The Revival of Architecture
(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.)
The Revival of Architecture
Among cultivated people at present there is a good deal of interest felt or affected in the ornamental arts and their prospects. Since all these arts are dependent on the master-art of architecture almost for their existence, and cannot be in a healthy condition if it is sick, it may be worth while to consider what is the condition of architecture in this country; whether or no we have a living style which can lay claim to a dignity or beauty of its own, or whether our real style is merely a habit of giving certain forms not worth noticing to an all-pervading ugliness and meanness.
In the first place, then, it must be admitted on all sides that there has been in this century something like a revival of architecture; the question follows whether that revival indicates a genuine growth of real vitality which is developing into something else, or whether it merely points to a passing wave of fashion which, when passed, will leave nothing enduring behind it. I can think of no better way of attempting a solution of this question than the giving a brief sketch of the history of this revival as far as I have noted it. The revival of the art of architecture in Great Britain may be said to have been a natural consequence of the rise of the romantic school in literature, although it lagged some way behind it, and naturally so, since the art of building had to deal with the prosaic incidents of every day life, and is limited by the material exigencies of its existence. Up to a period long after the death of Shelley and Keats and Scott, architecture could do nothing but produce on the one hand pedantic imitations of classical architecture of the most revolting ugliness, and ridiculous travesties of Gothic buildings, not quite so ugly, but meaner and sillier; and, on the other hand, the utilitarian brick box with a slate lid which the Anglo-Saxon generally in modern times considers as a good sensible house with no nonsense about it.
The first symptoms of change in this respect were brought about by the Anglo-Catholic movement, which must itself be considered as part of the romantic movement in literature, and was supported by many who had no special theological tendencies, as a protest against the historical position and stupid isolation of Protestantism. Under this influence there arose a genuine study of medieval architecture, and it was slowly discovered that it was not, as was thought in the days of Scott, a mere accidental jumble of picturesqueness consecrated by ruin and the lapse of time, but a logical and organic style evolved as a matter of necessity from the ancient styles of the classical peoples, and advancing step by step with the changes in the social life of barbarism and feudalism and civilization. Of course it took long to complete this discovery, nor as a matter of fact is it admitted in practice by many of the artists and architects of to-day, though the best of them feel, instinctively perhaps, the influence of the new school of historians, of whom the late John Richard Green and Professor Freeman may be cited as examples, and who have long been familiar with it.
One unfortunate consequence the study of medieval art brought with it, owing indeed to the want of the admission of its historical evolution just mentioned. When the architects of this country had learned something about the building and ornament of the Middle Ages, and by dint of sympathetic study had more or less grasped the principles on which the design of that period was founded, they had a glimmer of an idea that those principles belonged to the esthetics of all art in all countries, and were capable of endless development; they saw dimly that Gothic art had been a living organism, but though they knew that it had perished, and that its place had been taken by something else, they did not know why it had perished,and thought it could be artificially replanted in a society totally different from that which gave birth to it. The result of this half-knowledge led them to believe that they had nothing to do but to design on paper according to the principles the existence of which they had divined in Gothic architecture, and that the buildings so designed, when carried out under their superintendence, would be true examples of the ancient style, made alive by those undying principles of the art. On this assumption it was natural that they should attempt with confidence to remedy the injuries and degradations which the ignorance, brutality, and vulgarity of the post-Gothic periods had brought on those priceless treasures of art and history, the buildings yet left to us from the Middle Ages. Hence arose the fatal practice of "restoration," which in a period of forty years has done more damage to our ancient buildings than the preceding three centuries of revolutionary violence, sordid greed (utilitarianism so called), and pedantic contempt. This side of the subject I have no space to dwell on further here. I can only say that if my subject could be looked on from no other point of view than the relation of modern architecture to the preservation of these relics of the past, it would be most important to face the facts of the present condition of the art among us, lest a mere delusion as to our position should lead us to throw away these treasures which once lost can never be recovered. No doubt, on the other hand, this same half-knowledge gave the new school of architects courage to carry on their work with much spirit, and as a result we have a considerable number of buildings throughout the country which do great credit to the learning and talent of their designers, and some of them even show signs of genius struggling through the difficulties which beset an architect attempting to produce beauty in the midst of the most degrading utilitarianism.
