The Principles of Aesthetics Part 12

But sculpture can also portray the individualized psychic life.

[Footnote: Consult the discussion in Rodin's _L'Art_, chap. VII.]

For this, the portrait bust is the most appropriate medium of expression. By separating the head, the natural seat of mind, from the rest of the body, the rivalry between the beauty of soul and form is obviated. How much sculpture can do in this way is shown by the work of the Greeks and Romans in ancient times, and by such men as Houdon and Rodin among the moderns. Think of the intense and concentrated expression of thought and emotion in the "Voltaire" of Houdon and the "Dalou" of Rodin! Success depends largely upon the modeling of the subtle lines of the face, where the more highly specialized workings of the mind leave their impress. Whatever of character the face may express can be expressed over again in its image. Of course the unique responses of mind to definite situations, such as, for example, the conversation of a man with his fellows, cannot be portrayed in sculpture, which isolates the individual. But the characteristic mood and att.i.tude, the permanent residuum and condition of these responses, can be portrayed; and this const.i.tutes personality or character. As Schopenhauer declared, the character of a man is better revealed in the face when he is in repose than when he is responding to other men, for there is always a certain amount of dissimulation or insincerity in social intercourse. The impossibility of rendering the color and animation of the eye const.i.tutes a real deficiency, but, as has often been pointed out, this is partly minimized through the fact that the expression of the eye depends largely upon the brows; by itself, the eye is inexpressive. The portrait statue has much the same purpose as the bust, and hence should be draped. The heroic, equestrian statue, however, expresses rather the imposing, socially perceptible side of the man, than the inner life of thought and sentiment revealed in the bust.

The development of sculpture has produced nothing more beautiful than the solitaire statues which the Greeks have left us; and when we think of Greek sculpture we usually have in mind these marble or bronze images of G.o.ds and heroes. But we should not forget the figurines of terra cotta, a genre sculpture, representing men and women in the acts and att.i.tudes of daily life, at work and at play. The ideal of sculpture should not be pitched too high. There is no reason why, with the example set by the Greeks, sculpture should not portray the lighter and more usual phases of human life. If sculpture is to strike new paths, and be something more than a repet.i.tion of cla.s.sical models, it must become more realistic. And, as we have already noted, by making use of the block as a sort of background, even some relation of man to his environment can be represented. Through the group the simpler relations of man with his fellows--comrades.h.i.+p, love, conflict, or common action--can be expressed; although the power of sculpture is greatly limited in this direction. Sculpture is often taxed by people who emphasize the importance of the political and industrial mechanism with inability to portray large groups of men and the more complex relations arising out of the dependence of man upon nature and society.

But one may well urge the compensating worth which sculpture will always possess of recalling men to a sense of the value and beauty of the individual as such, especially in an age like our own where they tend to be forgotten.

The principles that apply to the use of historical, literary, and symbolic themes in painting hold with increased force in sculpture.

We must admit the right of the sculptor to ill.u.s.trate simple and well-known historical or fict.i.tious situations. At the same time, however, we must remember that a work of this kind is subject to a twofold standard: first and indispensable, the sculptural, is the form animate and beautiful; then, are the life and action appropriate to the idea? The first is alone absolutely unequivocal. The second, on the other hand, is largely relative; for unless the sculptor has carried out the idea in so masterly a fas.h.i.+on that we can think of no other possibility--as Phidias is said to have done with his statue of Zeus--there must always be something arbitrary about any particular representation. This arbitrary element is increased in symbolic sculpture. You can perhaps depict an actual or fict.i.tious human situation by means of sculptured bodies and make your image seem inevitable; but how can you make bodies the vehicles of abstractions?

Moreover, sculpture is a realistic art; it presents us with the semblance of living forms, and if these forms are monstrous or are shown accomplis.h.i.+ng impossible things, they cannot escape a certain aspect of the ridiculous. I have in mind Rodin's "Man and His Thought."

