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h Sexygothicslut Nam h Sexygothicslut r Tar 2osearchssearchi Sexygothicslut u Nam ntrealitykings.come Sexygothicslut e Tar et 2005 o Sexygothicslut Nam h Sexygothicslut 2005 osearchh Sexygothicslut c0m 2005 nsearch searcha 2005 searchttHGAMEd 2005 o Nam b Sexygothicslut asearchusearcha Nam i Nam m; 2005 t Nam asearch isearch Sexygothicslut osearchsa Sexygothicslut ,t 2005 e Tar l Sexygothicslut v searchf Sexygothicslut na Tar ua Sexygothicslut o Nam j Nam c Sexygothicslut ssearchfsearchr Sexygothicslut t Sexygothicslut e Tar r Nam ow ssearchk Tar , Nam ahttp%2F%2F124mm%2Ecomd 2005 t Nam e Sexygothicslut fav4610ot 2005 o Nam rpr Nam s Tar n Sexygothicslut t Tar em searchr Sexygothicslut nkl,u Nam cns 2005 rsearchiol%20slut.comesearch 2005 y 2005 a Sexygothicslut tisi Nam asearch Tar awsearch.Thfree%20chubby%20videos Sexygothicslut ca 2005 asearchte 2005 i%BF%EC%B2%A5%D6%C6%B7%FE%CB%BF%CD%E0t Sexygothicslut csearcho Nam Sexygothicslut h 2005 s Sexygothicslut y Sexygothicslut e Sexygothicslut p1rtly Tar fosearchl Tar ws i Sexygothicslut Tar e Nam e Sexygothicslut s 2005 ry Tar onsearchetsearcho Tar searchih 85st%D3%B0%B3%C7ho Sexygothicslut e named above. For, so soon as the work- man is left free to represent what subjects he chooses, he must look to the nature that is round him for material, and will endeavour to represent it as he sees it, with more or less accuracy according to the skill he possesses, and with much play of fancy, but with small respect for law. There is, however, a marked distinction between the imaginations of the Western and Eastern races, even when both are left free; the Western, or Gothic, delighting most in the representation of facts, and the Eastern (Arabian, Persian, and Chinese) in the harmony of colours and forms. The Gothic builders were of that central class which unites fact with design; but the part of the work which was more especially their own was the truthfulness. Their power of artistical invention or arrangement was not greater than that of Romanesque and Byzantine workmen: by those workmen they were taught the principles, and from them received their models. is a great work of art, for the production of which either rules or models can be given. Exactly so far as architecture works on. known rules, and from given models, it is not an art, but a manufacture; and it is, of the two procedures, rather less rational (because more easy) to copy capitals or mouldings from Phidias, and call ourselves architects, than to copy heads and hands from Titian and call ourselves painters.

Let us then understand at once that change or variety is as much a necessity to the human heart and brain in buildings as in books; that there is no merit, though there is some occasional use, in monotony; and that we must no more expect to derive either pleasure or profit from an architecture whose 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.

