have so much the appearance of the branches springing from the stem of a tree after it has been cut over; they join with the ribs from the other columns, and sometimes intersect each other so much after the same manner as the branches from a contiguous row of trees naturally do and the small prominences at the top of the columns so much resemble the swellings that naturally take place where the branches spring out from the stem of a pollard tree, that it is impofsible for any one who adverts to all these particulars, not to perceive at once the striking resemblance that exists between two contiguous rows of Gothic columns with the arched roofs above, and two regular rows of some kinds of pollard trees (the lime-tree for example) similarly placed, after the branches have attained a considerable size, and have intermingled with each other. This idea is strongly corroborated by the projection of the ribs, which was probably adopted as an appropriate orna ment, on account of the beauty observed to result from the roundness of the branches of the trees. The smooth part of the roof seen between these ribs, was sometimes, in conformity with this idea, painted of a clear sky-blue; the ribs were of another distinct colour, and on some occasions even the roof was studded with stars, apparently with a view to represent the sky as seen between the branches. These resemblances are all indeed so perfect, that I cannot entertain a doubt that they operated on the mind of the artist when these ornaments were devised. But that this resemblance entered into his conception when he began to devise this mode of building, I do not see the smallest all probability the result of a gradual and slow develope→ ment of ideas, progrefsively advancing from some obscure hints, corrected and matured by succeeding experience for a long period of years, somewhat after the manner described in the preceding parts of this essay, till they attained at last their final completion under the elegant and appropriate forms which they now occasionally exhibit; and the particular above stated, was, in all probability, an after-thought only, suggested by the near resemblance that the forms which the structures naturally afsumed in their progress to perfection, bore to trees in the circumstances above stated. This particularity of form, therefore, I consider as accidental rather than intended; but, in conformity to the general progrefs of genius, no sooner would this general resemblance be perceived, than the mind would catch the hint and improve upon it, so as to make it contribute to the elegance and beauty of these structures. I have already had occasion to remark, that the Gothic artists appear to have paid an uncommon degree of attention, in order to discover every circumstance that had a tendency to render succefsful their efforts to perfect their structures; and that they readily adopted every hint which fell within their observation to add strength or elegance to the whole, without servilely copying from any one. The specimen that I have just now adduced of their adopting the hint from the divaricating branches of the tree, for the purpose of giving grace and elegance to the roof, is a striking illustration of this particular; and whoever contemplates one of these roofs with attention, under this point of view, will be compelled to acknowledge that they have availed themselves of it with the happiest effect; but they did not stop here. They had observed, no doubt, in examining the variety of trees that grow in our regions, that some sorts occasionally exhibit in the bole a kind of regular inequality of appearance on the surface, consisting of something that afsumes the form of a kind of veins running in a direction nearly parallel to one another from the bottom to the top, which gave to the stem an elegant richness of appearance, very different from that bare look which a smooth unvarying surface around the whole of its circumference exhibited; more especially when these large columns, from the purposes for which they were intended to answer, were of necefsity brought at times very near to the eye of the beholder. With that felicity of discrimination, therefore, which so strongly characterises all their contrivances, they instantly adopted this hint, and modelled it for their purpose. To this hint, I have no doubt, we are indebted for those rod-like ribs that so usually serve to peculiarise their columns, and which, without deranging their general symmetry when viewed at a distance (where they are not perceptible), give a richness to the particular parts as you gradually approach them, and a lightnefs of effect when you are quite near, which have not yet been equalled by any other contrivance that has been adopted by man for similar purposes. The Greeks also, having felt the same defect in their column, had attempted to remedy it by a contrivance in some measure of the same sort, denominated fluting; though much more clumsy, and, like to answer the purpose intended, than those to which I now refer; as every person who candidly compares them together will readily recognise. Of the Grecian devices of this sort I shall afterwards have occasion to take notice; in the mean while, I may just remark, that on some occasions, it would seem, the Gothic artists had had in view some parasitic plants running up on the outside of the stem, or rods, and bound to it by bands at different heights; these seem not, however, to have been adopted in the chaster æra of the art, and can be considered only as a vicious refinement of aftertimes but I have not met with any instance in which they deviated so far into the fantastic walk, as to make these protuberances afsume a writhed or twisted appearance winding round the column. That was a refinement left for after-ages. : The principle which they adopted with regard to the column, was also applied to other parts of their structures with the happiest effect; although this particular, like many of the other beautiful devices of these wonderful artists, has been stigmatised by fastidious ignorance as barbarous absurdities. The principle to which I here allude is, to adorn those large and mafsy parts of their structure, the effect of whose general symmetry can only be seen at a distance, with ornaments so small, as that, when seen at a distance, they do not catch the eye, nor mar the general effect; but when to be viewed near at hand, where the features of grandeur cannot be recognised, because the general proportions are lost sight of, these smaller ornaments come then to catch the eye, and exhibit a richness of appearance which takes off from the meagre look of these great objects if left perfectly bare, when viewed near at hand. Had the beholder been limited in his approaches, so as to be able to come only within a certain distance, as is the case with some justly celebrated paintings of antiquity (in which very bold strokes produce, when they are seen at a proper distance, a great and striking effect, although when nearly viewed they appear only coarse and disgusting daubings),our artists might have adopted a similar mode of procedure. But this not being the case, they, observing the operations of nature under similar circumstances, followed her footsteps with fidelity they observed, that scarcely a stalk of grafs was to be found which was not marked by certain rugosities or depressions; that there was not the bark of a tree which was not diversified by means of small protuberances, cracks, and fissures, interspersed by variety of lichens and of small parasitical plants, which, though they were not at all perceptible at a distance, gave to them a rich beauty of effect when near at hand, that they would not otherwise have pofsefsed: they remarked, that when a living creature, for instance, was seen at a distance, his figure only, and not his features, were perceptible; but when he drew near, and intermingled with society, the smaller features became distinguishable; the form and disposition of the hairs; the pulpy softnefs or characteristic wrinkles of the skin; the varying motions of the muscles, and the expressive keenness of the eye, all concurred to give to life an energy, exprefsion, and interest, that would have been totally lost had they not been defined by delicate touches which could only be seen when near. From these prototypes, then, they borrowed their ideas |