its first great work in that city (the Church of the Holy Wisdom, built by Justinian in the year 540) remains its greatest work. The style leaps into sudden completeness in this most lovely building: for there are few works extant of much importance of earlier days. As to its origin, of course buildings were raised all through the sickness of classical art, and traditional forms and ways of work were still in use, and these traditions, which by this time included the forms of Roman building, were now in the hands of the Greeks. This Romano-Greek building in Greek hands met with traditions drawn from many sources. In Syria, the borderland of so many races and customs, the East mingled with the West, and Byzantine art was born. Its characteristics are simplicity of structure and outline of mass; amazing delicacy of ornament combined with abhorrence of vagueness: it is bright and clear in color, pure in line, hating barrenness as much as vagueness; redundant, but not florid, the very opposite of Roman architecture in spirit, though it took so many of its forms and revivified them. Nothing more beautiful than its best works has ever been produced by man, but in spite of its stately loveliness & quietude, it was the mother of fierce vigor in the days to come, for from its first days in St Sophia, Gothic architecture has still one thousand years of life before it. East and West it overran the world wherever men built with history behind them. In the East it mingled with the traditions of the native populations, especially with Persia of the Sassanian period, and produced the whole body of what we, very erroneously, call Arab Art (for the Arabs never had any art) from Ispahan to Granada, In the West its settled itself in the parts of Italy that Justinian had conquered, notably Ravenna, and thence came to Venice. From Italy, or perhaps even from Byzantium itself, it was carried into Germany and pre-Norman England, touching even Ireland and Scandinavia. Rome adopted it, and sent it another road through the south of France, where it fell under the influence of provincial Roman architecture, and produced a very strong orderly and logical substyle, just what one imagines the ancient Romans might have built, if they had been able to resist the conquered Greeks who took them captive. Thence it spread all over France, the first development of the architecture of the most architectural of peoples, and in the north of that country fell under the influence of the Scandinavian and Teutonic tribes, and produced the last of the round-arched Gothic styles, (named by us Norman) which those energetic warriors carried into Sicily, where it mingled with the Saracenic Byzantine and produced lovely works. But we know it best in our own country; for Duke William's intrusive monks used it everywhere, and it drove out the native English style derived from Byzantium through Germany.
Here on the verge of a new change, a change of form important enough (though not a change of essence), we may pause to consider once more what its essential qualities were. It was the first style since the invention of the arch that did due honor to it, and instead of concealing it decorated it in a logical manner. This was much; but the complete freedom that it had won, which indeed was the source of its ingeniousness, was more. It had shaken off the fetters of Greek superstition and aristocracy, and Roman pedantry, and though it must needs have had laws to be a style at all, it followed them of free will, and yet unconsciously. The cant of the beauty of simplicity (i.e., bareness and barrenness) did not afflict it; it was not ashamed of redundancy of material, or super-abundance of ornament, any more than nature is. Slim elegance it could produce, or sturdy solidity, as its moods went. Material was not its master, but its servant: marble was not necessary to its beauty; stone would do, or brick, or timber. In default of carving it would set together cubes of glass or whatsoever was shining and fair-hued, and cover every portion of its interiors with a fairy coat of splendor; or would mold mere plaster into intricacy of work scarce to be followed, but never wearying the eyes with its delicacy and expressiveness of line. Smoothness it loves, the utmost finish that the hand can give; but if material or skill fail, the rougher work shall so be wrought that it also shall please us with its inventive suggestion. For the iron rule of the classical period, the acknowledged slavery of every one but the great man, was gone, and freedom had taken its place; but harmonious freedom. Subordination there is, but subordination of effect, not uniformity of detail; true and necessary subordination, not pedantic.
The full measure of this freedom Gothic Architecture did not gain until it was in the hands of the workmen of Europe, the gildsmen of the Free Cities, who on many a bloody field proved how dearly they valued their corporate life by the generous valor with which they risked their individual lives in its defense. But from the first, the tendency was towards this freedom of hand and mind subordinated to the cooperative harmony which made the freedom possible. That is the spirit of Gothic Architecture.
