The Spectator Volume Ii Part 137

Not to mention the Tower of Babel, of which an old Author says, there were the Foundations to be seen in his time, which looked like a s.p.a.cious Mountain; what could be more n.o.ble than the Walls of Babylon, its hanging Gardens, and its Temple to Jupiter Belus, that rose a Mile high by Eight several Stories, each Story a Furlong in Height, and on the Top of which was the Babylonian Observatory; I might here, likewise, take Notice of the huge Rock that was cut into the Figure of Semiramis, with the smaller Rocks that lay by it in the Shape of Tributary Kings; the prodigious Basin, or artificial Lake, which took in the whole Euphrates, till such time as a new Ca.n.a.l was formed for its Reception, with the several Trenches through which that River was conveyed. I know there are persons who look upon some of these Wonders of Art as Fabulous, but I cannot find any [Grand [1]] for such a Suspicion, unless it be that we have no such Works among us at present. There were indeed many greater Advantages for Building in those Times, and in that Part of the World, than have been met with ever since. The Earth was extremely fruitful, Men lived generally on Pasturage, which requires a much smaller number of Hands than Agriculture: There were few Trades to employ the busie Part of Mankind, and fewer Arts and Sciences to give Work to Men of Speculative Tempers; and what is more than all the rest, the Prince was absolute; so that when he went to War, he put himself at the Head of a whole People: As we find Semiramis leading her [three [2]]

Millions to the Field, and yet over-powered by the Number of her Enemies. 'Tis no wonder, therefore, when she was at Peace, and turned her Thoughts on Building, that she could accomplish so great Works, with such a prodigious Mult.i.tude of Labourers: Besides that, in her Climate, there was small Interruption of Frosts and Winters, which make the Northern Workmen lie half the Year Idle. I might mention too, among the Benefits of the Climate, what Historians say of the Earth, that it sweated out a Bitumen or natural kind of Mortar, which is doubtless the same with that mentioned in Holy Writ, as contributing to the Structure of Babel. Slime they used instead of Mortar.

In Egypt we still see their Pyramids, which answer to the Descriptions that have been made of them; and I question not but a traveller might find out some Remains of the Labyrinth that covered a whole Province, and had a hundred Temples disposed among its several Quarters and Divisions.

The Wall of China is one of these Eastern Pieces of Magnificence, which makes a Figure even in the Map of the World, altho an Account of it would have been thought Fabulous, were not the Wall it self still extant.

We are obliged to Devotion for the n.o.blest Buildings that have adornd the several Countries of the World. It is this which has set Men at work on Temples and Publick Places of Worship, not only that they might, by the Magnificence of the Building, invite the Deity to reside within it, but that such stupendous Works might, at the same time, open the Mind to vast Conceptions, and fit it to converse with the Divinity of the Place.

For every thing that is Majestick imprints an Awfulness and Reverence on the Mind of the Beholder, and strikes in with the Natural Greatness of the Soul.

In the Second place we are to consider Greatness of Manner in Architecture, which has such Force upon the Imagination, that a small Building, where it appears, shall give the Mind n.o.bler Ideas than one of twenty times the Bulk, where the Manner is ordinary or little. Thus, perhaps, a Man would have been more astonished with the Majestick Air that appeared in one of [Lysippus's [3]] Statues of Alexander, tho' no bigger than the Life, than he might have been with Mount Athos, had it been cut into the Figure of the Hero, according to the Proposal of Phidias, [4] with a River in one Hand, and a City in the other.

Let any one reflect on the Disposition of Mind he finds in himself, at his first Entrance into the Pantheon at Rome, and how his Imagination is filled with something Great and Amazing; and, at the same time, consider how little, in proportion, he is affected with the Inside of a Gothick Cathedral, tho' it be five times larger than the other; which can arise from nothing else, but the Greatness of the Manner in the one, and the Meanness in the other.

I have seen an Observation upon this Subject in a French Author, which very much pleased me. It is in Monsieur Freart's Parallel of the Ancient and Modern Architecture. I shall give it the Reader with the same Terms of Art which he has made use of. I am observing (says he) a thing which, in my Opinion, is very curious, whence it proceeds, that in the same Quant.i.ty of Superficies, the one Manner seems great and magnificent, and the other poor and trifling; the Reason is fine and uncommon. I say then, that to introduce into Architecture this Grandeur of Manner, we ought so to proceed, that the Division of the Princ.i.p.al Members of the Order may consist but of few Parts, that they be all great and of a bold and ample Relievo, and Swelling; and that the Eye, beholding nothing little and mean, the Imagination may be more vigorously touched and affected with the Work that stands before it. For example; In a Cornice, if the Gola or Cynatium of the Corona, the Coping, the Modillions or Dentelli, make a n.o.ble Show by their graceful Projections, if we see none of that ordinary Confusion which is the Result of those little Cavities, Quarter Rounds of the Astragal and I know not how many other intermingled Particulars, which produce no Effect in great and ma.s.sy Works, and which very unprofitably take up place to the Prejudice of the Princ.i.p.al Member, it is most certain that this Manner will appear Solemn and Great; as on the contrary, that it will have but a poor and mean Effect, where there is a Redundancy of those smaller Ornaments, which divide and scatter the Angles of the Sight into such a Mult.i.tude of Rays, so pressed together that the whole will appear but a Confusion.

