"As when a ship, by skilful steersman wrought Nigh river's mouth or foreland, where the wind

Veers oft, as oft so steers, and shifts her sail,So varied he, and of his tortuous train Curl'd many a wanton wreath in sight of Eve

To lure her eye."

AND Eve, alas! yielded to the blandishments of the wily serpent, as we moderns, in our Art, have yielded to the licentious, specious life-curve of Hogarth. When I say Art, I mean that spirit of Art which has made us rather imitative than creative, has made us hold a too faithful mirror up to Nature, and has been content to let the great Ideal remain petrified in the marbles of Greece.

I have endeavored to show how this Ideal may be concentrated in a certain abstract line, not only of sensuous, but of intellectual Beauty,—a line which, while it is as wise and subtle as the serpent, is as harmless and loving as the sacred dove of Venus. I have endeavored to prove how this line, the gesture of Attic eloquence, expresses the civilization of Pericles and Plato, of Euripides and Apelles. It is now proposed briefly to relate how this line was lost, when the politeness and philosophy, the literature and the Art of Greece were chained to the triumphal cars of Roman conquerors, and how it seems to have been found again in our own day, after slumbering so long in ruined temples, broken statues, and cinerary

urns.

The scholar who studies the æsthetical anatomy of Greek Art has a melancholy pleasure, like a surgeon, in watching its slow, but inevitable atrophy under the incubus of Rome. The wise, but childlike serenity and cheerfulness of soul, so tenderly pictured in the white stones from the quarries of Pentelicus, had, it is true, a certain sickly, exoteric life in Magna

Græcia, as Pompeii and Herculaneum have proved to us. But the brutal man

hood of Rome overshadowed and tainted the gentle exotic like a Upas-tree. Where, as in these places, the imported Greek could have some freedom, it grew up into a dim resemblance of its ancient purity under other skies. It had, I think, an elegiac plaintiveness in it, like a song of old liberty sung in captivity. Yet there was added to it a certain fungus-growth, never permitted by that far-off Ideal whose seeds were indigenous in the Peloponnesus, but rather springing from the rank ostentation of Rome. In its more monumental developments, under these new influences, the true line of Beauty became gradually vulgarized, and, by degrees, less intellectual and pure, till its spirit of fine and elegant reserve was quite lost in a coarse splendor. It must be admitted, however, that the Greek colonies of Italy expressed not a little of the old refinement in the lamps and candelabra and vases and bijouterie which we have exhumed from the ashes of Vesuvius.

But, turning to Rome herself, the most casual examination will impress us with the fact that there the lovely Greek lines were seized by rude conquerors, and at once were bent to answer base and brutal uses. To narrow a broad subject down to an illustration, let us look at a single feature, the Cymatium, as it was understood in Greece and Rome. This is a moulding of very frequent occurrence in classic entablatures, a curved surface with a double flexure. Perhaps the type of Greek lines, as represented in the previous paper on this subject, may be safely accepted as a fair example of the Greek interpretation of this feature. The Romans, on the other hand, not being able to understand and appreciate the delicacy and deep propriety of this line, seized

their compasses, and, without thought or love, mechanically produced a gross likeness to it by the union of two quartercircles thus: :

Greek.

Roman.

Look upon this picture, and on this! the one, refined, delicate, sensitive, fastidious, severe, never repeated; the other, thoughtless, vulgar, mathematical, common-sense, sensuous, reappearing ever with a stolid monotony. And such is the sentiment pervading all Roman Art. The conquerors took the letter from the Greeks, but never had the slightest feeling for its Ideal. But even this letter, when they transcribed it, writhed and was choked beneath hands which knew better the iron cæstus of the gladiator than the subtile and spiritual touch of the artist.

