The Works of the Right Honourable Edmund Burke
Chapter 6 : Indeed, there is nothing more prejudicial to the grandeur of buildings than to abound in

Indeed, there is nothing more prejudicial to the grandeur of buildings than to abound in angles; a fault obvious in many; and owing to an inordinate thirst for variety, which, whenever it prevails, is sure to leave very little true taste.

SECTION X.

MAGNITUDE IN BUILDING.

To the sublime in building, greatness of dimension seems requisite; for on a few parts, and those small, the imagination cannot rise to any idea of infinity. No greatness in the manner can effectually compensate for the want of proper dimensions. There is no danger of drawing men into extravagant designs by this rule; it carries its own caution along with it. Because too great a length in buildings destroys the purpose of greatness, which it was intended to promote; the perspective will lessen it in height as it gains in length; and will bring it at last to a point; turning the whole figure into a sort of triangle, the poorest in its effect of almost any figure that can be presented to the eye. I have ever observed, that colonnades and avenues of trees of a moderate length were, without comparison, far grander than when they were suffered to run to immense distances. A true artist should put a generous deceit on the spectators, and effect the n.o.blest designs by easy methods. Designs that are vast only by their dimensions are always the sign of a common and low imagination. No work of art can be great, but as it deceives; to be otherwise is the prerogative of nature only. A good eye will fix the medium betwixt an excessive length or height (for the same objection lies against both), and a short or broken quant.i.ty: and perhaps it might be ascertained to a tolerable degree of exactness, if it was my purpose to descend far into the particulars of any art.

SECTION XI.

INFINITY IN PLEASING OBJECTS.

Infinity, though of another kind, causes much of our pleasure in agreeable, as well as of our delight in sublime images. The spring is the pleasantest of the seasons; and the young of most animals, though far from being completely fas.h.i.+oned, afford a more agreeable sensation than the full-grown; because the imagination is entertained with the promise of something more, and does not acquiesce in the present object of the sense. In unfinished sketches of drawing, I have often seen something which pleased me beyond the best finis.h.i.+ng; and this I believe proceeds from the cause I have just now a.s.signed.

SECTION XII.

DIFFICULTY.

Another source of greatness is _difficulty_.[21] When any work seems to have required immense force and labor to effect it, the idea is grand.

Stonehenge, neither for disposition nor ornament, has anything admirable; but those huge rude ma.s.ses of stone, set on end, and piled each on other, turn the mind on the immense force necessary for such a work. Nay, the rudeness of the work increases this cause of grandeur, as it excludes the idea of art and contrivance; for dexterity produces another sort of effect, which is different enough from this.

SECTION XIII.

MAGNIFICENCE.

Magnificence is likewise a source of the sublime. A great profusion of things, which are splendid or valuable in themselves, is _magnificent_.

The starry heaven, though it occurs so very frequently to our view never fails to excite an idea of grandeur. This cannot be owing to the stars themselves, separately considered. The number is certainly the cause.

The apparent disorder augments the grandeur, for the appearance of care is highly contrary to our ideas of magnificence. Besides, the stars lie in such apparent confusion, as makes it impossible on ordinary occasions to reckon them. This gives them the advantage of a sort of infinity. In works of art, this kind of grandeur which consists in mult.i.tude, is to be very cautiously admitted; because a profusion of excellent things is not to be attained, or with too much difficulty; and because in many cases this splendid confusion would destroy all use, which should be attended to in most of the works of art with the greatest care; besides, it is to be considered, that unless you can produce an appearance of infinity by your disorder, you will have disorder only without magnificence. There are, however, a sort of fireworks, and some other things, that in this way succeed well, and are truly grand. There are also many descriptions in the poets and orators, which owe their sublimity to a richness and profusion of images, in which the mind is so dazzled as to make it impossible to attend to that exact coherence and agreement of the allusions, which we should require on every other occasion. I do not now remember a more striking example of this, than the description which is given of the king's army in the play of Henry IV.:--

"All furnished, all in arms, All plumed like ostriches that with the wind Baited like eagles having lately bathed: As full of spirit us the month of May, And gorgeous as the sun in midsummer, Wanton as youthful goats, wild as young bulls.

