(α) The first point we have to emphasize is the importance of ornament generally for Gothic architecture. Classical architecture preserves as a rule a wise mean in the adornment of its constructions. Inasmuch as, however, it is the main interest of Gothic architecture to make the masses which it places in position appear larger and considerably more lofty than they in fact are it is not satisfied with plain surfaces, but subdivides the same throughout; and, moreover, breaks them up with forms which themselves suggest on their part a striving upwards. Piers, pointed arches, and triangles, which rise above them with their pinnacles, occur, too, as decorative work. In this way we find that the simple unity of the great masses is impaired, and the elaboration is carried to the point of every conceivable detail, leaving the entire effect, however, involved in the most flagrant contradiction. On the one hand we cannot fail to observe the most obvious outlines in a clearly defined co-ordination, on the other we have fulness and variety of delicate embellishment impossible to follow with the eye, so that the most motley particularity is directly set up in contrast to what is most universal and simple, just as the soul, in the opposition implied in Christian worship, is deeply engaged in finite things, and indeed carries its life into the mere detail and the trifle. This very opposition acts as a stimulus to contemplation, this striving up invites to a like action. For what is of paramount importance in this style of decoration is this that it do not, by the mass and alternation of its ornament, destroy or cover up the fundamental outlines, but rather suffer them completely to make their way through such variety as the essential feature of importance. Only when it can do this, and I speak in particular of Gothic buildings, is the solemnity of their imposing seriousness kept intact. Just as religious devotion has to permeate all particular experiences of soul-life, the life-conditions of every type of humanity, has further to engrave indelibly on the heart its universal and incommutable ideas, so in the same way the simple and fundamental architectural features should have strength sufficient to recall the most varied articulation, diversity and embellishment of the structure once more within the fundamental impression of those outlines and wholly thus absorb them.
(β) A further aspect in decorative work is bound up in the same way with the romantic type of art in general. The romantic has on the one hand for its principle Ideality, the return of the Ideal to itself. On the other the Ideal has to re-appear in that which is external, and then withdraw itself into itself from the same. In architecture it is the sensuous, material mass in relations of Space, in which the most Ideal essence itself is, so far as that is possible, to be presented in visible shape. With a material such as this to deal with there is no other alternative possible than that of not suffering this material to assert itself with power in its materiality, but to break up and dismember its masses in every direction, and to wrest from the same the appearance of its immediate coherence and self-subsistency. In this connection the ornamentation, more particularly that of the exterior, which has not to display the fact of enclosure as such, assumes the character of a net-work[108] carried in every direction, or rather interwoven over the surfaces; and we have no example of an architecture which, taking into account the enormous and heavily weighted masses of its stone and their secure coherence, nevertheless has preserved to such a complete extent the character of lightness and delicacy.
(γ) We have only further and thirdly to remark with reference to such embellishments that in addition to pointed arches, piers, and circles, the forms once more call to mind those of the real organic world. The fretwork and working out of the mass already carries a suggestion of this. Regarded in more detail, however, we actually find leaves, rosettes of flowers, and, in entwining work of an arabesque character, human figures and those of animals partly realistically and partly fantastically linked together; the romantic imagination, in short, even in architecture, displays its wealth of imaginative creation, and its power to unite in unexpected ways heterogeneous elements, although from another point of view, at any rate during the period of the purest type of Gothic architecture, even in the matter of ornament, as, for example, in the pointed arches of the windows, we may observe a decisive return to simple forms.
3. DIFFERENT TYPES OF BUILDING IN ROMANTIC ARCHITECTURE
The last point on which I have a few observations to make is that of the principal types followed by romantic architecture in its course of development at different periods. I must, however, add the premise that in this work no attempt can be made to supply a history of this branch of the art.