If the man were only represented fas.h.i.+oning the figure with his hands, his hands guided by his thought; but the hands are inactive, and the figure grows by thought alone! Or consider "The Hand of G.o.d" by the same artist. To say that we are in the hands of G.o.d is a good metaphorical way of expressing our dependence upon the Destiny that shapes our ends; but it is another thing to exhibit us as actually enfolded by a hand.

The more sensitive we are to the beauty of the body and of the mind, so far as manifest through the body, the better content we shall be with normal sculpture and the less urgently we shall demand symbolism.

Of course all statues may become symbolic, as all works of art may, in the sense of possessing a universal meaning won by generalizing their individual significance. Symbolic in this legitimate way were the statues of the Greek G.o.ds; thus Aphrodite, who was lovely, became Love, and Athena, who was wise, became Wisdom. But there is nothing arbitrary in such symbolism.

CHAPTER XIII

BEAUTY IN THE INDUSTRIAL ARTS: ARCHITECTURE

In the arts which we have studied so far, beauty has been the sole or chief end; in the industrial arts, beauty can be only a part of their total meaning. No matter how much of an artist a builder or a potter may be, he is necessarily controlled by the practical needs which houses and pots subserve. This was the original condition of all artists; for "in the beginning," before life's various aims were distinguished and pursued in isolation, the beautiful was always married to some other interest. Our method of study has, therefore, reversed the temporal order; but with intent, for we believe that the nature of a thing is better revealed in its final than in its rudimentary form. To complete our survey of the arts, we must, however, give some consideration to those works in which the unity of the useful and the beautiful is still preserved; and as an example we have chosen architecture, the most magnificent of them all.

First, we must clear up what might seem to be an inconsistency in our thinking. In our definition of art we insisted upon the freedom of beauty and the contrast between the aesthetic and the practical att.i.tudes, yet now we are admitting that some things may be at once useful and beautiful. It would seem as if we must either modify our definition of art or else deny beauty to such objects as bridges and buildings. But we cannot do the latter, for the beauty of Brooklyn bridge or Notre Dame in Paris is a matter of direct feeling, which no theory can disestablish. And it is impossible to solve the problem by supposing that in the industrial arts beauty and utility are extraneous to each other, two separable aspects, which have no intimate connection.

For the fact that a bridge spans a river or that a church is a place of wors.h.i.+p is an element in its beauty. The aesthetic meaning of the object depends upon the practical meaning. You cannot reduce the beauty of a bridge or a cathedral to such factors as mere size and fine proportions, without relation to function. No preconceived idea of the purity of beauty can undermine our intuition of the beauty of utility.

Yet the dependence of beauty upon utility in the industrial arts is not at variance with the freedom from practical att.i.tudes which we have claimed for it. For the beauty is still in the realm of perception, of contemplation, not of use. It is a pleasure in seeing how the purpose is expressed in the form and material of the object, not a pleasure in the possession of the object or an enjoyment of its benefits. I may take pleasure in the vision of purpose well embodied in an object which another man possesses, and my admiration will be as disinterested as my appreciation of a statue. And even if I do make use of the object, I may still get an aesthetic experience out of it, whenever I pause and survey it, delighting in it as an adequate expression of its purpose and my own joy in using it. Then beauty supervenes upon mere utility, and a value for contemplation grows out of and, for the moment, supplants a value in use. I now take delight in the perception of an object when formerly I took delight only in its use; I now enjoy the expression of purpose for its present perceived perfection, when once I enjoyed it only for its ulterior results. Such intervals of restful contemplation interrupt the activity of every thoughtful maker or user of tools. Thus the practical life may enter into the aesthetic, and that which grows out of exigence may develop into freedom.

There is one more objection which may be urged against the aesthetic character of the expression of practical purpose, namely, that the appreciation of it is an affair of intellect, not of feeling. This would indeed be fatal if it were necessarily true; but all men who love their work know that they put into admiration for their tools as much of warm emotion as of mind. There remains, however, the genuine difficulty of communicating this emotional perception of useful objects, of making it universal. It must be admitted that the att.i.tude of the average beholder towards a useful object is usually practical, not contemplative, or else purely intellectual, an effort to understand its structure, with the idea of eventual use. Most works of industrial art produce no aesthetic experience whatever. But to be a genuine and complete work of fine art, an object must be so made that it will immediately impel the spectator to regard it aesthetically.