In the early period of this Gothic revival the buildings thus produced were mostly ecclesiastical. The public were easily persuaded that the buildings destined for the use of the Anglican Church, which was obviously in part a survival from the Church of the Middle Ages, should be of the style which obtained in the period to which the greater part of its buildings belonged; and indeed it used to be customary to use the word "ecclesiastical" as a synonym for medieval architecture. Of course this absurdity was exploded among the architects at a very early stage of the revival, although it lingered long and perhaps still lingers among the general public. It was soon seen by those who studied the arts of the Middle Ages that there was no difference in style between the domestic and civil and the ecclesiastical architecture of that period, and the full appreciation of this fact marks the second stage in the "Gothic Revival."
Then came another advance: those who sympathized with the great period of the development of the human race, the Middle Ages, especially such of them as had the gift of the historical sense which may be said to be a special gift of the nineteenth century, and a kind of compensation for the ugliness which surrounds our lives at present: these men now began not only to understand that the medieval art was no mere piece of reactionary official ecclesiasticism or the expression of an extinct theology, but a popular, living, and progressive art - and that progressive art had died with it; they came to recognize that the art of the sixteenth and seventeenth centuries drew what vigor and beauty it had from the impulse of the period that preceded it, and that when that died out about the middle of the seventeenth century nothing was left but a caput mortuum of inanity and pedantry, which demanded perhaps a period of stern utilitarianism to form, as it were, the fallow of the arts before the new seed could be sown.
Both as regards art and history this was an important discovery. Undismayed by theirposition of isolation from the life of the present, the leaders of this fresh renaissance set themselves to the stupendous task of taking up the link of historical art where the pedants of the older so-called renaissance had dropped it, and tried to prove that the medieval style was capable of new life and fresh development, and that it could adapt itself to the needs of the nineteenth century. On the surface this hope of theirs seemed justified by the marvelous elasticity which the style showed in the period of its real life. Nothing was too great or too little, too commonplace or too sublime for its inclusive embrace; no change dismayed it, no violence seriously checked it; in those older days it was a part of the life of man, the universal, indispensable expression of his joys and sorrows. Could it not be so again? we thought; had not the fallow of the arts lasted long enough? Were the rows of square brown brick boxes which Keats and Shelley had to look on, or the stuccoed villa which enshrined Tennyson's genius, to be the perpetual concomitants of such masters of verbal beauty; was no beauty but the beauty of words to be produced by man in our times; was the intelligence of the age to be for ever so preposterously lop-sided? We could see no reason for it, and accordingly our hope was strong; for though we had learned something of the art and history of the Middle Ages, we had not learned enough. It became the fashion among the hopeful artists of the time I am thinking of to say that in order to have beautiful surroundings there was no need to alter any of the conditions and manners of our epoch; that an easy chair, a piano, a steam-engine, a billiard-table, or a hall fit for the meeting of the House of Commons, had nothing essential in them which compelled us to make them ugly, and that if they had existed in the Middle Ages the people of the time would have made them beautiful. Which certainly had an element of truth in it, but was not all the truth. It was indeed true that the medieval instinct for beauty would have exercised itself on whatsoever fell to its lot to do, but it was also true that the life of the times did not put into the hands of the workman any object which was merely utilitarian, still less vulgar; whereas the life of modern times forces on him the production of many things which can be nothing but utilitarian, as for instance a steam-engine; and of many things in which vulgarity is innate and inevitable, as a gentleman's club-house or the ceremonial of our modern bureaucratic monarchy. Anyhow, this period of fresh hope and partial insight produced many interesting buildings and other works of art, and afforded a pleasant time indeed to the hopeful but very small minority engaged in it, in spite of all vexations and disappointments. At last one man, who had done more than any one else to make this hopeful time possible, drew a line sternly through these hopes founded on imperfect knowledge. This man was John Ruskin. By a marvelous inspiration of genius (I can call it nothing else) he attained at one leap to a true conception of medieval art which years of minute study had not gained for others. In his chapter in "The Stones of Venice," entitled "On the Nature of Gothic, and the Function of the Workman therein," he showed us the gulf which lay between us and the Middle Ages. From that time all was changed; ignorance of the spirit of the Middle Ages was henceforth impossible, except to those who willfully shut their eyes. The aims of the new revival of art grew to be infinitely greater than they had been in those who did not give up all aim, as I fear many did. From that time forth those who could not learn the new knowledge were doomed to become pedants, differing only in the externals of the art they practiced or were interested in from the unhistorical big-wigs of the eighteenth century. Yet the essence of what Ruskin then taught us was simple enough, like all great discoveries. It was really nothing more recondite than this, that the art of any epoch must of necessity be the expression of its social life, and that the social life of the Middle Ages allowed the workman freedom of individual expression, which on the other hand our social life forbids him.
