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Now observe. It will at once follow from this principle, that a great architect must be a great sculptor or painter. This is a universal law. No person who is not a great sculp. tor or painter can be an architect. If he is not a sculptor or painter, he can only be a builder. The three greatest architects hitherto known in the world were Phidias, Giotto, and Michael Angelo; with all of whom, architecture was only their play, sculpture and painting their work. All great works of architecture in existence are either the work of single sculptors or painters, or of societies of sculptors and painters, acting collectively for a series of years. A Gothic cathedral is properly to be defined as a piece of the most magnificent associative sculpture, arranged on the noblest principles of building, for the service and delight of multitudes; and the proper definition of architecture, as distinguished from sculpture, is merely “the art of designing sculpture for a particular place, and placing it there on the best principles of building.” Hence it clearly follows, that in modern days we have no architects. The term “architecture” is not so much as under. stood by us. I am very sorry to be compelled to the dis. courtesy of stating this fact, but a fact it is, and a fact which it is necessary to state strongly.
Painting, with all its technicalities, difficulties, and particular ends, is nothing but a noble and expressive language, invaluable as the vehicle of thought, but by itself nothing.
I. CHOICE OF NoHLE SUBJECT.—Greatness of style consists, then: first, in the habitual choice of subjects of thought which involve wide interests and profound passions, as opposed to those which involve narrow interests and slight passions. The style is greater or less in exact proportion to the nobleness of the interests and passions involved in the subject. The habitual choice of sacred subjects, such as the Nativity, Transfiguration, Crucifixion (if the choice be sincere), implies that the painter has a natural disposition to dwell on the highest thoughts of which humanity is capable; it constitutes him so far forth a painter of the highest order, as, for instance, Leonardo, in his painting of the Last Supper: he who delights in representing the acts or meditations of great men, as, for instance, Raphael painting the School of Athens, is, so far forth, a painter of the second order: he who represents the passions and events of ordinary life, of the third. And in this ordinary life, he who represents deep thoughts and sorrows, as, for instance, Hunt, in his Claudio and Isabella, and such other works, is of the highest rank in his sphere; and he who represents the slight malignities and passions of the drawingroom, as, for instance, Leslie, of the second rank: he who represents the sports of boys or simplicities of clowns, as Webster or Teniers, of the third rank; and he who represents