I. Among the hours of his life to which the writer looks back with peculiar gratitude, as having been marked by more than ordinary fulness of joy or clearness of teaching, is one passed, now some years ago, near time of sunset, among the broken masses of pine forest which skirt the course of the Ain, above the village of Champagnole, in the Jura. It is a spot which has all the solemnity, with none of the savageness, of the Alps; where there is a sense of a great power beginning to be manifested in the earth, and of a deep and majestic concord in the rise of the long low lines of piny hills; the first utterance of those mighty mountain symphonies, soon to be more loudly lifted and wildly broken along the battlements of the Alps. But their strength is as yet restrained; and the far-reaching ridges of pastoral mountain succeed each other, like the long and sighing swell which moves over quiet waters from some far-off stormy sea. And there is a deep tenderness pervading that vast monotony. The destructive forces and the stern expression of the central ranges are alike withdrawn. No frost-ploughed, dust-encumbered paths of ancient glacier[Pg 168] fret the soft Jura pastures; no splintered heaps of ruin break the fair ranks of her forests; no pale, defiled, or furious rivers rend their rude and changeful ways among her rocks. Patiently, eddy by eddy, the clear green streams wind along their well-known beds; and under the dark quietness of the undisturbed pines, there spring up, year by year, such company of joyful flowers as I know not the like of among all the blessings of the earth. It was Spring time, too; and all were coming forth in clusters crowded for very love; there was room enough for all, but they crushed their leaves into all manner of strange shapes only to be nearer each other. There was the wood anemone, star after star, closing every now and then into nebul?: and there was the oxalis, troop by troop like virginal processions of the Mois de Marie, the dark vertical clefts in the limestone choked up with them as with heavy snow, and touched with ivy on the edges—ivy as light and lovely as the vine; and ever and anon, a blue gush of violets, and cowslip bells in sunny places; and in the more open ground, the vetch, and comfrey, and mezereon, and the small sapphire buds of the Polygala Alpina, and the wild strawberry, just a blossom or two, all showered amidst the golden softness of deep, warm, amber-colored moss. I came out presently on the edge of the ravine; the solemn murmur of its waters rose suddenly from beneath, mixed with the singing of the thrushes among the pine boughs; and, on the opposite side of the valley, walled all along as it was by grey cliffs of limestone, there was a hawk sailing slowly off their brow, touching them nearly with his wings, and with the shadows of the pines flickering upon his plumage from above; but with a fall of a hundred fathoms under his breast, and the curling pools of the green river gliding and glittering dizzily beneath him, their foam globes moving with him as he flew. It would be difficult to conceive a scene less dependent upon any other interest than that of its own secluded and serious beauty; but the writer well remembers the sudden blankness and chill which were cast upon it when he endeavored, in order more strictly to arrive at the sources of its impressiveness, to imagine it, for a moment, a scene in some aboriginal forest of the New Con[Pg 169]tinent. The flowers in an instant lost their light, the river its music15; the hills became oppressively desolate; a heaviness in the boughs of the darkened forest showed how much of their former power had been dependent upon a life which was not theirs, how much of the glory of the imperishable, or continually renewed, creation is reflected from things more precious in their memories than it, in its renewing. Those ever springing flowers and ever flowing streams had been dyed by the deep colors of human endurance, valor, and virtue; and the crests of the sable hills that rose against the evening sky received a deeper worship, because their far shadows fell eastward over the iron wall of Joux and the four-square keep of Granson.  
II. It is as the centralisation and protectress of this sacred influence, that Architecture is to be regarded by us with the most serious thought. We may live without her, and worship without her, but we cannot remember without her. How cold is all history how lifeless all imagery, compared to that which the living nation writes, and the uncorrupted marble bears! how many pages of doubtful record might we not often spare, for a few stones left one upon another! The ambition of the old Babel builders was well directed for this world: there are but two strong conquerors of the forgetfulness of men, Poetry and Architecture; and the latter in some sort includes the former, and is mightier in its reality; it is well to have, not only what men have thought and felt, but what their hands have handled, and their strength wrought, and their eyes beheld, all the days of their life. The age of Homer is surrounded with darkness, his very personality with doubt. Not so that of Pericles: and the day is coming when we shall confess, that we have learned more of Greece out of the crumbled fragments of her sculpture than even from her sweet singers or soldier historians. And if indeed there be any profit in our knowledge of the past, or any joy in the thought of being remembered hereafter, which can give strength to present exertion, or patience to present endurance, there are two duties respecting national architecture whose importance it is impossible to overrate; the first, to render the architecture of the[Pg 170] day historical; and, the second, to preserve, as the most precious of inheritances, that of past ages.
 