I do not say that the change in the Gothic revivalists produced by this discovery was sudden,but it was effective. It has gradually sunk deep into the intelligence of the art and literature of to-day, and has had a great deal to do with the sundering of the highest culture (if one must use that ugly word) into a peculiarly base form of cynicism on the one hand, and into practical and helpful altruism on the other. The course taken by the Gothic revival in architecture, which, as aforesaid, is the outward manifestation of the Romantic school generally, shows decided tokens of the growing consciousness of the essential difference between our society and that of the Middle Ages. When are architects and archaeologists first mastered, as they supposed, the practice and principles of Gothic art, and began the attempt to reintroduce it as a universal style, they came to the conclusion that they were bound to take it up at the period when it hung balanced between completion and the very first beginning of degradation. The end of the thirteenth and beginning of the fourteenth century was the time they chose as that best fitted for the foundation of the Neo-Gothic style, which they hoped was destined to conquer the world; and in choosing this period on the verge of transition they showed remarkable insight and appreciation of the qualities of the style. It had by that time assimilated to itself whatever it could use of classical art, mingled with the various elements gathered from the barbaric ancient monarchies and the northern tribes, while for itself it had no consciousness of them, nor was in any way trammeled by them; it was flexible to a degree yet undreamed of in any previous style of architecture, and had no difficulties in dealing with any useful purpose, any material or climate; and with all this it was undeniably and frankly beautiful, cumbered by no rudeness, and degraded by no whim. The hand and the mind of man, one would think, can carry loveliness (a loveliness, too, that never cloys) no further than in the architectural works of that period, as for instance in the choir and transepts of Westminster Abbey before it had suffered from degradations of later days, which truly make one stand aghast at the pitch of perversity which men can reach at times. It must be remembered too, in estimating the judgment of the Neo-Gothic architects, that the half-century from 1280 to 1320 was the blossoming-time of architecture all over that part of the world which had held fast to historical continuity; and the East as well as the West produced its loveliest works of ornament and art at that period. This development, moreover, was synchronous with the highest point of the purely medieval organization of industry. By that time the Gold-merchants and Lineages of the free towns, which had grown aristocratic, exclusive, and divorced from actual labor, had had to yield to the craft-gilds, democratic bodies of actual workmen, which had now taken the position that they had long striven for, and were the masters of all industry. It was not the monasteries, as we used to be told, which were the hives of the art of the fourteenth century, but the free towns with their crafts organized for battle as well as craftsmanship; not the reactionary but the progressive part of the society of the time.
