第4章

A painter told me that nobody could draw a tree without in some sort becoming a tree; or draw a child by studying the outlines of its form merely, -- but, by watching for a time his motions and plays, the painter enters into his nature, and can then draw him at will in every attitude. So Roos "entered into the inmost nature of a sheep."

I knew a draughtsman employed in a public survey, who found that he could not sketch the rocks until their geological structure was first explained to him. In a certain state of thought is the common origin of very diverse works. It is the spirit and not the fact that is identical. By a deeper apprehension, and not primarily by a painful acquisition of many manual skills, the artist attains the power of awakening other souls to a given activity.

It has been said, that "common souls pay with what they do; nobler souls with that which they are." And why? Because a profound nature awakens in us by its actions and words, by its very looks and manners, the same power and beauty that a gallery of sculpture, or of pictures, addresses.

Civil and natural history, the history of art and of literature, must be explained from individual history, or must remain words. There is nothing but is related to us, nothing that does not interest us, -- kingdom, college, tree, horse, or iron shoe, the roots of all things are in man. Santa Croce and the Dome of St.

Peter's are lame copies after a divine model. Strasburg Cathedral is a material counterpart of the soul of Erwin of Steinbach. The true poem is the poet's mind; the true ship is the ship-builder. In the man, could we lay him open, we should see the reason for the last flourish and tendril of his work; as every spine and tint in the sea-shell preexist in the secreting organs of the fish. The whole of heraldry and of chivalry is in courtesy. A man of fine manners shall pronounce your name with all the ornament that titles of nobility could ever add.

The trivial experience of every day is always verifying some old prediction to us, and converting into things the words and signs which we had heard and seen without heed. A lady, with whom I was riding in the forest, said to me, that the woods always seemed to her _to wait_, as if the genii who inhabit them suspended their deeds until the wayfarer has passed onward: a thought which poetry has celebrated in the dance of the fairies, which breaks off on the approach of human feet. The man who has seen the rising moon break out of the clouds at midnight has been present like an archangel at the creation of light and of the world. I remember one summer day, in the fields, my companion pointed out to me a broad cloud, which might extend a quarter of a mile parallel to the horizon, quite accurately in the form of a cherub as painted over churches, -- a round block in the centre, which it was easy to animate with eyes and mouth, supported on either side by wide-stretched symmetrical wings.

What appears once in the atmosphere may appear often, and it was undoubtedly the archetype of that familiar ornament. I have seen in the sky a chain of summer lightning which at once showed to me that the Greeks drew from nature when they painted the thunderbolt in the hand of Jove. I have seen a snow-drift along the sides of the stone wall which obviously gave the idea of the common architectural scroll to abut a tower.

By surrounding ourselves with the original circumstances, we invent anew the orders and the ornaments of architecture, as we see how each people merely decorated its primitive abodes. The Doric temple preserves the semblance of the wooden cabin in which the Dorian dwelt. The Chinese pagoda is plainly a Tartar tent. The Indian and Egyptian temples still betray the mounds and subterranean houses of their forefathers. "The custom of making houses and tombs in the living rock," says Heeren, in his Researches on the Ethiopians, "determined very naturally the principal character of the Nubian Egyptian architecture to the colossal form which it assumed.

In these caverns, already prepared by nature, the eye was accustomed to dwell on huge shapes and masses, so that, when art came to the assistance of nature, it could not move on a small scale without degrading itself. What would statues of the usual size, or neat porches and wings, have been, associated with those gigantic halls before which only Colossi could sit as watchmen, or lean on the pillars of the interior?"

The Gothic church plainly originated in a rude adaptation of the forest trees with all their boughs to a festal or solemn arcade, as the bands about the cleft pillars still indicate the green withes that tied them. No one can walk in a road cut through pine woods, without being struck with the architectural appearance of the grove, especially in winter, when the bareness of all other trees shows the low arch of the Saxons. In the woods in a winter afternoon one will see as readily the origin of the stained glass window, with which the Gothic cathedrals are adorned, in the colors of the western sky seen through the bare and crossing branches of the forest. Nor can any lover of nature enter the old piles of Oxford and the English cathedrals, without feeling that the forest overpowered the mind of the builder, and that his chisel, his saw, and plane still reproduced its ferns, its spikes of flowers, its locust, elm, oak, pine, fir, and spruce.

The Gothic cathedral is a blossoming in stone subdued by the insatiable demand of harmony in man. The mountain of granite blooms into an eternal flower, with the lightness and delicate finish, as well as the aerial proportions and perspective, of vegetable beauty.