From what we have already established, we know how this requirement can be met: by elaborating the outer aspects of the object in the direction of pleasure and expression. By this means the beauty of mere appearance will strike and occupy the mind, inducing the aesthetic att.i.tude towards the outside, from which it may then spread and embrace the inner, purposive meaning. The obviously disinterested and warmly emotional admiration of the shape will prevent the admiration for the purposive adaptation from being cold and abstract. Hence, although from the point of view of utility the beauty of mere appearance may seem to be a superfluity, it is almost indispensable from an aesthetic point of view, since it raises the appreciation of the purpose to the aesthetic plane. And we can understand how enthusiastic workmen, whose admiration for their work is already aesthetic, must necessarily desire to consecrate and communicate this feeling by beautifying the appearance of their products; how inevitably, through the ages, they have made things not only as perfect as they could, but as charming.

When developed for the ends of the aesthetic life, the useful object exhibits, therefore, two levels of beauty: first, that of appearance, of form and sensation, line and shape and color; and second, that of purpose spoken in the form. The first is of the vague and immediate character so well known to us; the second is more definite and less direct, since it depends upon the interpretation of the object in terms of its function. The relation between the two is like that which obtains, in a painting, between color and line, on the one hand, and representation, on the other. When the first level of beauty is richly developed on its own account, it becomes ornament. In a Greek vase, for example, there is a beauty of symmetrical, well-proportioned shape, delicate coloring of surface, and decorative painting, which might be felt by people who knew nothing of its use; and, in addition, for those who have this knowledge, a beauty in the fine balance of parts in the adjustment of clay to its final cause. These factors, which we have distinguished by a.n.a.lysis, should, however, be felt as one in the aesthetic intuition of the object; the form, although beautiful in itself, should reveal the function, and the decoration, no matter how charming, should be appropriate and subordinate. Otherwise, as indeed so often happens, the beauty of one aspect may completely dominate the others; when the object either remains a pretty ornament perhaps, but is functionally dead; or else, if it keep this life, loses its unity in a rivalry of beautiful aspects.

All these points are strikingly ill.u.s.trated in architecture. The architects claim that their art is a liberal one aiming at beauty, yet most buildings to-day are objects of practical interest alone. Their doors are merely for entrance, their windows for admission of light, their walls for inclosure. Few people, as they hurry in or out of an office building or a railway station, stay to contemplate the majesty of the height or the elegance of the facade; they transact their business, buy their tickets, check their luggage, and go. Even when the building has some claim to beauty, the mood of commercial life stifles observation; or, if the building is observed, there is no strong emotion or vivid play of imagination, no permanent impression of beauty lingering in the memory, no enrichment of the inner life, such as a musical air or a poem affords, but only a transient and fruitless recognition. For this reason many have thought that buildings must become useless, as castles and ruined temples are, in order to be beautiful. Yet, in proportion as this is true, it involves a failure on the part of architecture, a failure to make the useful a part of the beautiful. A building, which was designed to be a habitation of man, when taken apart from the life which it was meant to shelter and sustain, is an abstraction or a vain ornament at best. If the company which peopled it are gone, it can win significance only if we re-create them in the imagination, moving in the halls or wors.h.i.+ping at the altars. We cannot get rid of the practical for the sake of the aesthetic, but must take up the practical into the aesthetic. For this reason architecture has achieved its greatest successes where its uses have been most largely and freely emotional, most closely akin to the brooding spirit of beauty--in religious buildings.