We can have no stronger and more convincing proof that Architecture is the truest record of the various phases of civilization than we find in this. There was Greek Art, living and beautiful, full of inductive power and capacities of new expressions; and there were the boundless wealth and power of Rome. But Rome had her own ideas to enunciate; and so possessed was she with the impulse to give form to these ideas, to her ostentatious brutality, her barbarous pride, her licentious magnificence, that she could not pause to learn calm and serious lessons from the Greeks who walked her very forums, but, seizing their fair sanctuaries,

she stretched them out to fit her standard; she took the pure Greek orders to decorate her arches, she piled these orders one above the other, she bent them around her gigantic circuses, till at last they had become acclimated and lost all their peculiar refinement, all their intellectual and dignified humanity. Every moulding, every capital, every detail was changed. The Romans had neither time nor inclination to bestow any love or thought on the expressiveness and tender meaning of subordinate parts. But out of the suggestions and reminiscences of Greek lines they made a rigid and inflexible grammar of their own,—a grammar to suit the mailed clang of Roman speech, which, in its cruel martial strength, sought no refinements, no delicate inflections from a distant Acropolis. The result was the coarse splendor of the Empire. How utterly the still Greek Ideal was forgotten in this noisy splendor, how entirely the chaste spirituality of the Greek line was lost in the round and lusty curves which are the inevitable footprints of Sensual Life, scarcely needs further amplification. I have referred to the Ionic capital of the Erechtheum as containing a microcosm of Attic Art, as presenting a fair epitome of the thought and love which Hellenic artists offered in the worship of their gods. Turn now to the Roman Ionic, as developed in any one of the most familiar examples of it, in the Temple of Concord, near the Via Sacra, in the Theatre of Marcellus, or the Colosseum. What a contrast! How formal, mechanical, pattern-like it has become! The grace of its freedom, the intellectual reserve of its strength, the secret humanity that thrilled through all its lines, the divine Art which obtained such sweet repose there,— all these are gone. Quality has yielded to quantity, and nothing is left save those external characteristics which he who runs may read, and he who pauses to study finds cold, vacant, and unsatisfactory. What the Ionic capital of Rome wants, and what all Roman Art wants, is the inward life, the living soul, which gives a peculiar expressiveness to

every individual work, and raises it infinitely above the dangerous academic formalism of the schools.

To

In view of our own architecture, that which touches our own experience and is of us and out of us, the danger of this academic formalism cannot be too emphatically spoken of. When one carefully examines the transition from Greek to Roman Art, he cannot but be impressed with the fact, that the spirit which worked in this transition was the spirit of a vulgar and greedy conqueror. illustrate his rude magnificence and to give a finer glory to his triumph, by right of conquest he appropriated the Greek orders. But the living soul which was in those orders, and gave them an infinity of meaning, an ever-varying poetry of expression, could not be enslaved; nor could the worshipful Love which created them find a home under the helmet of the soldier. So they became lifeless; they were at once formally systematized and classified, subjected to strict proportions and rules, and cast, as it were, in moulds. This arrangement enabled the conqueror, without waste of time in that long contemplative stillness out of which alone the beauty of the true Ideal arises, out of which alone man can create like a god, to avail himself at once of the Greek orders, not as a sensitive and delicate means of fine æsthetic expression, but as a mechanical language of contrasts of form to be used according to the exigencies of design. The service of Greek Art was perfect freedom; enslaved at Rome, it became academic. Thus systematized, it is true, it awes us by the superb redundancy and sumptuousness of its use in the temples and forums reared by that omnipresent power from Britannia to Baalbec. But the Art which is systematized is degraded. Emerson somewhere remarks that man descends to meet his fellows, meaning, I suppose, that he has to sacrifice some of the higher instincts of his individuality when he desires to become social, and to meet his fellows on that low level of society, which, made up as it is of many individualities, has none

of those secret aspirations which arise out of his own isolation. Society is a systematic aggregation for the benefit of the multitude, but great men lift themselves above it into a purer atmosphere. As Longfellow says, "They rise like towers in the city of God." So with Art,—when we systematize it for the indiscriminate use of thoughtless and unloving men, we degrade it. And a singular proof of this is found in the fact that the Roman academical orders never have anything in them reserved from the common ken. They are superficial. They say all that they have to say and express all that they have to express at once, and disturb the mind with no doubt about any hidden meaning. They are at once understood. All their intention and purpose are patent to the most casual observer. He does not pause to inquire what motives actuated the architect in the composition of any Corinthian capital, because he feels that it is made according to the dictates of a rigid school created for the convenience of an unartistic age, and there is no individual love or aspiration in it.

