e Cathedral of Torcello it seems not unlikely, that
as we study either the science of sound, or the practice of the early
Christians, we may see reason to place the pulpit generally at the
extremity of the apse or chancel; an arrangement entirely destructive of
the beauty of a Gothic church, as seen in existing examples, and
requiring modifications of its design in other parts with which we
should be unwise at present to embarrass ourselves; besides, that the
effort to introduce the style exclusively for ecclesiastical purposes,
excites against it the strong prejudices of many persons who might
otherwise be easily enlisted among its most ardent advocates. I am quite
sure, for instance, that if such noble architecture as has been employed
for the interior of the church just built in Margaret Street[57] had
been seen in a civil building, it would have decided the question with
many men at once; whereas, at present, it will be looked upon with fear
and suspicion, as the expression of the ecclesiastical principles of a
particular party. But, whether thus regarded or not, this church
assuredly decides one question conclusively, that of our present
capability of Gothic design. It is the first piece of architecture I
have seen, built in modern days, which is free from all signs of
timidity or incapacity. In general proportion of parts, in refinement
and piquancy of mouldings, above all, in force, vitality, and grace of
floral ornament, worked in a broad and masculine manner, it challenges
fearless comparison with the noblest work of any time. Having done this,
we may do anything; there need be no limits to our hope or our
confidence; and I believe it to be possible for us, not only to equal,
but far to surpass, in some respects, any Gothic yet seen in Northern
countries. In the introduction of figure-sculpture, we must, indeed, for
the present, remain utterly inferior, for we have no figures to study
from. No architectural sculpture was ever good for anything which did
not represent the dress and persons of the people living at the time;
and our modern dress will _not_ form decorations for spandrils and
niches. But in floral sculpture we may go far beyond what has yet been
done, as well as in refinement of inlaid work and general execution.
For, although the glory of Gothic architecture is to receive the rudest
work, it refuses not the best; and, when once we have been content to
admit the handling of the simplest workman, we sh