This central period therefore of the Gothic style, which expressed the full development of the social system of the Middle Ages, was undoubtedly the fittest period to choose for the tree on which to graft the young plant of Neo-Gothic; and at the time of which I am now thinking every architect of promise would have repudiated with scorn the suggestion that he should use any later or impurer style for the works he had to carry out. Indeed there was a tendency, natural enough, to undervalue the qualities of the later forms of Gothic, a tendency which was often carried to grotesque extremes, and the semi-Gothic survivals of the late sixteenth and the seventeenth centuries were looked on with mere contempt, in theory at least. But as time passed and the revivalists began to recognize, whether they would or no, the impossibility of bridging the gulf between the fourteenth and nineteenth centuries; as in spite of their brilliant individual successes they found themselves compelled to admit that the Neo-Gothic graft refused to grow in the commercial air of the Victorian era; as theytoiled conscientiously and wearily to reconcile the Podsnappery of modern London with the expression of the life of Simon de Montfort and Philip van Artevelde, they discovered that they had pitched their note too high, and must try again, or give up the game altogether. By that time they had thoroughly learned the merits of the later Gothic styles, and even of the style which in England at least (as in literature so in art) had retained some of the beauty and fitness of the palmy days of Gothic amid the conceits, artificialities, and euphuism of the time of Elizabeth and James the First; nay, they began to overvalue the remains of the inferior styles, not through pedantry, but rather perhaps from sympathy with the course of history, and repulsion from the pessimism which narrows the period of high aspirations and pleasure in life to the standard of our own passing moods. In the main, however, they were moved in this direction by the hope of finding another standpoint for the new and living style which they still hoped to set on foot; the elasticity and adaptability of the style of the fifteenth century, of which every village church in England gives us examples, and the great mass of the work achieved by it, in domestic as well as church architecture, ready to hand for study, as well as the half-conscious feeling of its being nearer to our own times and expressing a gradually-growing complexity of society, captivated the revivalists with a fresh hope. The dream of beauty and romance of the fourteenth century was gone; might not the more work-a-day "Perpendicular" give us a chance for the housing of Mr. Podsnap's respectability and counting-house, and bosom-of-the-family, and Sunday worship, without too manifest an absurdity?
So the architects began on the fifteenth-century forms, and as by this time they had gained more and more knowledge of medieval aims and methods, they turned out better and better work; but still the new living style would not come. The Neo-Gothic in the fourteenth-century style was often a fair rendering of its original; the fifteenth-century rendering has been often really good, and not seldom has had an air of originality about it that makes one admire the capacity and delicate taste of its designers; but nothing comes of it; it is all hung in the air, so to say. London has not begun to look like a fifteenth-century city, and no flavor of beauty or even of generous building has begun to make itself felt in the numberless houses built in the suburbs.
Meantime from the fifteenth century we have sunk by a natural process to imitating something later yet, something so much nearer our own time and our own manners and ways of life, that a success might have been expected to come out of this at least. The brick style in vogue in the time of William the Third and Queen Anne is surely not too sublime for general use; even Podsnap might acknowledge a certain amount of kinship with the knee-breeched, cocked-hatted bourgeois of that period; might not the graft of the new style begin to grow now, when we have abandoned the Gothic altogether, and taken to a style that belongs to the period of the workshop and division of labor, a period when all that was left of the craft-gilds was the corruption of them, the mere abuses of the close corporations and companies under whose restrictions of labor the commercial class chafed so sorely, and which they were on the point of sweeping away entirely?
Well, it is true that at first sight the Queen Anne development has seemed to conquer modern taste more or less; but in truth it is only the barest shadow of it which has done so. The turn that some of our vigorous young architects (they were young then) took towards this latest of all domestic styles can be accounted for without quarreling with their good taste or good sense. In truth, with the best of them it was not the differentia of the Queen Anne style that was the attraction; all that is a mere bundle of preposterous whims; it was the fact that in thestyle there was yet left some feeling of the Gothic, at least in places or under circumstances where the buildings were remote from the progressive side of the eighteenth century. There I say some of the Gothic feeling was left, joined to forms, such as sash windows, yet possible to be used in our own times. The architects in search of a style might well say: "We have been driven from ditch to ditch; cannot we yet make a stand? The unapproachable grace and loveliness of the fourteenth century is hull down behind us, the fifteenth-century work is too delicate and too rich for the commonplace of to-day; let us be humble, and begin once more with the style of well-constructed, fairly proportioned brick houses which stand London smoke so well, and look snug and comfortable at some village end, or amid the green trees of a squire's park. Besides, our needs as architects are not great; we don't want to build churches any more; the nobility have their palaces in town and country already" (I wish them joy of some of them!); "the working man cannot afford to live in anything that an architect could design; moderate-sized, rabbit-warrens for rich middle-class men, and small ditto for the hanger-on groups to which we belong, is all we have to think of. Perhaps something of a style might arise among us from these lowly beginnings, though indeed we have come down a weary long way from Pugin's `Contrasts.' We agree with him still, but we are driven to admire and imitate some of the very things he cursed, with our enthusiastic approbation." Well, a goodish many houses of this sort have been built, to the great comfort of the dwellers in them, I am sure; but the new style is so far from getting under way, that while on the other hand the ordinary builder is covering England with abortions which make us regret the brick box and slate lid of fifty years ago, the cultivated classes are rather inclined to return to the severity (that is to say, the unmitigated expensive ugliness) of the last dregs of would-be Palladian, as exemplified in the stone lumps of the Georgian period. Indeed I have not heard that the "educated middle classes" had any intention of holding a riotous meeting on the adjacent Trafalgar Square to protest against the carrying out of the designs for the new public offices which the Aedileship of Mr. Shaw-Lefevre threatened us with. As to public buildings, Mr. Street's Law Courts are the last attempt we are likely to see of producing anything reasonable or beautiful for that use; the public has resigned itself to any mass of dullness and vulgarity that it may be convenient for a department to impose upon it, probably from a half-conscious impression that at all events it will be good enough for the work (so-called) which will be done in it.