Let us go on a while with our history: up to this point the progress had always been from East to West, i.e., the East carried the West with it; the West must now go to the East to fetch new gain thence. A revival of religion was one of the moving causes of energy in the early Middle Ages in Europe, and this religion (with its enthusiasm for visible tokens of the objects of worship) impelled people to visit the East, which held the center of that worship. Thence arose the warlike pilgrimages of the crusades among races by no means prepared to turn their cheeks to the smiter. True it is that the tendency of the extreme West to seek East did not begin with the days just before the crusades. There was a thin stream of pilgrims setting eastward long before, and the Scandinavians had found their way to Byzantium, not as pilgrims but as soldiers, and under the name of the Voerings a bodyguard of their blood upheld the throne of the Greek Kaiser, and many of them, returning home, bore with them ideas of art which were not lost on their scanty but energetic populations. But the crusades brought gain from the East in a far more wholesale manner; and I think it is clear that part of that gain was the idea of art that brought about the change from round-arched to pointed Gothic. In those days (perhaps in ours also) it was the rule for conquerors in any country to assume that there could be no other system of society save that into which they had been born; and accordingly conquered Syria received a due feudal government, with the King of Jerusalem for Suzerain, the one person allowed by the heralds to bear metal on metal in his coat-armor. Nevertheless, the Westerners who settled in this new realm, few in number as they were, readily received impressions from the art which they saw around them, the Saracenic Byzantine Art, which was, after all, sympathetic with their own minds: and these impressions produced the change. For it is not to be thought that there was any direct borrowing of forms from the East in the gradual change from the round-arched to the pointed Gothic: there was nothing more obvious at work than the influence of a kindred style, whose superior lightness and elegance gave a hint of the road which development might take.
Certainly this change in form, when it came, was a startling one: the pointed-arched Gothic, when it had grown out of its brief and most beautiful transition, was a vigorous youth indeed. It carried combined strength and elegance almost as far as it could be carried: indeed, sometimes one might think it overdid the lightness of effect, as e.g., in the interior of Salisbury Cathedral. If some abbot or monk of the eleventh century could have been brought back to his rebuilt church of the thirteenth, he might almost have thought that some miracle had taken place: the huge cylindrical or square piers transformed into clusters of slim, elegant shafts; the narrow round-headed windows supplanted by tall wide lancets showing the germs of the elaborate traceries of the next century, and elegantly glazed with pattern and subject; the bold vault spanning the wide nave instead of the flat wooden ceiling of past days; the extreme richness of the moldings with which every member is treated; the elegance and order of the floral sculpture, the grace and good drawing of the imagery: in short, a complete and logical style with no longer anything to apologize for, claiming homage from the intellect, as well as the imagination of men; the developed Gothic Architecture which has shaken off the trammels of Byzantium as well as of Rome, but which has, nevertheless, reached its glorious position step by step with no break and no conscious effort after novelty from the wall of Tiryns and the Treasury of Mycenae.
This point of development was attained amid a period of social conflict, the facts and tendencies of which, ignored by the historians of the eighteenth century, have been laid open to our view by our modern school of evolutionary historians. In the twelfth century the actual handicraftsmen found themselves at last face to face with the development of the earlier associations of freemen which were the survivals from the tribal society of Europe: in the teeth of these exclusive and aristocratic municipalities the handicraftsmen had associated themselves into guilds of craft, and were claiming their freedom from legal and arbitrary oppression, and a share in the government of the towns; by the end of the thirteenth century they had conquered the position everywhere and within the next fifty or sixty years the governors of the free towns were the delegates of the craft guilds, and all handicraft was included in their associations. This period of their triumph, marked amid other events by the Battle of Courtray, where the chivalry of France turned their backs in flight before the Flemish weavers, was the period during which Gothic Architecture reached its zenith. It must be admitted, I think, that during this epoch, as far as the art of beautiful building is concerned, France and England were the architectural countries par excellence; but all over the intelligent world was spread this bright, glittering, joyous art, which had now reached its acme of elegance and beauty; and moreover in its furniture, of which I have spoken above, the excellence was shared in various measure betwixt the countries of Europe. And let me note in passing that the necessarily ordinary conception of a Gothic interior as being a colorless whitey-gray place dependent on nothing but the architectural forms, is about as far from the fact as the corresponding idea of a Greek temple standing in all the chastity of white marble. We must remember, on the contrary, that both buildings were clad, and that the noblest part of their real raiment was their share of a great epic, a story appealing to the hearts and minds of men. And in the Gothic building, especially in the half century we now have before us, every part of it, walls, windows, floor, was all looked on as space for the representation of incidents of the great story of mankind, as it had presented itself to the minds of men then living; and this space was used with the greatest frankness of prodigality, and one may fairly say that wherever a picture could be painted there it was painted.