III. It is in the first of these two directions that Memory may truly be said to be the Sixth Lamp of Architecture; for it is in becoming memorial or monumental that a true perfection is attained by civil and domestic buildings; and this partly as they are, with such a view, built in a more stable manner, and partly as their decorations are consequently animated by a metaphorical or historical meaning.
 
As regards domestic buildings, there must always be a certain limitation to views of this kind in the power, as well as in the hearts, of men; still I cannot but think it an evil sign of a people when their houses are built to last for one generation only. There is a sanctity in a good man's house which cannot be renewed in every tenement that rises on its ruins: and I believe that good men would generally feel this; and that having spent their lives happily and honorably, they would be grieved at the close of them to think that the place of their earthly abode, which had seen, and seemed almost to sympathise in all their honor, their gladness, or their suffering,—that this, with all the record it bare of them, and all of material things that they had loved and ruled over, and set the stamp of themselves upon—was to be swept away, as soon as there was room made for them in the grave; that no respect was to be shown to it, no affection felt for it, no good to be drawn from it by their children; that though there was a monument in the church, there was no warm monument in the heart and house to them; that all that they ever treasured was despised, and the places that had sheltered and comforted them were dragged down to the dust. I say that a good man would fear this; and that, far more, a good son, a noble descendant, would fear doing it to his father's house. I say that if men lived like men indeed, their houses would be temples—temples which we should hardly dare to injure, and in which it would make us holy to be permitted to live; and there must be a strange dissolution of natural affection, a strange unthankfulness for all that homes have given and parents taught, a strange consciousness that we have been unfaithful to our fathers' honor, or that[Pg 171] our own lives are not such as would make our dwellings sacred to our children, when each man would fain build to himself, and build for the little revolution of his own life only. And I look upon those pitiful concretions of lime and clay which spring up in mildewed forwardness out of the kneaded fields about our capital—upon those thin, tottering, foundationless shells of splintered wood and imitated stone—upon those gloomy rows of formalised minuteness, alike without difference and without fellowship, as solitary as similar—not merely with the careless disgust of an offended eye, not merely with sorrow for a desecrated landscape, but with a painful foreboding that the roots of our national greatness must be deeply cankered when they are thus loosely struck in their native ground; that those comfortless and unhonored dwellings are the signs of a great and spreading spirit of popular discontent; that they mark the time when every man's aim is to be in some more elevated sphere than his natural one, and every man's past life is his habitual scorn; when men build in the hope of leaving the places they have built, and live in the hope of forgetting the years that they have lived; when the comfort, the peace, the religion of home have ceased to be felt; and the crowded tenements of a struggling and restless population differ only from the tents of the Arab or the Gipsy by their less healthy openness to the air of heaven, and less happy choice of their spot of earth; by their sacrifice of liberty without the gain of rest, and of stability without the luxury of change.
 
IV. This is no slight, no consequenceless evil: it is ominous, infectious, and fecund of other fault and misfortune. When men do not love their hearths, nor reverence their thresholds, it is a sign that they have dishonored both, and that they have never acknowledged the true universality of that Christian worship which was indeed to supersede the idolatry, but not the piety, of the pagan. Our God is a household God, as well as a heavenly one; He has an altar in every man's dwelling; let men look to it when they rend it lightly and pour out its ashes. It is not a question of mere ocular delight, it is no question of intellectual pride, or of cultivated and critical fancy, how, and with what aspect of durability[Pg 172] and of completeness, the domestic buildings of a nation shall be raised. It is one of those moral duties, not with more impunity to be neglected because the perception of them depends on a finely toned and balanced conscientiousness, to build our dwellings with care, and patience, and fondness, and diligent completion, and with a view to their duration at least for such a period as, in the ordinary course of national revolutions, might be supposed likely to extend to the entire alteration of the direction of local interests. This at the least; but it would be better if, in every possible instance, men built their own houses on a scale commensurate rather with their condition at the commencement, than their attainments at the termination, of their worldly career; and built them to stand as long as human work at its strongest can be hoped to stand; recording to their children what they have been, and from what, if so it had been permitted them, they had risen. And when houses are thus built, we may have that true domestic architecture, the beginning of all other, which does not disdain to treat with respect and thoughtfulness the small habitation as well as the large, and which invests with the dignity of contented manhood the narrowness of worldly circumstance.
 