(a) We must wholly distinguish from Gothic architecture, such as I have above described it, the so-called pre-Gothic, whose development originated in Roman architecture. The most ancient form of Christian churches is that of the basilica. These originated out of the public buildings of the Empire, huge oblong halls, with the frame-work of their roofing of wood, such as Constantine placed at the disposal of Christians. In buildings such as these there was a tribune, on which, during congregational religious services conducted by priests, there was singing and an address delivered, or merely reading aloud. The conception of the choir may have originated with this. In the same way Christian architecture accepted other of its forms such as the use of columns with circular arches, the rotunda and the modes of classical embellishment throughout, more particularly in the western Roman Empire, while in the eastern section it appears to have remained constant to this type until the time of Justinian. Even buildings erected by the Ostrogoths and Lombards in Italy retained essentially the fundamental Roman type. In the more recent architecture, however, of the Byzantine Empire several modifications made their appearance. A rotunda supported on four great piers forms the centre, to which different constructions were attached to meet the particular objects of Greek as distinct from the Roman ritual. We must not, however, confuse this genuine architecture of the Byzantine Empire with that which, in its general relation to architectural types, goes by the name of Byzantine, and which was employed in Italy, France, England, Germany, and other places up to the close of the twelfth century.
(b) In the thirteenth century was evolved the Gothic architecture in the distinctive form whose main characteristics I have above described in detail. It is nowadays denied that it is the work of Gothic architects, and the name given it is that of Deutsch or German architecture. We may, however, retain the more customary and ancient nomenclature. In other words we find in Spain very ancient indications of this type of construction, which suggest an association with historical circumstances under which Gothic kings, forced back into the mountains of Asturia and Galicia, retained their independence in such localities. Under such conditions, no doubt, a close affiliation of Gothic and Arab architecture appears probable, yet both may be essentially distinguished. For the characteristic trait of Arab architecture in the Middle Ages is not the pointed arch, but the so-called horseshoe form. Moreover, these buildings, which are constructed for an entirely different ritual, exhibit an Oriental wealth and splendour, embellishments resembling plant-life and other forms of decoration, which, in an external form, mix together what is of Roman ancestry and that which belongs to the Middle Ages.
(c) On parallel lines with this evolution of religious architecture we find, too, the course of civil construction, which from its particular point of view imitates and modifies the character of ecclesiastical buildings. In an architecture directed to the uses of citizen life, however, art has less opportunity for display inasmuch as here objects of more restricted character, combined with a great variety of requirements, are more strict in the range of satisfaction presented, and do not suffer beauty to pass beyond mere decoration. Except for the general harmonious disposition of its forms and masses, art is in the main merely able to assert itself in the embellishment of façades, staircases, windows, doors, gables, towers, and the like, and has to do this throughout subject to the condition that the practical purpose of the building is what finally determines everything. In the Middle Ages it is pre-eminently the tower-like form of secure dwellings, which is the fundamental type of structure not merely for particular declivities and summits but also within the towns, where every palace, every private dwelling, as in Italy for example, received the form of a small fortification or keep. Walls, doors, towers, bridges and the like are executed as necessity dictates, and are decorated and embellished by art. Stability and security coupled with a grandiose type of splendour and a vital individuality of single forms and their connecting links constitute the determining factors, to enter into the detail of which would carry us beyond our present purpose. By way of supplement we may in conclusion briefly allude to the art of gardening, which does not only create under a wholly novel form an environment for spirit, we may call it a second exterior Nature, but draws the landscape of Nature itself within the operation of its constructive purpose and treats the same architectonically as an environment of buildings. I will only take as an example of what I mean the famous and exceedingly imposing terrace of Sans-souci.
In our examination of the genuine art of gardening it is most important to distinguish the painter's point of view of it from that of the architect. All that pertains to mere park construction, for instance, is not truly architectonic, no building, that is, with freely disposed natural objects, but an artist's portrayal[109], which leaves the objects in their natural form and aims at imitating wide Nature in its freedom. Everything is here suggested in turn, which finds its glad place in a landscape—whether rocks and the huge rough masses which are their substance, or dales, woods, pastures, meandering brooks, broad streams with their animated banks, still lakes, wreathed round with trees, rushing waterfalls, and everything else of the kind, and is brought together with one total effect. In this way the gardening art of the Chinese embraces entire landscapes together with their islands, rivers, expanding views, and rockeries.