For now Gothic Architecture had completed its furniture: Dante, Chaucer, Petrarch; the German Hero ballad-epics, the French Romances, the English Forest-ballads, that epic of revolt, as it has been called, the Icelandic Sagas, Froissart and the Chroniclers, represented its literature. Its painting embraces a host of names (of Italy and Flanders chiefly) the two great realists Giotto and Van Eyck at their head: but every village has its painter, its carvers, its actors even; every man who produces works of handicraft is an artist. The few pieces of household goods left of its wreckage are marvels of beauty; its woven cloths and embroideries are worthy of its loveliest building, its pictures and ornamented books would be enough in themselves to make a great period of art, so excellent they are in epic intention, in completeness of unerring decoration, and in marvelous skill of hand. In short, those masterpieces of noble building, those specimens of architecture, as we call them, the sight of which makes the holiday of our lives to-day, are the standard of the whole art of those times, and tell the story of all the completeness of art in the heyday of life, as well as that of the sad story which follows. For when anything human has arrived at quasi-completion there remains for it decay and death, in order that the new thing may be born from it; and this wonderful joyous art of the Middle Ages could by no means escape its fate.
In the middle of the fourteenth century Europe was scoured by that mysterious terror the Black Death (a terror similar to which perhaps waylays the modern world) and, along with it, the no less mysterious pests of Commercialism and Bureaucracy attacked us. This misfortune was the turning point of the Middle Ages; once again a great change was at hand.
The birth and growth of the coming change was marked by art with all fidelity. Gothic Architecture began to alter its character in the years that immediately followed on the Great Pest; it began to lose its exaltation of style and to suffer a diminution in the generous wealth of beauty which it gave us in its heyday. In some places, e.g., England, it grew more crabbed, and even sometimes more common-place; in others, as in France, it lost order, virility, and purity of line. But for a long time yet it was alive and vigorous, and showed even greater capacity than before for adapting itself to the needs of a developing society: nor did the change of style affect all its furniture injuriously; some of the subsidiary arts as e.g., Flemish tapestry and English wood-carving, rather gained than lost for many years.
At last, with the close of the fifteenth century, the Great Change became obvious; and we must remember that it was no superficial change of form, but a change of spirit affecting every form inevitably. This change we have somewhat boastfully, and as regards the arts quite untruthfully, called the New Birth. But let us see what it means.
Society was preparing for a complete recasting of its elements: the Medieval Society of Status was in process of transition into modern Society of Contract. New classes were being formed to fit the new system of production which was at the bottom of this; political life began again with the new birth of bureaucracy; and political, as distinguished from natural, nationalities were being hammered together for the use of that bureaucracy, which was itself a necessity to the new system. And withal a new religion was being fashioned to fit the new theory of life: in short, the Age of Commercialism was being born.
Now some of us think that all this was a source of misery and degradation to the world at the time, that it is still causing misery and degradation, and that as a system it is bound to give place to a better one. Yet we admit that it had a beneficent function to perform; that amid all the ugliness and confusion which it brought with it, it was a necessary instrument for the development of freedom of thought and the capacities of man; for the subjugation of nature to his material needs. This Great Change, I say, was necessary and inevitable, and on this side, the side of commerce and commercial science and politics, was a genuine new birth. On this side it did not look backward but forward: there had been nothing like it in past history; it was founded on no pedantic model; necessity, not whim, was its crafts-master.