Most buildings, it must be admitted, are not beautiful at all. In order to be beautiful, they should be alive, and alive all over, as a piece of sculpture is alive; there should be no unresponsive surfaces or details; but most of our buildings are dead--dead walls, dead lines, oblong boxes, neat and commodious, but dead. The practical problems which the architect has to solve are so complex and difficult, and the materials which he uses are so refractory, that there is inevitably a sacrifice of the beauty of appearance to utility. The very size of a building makes it aesthetically unmanageable all over. Here the lesser industrial arts, like the goldsmith's, have an advantage in the superior control which the workman can exert over his materials; his work is that of a single mind and hand; it does not require, as architecture does, the cooperation of a crowd of unfeeling artisans. In architecture, mechanical necessities and forms threaten to supplant aesthetic principles and shapes. The heavy square blocks, the rectangular lines, seem the ant.i.thesis of life and beauty. "All warmth, all movement, all love is round, or at least oval.... Only the cold, immovable, indifferent, and hateful is straight and square.... Life is round, and death is angular." [Footnote: Ellen Key, _The Few and the Many_, translated from a quotation in Max Dessoir, _Aesthetik und Allgemeine Kunstwissenschaft_, page 396.] What vividness of imagination or sentiment can trans.m.u.te these dead and hollow ma.s.ses into a life universally felt?

And yet, in a series of works of art among the most magnificent that man possesses, this miracle was achieved. The Greek temples and Gothic cathedrals are so much alive that they seem not to have been made with hands, but to have grown. The straight lines have been modified into delicate curves, the angles have given place to arches, the stiff and mathematical have been molten into movement and surprise, the heaviness has been so nicely balanced or overcome that it has been changed into lightness, with the help of human and animal sculpture and floral carving the inorganic has been transformed into the organic, by means of painting and stained gla.s.s even the dull surfaces of walls and windows have been made to glow into life. Artists wrought each portion and detail, and built the whole for the glory of G.o.d and the city, a monument for quiet contemplation, not a mere article to be used. With few exceptions, any architectural beauty that we create is but a feeble echo of theirs. Some day we may be able to produce something worthy to be placed by its side, but only when we have sanctified our life with communal aims. The aesthetic effect of a building depends upon many factors, of which only a few can be a.n.a.lyzed by us in this short chapter. If we abstract from its relation to purpose, architecture is fundamentally an art of spatial form. Working freely with it, under the sole limitation of function, the architect can make of this form a complex, various, and beautiful language intelligible to all men, and possessed of a systematic, yet fluent logic. Of this language the simplest element is line. At first view, as we approach a building from the outside, its beauty, as in the case of sculpture, is essentially pictorial. For, although a building is a three-dimensional solid in reality, each view of it is a two-dimensional surface, bounded by lines and divided and diversified within by other lines. Now these lines have their life and beauty like the lines of a picture. How they get this life and what its specific quality is in the case of particular lines, we need not explain again; but no one can fail to feel the upward movement of the vertical lines of the Gothic style, the repose of the horizontal lines of the Renaissance style, the playful grace of the Rococo. Naturally, since the front of a building, where one enters, is the most important and the most constantly in view, its pictorial beauty is elaborated with especial care by the architect.

This is the justification of the overshadowing preeminence of the facade in Renaissance palaces, which indeed was oftentimes the only visible part of the outside of the building. When, however, the building is perspicuous all round, it should, like a statue, present a beautiful view from every standpoint.

In architecture, as in painting, the visual elements are adapted to one or the other of the two chief ways of seeing. Either the surfaces are seen as wholes primarily and the details in subordination; or else the parts stand out clear and distinct, and the whole is their summation. The former is always the case when the surfaces are left plain with few divisions, or, if the surfaces are divided, when the lines intersect and intermingle, as is exemplified in late Renaissance or Baroque work, where the walls are covered with lavish ornament, the enframement of windows is broken by moldings and sculpture which carry into the surrounding s.p.a.ces, and where, instead of embracing one story, the "orders" comprise the entire height of the building. The second possibility is well ill.u.s.trated by the early cla.s.sical Renaissance, where the surface of each story, sharply separated from the others by the line of the frieze, is divided regularly by arches or columns, each window clearly enframed, and every sculptured ornament provided with a niche.

There is, however, this fundamental difference between architectural and pictorial lines: the latter are usually pure kinematical lines, lines of free and un-resisted movement, while the former are usually dynamical, lines of force which move against the resistance of ma.s.s.