Among all the Figures in Architecture, there are none that have a greater Air than the Concave and the Convex, and we find in all the Ancient and Modern Architecture, as well in the remote Parts of China, as in Countries nearer home, that round Pillars and Vaulted Roofs make a great Part of those Buildings which are designed for Pomp and Magnificence. The Reason I take to be, because in these Figures we generally see more of the Body, than in those of other Kinds. There are, indeed, Figures of Bodies, where the Eye may take in two Thirds of the Surface; but as in such Bodies the Sight must split upon several Angles, it does not take in one uniform Idea, but several Ideas of the same kind. Look upon the Outside of a Dome, your Eye half surrounds it; look up into the Inside, and at one Glance you have all the Prospect of it; the entire Concavity falls into your Eye at once, the Sight being as the Center that collects and gathers into it the Lines of the whole Circ.u.mference: In a Square Pillar, the Sight often takes in but a fourth Part of the Surface: and in a Square Concave, must move up and down to the different Sides, before it is Master of all the inward Surface. For this Reason, the Fancy is infinitely more struck with the View of the open Air, and Skies, that pa.s.ses through an Arch, than what comes through a Square, or any other Figure. The Figure of the Rainbow does not contribute less to its Magnificence, than the Colours to its Beauty, as it is very poetically described by the Son of Sirach: Look upon the Rainbow and praise him that made it; very beautiful it is in its Brightness; it encompa.s.ses the Heavens with a glorious Circle, and the Hands of the [most High [5]] have bended it.

Having thus spoken of that Greatness which affects the Mind in Architecture, I might next shew the Pleasure that arises in the Imagination from what appears new and beautiful in this Art; but as every Beholder has naturally a greater Taste of these two Perfections in every Building which offers it self to his View, than of that which I have hitherto considered, I shall not trouble my Reader with any Reflections upon it. It is sufficient for my present Purpose, to observe, that there is nothing in this whole Art which pleases the Imagination, but as it is Great, Uncommon, or Beautiful.

O.

[Footnote 1: Grounds]

[Footnote 2: two]

[Footnote 3: Protogenes's]

[Footnote 4: Dinocrates.]

[Footnote 5: [Almighty]]

No. 416. Friday, June 27, 1712. Addison.

'Quatens hoc simile est oculis, quod mente videmus.'

Lucr.

I at first divided the Pleasures of the Imagination, into such as arise from Objects that are actually before our Eyes, or that once entered in at our Eyes, and are afterwards called up into the Mind either barely by its own Operations, or on occasion of something without us, as Statues, or Descriptions. We have already considered the first Division, and shall therefore enter on the other, which for Distinction sake, I have called the Secondary Pleasures of the Imagination. When I say the Ideas we receive from Statues, Descriptions, or such like Occasions, are the same that were once actually in our View, it must not be understood that we had once see the very Place, Action, or Person which are carved or described. It is sufficient, that we have seen Places, Persons, or Actions, in general, which bear a Resemblance, or at least some remote a.n.a.logy with what we find represented. Since it is in the Power of the Imagination, when it is once Stocked with particular Ideas, to enlarge, compound, and vary them at her own Pleasure.

Among the different Kinds of Representation, Statuary is the most natural, and shews us something likest the Object that is represented.