But, strange to say, to this living body of social, political, religious, scientific New Birth was bound the dead corpse of a past art. On every side it bade men look forward to some change or other, were it good or bad: on the side of art, with the sternest pedagogic utterance, it bade men look backward across the days of the `Fathers and famous men that begat them,' and in scorn of them, to an art that had been dead a thousand years before. Hitherto, from the very beginning the past was past, all of it that was not alive in the present, unconsciously to the men of the present. Henceforth the past was to be our present, and the blankness of its dead wall was to shut out the future from us. There are many artists at present who do not sufficiently estimate the enormity, the portentousness of this change, and how closely it is connected with the Victorian Architecture of the brick box and the slate lid, which helps to make us the dullards that we are. How on earth could people's ideas of beauty change so? you may say. Well, was it their ideas of beauty that changed? Was it not rather that beauty, however unconsciously, was no longer an object of attainment with the men of that epoch?
This used once to puzzle me in the presence of one of the so-called masterpieces of the New Bible, the revived classical style, such a building as St Paul's in London, for example. I have found it difficult to put myself in the frame of mind which could accept such a work as a substitute for even the latest and worst Gothic building. Such taste seemed to me like the taste of a man who should prefer his lady-love bald. But now I know that it was not a matter of choice on the part of any one then alive who had an eye for beauty: if the change had been made on the grounds of beauty it would be wholly inexplicable; but it was not so. In the early days of the Renaissance there were artists possessed of the highest qualities; but those great men (whose greatness, mind you, was only in work not carried out by cooperation, painting, and sculpture for the most part) were really but the fruit of the blossoming-time, the Gothic period; as was abundantly proved by the succeeding periods of the Renaissance, which produced nothing but inanity and plausibility in all the arts. A few individual artists were great truly; but artists were no longer the masters of art, because the people had ceased to be artists: its masters were pedants. St Peter's in Rome, St Paul's in London, were not built to be beautiful, or to be beautiful and convenient. They were not built to be homes of the citizens in their moments of exaltation, their supreme grief or supreme hope, but to be proper, respectable, and therefore to show the due amount of cultivation and knowledge of the only peoples and times that in the minds of their ignorant builders were not ignorant barbarians. They were built to be the homes of a decent unenthusiastic ecclesiasticism, of those whom we sometimes call Dons now-a-days. Beauty and romance were outside the aspirations of their builders. Nor could it have been otherwise in those days; for, once again, architectural beauty is the result of the harmonious and intelligent cooperation of the whole body of people engaged in producing the work of the workman; and by the time that the changeling New Birth was grown to be a vigorous imp, such workmen no longer existed. By that time Europe had begun to transform the great army of artist-craftsmen, who had produced the beauty of her cities, her churches, manor-houses and cottages, into an enormous stock of human machines, who had little chance of earning a bare livelihood if they lingered over their toil to think of what they were doing: who were not asked to think, paid to think, or allowed to think. That invention we have, I should hope, about perfected by this time, and it must soon give place to a new one. Which is happy; for as long as the invention is in use you need not trouble yourselves about architecture, since you will not get it, as the common expression of our life, that is a genuine thing.
But at present I am not going to say anything about direct remedies for the miseries of the New Birth; I can only tell you what you ought to do if you can. I want you to see that from the brief historic review of the progress of the Arts it results that to-day there is only one style of Architecture on which it is possible to found a true living art, which is free to adapt itself to the varying conditions of social life, climate, and so forth, and that that style is Gothic architecture. The greater part of what we now call architecture is but an imitation of an imitation of an imitation, the result of a tradition of dull respectability, or of foolish whims without root or growth in them.