In a picture objects are volatilized into light and have lost all weight; but in architecture, since they are present in reality and not in mere semblance, their weight is retained. A Greek column, for example, not only moves upward, but also against the superinc.u.mbent load of the entablature which it carries. The difference between the two arts can be appreciated by comparing the picture of a building with the building itself; in the former, despite the fact that we know how heavy the dome or pediment is, and how strong therefore the piers or columns that support it, we hardly feel them as heavy or strong at all--the forces and ma.s.ses have been transformed into abstract lines and shapes. Sometimes, however, architectural lines and surfaces remain purely kinematical; on the inside of our rooms, for example, when the surfaces are smooth, and especially when they are decorated, we often feel no tension of conflicting forces, but only a quiet play of movements; it is as if the walls had been changed into the paper or paint that covers them. The vividness of the expression of mechanical forces in architecture depends, moreover, upon the kind of materials employed; it is greater in marble than in wood, and less in our modern constructions of steel and gla.s.s, where the piers move in single vertical lines from the bottom to the top of the building, than in the old forms, where the upper part of the building is frankly carried by the lower.

The mere expression of mechanical forces in a building would not, however, be aesthetic by itself, no matter how obvious to the mind.

We must not only know these forces to be there, we must also feel them as there; we must appreciate them in terms of our own experiences in supporting weights and overcoming resistances. We must transform the mechanical into the vital, the material into the human. Art is an expression of life, not of mathematics. And this translation is not the result of an unusual, artificial att.i.tude a.s.sumed for the sake of aesthetic appreciation; it is the natural mode of apperceiving force and ma.s.s. We cannot see a column supporting an entablature without feeling that it stands firm to bear the weight, much as we should stand if we were in its place. If this is a "pathetic fallacy," it is one which we all inevitably commit. Even the skeptic, if he were to examine carefully into his own mind, would find that he commits it, whenever he gives to the column, not a casual or merely calculating regard, but a free and earnest attention. If he gives his mind to the column and lets the column take hold of his mind, allowing his psychological mechanism to work unhampered, he will commit it. The aesthetic intuition of force--the human way of appreciating it--is, in fact, primary; the purely mechanical and mathematical is an abstraction, superimposed for practical and scientific purposes.

The interplay of humanized mechanical energies, of which architecture is the expression, may be conceived as the resultant of four chief forces, acting each in a definite direction: upward, downward, outward, and inward. The downward force is a.s.sociated with the weight of the materials of which the building is constructed. To all physical objects we ascribe a tendency toward the earth. An unsupported weight will fall, and even when supported will exert a pressure downward. And this tendency is no mere directed force in the physical sense, but an impulse, in the personal sense. For when with hand or shoulder we support a weight, we inevitably interpret it in terms of our own voluntary muscular exertion in resisting it; even as we strive to resist it, so it seems to strive to fall. Although this force is exerted downward, it shows itself in the horizontal lines of a building, in string courses, parapets, cornices, friezes; for the horizontal is the line parallel to the earth, toward which the force is directed, and along which we lie when we rest.[Footnote: Compare the discussion of Lipps, _Aesthetik_, Bd. 1, Dritter Abschnitt, although I am far from accepting all of his a.n.a.lyses.]

Opposed to the downward force is the upward force. If an object does not fall, it must be supported by a force in the upward direction; the hand must exert a force perpendicular to the ma.s.s which it carries; the body must hold itself erect in order to bear its own weight. Just so, an architectural member, if it is not to collapse, must raise itself upward. Upward forces are revealed by the vertical lines of a building--the prevailing lines of columns, piers, shafts, pinnacles, towers, spires. We interpret vertical lines as moving upward, partly because the eye moves upward in scanning them, partly because we ourselves move in lines of this general direction in going from the bottom to the top of a building. Even when we are at the top of a building we apprehend its vertical lines as rising rather than as descending, because we ourselves had to rise in order to get there.

Converging lines, as of towers and spires, we also interpret in the same way as going to the point of meeting above.