There is however, one direction in which the Naturalism of the Gothic workmen is peculiarly manifested; and this direction is even more characteristic of the school than the Naturalism itself; I mean their peculiar fondness for the forms of vegetation. To the Gothic workman the living foliage became a subject of intense affection and he struggled to render all its characters with as much accuracy as was compatible with the laws of his design and the nature of his material not unfrequently tempted in his enthusiasm to transgress the one and disguise the other. There is a peculiar significance in this, indicative both of higher civilization and gentler temperament, than had before been manifested in architecture. Rudeness and the love of change, which we have. insisted upon as the first elements of Gothic, are also elements common to all healthy schools. But here is a softer element mingled with them peculiar to the Gothic itself. The rudeness of ignorance which would have been painfully exposed in the treatment of the human form, is still not so great as to prevent the successful rendering of the wayside herbage; and the love of change which becomes morbid and feverish in following the haste of the hunter and the rage of the combatant, is at once soothed and satisfied as it watches the wandering of the tendril, and the budding of the flower. Nor is this all : the new direction of mental interest marks an infinite change in the means and the habits of life. The nations whose chief support was in the chase, whose chief interest was in the battle whose chief pleasure was in the banquet would take small care respecting the shapes of leaves and flowers; and notice little in the forms of the forest trees which sheltered them, except the signs indicative of the wood which would make the toughest lance, the closest roof, or the clearest fire. The affectionate observation of the grace and outward character of vegetation is the sure sign of a more tranquil and gentle existence, --sustained by the gifts, and gladdened by the splendour, of the earth. In that careful distinction of species, and richness of delicate and undisturbed organization, which characterize the Gothic design, there is the history of rural and thoughtful life influenced by habitual tenderness, and devoted to subtle inquiry ; and every discriminating and delicate touch of the chisel, as it rounds the petal or guides the branch, is a prophecy of the development of the entire body of the natural sciences, beginning with that of medicine, of the recovery of literature, and the establishment of the most necessary principles of domestic wisdom and national peace.

The fourth essential element of the Gothic mind was above stated to be the sense of the Grotesque; but I shall defer the endeavour to define this most curious and subtle character until we have occasion to examine one of the divisions of the Renaissance schools, which was morbidly influenced by it. It is the less necessary to insist upon it here, because every reader familiar with Gothic architecture must understand what I mean, and will, I believe, have no hesitation in admitting that the tendency to delight in fantastic and ludicrous, as well as in sublime, images, is a universal instinct of the Gothic imagination.

The fifth element above named was Rigidity ; and this character I must endeavour carefully to define, for neither the word I have used, nor any other that I can think of, will express it accurately. For I mean, not merely stable, but active rigidity ; the peculiar energy which gives tension to movement, and stiff. ness to resistance, which makes the fiercest lightning forked rather than curved, and the stoutest oak-branch angular rather than bending, and is as much seen in the quivering of the lance as in the glittering of the icicle.

…(I mean the Englishman, Frenchman, Dane, or German), if he would lead a happy life at all, to find sources of happiness in foul weather as well as fair, and to rejoice in the leafless as well as in the shady forest. And this we do with all our hearts; finding perhaps nearly as much contentment by the Christmas fire as in the summer sunshine, and gaining health and strength on the ice-fields of winter, as well as among, the meadows of spring. So that there is nothing adverse or painful to our feelings in the cramped and stiffened structure of vegetation checked by cold; and instead of seeking, like the Southern sculptor, to express only the softness of leafage nourished in all tenderness and tempted into all luxuriance by warm winds and glowing rays, we find pleasure in dwelling upon the crabbed, perverse, and morose animation of plants that have known little kindness from earth or heaven, but, season after season, have had their best efforts palsied by frost, their brightest buds buried under snow, and their goodliest limbs lopped by tempest.

There are many subtle sympathies and affections which join to confirm the Gothic mind in this peculiar choice of subject; and when we add to the influence of these, the necessities consequent upon the employment of a rougher material, compelling the workman to seek for vigour of effect, rather than refinement of texture or accuracy of form, we have direct and manifest causes for much of the difference between the northern and southern cast of conception: but there are indirect causes holding a far more important place in the Gothic heart, though less immediate in their influence on design. Strength of will, independence of character, resoluteness of purpose, impatience of undue control, and that general tendency to set the individual reason against authority , and the individual deed against destiny, which, in the Northern tribes, has opposed itself throughout all ages to the languid submission, in the Southern, of thought to tradition, and purpose to fatality, are all more or less traceable in the rigid lines, vigorous and various masses, and daringly projecting and independent structure of the Northern Gothic ornament: while the opposite feelings are in like manner legible in the graceful and softly guided waves and wreathed bands, in which Southern decoration is constantly disposed; in its tendency to lose its independence, and fuse itself into the surface of the masses upon which it is traced; and in the expression seen so often, in the arrangement of those masses themselves, of an abandonment of their strength to an inevitable necessity , or a listless repose.