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measured, to the worlds sorrow, by another kini of Jaxen line, burning with the tire of unholy zeal, not with that of Christian charity; and perhaps the best lesson which we can finally take to ourselves, in leaving these sweet fields, is the memory that, in spite of all the fettered habits of thought of his age, this great Dante, this inspired exponent of what lay deepest at the heart of the early Church, placed his terrestrial paradise where there had ceased to be- fence or division, and where the grass of the earth was bowed down, in unity of direction, only by the soft waves that bore with them the forgetfulnessof eviL

Part 3.

AECHITECTUEE.

Every man has at some time of his life personal interest in Architecture. He has influence on the design of some public building; or \e has to buy, 01 build, or alter his own house. It signifies less whether the knowledge of other arts be general or not; men may live without buying pictures or statues. They must do mischief, and waste their money if the} do not know how to turn it to account.

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part 3.

ARCHITECTUEK
ART.

Architecture (considered as a fine art) is the art which so disposes and adorns the edifices raised by man for whatsoever uses, that the sight of them contribute to his mental health, power, and pleasure.

Architecture proper, then, naturally arranges itself under five heads:—

Deyotion_al; including all buildings raised for God's service or honor.

Meniorial; including both monuments and tombs.

Civil; including every edifice raised by nations or societies, for purposes of common business or pleasure.

Military; including all private and public architecture of defence.

Domestic ; including every rank and kind of dwelling-place.

Those peculiar aspects which belong to the first of the arts, I have endeavored to trace; and since, if truly staled, they must necessarily be, not only safeguards against error, but sources of every measure of success, I do not think I claim too much for them in calling them the Lamps of Architee ture.

The seven Lamps of Architecture—

1. The Lamp of Sacrifice.

2. The Lamp of Truth.

3. The Lamp ot Power.

4. The Lamp of Beauty.

5. The Lamp of Life.

6. The Lamp of Memory.

7. The Lamp of Obedience.

I. The Lamp or Spirit of Sacrifice prompts us to the offering of precious things, merely because they are precious, not because they are useful or necessary. Was it necessary to the completeness, as a type, of the Levitical sacrifice, or to its utility as an explanation of divine purposes, that it should cost anything to the person in whose behalf it was offered? Costliness was generally a condition of the acceptableness of the sacrifice. "Neither will I offer unto the Lord my God of that which did cost me nothing." That costliness, therefore, must be an acceptable condition in all human offerings at all times; for if it was pleasing to God once, it must please Him always, unless directly forbidden by Him afterwards, which it has never been.

Was the glory of the tabernacle necessary to set forth or image His Divine glory to the minds of His people? What! purple or scarlet necessary to the people who had seen the great river of Egypt run scarlet to the sea, under His condemnation? What! golden lamp and cherub necessary for those who had seen the fires of heaven falling like a mantle on Mount Sinai, and its golden courts opened to receive their mortal lawgiver? What! silver clasp and fillet necessary when they had seen the silver waves of the Red Sea clasp in their arched hollows the corpses of the horse and his rider? Nay—not so. There was but one reason, and that an eternal one; that as the covenant that He made with man was accompanied with some external sign of its continuance, an I of His remembrance of it, so the acceptance of that covenant might be marked and signified by use, in some external sign of their

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