idle servants, as they are—heraldic supporters, that central tower being merely a hollow crown, which needs no more buttressing than a basket does. In fact, I do not know any thing more strange or unwise than the praise lavished upon this lantern; it is one of the basest pieces of Gothic in Europe; its flamboyant traceries of the last and most degraded forms[1]; and its entire plan and decoration resembling, and deserving little more credit than, the burnt sugar ornaments of elaborate confectionary. There are hardly any of the magnificent and serene methods of construction in the early Gothic, which have not, in the course of time, been gradually thinned and pared away into these skeletons, which sometimes indeed, when their lines truly follow the structure of the original masses, have an interest like that of the fibrous framework of leaves from which the substance has been dissolved, but which are usually distorted as well as emaciated, and remain but the sickly phantoms and mockeries of things that were; they are to true architecture what the Greek ghost was to the armed and living frame; and the very winds that whistle through the threads of them, are to the diapasoned echoes of the ancient walls, as to the voice of the man was the pining of the spectre[2].
IX. Perhaps the most fruitful source of these kinds of corruption which we have to guard against in recent times, is one which, nevertheless, comes in a 'questionable shape', and of which it is not easy to determine the proper laws and limits; I mean the use of iron. The definition of the art of architecture, given in the first Chapter, is independent of its materials: Nevertheless, that art having been, up to the beginning of the present century, practised for the most part in clay, stone, or wood, it has resulted that the sense of proportion and the laws of structure have been based, the one altogether, the other in great part, on the necessities consequent on the employment of those materials; and that the entire or principal employment of metallic
- ↑ 5. p. 41. 'Its flamboyant traceries of the last and most degraded forms': They are noticed by Mr. Whewell asforming the figure of the fleur-de-lis, always a mark, when in tracery bars, of the most debased flamboyant. It occurs in the central tower of Bayeux, very richly in the buttresses of St Gervais at Falalse, and in the small niches of some of the domestic buildings at Rouen. Nor is it only the tower of St Ouen which is overrated. Its nave is a base imitation, in the flamboyant period, of an early Gothic arrangement; the niches on its piers are barbarisms; there is a huge square shaft run through the ceiling of the aisles to support the nave piers, the ugliest excrescence I ever saw on a Gothic building; the traceries of the nave are the most insipid and faded flamboyant; those of the transept clerestory present a singularly distorted condition of perpendicular; even the elaborate door of the south transept is, for its fine period, extravagant and almost grotesque in its foliation and pendants. There is nothing truly fine in the church but the choir, the light triforium, and tall clerestory, the circle of Eastern chapels, the details of sculpture, and the general lightness of proportion, these merits being seen to the utmost advantage by the freedom of the body of the church from all incumbrance.
- ↑ 6. p. 41. Compare Iliad Σ, 1. 219, with Odyssey Ω 11, 5-10.