Acting in conjunction with the downward force is an outward one. The lower parts of a construction tend to spread out as they give way under the weight of the superinc.u.mbent ma.s.ses; if they are very much broader than the latter, they give the impression of great weight carried. As a result, a horizontal line is introduced, and the longer it is in comparison with the vertical line of height, the heavier the effect.

Compare, for example, the impression made by a tall and thin triangular shape, with a low and broad one; and compare also the relative lengths of the horizontal and the vertical lines. The former shape seems simply to rise, while the latter lifts. We seem to observe the working of this outward force, as Lipps has remarked, in the spreading out of the trunks of trees at the base and in the feet of animals; and we feel it in ourselves whenever we spread our limbs apart to brace ourselves to withstand a load.

Whenever the outward force is resisted, it gives evidence of the existence of a force operating in the opposed direction--inward. Without this force, the lower parts of a construction would lack all solidity and spread like a molten ma.s.s on the ground. This is especially striking where the material, instead of spreading outward and downward, seems to press itself inward and upward. Compare, for example, a shape whose base-line is smaller than the line of its top with one in which the reverse holds true. The former gives the impression of lightness and agility, with a prevailing upward trend, the other an impression of weight and heaviness, with a prevailing trend towards the ground.

Obviously, the outward and the inward forces are correlative and complementary: we have already observed that a construction would collapse without the inward; we can now see that it would disappear entirely without the outward. Obviously, also, the inward and upward go together, and the downward and outward.

Even a plain rectangular wall manifests the interplay of these forces.

The horizontal dimension represents the downward and outward force of the weight; the vertical dimension, the upward forces, which prevent the wall from collapsing in itself and hold it upright; while the lateral boundaries give evidence of the inward tension that keeps the ma.s.s together. But the most beautiful expressions of architectural forces are to be found in the historical styles. In each style there is a characteristic relations.h.i.+p between the forces, imparting a distinctive feeling. I shall offer a brief a.n.a.lysis of some of these.

Many have recognized that the cla.s.sical Greek construction, as ill.u.s.trated in the Doric temple, expresses a fine equilibrium between the upward and the downward forces, embodied in the vertical and horizontal lines respectively. The upward force is manifest primarily in the vertical columns, and is emphasized there by the flutings, the slight progressive narrowing toward the top, and the inward effort of the necking just below the echinus. The downward force is embodied in the horizontal lines of the lintel, architrave, cornice, and in the hanging mutules and gutta. The two forces come to rest in the abaci, which, as the crowning members of the columns, directly carry the weight of the entire entablature. The equilibrium between the horizontal and the vertical tendencies is, however, not a static but a moving one; for the two opposing forces are present in every part of the building from the stylobate to the ridge of the triangular pediment.

The downward force is already manifest in the widened base of the column, where it works in conjunction with the inward tendency, and shows its effect at the critical points at the top of the supporting column--in the spreading echinus with its horizontal bands beneath and in the horizontal lines of the abaci. The upward force, on the other hand, is continued right through the solid ma.s.s of the entablature, in the vertical lines of the triglyphs, in the antefixes, and even to the very apex of the building, where the ascending lines of the triangular pediment meet. The resulting total effect is that of a perfect, yet swaying balance.

The aesthetic effect derived from the interplay of forces in the Ionic form is similar to that in the Doric, only more delicate and elastic.

The slender columns, being less rugged and resistant than the Doric, seem to transmit the weight supported, which shows itself, therefore, in the outward spreading molded base; but this apparent lack of strength in the column is compensated for by the elastic energy in the coiled spring of the volutes, upon which, with the slight mediation of a narrow band, the entablature rests. Here most of the upward energy of the Ionic form is concentrated; for although the dentils of the frieze perform the function of the triglyphs, they are too small to do it effectively; the style lacks, therefore, the gentle harmonizing of forces all over, characteristic of the Doric, and evinces instead a clean-cut elastic tension at a given point. This effect is, however, somewhat softened by the breaking up of the downward force of weight by means of the recessed divisions of the architrave. In the Corinthian capital, which has the same general feeling as the Ionic, the elastic tension is still further diminished through the renewed emphasis on the mediating abacus, the reduction of the size of the volutes, and the overhanging floral carvings. However, by reason of the strength given by the bell and the projecting outward and upward curving form of the abacus, the suggestion of weakness in the Corinthian form is overcome, but the gentleness remains.

