SECTION XXXIV. I shall describe the bearing capitals hereafter, in their order, with the others of the arcade; for the first point to which the reader's attention ought to be directed is the choice of subject in the great figure sculptures above them. These, observe, are the very corner stones of the edifice, and in them we may expect to find the most important evidences of the feeling, as well as the skill, of the builder. If he has anything to say to us of the purpose with which he built the palace, it is sure to be said here; if there was any lesson which he wished principally to teach to those for whom he built, here it is sure to be inculcated; if there was any sentiment which they themselves desired to have expressed in the principal edifice of their city, this is the place in which we may be secure of finding it legibly inscribed.
SECTION XXXV. Now the first two angles, of the Vine and Fig-tree, belong to the old, or true Gothic, Palace; the third angle belongs to the Renaissance imitation of it: therefore, at the first two angles, it is the Gothic spirit which is going to speak to us; and, at the third, the Renaissance spirit.
The reader remembers, I trust, that the most characteristic sentiment of all that we traced in the working of the Gothic heart, was the frank confession of its own weakness; and I must anticipate, for a moment, the results of our inquiry in subsequent chapters, so far as to state that the principal element in the Renaissance spirit, is its firm confidence in its own wisdom.
Hear, then, the two spirits speak for themselves.
The first main sculpture of the Gothic Palace is on what I have called the angle of the Fig-tree:
Its subject is the FALL OF MAN.
The second sculpture is on the angle of the Vine:
Its subject is the DRUNKENNESS OF NOAH.
The Renaissance sculpture is on the Judgment angle:
Its subject is the JUDGMENT OF SOLOMON.