The Lacework of Stone
The Gothic style exists by virtue of oppositions, contrasts in effects and in balance. They built huge bare walls, but in the upper heights ornamentation flourishes and abounds. There the “increase and multiply” of the Bible has been figuratively carried out.
Once the basis of construction was established, the masons embellished the “line” by admirable ornamentation, due to their splendid workmanship. We should never forget that modeling supplies the life-blood to the mass; without it we can have neither grace nor power.
Formerly I did not understand the architecture; I merely saw the lacework of the Gothic. But even in my conception of that I was mistaken, for I thought it a caprice of genius. I did not know that it had a scientific raison d’être; namely, to break and soften the line. Now I see its importance: it rounds off the outlines; it gives them life and warmth. These statues, these graceful caryatids, propping up the portals, these copings in the covings, are like vegetation which softens the rigid summit of a wall. There again we find the Gothic artists as skilful colorists as the cleverest painters, because they have gained insight from the vegetation of our country. In our plants, in our trees, all is light and shadowy, and from them they gained their wonderful mastery of the art of depth, which brings out the finest shadings of light, the mellowness of half-tints. To-day we misuse black, the medium of power. We use it too extensively; we put it everywhere for the sake of effect, and therefore lose its effect entirely.
The Gothic is nature transposed and reproduced in stone. To show admiration for this form of art is to preserve the memory of the creation. The artist is the confidant of nature. Shakspere says in “King Lear,” we
... take upon ’s the mystery of things,
As if we were God’s spies.