13. Now then, I proceed to argue in this manner from what we see in the woods and fields around us; that as they are evidently meant for our delight, and as we always feel them to be beautiful, we may assume that the forms into which their leaves are cast, are indeed types of beauty, not of extreme or perfect, but average beauty. And finding that they invariably terminate more or less in pointed arches, and are not square-headed, I assert the pointed arch to be one of the forms most fitted for perpetual contemplation by the human mind; that it is one of those which never weary, however often repeated; and that therefore, being both the strongest in structure, and a beautiful form (while the square head is both weak in structure, and an ugly form), we are unwise ever to build in any other.

Fig. 7.

PLATE IV.

14. Here, however, I must anticipate another objection. It may be asked why we are to build only the tops of the windows pointed,—why not follow the leaves, and point them at the bottom also?

For this simple reason, that, while in architecture you are continually called upon to do what may be unnecessary for the sake of beauty, you are never called upon to do what is inconvenient for the sake of beauty. You want the level window sill to lean upon, or to allow the window to open on a balcony: the eye and the common sense of the beholder require this necessity to be met before any laws of beauty are thought of. And besides this, there is in the sill no necessity for the pointed arch as a bearing form; on the contrary, it would give an idea of weak support for the sides of the window, and therefore is at once rejected. Only I beg of you particularly to observe that the level sill, although useful, and therefore admitted, does not therefore become beautiful; the eye does not like it so well as the top of the window, nor does the sculptor like to attract the eye to it; his richest moldings, traceries, and sculptures are all reserved for the top of the window; they are sparingly granted to its horizontal base. And farther, observe, that when neither the convenience of the sill, nor the support of the structure, are any more of moment, as in small windows and traceries, you instantly have the point given to the bottom of the window. Do you recollect the west window of your own Dunblane Abbey? If you look in any common guide-book, you will find it pointed out as peculiarly beautiful,—it is acknowledged to be beautiful by the most careless observer. And why beautiful? Look at it (fig. 7). Simply because in its great contours it has the form of a forest leaf, and because in its decoration it has used nothing but forest leaves. The sharp and expressive molding which surrounds it is a very interesting example of one used to an enormous extent by the builders of the early English Gothic, usually in the form seen in fig. 2, Plate II., composed of clusters of four sharp leaves each, originally produced by sculpturing the sides of a four-sided pyramid, and afterwards brought more or less into a true image of leaves, but deriving all its beauty from the botanical form. In the present instance only two leaves are set in each cluster; and the architect has been determined that the naturalism should be perfect. For he was no common man who designed that cathedral of Dunblane. I know not anything so perfect in its simplicity, and so beautiful, as far as it reaches, in all the Gothic with which I am acquainted. And just in proportion to his power of mind, that man was content to work under Nature's teaching; and instead of putting a merely formal dogtooth, as everybody else did at the time, he went down to the woody bank of the sweet river beneath the rocks on which he was building, and he took up a few of the fallen leaves that lay by it, and he set them in his arch, side by side, forever. And, look—that he might show you he had done this,—he has made them all of different sizes, just as they lay; and that you might not by any chance miss noticing the variety, he has put a great broad one at the top, and then a little one turned the wrong way, next to it, so that you must be blind indeed if you do not understand his meaning. And the healthy change and playfulness of this just does in the stone-work what it does on the tree boughs, and is a perpetual refreshment and invigoration; so that, however long you gaze at this simple ornament—and none can be simpler, a village mason could carve it all round the window in a few hours—you are never weary of it, it seems always new.

15. It is true that oval windows of this form are comparatively rare in Gothic work, but, as you well know, circular or wheel windows are used constantly, and in most traceries the apertures are curved and pointed as much at the bottom as the top. So that I believe you will now allow me to proceed upon the assumption, that the pointed arch is indeed the best form into which the head either of door or window can be thrown, considered as a means of sustaining weight above it. How these pointed arches ought to be grouped and decorated, I shall endeavor to show you in my next lecture. Meantime I must beg of you to consider farther some of the general points connected with the structure of the roof.

16. I am sure that all of you must readily acknowledge the charm which is imparted to any landscape by the presence of cottages; and you must over and over again have paused at the wicket gate of some cottage garden, delighted by the simple beauty of the honeysuckle porch and latticed window. Has it ever occurred to you to ask the question, what effect the cottage would have upon your feelings if it had no roof? no visible roof, I mean;—if instead of the thatched slope, in which the little upper windows are buried deep, as in a nest of straw—or the rough shelter of its mountain shales—or warm coloring of russet tiles—there were nothing but a flat leaden top to it, making it look like a large packing-case with windows in it? I don't think the rarity of such a sight would make you feel it to be beautiful; on the contrary, if you think over the matter, you will find that you actually do owe, and ought to owe, a great part of your pleasure in all cottage scenery, and in all the inexhaustible imagery of literature which is founded upon it, to the conspicuousness of the cottage roof—to the subordination of the cottage itself to its covering, which leaves, in nine cases out of ten, really more roof than anything else. It is, indeed, not so much the whitewashed walls—nor the flowery garden—nor the rude fragments of stones set for steps at the door—nor any other picturesqueness of the building which interest you, so much as the gray bank of its heavy eaves, deep-cushioned with green moss and golden stone-crop. And there is a profound, yet evident, reason for this feeling. The very soul of the cottage—the essence and meaning of it—are in its roof; it is that, mainly, wherein consists its shelter; that, wherein it differs most completely from a cleft in rocks or bower in woods. It is in its thick impenetrable coverlet of close thatch that its whole heart and hospitality are concentrated. Consider the difference, in sound, of the expressions "beneath my roof" and "within my walls,"—consider whether you would be best sheltered, in a shed, with a stout roof sustained on corner posts, or in an inclosure of four walls without a roof at all,—and you will quickly see how important a part of the cottage the roof must always be to the mind as well as to the eye, and how, from seeing it, the greatest part of our pleasure must continually arise.