Virtually, the Roman orders died in the first century of the Christian era. We all know how, when the authority of the Pagan schools was gone and the stern Vitruvian laws had become lost in the mists of antiquity, these orders gradually fell from their strict allegiance, and imbibed a new and healthy life from that rude but earnest Romanesque spirit, as in Byzantium and Lombardy. And we know, too, how, in after Gothic times, the spirit of the forgotten Aphrodite, Ideal Beauty, sometimes lurked furtively in the image of the Virgin Mary, and inspired the cathedral-builders with somewhat of the old creative impulse of Love. But the workings of this impulse are singularly contrasted in the productions of the Greek and Medieval artists. Nature, we have seen, offered to the former mysterious and oracular Sibylline leaves, profoundly significant of an indwelling humanity diffused through all her woods and fields and mountains, all her fountains, streams, and seas. Those medita

tive creators sat at her feet, earnest disciples, but gathering rather the spirit and motive of her gifts than the gifts themselves, making an Ideal and worshipping it as a deity. But for the cathedralbuilder, Dryads and Hamadryads, Oreads, Fauns, and Naiads did not exist,the Oak of Dodona uttered no oracles. "A primrose by the river's brim

A yellow primrose was to him,
And it was nothing more."

To him Nature was an open book, from which he continually quoted with a loving freedom, not to illustrate his own deep relationships with her, but to give greater glory to that vast Power which stood behind her beautiful text and was revealed to him in the new religion from Palestine. He loved fruits and flowers and leaves because they were manifestations of the Love of God; and he used them in his Art, not as motives out of which to create abstract forms, out of which to eliminate an ideal humanity, but to show his intense appreciation of the Divine Love which gave them. Had he been a Pantheist, as Orpheus was, it is probable he would have idealized these things and created Greek lines. But believing in a distinct God, the supreme Originator of all things, he was led to a worship of sacrifice and offerings, and needed no Ideal. So, with a lavish hand, he appropriated the abundant Beauty of Nature, imitating its external expressions with his careful chisel, and suffering his sculptured lines to throw their wayward tendrils and vagrant leaflets outside the strict limits of his spandrels. The life of Gothic lines was in their sensuous liberty; the life of Greek lines was in their intellectual reserve. Those arose out of a religion of emotional ardor; these, out of a religion of philosophical reflection. Hence, while the former were wild and picturesque, the latter were serious, chaste, and very hu

man.

Doubtless the nearest approach to ideal abstractions to be found in Medieval Art is contained in that remarkable and very characteristic system of foliations and cuspidations in tracery, which were suggest

ed by the leaf-forms in Nature. In this adaptation, when first it was initiated in the earliest phases of Gothic, there is something like Greek Love. The simple trefoil aperture seems a fair architectural version of the clover-leaves. But the propriety of the use of these clover-lines was hinted by a constructive exigency, the pointed arch. The inevitable assimilation of the natural forms of leaves with this feature was too evident not to be improved by such active and ardent worshippers as the Freemasons. Thus originated Gothic tracery, which afterwards branched out into such sumptuous and unrestrained luxury as we find in the Decorated styles of England, the Flamboyant of France, the late Geometric of Germany. Thus were the masons true to the zealous and passionate enthusiasm of their religion. They used foliations, not on account of their subjective significance, as the Greek artists did, but on account of their objective and material applicability to the decoration of their architecture. But no natural form was ever made use of by a Greek artist merely because suggested by a constructive exigency. It was the inward life of the thing itself which he saw, and it was his love for it which made him adopt it. This love refined and purified its object, and never would have permitted it to grow into any wild and licentious Flamboyant under the serene and quiet skies of the Egean.

And so the Greek lines slept in patient marble through the long Dark Ages, and no one came to awaken them into beautiful life again. No one, consecrated Prince by the chrism of Nature, wandered into the old land to kiss the Sleeping Beauty into life, and break the deep spell which was around her kingdom.

Then came the Renaissance in the fifteenth century. But-alas that we must say it!it was fundamentally a Renaissance of error rather than of truth. It was a revival of Roman Art, and not of Greek. The line which we call Hogarth's, but which in reality is as old as human life and its passions, was the key-note of