If the Greek construction expresses a balance between the upward and downward forces, the arched forms that followed express the victory of the upward. In the arch the upward force, instead of being arrested where the support meets the ma.s.s to be carried, is continued throughout the ma.s.s itself. Of the two chief types of arches, the round and the pointed, each has a specific feeling. We shall study the round form first, where the vertical tendency is indeed victorious, but only through reconciliation and compromise.

In the round arch all four forces are beautifully expressed. The upward is manifest, first, in the vertical pier, which acts very much as the column does, and, in Roman work, was often replaced by the column. The opposing downward force is expressed in the horizontal upper bound of the arch and in the line of the impost, also horizontal, which breaks the vertical line and so marks the place where the two forces come into sharpest conflict. In this conflict, the vertical is victorious; for, instead of being stopped by the impost, it is carried up throughout the entire construction by means of the upward and inward curving of the arch. The very curve of the arch shows, however, that the victory is not absolute; for its circular form is obviously determined as a compromise between an inward centripetal force, moving upward and diminis.h.i.+ng the breadth of the arch to a mere point at its apex, and an outward centrifugal force, gradually spreading the arch downward until it reaches its greatest breadth at the impost, where it is arrested by the opposing vertical force in the pier. To the historical imagination, the round arch seems, therefore, to express the genial cla.s.sical idea of a control by the higher nature which nevertheless did no violence to the demands of the lower. In the spherical dome the effect is the same, only the interplay of forces operates in three dimensions instead of two.

When arches are superposed, the upward movement proceeds in stages, beginning anew at each horizontal division of the wall s.p.a.ce. The use of entablatures applied to the wall and of engaged columns, common in Roman work, seems to involve an attempt at a fusion of two contradictory styles, and is usually condemned as such. This contradiction can be solved, however, by viewing the entablatures as mere weightless lines of division of the wall, usually marking off the different stories, and by viewing the columns in a similar fas.h.i.+on as having no supporting function--which is actually the case--and as simply serving the purpose of framing the arches. At most they merely indicate the direction of the chief contending forces,--the parallel lintels signalizing the force of weight, and the vertical columns, standing one upon the other, pointing the movement of the upward force. They have, therefore, a pictorial rather than a dynamic significance.

Differences of feeling in arched forms depend upon the relative height of arches and supporting piers and columns. The vertical effect is strongly emphasized when the latter are relatively high, while the effect of weight is increased in flattened arches, which for this reason are especially appropriate for crypts and prison entrances.

Interesting complications are introduced in arcades or intersecting vaults, where a single column serves as a support for two or more arches; for there the vertical force is divided, flowing in different directions in the little triangular piece of wall between, or along the ribs of the vaults. Something similar occurs in the Byzantine dome on pendentives, only instead of supporting the horizontal weight of a gallery or a vault, the triangular pendentives meet the outward thrust of a superposed dome.

In Renaissance architecture and the modern cla.s.sical revivals, where Greek and Roman styles are freely adapted to novel modes of life and purpose, no essentially new form was added to architectural speech.

There were combinations of old forms into more complex structures, but no new important elements. The most outstanding novelty is perhaps the reversed relation between the whole and the parts. [Footnote: See P.

Frankl, _Die Entwicklungsphasen der neueren Baukunst_, 1914.] In the cla.s.sic styles, whether arched or Greek, the whole is built up of the parts additively; each is a relatively independent center of energy complete in itself; first the columns, then the architrave, frieze, and cornice, then the pediment; or first one row of arches, then another row on top of this, and so on. Coordination is the governing principle.

But in the modern adaptations, even where coordination rather than subordination rules in the pictorial sphere, the whole is first dynamically and the parts are secondary. In the typical Renaissance facade, for example, the arches of the windows are rather openings in the walls than supporting members. They are centers of little eddies of force, rather than independent parts of the main determining stream of energy. The wall rises as a whole to its heavy overhanging cornice, despite the horizontal divisions marking the stories. There are, however, important differences between the various modern types; the earlier Renaissance forms, for example, keeping closer to the antique than the later Baroque and Rococo.

