157. And for the understanding of our Pisan traceries we must introduce
a third element of similarly distinctive nature. We must, to press our
simile a little farther, examine the growth of the animal as if it had
been made neither to leap, nor to sing, but only to think. We must
observe the transitional states of its nerve power; that is to say, in
our window tracery we must consider not merely how its ribs are built,
(or how it stands,) nor merely how its openings are shaped, or how it
breathes; but also what its openings are made to light, or its shafts
to receive, of picture or image. As the limbs of the building, it may
be much; as the lungs of the building, more. As the _eyes_ [1] of the
building, what?
[Footnote 1: I am ashamed to italicize so many words; but these
passages, written for oral delivery, can only be understood if read
with oral emphasis. This is the first aeries of lectures which I have
printed as they were to be spoken; and it is a great mistake.]
158. Thus you probably have a distinct idea--those of you at least who
are interested in architecture--of the shape of the windows in
Westminster Abbey, in the Cathedral of Chartres, or in the Duomo of
Milan.
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