To make use of a common Instance, let one who is born Blind take an Image in his Hands, and trace out with his Fingers the different Furrows and Impressions of the Chissel, and he will easily conceive how the Shape of a Man, or Beast, may be represented by it; but should he draw his Hand over a Picture, where all is smooth and uniform, he would never be able to imagine how the several Prominencies and Depressions of a human Body could be shewn on a plain Piece of Canvas, that has in it no Unevenness or Irregularity. Description runs yet further from the Things it represents than Painting; for a Picture bears a real Resemblance to its Original, which Letters and Syllables are wholly void of. Colours speak of Languages, but Words are understood only by such a People or Nation. For this Reason, tho' Men's Necessities quickly put them on finding out Speech, Writing is probably of a later invention than Painting; particularly we are told, that in America when the Spaniards first arrived there Expresses were sent to the Emperor of Mexico in Paint, and the News of his Country delineated by the Strokes of a Pencil, which was a more natural Way than that of Writing, tho' at the same time much more imperfect, because it is impossible to draw the little Connexions of Speech, or to give the Picture of a Conjunction or an Adverb. It would be yet more strange, to represent visible Objects by Sounds that have no Ideas annexed to them, and to make something like Description in Musick. Yet it is certain, there may be confused, imperfect Notions of this Nature raised in the Imagination by an Artificial Composition of Notes; and we find that great Masters in the Art are able, sometimes, to set their Hearers in the Heat and Hurry of a Battel, to overcast their Minds with melancholy Scenes and Apprehensions of Deaths and Funerals, or to lull them into pleasing Dreams of Groves and Elisiums.

In all these Instances, this Secondary Pleasure of the Imagination proceeds from that Action of the Mind, which compares the Ideas arising from the Original Objects, with the Ideas we receive from the Statue, Picture, Description, or Sound that represents them. It is impossible for us to give the necessary Reason, why this Operation of the Mind is attended with so much Pleasure, as I have before observed on the same Occasion; but we find a great Variety of Entertainments derived from this single Principle: For it is this that not only gives us a Relish of Statuary, Painting and Description, but makes us delight in all the Actions and Arts of Mimickry. It is this that makes the several kinds of Wit Pleasant, which consists, as I have formerly shewn, in the Affinity of Ideas: And we may add, it is this also that raises the little Satisfaction we sometimes find in the different Sorts of false Wit; whether it consists in the Affinity of Letters, as in Anagram, Acrostick; or of Syllables, as in Doggerel Rhimes, Ecchos; or of Words, as in Punns, Quibbles; or of a whole Sentence or Poem, to Wings, and Altars. The final Cause, probably, of annexing Pleasure to this Operation of the Mind, was to quicken and encourage us in our Searches after Truth, since the distinguishing one thing from another, and the right discerning betwixt our Ideas, depends wholly upon our comparing them together, and observing the Congruity or Disagreement that appears among the several Works of Nature.

But I shall here confine my self to those Pleasures of the Imagination, [which [1]] proceed from Ideas raised by Words, because most of the Observations that agree with Descriptions, are equally Applicable to Painting and Statuary.

Words, when well chosen, have so great a Force in them, that a Description often gives us more lively Ideas than the Sight of Things themselves. The Reader finds a Scene drawn in stronger Colours, and painted more to the Life in his Imagination, by the help of Words, than by an actual Survey of the Scene which they describe. In this case the Poet seems to get the better of Nature; he takes, indeed, the Landskip after her, but gives it more vigorous Touches, heightens its Beauty, and so enlivens the whole Piece, that the Images which flow from the Objects themselves appear weak and faint, in Comparison of those that come from the Expressions. The Reason, probably, may be, because in the Survey of any Object we have only so much of it painted on the Imagination, as comes in at the Eye; but in its Description, the Poet gives us as free a View of it as he pleases, and discovers to us several Parts, that either we did not attend to, or that lay out of our Sight when we first beheld it. As we look on any Object, our Idea of it is, perhaps, made up of two or three simple Ideas; but when the Poet represents it, he may either give us a more complex Idea of it, or only raise in us such Ideas as are most apt to affect the Imagination.

It may be here worth our while to Examine how it comes to pa.s.s that several Readers, who are all acquainted with the same Language, and know the Meaning of the Words they read, should nevertheless have a different Relish of the same Descriptions. We find one transported with a Pa.s.sage, which another runs over with Coldness and Indifference, or finding the Representation extreamly natural, where another can perceive nothing of Likeness and Conformity. This different Taste must proceed, either from the Perfection of Imagination in one more than in another, or from the different Ideas that several Readers affix to the same Words. For, to have a true Relish, and form a right Judgment of a Description, a Man should be born with a good Imagination, and must have well weighed the Force and Energy that lye in the several Words of a Language, so as to be able to distinguish which are most significant and expressive of their proper Ideas, and what additional Strength and Beauty they are capable of receiving from Conjunction with others. The Fancy must be warm to retain the Print of those Images it hath received from outward Objects and the Judgment discerning, to know what Expressions are most proper to cloath and adorn them to the best Advantage. A Man who is deficient in either of these Respects, tho' he may receive the general Notion of a Description, can never see distinctly all its particular Beauties: As a Person, with a weak Sight, may have the confused Prospect of a Place that lies before him, without entering into its several Parts, or discerning the variety of its Colours in their full Glory and Perfection.