The complete triumph of the vertical tendency, foreshadowed in the Roman, was proclaimed in Gothic architecture in the use of the pointed arch. For in the round arch the vertical has not conquered after all; the horizontal is still active there, even to the apex of the arch, where the tangential line is parallel to the earth, the line of weight.

But in the pointed style the victory of the vertical is clearly decisive,--the upward and inward forces, by elongating and narrowing the curve of the arch to a point, have dominated the downward and outward. The great height of the piers, the gabled roofs, the ribs of the vaults the pointed form of the windows, the towers, spires, and pinnacles,--all proclaim it. Yet this victory does not occur without opposition; for the higher the vaulting, the greater the weight to be carried; the greater, therefore, the outward thrust, which had to find its expression and its stay in the b.u.t.tress. But even the b.u.t.tress, although it bears witness to the outward and horizontal force of weight, was nevertheless so fas.h.i.+oned with its gable and pinnacle, or its own arched form, as to aid the upward movement. The thinness of walls and part.i.tions, and the piercing of these with arches and windows, by lightening the force of weight, also contributed to increase the vertical movement. At sight of a true Gothic cathedral, we feel ourselves fairly lifted off the ground and rushed upward.

In thinking of the beauty of architecture, we are all too apt to consider the exterior exclusively, forgetting that the inside of a building, where we live, is even more important practically, and is capable of at least as great an aesthetic effect.

The characteristic aesthetic effect of the interior is a function of the inclosed s.p.a.ce, the volume, not of the inclosing walls taken singly.

The walls are only the limits of this s.p.a.ce, they are not the s.p.a.ce itself. Of course, the walls within have their own beauty, of surface and pervading energy, but this does not differ markedly from that of the walls seen from the outside, and what we have established for the one holds for the other. But the beauty of the inclosed s.p.a.ce is something entirely new.

In itself, however, mere volume of s.p.a.ce is no more aesthetic than mere bounding line or surface; in order to become beautiful, it must become alive. But how can s.p.a.ce--the most abstract thing in the world--become alive? By having the activities which it incloses felt into it. Just as our bodies are felt to be alive because our activities express themselves there, so our rooms, because we live and move within them. As we enter a cathedral and look down the long aisle, the movement of our eyes inevitably suggests the movement of our bodies; or, as we look up and our eyes follow the ribs of the vaulting, it is as if we ourselves were borne aloft; in the imagination we move through the open s.p.a.ces; and since we do not actually move, we locate our impulses to movement, not in our bodies, but in the s.p.a.ce through which we take our imagined flight. Every object suggests movement to it, and we fill the intervening s.p.a.ce with this imagined movement, provided only we stay our activities and give time for the imagination to work its will.

Thus all s.p.a.ce may become alive with the possibilities of movement which it offers.

The aesthetic effects of volume vary chiefly according to size and shape. In order to be appreciated, these effects must in general be somewhat striking; otherwise they pa.s.s unnoticed, and we simply take the interiors of our buildings as matters of course.

It is a curious fact that an impression of vastness can be secured by inclosing a relatively small s.p.a.ce. A square, like the Place de la Concorde, or even the inside of a cathedral, produces a feeling of size almost, if not quite, as great as an open prairie or sea. The reason, I suppose, is that an inclosed s.p.a.ce offers definite points as stimuli and goals for suggested movements. As we imaginatively reach out and touch these points, we seem to encompa.s.s their distance; and the volume of our own bodies seems to be magnified accordingly. The boundaries of the s.p.a.ce become a second and greater integument. This is of decisive importance; for the aesthetic appreciation of size is relative to an appreciation of the size of our own bodies; in nature itself there is nothing either large or small. Along with the sense of vastness goes a sense of freedom; the one is the aesthetic experience resulting from the imaginative reaching of the goal of a movement, the other is the feeling of the imagined movement itself.