17. Now, do you suppose that which is so all-important in a cottage, can be of small importance in your own dwelling-house? Do you think that by any splendor of architecture—any height of stories—you can atone to the mind for the loss of the aspect of the roof? It is vain to say you take the roof for granted. You may as well say you take a man's kindness for granted, though he neither looks nor speaks kindly. You may know him to be kind in reality, but you will not like him so well as if he spoke and looked kindly also. And whatever external splendor you may give your houses, you will always feel there is something wanting, unless you see their roofs plainly. And this especially in the north. In southern architecture the roof is of far less importance; but here the soul of domestic building is in the largeness and conspicuousness of the protection against the ponderous snow and driving sleet. You may make the façade of the square pile, if the roof be not seen, as handsome as you please,—you may cover it with decoration,—but there will always be a heartlessness about it, which you will not know how to conquer; above all, a perpetual difficulty in finishing the wall at top, which will require all kinds of strange inventions in parapets and pinnacles for its decoration, and yet will never look right.

Now, I need not tell you that, as it is desirable, for the sake of the effect upon the mind, that the roof should be visible, so the best and most natural form of roof in the north is that which will render it most visible, namely, the steep gable: the best and most natural, I say, because this form not only throws off snow and rain most completely, and dries fastest, but obtains the greatest interior space within walls of a given height, removes the heat of the sun most effectually from the upper rooms, and affords most space for ventilation.

18. You have then, observed, two great principles, as far as northern architecture is concerned; first, that the pointed arch is to be the means by which the weight of the wall or roof is to be sustained; secondly, that the steep gable is the form most proper for the roof itself. And now observe this most interesting fact, that all the loveliest Gothic architecture in the world is based on the group of lines composed of the pointed arch and the gable. If you look at the beautiful apse of Amiens Cathedral—a work justly celebrated over all Europe—you will find it formed merely of a series of windows surmounted by pure gables of open work. If you look at the transept porches of Rouen, or at the great and celebrated porch of the Cathedral of Rheims, or that of Strasbourg, Bayeux, Amiens, or Peterborough, still you will see that these lovely compositions are nothing more than richly decorated forms of gable over pointed arch. But more than this, you must be all well aware how fond our best architectural artists are of the street effects of foreign cities; and even those now present who have not personally visited any of the continental towns must remember, I should think, some of the many interesting drawings by Mr. Prout, Mr. Nash, and other excellent draughtsmen, which have for many years adorned our exhibitions. Now, the principal charm of all those continental street effects is dependent on the houses having high-pitched gable roofs. In the Netherlands, and Northern France, where the material for building is brick or stone, the fronts of the stone gables are raised above the roofs, and you have magnificent and grotesque ranges of steps or curves decorated with various ornaments, succeeding one another in endless perspective along the streets of Antwerp, Ghent, or Brussels. In Picardy and Normandy, again, and many towns of Germany, where the material for building is principally wood, the roof is made to project over the gables, fringed with a beautifully carved cornice, and casting a broad shadow down the house front. This is principally seen at Abbeville, Rouen, Lisieux, and others of the older towns of France. But, in all cases, the effect of the whole street depends on the prominence of the gables; not only of the fronts towards the streets, but of the sides also, set with small garret or dormer windows, each of the most fantastic and beautiful form, and crowned with a little spire or pinnacle. Wherever there is a little winding stair, or projecting bow window, or any other irregularity of form, the steep ridges shoot into turrets and small spires, as in fig. 8,⁶ each in its turn crowned by a fantastic ornament, covered with curiously shaped slates or shingles, or crested with long fringes of rich ironwork, so that, seen from above and from a distance, the intricate grouping of the roofs of a French city is no less interesting than its actual streets; and in the streets themselves, the masses of broad shadow which the roofs form against the sky, are a most important background to the bright and sculptured surfaces of the walls.

19. Finally, I need not remind you of the effect upon the northern mind which has always been produced by the heaven-pointing spire, nor of the theory which has been founded upon it of the general meaning of Gothic architecture as expressive of religious aspiration. In a few minutes, you may ascertain the exact value of that theory, and the degree in which it is true.