In short we must answer the question with which this paper began by saying that the architectural revival, though not a mere piece of artificial nonsense, is too limited in its scope, too much confined to an educated group, to be a vital growth capable of true development. The important fact in it is that it is founded on the sympathy for history and the art of historical generalization, which, as aforesaid, is a gift of our epoch, but unhappily a gift in which few as yet have a share. Among populations where this gift is absent, not even scattered attempts at beauty in architecture are now possible, and in such places generations may live and die, if society as at present constituted endures, without feeling any craving for beauty in their daily lives; and even under the most favorable circumstances there is no general impulse born out of necessity towards beauty, which impulse alone can produce a universal architectural style, that is to say, a habit of elevating and beautifying the houses, furniture, and other material surroundings of our life.
All we have that approaches architecture is the result of a quite self-conscious and very laborious eclecticism, and is avowedly imitative of the work of past times, of which we have gained a knowledge far surpassing that of any other period. Meanwhile whatever is done without conscious effort, that is to say the work of the true style of the epoch, is an offenceto the sense of beauty and fitness, and is admitted to be so by all men who have any perception of beauty of form. It is no longer passively but actively ugly, since it has added to the dreary utilitarianism of the days of Dr. Johnson a vulgarity which is the special invention of the Victorian era. The genuine style of that era is exemplified in the jerry-built houses of our suburbs, the stuccoed marine-parades of our watering-places, the flaunting corner public-houses of every town in Great Britain, the raw-boned hideousness of the houses that mar the glorious scenery of the Queen's Park at Edinburgh. These form our true Victorian architecture. Such works as Mr. Bodley's excellent new buildings at Magdalen College, Mr. Norman Shaw's elegantly fantastic Queen Anne houses at Chelsea, or Mr. Robson's simple but striking London board-schools, are mere eccentricities with which the public in general has no part or lot.
This is stark pessimism, my readers may say. Far from it. The enthusiasm of the Gothic revivalists died out when they were confronted by the fact that they form part of a society which will not and cannot have a living style, because it is an economical necessity for its existence that the ordinary everyday work of its population shall be mechanical drudgery; and because it is the harmony of the ordinary everyday work of the population which produces Gothic, that is, living architectural art, and mechanical drudgery cannot be harmonized into art. The hope of our ignorance has passed away, but it has given place to the hope born of fresh knowledge. History taught us the evolution of architecture, it is now teaching us the evolution of society; and it is clear to us, and even to many who refuse to acknowledge it, that the society which is developing out of ours will not need or endure mechanical drudgery as the lot of the general population; that the new society will not be hag-ridden as we are by the necessity for producing ever more and more market-wares for a profit, whether any one needs them or not; that it will produce to live, and not live to produce, as we do. Under such conditions architecture, as part of the life of people in general, will again become possible, and I believe that when it is possible, it will have a real new birth, and add so much to the pleasure of life that we shall wonder how people were able to live without it. Meantime we are waiting for that new development of society, some of us in cowardly inaction, some of us amid hopeful work towards the change; but at least we are all waiting for what must be the work, not of the leisure and taste of a few scholars, authors, and artists, but of the necessities and aspirations of the workmen throughout the civilized world.
Fortnightly Review, May 1888.
From : Marxists.org
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