mutules blue, and their gutta white; the triglyphs blue, their channels black, and their gutta white; and the more extended parts of the frieze and the cornice as well as the architrave are of light yellow.

We see that red, a luminous colour, designated the greater part of the principal lines; that blue associated with black in the triglyphs and their channels, formed an harmonious ensemble distinct from the neighbouring parts: also, that the dominant colour, light yellow, produced a much better effect to what it would if the most intense or the most sombre colours had predominated. Finally, the colours were distributed in the most intelligent manner possible without being motley, presenting a variety and lightness in the tints, with easy separation of parts.

CHAPTER III.

ON THE EMPLOYMENT OF COLOURS IN GOTHIC ARCHITECTURE.

(549.) In the great gothic churches, colour has rarely been employed on the exterior, except in a few cases, and always in a restrained manner, and without injury to the general harmony; for the colour we meet with on porches and in niches is altogether insignificant under the point of view which occupies us; and besides, there is nothing to show that it was not added long after the erection of the structure where it is found.

One thing I most admire in these vast edifices is the art, or, if you will, the chance by which they have succeeded in actually doing without colour, in having recourse only to architecture and sculpture, to give to the exterior of the edifice a variety which in no respect injures the imposing effect of the whole; for the elevated walls of the nave, and those of the aisles parallel to them, are they not remarkable ? first, when we regard the great windows which, in interrupting the continuity, destroy that gloomy and disagreeable aspect possessed by every large wall which is not pierced with light; and, again, when we regard their mutual connection by means of light arches, which, sustained on the one part by the buttresses of the nave, and on the other, by the pillars

which rise from the walls of the aisles, surpass it in height, and by their projection without, contribute so effectually with the windows and their ornaments to remove all monotony from the lateral façades of the edifice; are they not also remarkable, even where there are no lateral entrances, with regard to general harmony, by the manner in which the windows and their ornaments, the pillars and their flying buttresses, connect with the façade of the nave, where at the first aspect it would appear that the architect had concentrated all the ornaments, so varied, light, and slender, which decorate it ?*

(550.) It is in regarding gothic churches from the preceding point of view, in comparing their different façades with those of the greater part of modern churches, in which generally a single façade seems to have fixed the attention of the architect, as is shown, for instance, in the Church of St. Geneviève by Soufflot, that so many persons are led to regard gothic architecture as essentially that of the Catholic religion, and to consider it as having resolved the problem of building long and high walls, where the principles of form, solidity, variety, clear view, perfect harmony of all the principal parts (however each may be varied in its details), and suitableness of the building to its purpose, may have been completely observed on the exterior.

(551.) If we now penetrate the interior of these churches, then the magic of the colours of the stained windows will complete all the enjoyments the sight can receive from colour allied to architecture, enjoyments which strengthen the power of the religious sentiment only in those who enter

* I beg the reader to perceive in the preceding lines the enunciation of profound impressions which from my youth I have experienced at the sight of these monuments, and not that of a judgment which would lead him to suppose it my intention to give the gothic church as a type for imitation in preference to every other. I repeat, I express these impressions, and nothing more. I do not inquire if this architecture has its rules, before admiring the constructions which it has produced. In speaking of light arches, sustained on the one hand by the buttresses of the nave, and on the other by the pillars of the walls of the aisles, I do not inquire if these are the stays which the weakness of the art which built them has raised to insure stability. I consider them simply as establishing between two walls a relation which does not displease me, because it is in consonant relation with all that accompanies it.

I shall return to this subject in Part Third.

Q

these edifices to address their prayers to the God of Christians.

(552.) M. Boisserée, author of a work, full of original and profound research, on the Cathedral of Cologne, thinks that the ceilings of gothic churches ought, according to a general custom, to represent the celestial vault, and be painted blue, studded with stars of metal gilt.

(553.) If painting has from the beginning really concurred with architecture, and even with painted sculpture in the interior decoration of gothic churches, it must have been very secondary, and on the system of flat tints, from the moment wherein it is decided to put in windows of stained glass; for no painting applied upon an opaque body, such as stone, wood, &c., could sustain itself beside the brilliant coloured lights transmitted by the glass: and if this painting has been graduated according to the rules of chiar'oscuro, all its merit in the eye of the spectator disappears, for want of pure and white light, the only kind suitable for lighting it.

(554.) Is it true that the vicinity of stained glass necessarily requires, as an effect of harmony, painting on the contiguous walls? Without deciding absolutely in favour of the contrary opinion, I shall avow, that, after reflecting a long time upon the deep impressions I have received in great gothic churches, where the walls presented only the simple effects of light and shade upon a uniform surface of stone, where no other colours struck my eyes but those transmitted by the stained glass,-I shall avow, I say, that the sight of more varied effects would have appeared to me an error against the principle of suitability of that place to its destination; and this opinion was strongly fortified upon seeing, after the coronation of Charles X., the fine vault of the ancient cathedral of Rheims, which had been painted for the occasion in blue, sprinkled with fleurs-de-lis: I was reminded of the impression which I experienced some years before, when it presented to my sight only the uniform colour of the stone.

(555.) To enter into further details on the decoration of the interiors of large gothic churches would encroach upon one of the chapters of the following section, where I shall examine this kind of decoration, not specially, but generally, independently of a given architectural form."

SECTION II.

APPLICATIONS TO INTERIOR DECORATION.

INTRODUCTION (556.).

CHAPTER I.-ON THE ASSORTMENT OF STUFFS WITH THE WOOD OF CHAIRS (557.-563.).

CHAPTER II.-ON THE ASSORTMENT OF PICTURES, ENGRAVINGS, AND LITHOGRAPHS WITH THEIR FRAMES (564.-572.).

CHAPTER III.-ON THE GENERAL DECORATION OF THE INTERIORS OF CHURCHES (573.-581.).

CHAPTER IV.-ON THE DECORATIONS OF MUSEUMS AND GALLERIES OF ART (582.-589.).

CHAPTER V.-ON THE CHOICE OF COLOURS FOR THEATRES (590.—598.). CHAPTER VI.-ON THE INTERIOR DECORATION OF DWELLINGS WITH RESPECT TO THE ASSORTMENT OF Colours (599.-655.).

INTRODUCTION.

(556.) THE title of this section is so general, that I must briefly indicate the subjects which I have thought proper to comprehend in it, and the order in which they will be examined.

I shall treat in succession

1o. On the assortment of stuffs with the wood of chairs, &c.

2o. On the assortment of frames with the pictures, engravings, and lithographs which they cir cumscribe.

3°. On the general decoration of interiors of churches.

4°. On the decoration of museums, galleries, &c. 5°. On the choice of colours for theatres.

6o. On the decoration of interiors-houses, palaces, &c.-with regard to the assortment of colours.

CHAPTER I.

ON THE ASSORTMENT OF STUFFS WITH THE WOOD OF CHAIRS.

(557.) WHEN we would assort the colour of a stuff with that of a wood for furniture, we must distinguish two conditions; that where we would obtain the greatest possible advantage from two colours by each giving value to the other; and that where, considering the stuff and the wood as one object, we regard only the colour of the stuff relatively to that of the objects which, with the chair, compose the furniture.