V. I look to this spirit of honorable, proud, peaceful self-possession, this abiding wisdom of contented life, as probably one of the chief sources of great intellectual power in all ages, and beyond dispute as the very primal source of the great architecture of old Italy and France. To this day, the interest of their fairest cities depends, not on the isolated richness of palaces, but on the cherished and exquisite decoration of even the smallest tenements of their proud periods. The most elaborate piece of architecture in Venice is a small house at the head of the Grand Canal, consisting of a ground floor with two stories above, three windows in the first, and two in the second. Many of the most exquisite buildings are on the narrower canals, and of no larger dimensions. One of the most interesting pieces of fifteenth century architecture in North Italy, is a small house in a back street, behind the market-place of Vicenza; it bears date 1481, and the motto,[Pg 173] Il. n'est. rose. sans. épine; it has also only a ground floor and two stories, with three windows in each, separated by rich flower-work, and with balconies, supported, the central one by an eagle with open wings, the lateral ones by winged griffins standing on cornucopi?. The idea that a house must be large in order to be well built, is altogether of modern growth, and is parallel with the idea, that no picture can be historical, except of a size admitting figures larger than life.
 
VI. I would have, then, our ordinary dwelling-houses built to last, and built to be lovely; as rich and full of pleasantness as may be, within and without; with what degree of likeness to each other in style and manner, I will say presently, under another head; but, at all events, with such differences as might suit and express each man's character and occupation, and partly his history. This right over the house, I conceive, belongs to its first builder, and is to be respected by his children; and it would be well that blank stones should be left in places, to be inscribed with a summary of his life and of its experience, raising thus the habitation into a kind of monument, and developing, into more systematic instructiveness, that good custom which was of old universal, and which still remains among some of the Swiss and Germans, of acknowledging the grace of God's permission to build and possess a quiet resting-place, in such sweet words as may well close our speaking of these things. I have taken them from the front of a cottage lately built among the green pastures which descend from the village of Grindelwald to the lower glacier:—
 
"Mit herzlichem Vertrauen
Hat Johannes Mooter und Maria Rubi
Dieses Haus bauen lassen.
Der liebe Gott woll uns bewahren
Vor allem Unglück und Gefahren,
Und es in Segen lassen stehn
Auf der Reise durch diese Jammerzeit
Nach dem himmlischen Paradiese,
Wo alle Frommen wohnen,
Da wird Gott sie belohnen
Mit der Friedenskrone
Zu alle Ewigkeit."
 
[Pg 174]
 
VII. In public buildings the historical purpose should be still more definite. It is one of the advantages of Gothic architecture,—I use the word Gothic in the most extended sense as broadly opposed to classical,—that it admits of a richness of record altogether unlimited. Its minute and multitudinous sculptural decorations afford means of expressing, either symbolically or literally, all that need be known of national feeling or achievement. More decoration will, indeed, be usually required than can take so elevated a character; and much, even in the most thoughtful periods, has been left to the freedom of fancy, or suffered to consist of mere repetitions of some national bearing or symbol. It is, however, generally unwise, even in mere surface ornament, to surrender the power and privilege of variety which the spirit of Gothic architecture admits; much more in important features—capitals of columns or bosses, and string-courses, as of course in all confessed bas-reliefs. Better the rudest work that tells a story or records a fact, than the richest without meaning. There should not be a single ornament put upon great civic buildings, without some intellectual intention. Actual representation of history has in modern times been checked by a difficulty, mean indeed, but steadfast: that of unmanageable costume; nevertheless, by a sufficiently bold imaginative treatment, and frank use of symbols, all such obstacles may be vanquished; not perhaps in the degree necessary to produce sculpture in itself satisfactory, but at all events so as to enable it to become a grand and expressive element of architectural composition. Take, for example, the management of the capitals of the ducal palace at Venice. History, as such, was indeed entrusted to the painters of its interior, but every capital of its arcades was filled with meaning. The large one, the corner stone of the whole, next the entrance, was devoted to the symbolisation of Abstract Justice; above it is a sculpture of the Judgment of Solomon, remarkable for a beautiful subjection in its treatment to its decorative purpose. The figures, if the subject had been entirely composed of them, would have awkwardly interrupted the line of the angle, and diminished its apparent strength; and therefore in the midst of them, entirely without[Pg 175] relation to them, and indeed actually between the executioner and interceding mother, there rises the ribbed trunk of a massy tree, which supports and continues the shaft of the angle, and whose leaves above overshadow and enrich the whole. The capital below bears among its leafage a throned figure of Justice, Trajan doing justice to the widow, Aristotle "che die legge," and one or two other subjects now unintelligible from decay. The capitals next in order represent the virtues and vices in succession, as preservative or destructive of national peace and power, concluding with Faith, with the inscription "Fides optima in Deo est." A figure is seen on the opposite side of the capital, worshipping the sun. After these, one or two capitals are fancifully decorated with birds (Plate V.), and then come a series representing, first the various fruits, then the national costumes, and then the animals of the various countries subject to Venetian rule.
 
