The Two Paths. John Ruskin

you so much pleasure even in their isolated application were invented by persons practised in carving men, monsters, wild animals, birds, and flowers, in overwhelming redundance; and then trace this architecture forward in central France, and you will find it loses nothing of its richness—it only gains in truth, and therefore in grace, until just at the moment of transition into the pointed style, you have the consummate type of the sculpture of the school given you in the west front of the Cathedral of Chartres. From that front I have chosen two fragments to illustrate it. [Note: This part of the lecture was illustrated by two drawings, made admirably by Mr. J. T. Laing, with the help of photographs from statues at Chartres. The drawings may be seen at present at the Kensington Museum: but any large photograph of the west front of Chartres will enable the reader to follow what is stated in the lecture, as far as is needful.]

      These statues have been long, and justly, considered as representative of the highest skill of the twelfth or earliest part of the thirteenth century in France; and they indeed possess a dignity and delicate charm, which are for the most part wanting in later works. It is owing partly to real nobleness of feature, but chiefly to the grace, mingled with severity, of the falling lines of excessively thin drapery; as well as to a most studied finish in composition, every part of the ornamentation tenderly harmonizing with the rest. So far as their power over certain tones of religious mind is owing to a palpable degree of non-naturalism in them, I do not praise it—the exaggerated thinness of body and stiffness of attitude are faults; but they are noble faults, and give the statues a strange look of forming part of the very building itself, and sustaining it—not like the Greek caryatid, without effort—nor like the Renaissance caryatid, by painful or impossible effort—but as if all that was silent and stern, and withdrawn apart, and stiffened in chill of heart against the terror of earth, had passed into a shape of eternal marble; and thus the Ghost had given, to bear up the pillars of the church on earth, all the patient and expectant nature that it needed no more in heaven. This is the transcendental view of the meaning of those sculptures. I do not dwell upon it. What I do lean upon is their purely naturalistic and vital power. They are all portraits—unknown, most of them, I believe—but palpably and unmistakeably portraits, if not taken from the actual person for whom the statue stands, at all events studied from some living person whose features might fairly represent those of the king or saint intended. Several of them I suppose to be authentic: there is one of a queen, who has evidently, while she lived, been notable for her bright black eyes. The sculptor has cut the iris deep into the stone, and her dark eyes are still suggested with her smile.

      There is another thing I wish you to notice specially in these statues—the way in which the floral moulding is associated with the vertical lines of the figure. You have thus the utmost complexity and richness of curvature set side by side with the pure and delicate parallel lines, and both the characters gain in interest and beauty; but there is deeper significance in the thing than that of mere effect in composition; significance not intended on the part of the sculptor, but all the more valuable because unintentional. I mean the close association of the beauty of lower nature in animals and flowers, with the beauty of higher nature in human form. You never get this in Greek work. Greek statues are always isolated; blank fields of stone, or depths of shadow, relieving the form of the statue, as the world of lower nature which they despised retired in darkness from their hearts. Here, the clothed figure seems the type of the Christian spirit—in many respects feebler and more contracted—but purer; clothed in its white robes and crown, and with the riches of all creation at its side.

      The next step in the change will be set before you in a moment, merely by comparing this statue from the west front of Chartres with that of the Madonna, from the south transept door of Amiens. [Note: There are many photographs of this door and of its central statue. Its sculpture in the tympanum is farther described in the Fourth Lecture.]

      This Madonna, with the sculpture round her, represents the culminating power of Gothic art in the thirteenth century. Sculpture has been gaining continually in the interval; gaining, simply because becoming every day more truthful, more tender, and more suggestive. By the way, the old Douglas motto, "Tender and true," may wisely be taken up again by all of us, for our own, in art no less than in other things. Depend upon it, the first universal characteristic of all great art is Tenderness, as the second is Truth. I find this more and more every day: an infinitude of tenderness is the chief gift and inheritance of all the truly great men. It is sure to involve a relative intensity of disdain towards base things, and an appearance of sternness and arrogance in the eyes of all hard, stupid, and vulgar people—quite terrific to such, if they are capable of terror, and hateful to them, if they are capable of nothing higher than hatred. Dante's is the great type of this class of mind. I say the first inheritance is Tenderness—the second Truth, because the Tenderness is in the make of the creature, the Truth in his acquired habits and knowledge; besides, the love comes first in dignity as well as in time, and that is always pure and complete: the truth, at best, imperfect.

      To come back to our statue. You will observe that the arrangement of this sculpture is exactly the same as at Chartres—severe falling drapery, set off by rich floral ornament at the side; but the statue is now completely animated: it is no longer fixed as an upright pillar, but bends aside out of its niche, and the floral ornament, instead of being a conventional wreath, is of exquisitely arranged hawthorn. The work, however, as a whole, though perfectly characteristic of the advance of the age in style and purpose, is in some subtler qualities inferior to that of Chartres. The individual sculptor, though trained in a more advanced school, has been himself a man of inferior order of mind compared to the one who worked at Chartres. But I have not time to point out to you the subtler characters by which I know this.

      This statue, then, marks the culminating point of Gothic art, because, up to this time, the eyes of its designers had been steadily fixed on natural truth—they had been advancing from flower to flower, from form to form, from face to face—gaining perpetually in knowledge and veracity—therefore, perpetually in power and in grace. But at this point a fatal change came over their aim. From the statue they now began to turn the attention chiefly to the niche of the statue, and from the floral ornament to the mouldings that enclosed the floral ornament. The first result of this was, however, though not the grandest, yet the most finished of northern genius. You have, in the earlier Gothic, less wonderful construction, less careful masonry, far less expression of harmony of parts in the balance of the building. Earlier work always has more or less of the character of a good solid wall with irregular holes in it, well carved wherever there is room. But the last phase of good Gothic has no room to spare; it rises as high as it can on narrowest foundation, stands in perfect strength with the least possible substance in its bars; connects niche with niche, and line with line, in an exquisite harmony, from which no stone can be removed, and to which you can add not a pinnacle; and yet introduces in rich, though now more calculated profusion, the living element of its sculpture: sculpture in the quatrefoils—sculpture in the brackets—sculpture in the gargoyles—sculpture in the niches—sculpture in the ridges and hollows of its mouldings—not a shadow without meaning, and not a light without life. [Note: The two transepts of Rouen Cathedral illustrate this style. There are plenty of photographs of them. I take this opportunity of repeating what I have several times before stated, for the sake of travellers, that St. Ouen, impressive as it is, is entirely inferior to the transepts of Rouen Cathedral.] But with this very perfection of his work came the unhappy pride of the builder in what he had done. As long as he had been merely raising clumsy walls and carving them like a child, in waywardness of fancy, his delight was in the things he thought of as he carved; but when he had once reached this pitch of constructive science, he began to think only how cleverly he could put the stones together. The question was not now with him, What can I represent? but, How high can I build—how wonderfully can I hang this arch in air, or weave this tracery across the clouds? And the catastrophe was instant and irrevocable. Architecture became in France a mere web of waving lines—in England a mere grating of perpendicular ones. Redundance was substituted for invention, and geometry for passion; tho Gothic art became a mere expression of wanton expenditure, and vulgar mathematics; and was swept away, as it then deserved to be swept away, by the severer pride, and purer learning, of the schools founded on classical traditions.

      You cannot now fail to see, how, throughout the history of this wonderful art—from its earliest dawn in Lombardy to its