The Architect and His Art [pp. 72-84]

TIHE ARCHITECT AND HIS ART.
applied to form, sound, or color, have their mathematical ratios
underlying their effects, producing harmonious or discordant,
agreeable or disagreeable impressions.
The proportions of Gothic architecture have not the fixity of
the Grecian system: they differ in German, French, and English
cathedrals. The general plan which prevails extensively in
Gothic architecture is that of the cross. In the East the groundplan is that of the Greek cross; in the West it is the Latin
cross. The latter, says Gwilt, being divided into squares, gives
3, 5, and 7 as the ruling numbers-the arms and centre equal
three squares; the whole number, omitting the centre, equal
five; and seven is the sum of the length and width. This, according to descriptive geometry, gives the development of the
cube. These numbers have been found to predominate in the
proportional measurements of a large number of the best Gothic
cathedrals. I will not insist upon the absolute accuracy of any
such system of measurement; but through increased attention
lately given to searching out these proportions, by measuring the
surfaces, solids, and spaces of Gothic architecture, they have been
found to prevail extensively. That some like system must have
been employed in structures of such vast extent, we cannot
doubt. It would have been impossible to preserve symmetry
and elegance on a scale so extensive without it. The proportion
of height to breadth, which varies considerably in English and
continental Gothic, is yet conducive to symmetry and beauty in
both instances. Pugin declares that, when he began the study of
English Gothic, he conceived the proportions to be very defective, and decidedly inferior to those employed in continental
cathedrals. But on closer acquaintance he perceived that the
distinctions were such as indicated a distinct development of
Gothic architecture, and upon laws peculiar to this development.
The greater length of nave is peculiar to English Gothic, while
the continental is narrow and higher.
The Roman and Gothic roofs are divided into two parts:
the lower, or visible vaulting, and the upper, or roof-mask, which
protects the lower from the weather. "Thus we have the arch
for the bearing line below, and the gable for the protecting line
above." The Roman has a flattened gable surmounting a round
arch the Gothic, a high-peaked gable surmounting a pointed
6
8I