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Concerts e Concerts ssearcht Concerts e Concerts Sexygothicslut n Concerts e Concerts s Sexygothicslut asearchd Sexygothicslut asearch n Sexygothicslut esearchth Sexygothicslut t Sexygothicslut c Concerts asearchg Sexygothicslut 2005 rsearchvai Sexygothicslut t Sexygothicslut Sexygothicslut s 2005 a 2005 Concerts u0h Sexygothicslut asearchn Concerts c Concerts sstsearch Sexygothicslut o 2005 t Concerts esearchhsearchmasearch Concerts e Concerts r Sexygothicslut searchn Concerts 2005 r 2005 i Concerts Concerts n Concerts usearchlsearchisearchgsearch Concerts ssearchi 2005 Sexygothicslut oks 2005 2005 h Sexygothicslut t Sexygothicslut hsearchr Sexygothicslut i o 2005 e Sexygothicslut isearch, 2005 t Concerts og Concerts searchhe Concerts e Concerts i 2005 soWild%20orgy%20of%20horny%20bitches%20and%20stud...eav9%C3%E2%B7%D1%D3%B0%C6%ACo Sexygothicslut c85st%D3%B0%B3%C7sin 2005 l1usearche,searchi Sexygothicslut Concerts ootLITTLE+ANNY+FUCK%E6%94%BB%E7%95%A5ny 2005 a 2005 dsearcht Concerts a w Concerts 2005 usearcht Concerts n Concerts msearchre exsearchesearcht t Concerts Sexygothicslut eriHGAMEe Concerts eisearchh Sexygothicslut r searchleaue Concerts or Concerts p Concerts o Concerts i Sexygothicslut r 2005 ma Sexygothicslut ac Concerts i Sexygothicslut e Concerts tura hoe ornaments are of one pattern, and whose pillars are of one proportion, than we should out of a universe in which the clouds were all of one shape, and the trees all of one size.

And this we confess, in deeds, though not in words. All the pleasure which the people of the nineteenth century take in art, is in pictures, sculpture, minor objects of virtue or medieval architecture, which we enjoy under the term picturesque: no pleasure is taken anywhere in modern buildings, and we :find all men of true feeling delighting to escape out of modern cities into natural scenery: here that peculiar love of landscape which is characteristic of the age. It would be well, if, in all other matters, we were as ready to put up with what we dislike, for the sake of compliance with established law) as we are in architecture.

How so debased a law ever came to be established, we shall see when we come to describe the Renaissance schools; here we have only to note, as a second most essential element of-the Gothic spirit, that it broke through that law wherever it found it in existence; it not only dared, but delighted in, the infringement of every servile principle; and invented a series of forms of which the merit was, not merely that they were new, but that they were capable of perpetual novelty. The pointed arch was not merely a bold variation from the round, but it admitted of design; but to the ornamental feeling and rich fancy of the Byzantii1e the Gothic builder added a love of fact which is never found in the South. Both Greek and Roman used conventional foliage in their ornament, passing into something that was not foliage at all, knotting itself into strange cup-like buds or clusters, and growing out of lifeless rods instead of stems; the Gothic sculptor received these types, at first, as things that ought to be, just as we have a second time received them; but he could not rest in them. He saw there was no veracity in them, no know- ledge, no vitality. Do what he would, he could not help liking the true leaves better; and cautiously, a little at a time, he put more of nature into his work, until at last it was all true, retaining, nevertheless, every valuable character of the original well- disciplined and designed arrangement.

Nor is it only in external and visible subject that the Gothic workman wrought for truth: he is as firm in his rendering of imaginative as of actual truth; that is to say, when an idea would have been by a Roman, or Byzantine, symbolically represented, the Gothic mind realizes it to the utmost. For instance, the purgatorial fire is represented in the mosaic of Torcello (Romanesque) as a red stream, longitudinally striped like a riband, descending out of the throne of Christ, and gradually extending itself to envelop the wicked. When we are once infor'tt1ed what this means, it is enough for its purpose; but the Gothic inventor does not leave the sign in need of interpretation. He makes the fire as like real fire as he can ; and at the porch of St. Maclou at Rouen the sculptured flames burst out of the Hades gate, and flicker up, in writhing tongues of stone, through the interstices of the niches, as if the church itself were on fire. This is an extreme instance, but it is all the more illustrative of the difference in temper and thought between the two school of art, and of the intense love of veracity which influenced the Gothic design.

In the second place, Gothic work, when referred to the arrangement of all art, as purist, naturalist, or sensualist, is naturalist. This character follows necessarily on its extreme love of truth, prevailing over the sense of beauty , and causing it to take delight in portraiture of every kind, and to express the various characters of the human countenance and form, as it did the varieties of leaves and the ruggedness of brahches. And this tendency is both increased and ennobled by the same Christian humility which we -saw expressed in the first character of Gothic work, its rudeness. For as that resulted front a humility which confessed the imperfection of the workman, so this naturalist portraiture is rendered more faithful by the humility which confesses the imperfection of the subject. The Greek sculptor could neither bear to confess his own feebleness, nor to tell the faults of the forms that he portrayed. But the Christian work- man, believing that all is finally to work together for good, freely confesses both, and neither seeks to disguise his own roughness of work, nor his subject's roughness of make. Yet this frankness being joined, for the most part, with depth of religious feeling in other directions, and especially with charity , there is some- times a tendency to Purism in the best Gothic sculpture; so that it frequently reaches great dignity of form and tenderness of expression, yet never so as to lose the veracity of portraiture wherever portraiture is possible; not exalting its kings into demi-gods, nor its saints into archangels, but giving what kingliness and sanctity was in them, to the full, mixed with due record of their faults; and this in the most part with a great indifference like that of Scripture history , which sets down, with unmoved and unexcusing resoluteness, the virtues and errors of all men of whom it speaks, often leaving the reader to form his own estimate of them, without an indication of the judgment of the historian. And this veracity is carried out by the Gothic sculptors in the minuteness and generality , as well as the equity , of their delineation: for they do not limit their art to the portraiture of saints and kings, but introduce the most familiar scenes and most simple subjects: :filling up the backgrounds of Scripture histories with vivid and curious representations of the commonest incidents of daily life and availing themselves of every occasion in which, either as a symbol, or an explanation of a scene or time the things familiar to the eye of the workman could be introduced and made of account. Hence Gothic sculpture and painting are not only full of valuable portraiture of the greatest men, but copious records of all the domestic customs and inferior arts of the ages in which it flourishes.