Let us look at an instance of pedantic retrospection employed in the service of art. A Greek columnar temple when it was a real thing, was a kind of holy railing built round a shrine: these things the people of that day wanted, and they naturally took the form of a Greek Temple under the climate of Greece and given the mood of its people. But do we want those things? If so, I should like to know what for. And if we pretend we do and so force a Greek Temple on a modern city, we produce such a gross piece of ugly absurdity as you may see spanning the Lochs at Edinburgh. In these islands we want a roof and walls with windows cut in them; and these things a Greek Temple does not pretend to give us.
Will a Roman building allow us to have these necessaries? Well, only on the terms that we are to be ashamed of wall, roof and windows, and pretend that we haven't got either of them, but rather a whimsical attempt at the imitation of a Greek Temple.
Will a neo-classical building allow us these necessities? Pretty much on the same terms as the Roman one; except when it is rather more than half Gothic. It will force us to pretend that we have neither roof, walls, nor windows, nothing but an imitation of the Roman travesty of a Greek Temple.
Now a Gothic building has walls that it is not ashamed of; and in those walls you may cut windows wherever you please; and, if you please may decorate them to show that you are not ashamed of them; your windows, which you must have, become one of the great beauties of your house, and you have no longer to make a lesion in logic in order not to sit in pitchy darkness in your own house, as in the sham sham-Roman style: your window, I say, is no longer a concession to human weakness, an ugly necessity (generally ugly enough in all conscience) but a glory of the Art of Building. As for the roof in the sham style: unless the building is infected with Gothic common sense, you must pretend that you are living in a hot country which needs nothing but an awning, and that it never rains or snows in these islands. Whereas in a Gothic building the roof both within and without (especially within, as is most meet) is the crown of its beauties, the abiding place of its brain.
Again, consider the exterior of our buildings, that part of them that is common to all passersby, and that no man can turn into private property unless he builds amid an inaccessible park. The original of our neo-classic architecture was designed for marble in a bright dry climate, which only weathers it to a golden tone. Do we really like a neo-classic building weather-beaten by the roughness of hundreds of English winters from October to June? And on the other hand, can any of us fail to be touched by the weathered surface of a Gothic building which has escaped the restorers' hands? Do we not clearly know the latter to be a piece of nature, that more excellent mood of nature that uses the hands and wills of men as instruments of creation?
Indeed time would fail me to go into the many sides of the contrast between the Architecture which is a mere pedantic imitation of what was once alive, and that which after a development of long centuries has still in it, as I think, capacities for fresh developments, since its life was cut short by an arbitrary recurrence to a style which had long lost all elements of life and growth. Once for all, then, when the modern world finds that the eclecticism of the present is barren and fruitless, and that its needs and will have a style of architecture which, I must tell you once more, can only be as part of a change as wide and deep as that which destroyed Feudalism; when it has come to that conclusion, the style of architecture will have to be historic in the true sense; it well not be able to dispense with tradition; it cannot begin at least with doing something quite different from anything that has been done before; yet whatever the form of it may be, the spirit of it will be sympathy with the needs and aspirations of its own time, not simulation of needs and aspirations passed away. Thus it will remember the history of the past, make history in the present, and teach history in the future. As to the form of it, I see nothing for it but that the form, as well as the spirit, must be Gothic; an organic style cannot spring out of an eclectic one, but only from an organic one. In the future, therefore, our style of architecture must be Gothic Architecture.
And meanwhile of the world demanding architecture, what are we to do? Meanwhile? After all, is there any meanwhile? Are we not now demanding Gothic Architecture and crying for the fresh New Birth? To me it seems so. It is true that the world is uglier now than it was fifty years ago; but then people thought that ugliness a desirable thing, and looked at it with complacency as a sign of civilization, which no doubt it is. Now we are no longer complacent, but are grumbling in a dim unorganized manner. We feel a loss, and unless we are very unreal and helpless we shall presently begin to try to supply that loss. Art cannot be dead so long as we feel the lack of it, I say: and though we shall probably try many roundabout ways for filling up the lack; yet we shall at last be driven into the one right way of concluding that in spite of all risks, and all losses, unhappy and slavish work must come to an end. In that day we shall take Gothic Architecture by the hand, and know it for what it was and what it is.
From : Marxists.org
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