VIII. Now, not to speak of any more important public building, let us imagine our own India House adorned in this way, by historical or symbolical sculpture: massively built in the first place; then chased with bas-reliefs of our Indian battles, and fretted with carvings of Oriental foliage, or inlaid with Oriental stones; and the more important members of its decoration composed of groups of Indian life and landscape, and prominently expressing the phantasms of Hindoo worship in their subjection to the Cross. Would not one such work be better than a thousand histories? If, however, we have not the invention necessary for such efforts, or if, which is probably one of the most noble excuses we can offer for our deficiency in such matters, we have less pleasure in talking about ourselves, even in marble, than the Continental nations, at least we have no excuse for any want of care in the points which insure the building's endurance. And as this question is one of great interest in its relations to the choice of various modes of decoration, it will be necessary to enter into it at some length.
 
IX. The benevolent regards and purposes of men in masses seldom can be supposed to extend beyond their own generation. They may look to posterity as an audience, may hope for its attention, and labor for its praise: they may trust to[Pg 176] its recognition of unacknowledged merit, and demand its justice for contemporary wrong. But all this is mere selfishness, and does not involve the slightest regard to, or consideration of, the interest of those by whose numbers we would fain swell the circle of our flatterers, and by whose authority we would gladly support our presently disputed claims. The idea of self-denial for the sake of posterity, of practising present economy for the sake of debtors yet unborn, of planting forests that our descendants may live under their shade, or of raising cities for future nations to inhabit, never, I suppose, efficiently takes place among publicly recognised motives of exertion. Yet these are not the less our duties; nor is our part fitly sustained upon the earth, unless the range of our intended and deliberate usefulness include not only the companions, but the successors, of our pilgrimage. God has lent us the earth for our life; it is a great entail. It belongs as much to those who are to come after us, and whose names are already written in the book of creation, as to us; and we have no right, by anything that we do or neglect, to involve them in unnecessary penalties, or deprive them of benefits which it was in our power to bequeath. And this the more, because it is one of the appointed conditions of the labor of men that, in proportion to the time between the seed-sowing and the harvest, is the fulness of the fruit; and that generally, therefore, the farther off we place our aim, and the less we desire to be ourselves the witnesses of what we have labored for, the more wide and rich will be the measure of our success. Men cannot benefit those that are with them as they can benefit those who come after them; and of all the pulpits from which human voice is ever sent forth, there is none from which it reaches so far as from the grave.
 
X. Nor is there, indeed, any present loss, in such respect, for futurity. Every human action gains in honor, in grace, in all true magnificence, by its regard to things that are to come. It is the far sight, the quiet and confident patience, that, above all other attributes, separate man from man, and near him to his Maker; and there is no action nor art, whose majesty we may not measure by this test. Therefore, when we build, let[Pg 177] us think that we build for ever. Let it not be for present delight, nor for present use alone; let it be such work as our descendants will thank us for, and let us think, as we lay stone on stone, that a time is to come when those stones will be held sacred because our hands have touched them, and that men will say as they look upon the labor and wrought substance of them, "See! this our fathers did for us." For, indeed, the greatest glory of a building is not in its stones, or in its gold. Its glory is in its Age, and in that deep sense of voicefulness, of stern watching, of mysterious sympathy, nay, even of approval or condemnation, which we feel in walls that have long been washed by the passing waves of humanity. It is in their lasting witness against men, in their quiet contrast with the transitional character of all things, in the strength which, through the lapse of seasons and times, and the decline and birth of dynasties, and the changing of the face of the earth, and of the limits of the sea, maintains its sculptured shapeliness for a time insuperable, connects forgotten and following ages with each other, and half constitutes the identity, as it concentrates the sympathy, of nations; it is in that golden stain of time, that we are to look for the real light, and color, and preciousness of architecture; and it is not until a building has assumed this character, till it has been entrusted with the fame, and hallowed by the deeds of men, till its walls have been witnesses of suffering, and its pillars rise out of the shadows of death, that its existence, more lasting as it is than that of the natural objects of the world around it, can be gifted with even so much as these possess of language and of life.
 
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