I saw young Harry with his beaver on Rise from the ground like feathered Mercury; And vaulted with such ease into his seat, As if an angel dropped down from the clouds To turn and wind a fiery Pegasus."

In that excellent book, so remarkable for the vivacity of its descriptions, as well as the solidity and penetration of its sentences, the Wisdom of the Son of Sirach, there is a n.o.ble panegyric on the high-priest Simon the son of Onias; and it is a very fine example of the point before us:--

_How was he honored in the midst of the people, in his coming out of the sanctuary! He was as the morning star in the midst of a cloud, and as the moon at the full; as the sun s.h.i.+ning upon the temple of the Most High, and as the rainbow giving light in the bright clouds: and as the flower of roses in the spring of the year, as lilies by the rivers of waters, and as the frankincense-tree in summer; as fire and incense in the censer, and as a vessel of gold set with precious stones; as a fair olive-tree budding forth fruit, and as a cypress which groweth up to the clouds. When he put on the robe of honor, and was clothed with the perfection of glory, when he went up to the holy altar, he made the garment of holiness honorable. He himself stood by the hearth of the altar, compa.s.sed with his brethren round about; as a young cedar in Liba.n.u.s, and as palm-trees compa.s.sed they him about. So were all the sons of Aaron in their glory, and the oblations of the Lord in their hands, &c._

SECTION XIV.

LIGHT.

Having considered extension, so far as it is capable of raising ideas of greatness; _color_ comes next under consideration. All colors depend on _light_. Light therefore ought previously to be examined; and with it its opposite, darkness. With regard to light, to make it a cause capable of producing the sublime, it must be attended with some circ.u.mstances, besides its bare faculty of showing other objects. Mere light is too common a thing to make a strong impression on the mind, and without a strong impression nothing can be sublime. But such a light as that of the sun, immediately exerted on the eye, as it overpowers the sense, is a very great idea. Light of an inferior strength to this, if it moves with great celerity, has the same power; for lightning is certainly productive of grandeur, which it owes chiefly to the extreme velocity of its motion. A quick transition from light to darkness, or from darkness to light, has yet a greater effect. But darkness is more productive of sublime ideas than light. Our great poet was convinced of this; and indeed so full was he of this idea, so entirely possessed with the power of a well-managed darkness, that in describing the appearance of the Deity, amidst that profusion of magnificent images, which the grandeur of his subject provokes him to pour out upon every side, he is far from forgetting the obscurity which surrounds the most incomprehensible of all beings, but

"With majesty of _darkness_ round Circles his throne."

And what is no less remarkable, our author had the secret of preserving this idea, even when he seemed to depart the farthest from it, when he describes the light and glory which flows from the Divine presence; a light which by its very excess is converted into a species of darkness:--

"_Dark_ with excessive _light_ thy skirts appear."

Here is an idea not only poetical in a high degree, but strictly and philosophically just. Extreme light, by overcoming the organs of sight, obliterates all objects, so as in its effect exactly to resemble darkness. After looking for some time at the sun, two black spots, the impression which it leaves, seem to dance before our eyes. Thus are two ideas as opposite as can be imagined reconciled in the extremes of both; and both, in spite of their opposite nature, brought to concur in producing the sublime. And this is not the only instance wherein the opposite extremes operate equally in favor of the sublime, which in all things abhors mediocrity.

SECTION XV.

LIGHT IN BUILDING.

As the management of light is a matter of importance in architecture, it is worth inquiring, how far this remark is applicable to building. I think, then, that all edifices calculated to produce an idea of the sublime, ought rather to be dark and gloomy, and this for two reasons; the first is, that darkness itself on other occasions is known by experience to have a greater effect on the pa.s.sions than light. The second is, that to make an object very striking, we should make it as different as possible from the objects with which we have been immediately conversant; when therefore you enter a building, you cannot pa.s.s into a greater light than you had in the open air; to go into one some few degrees less luminous, can make only a trifling change; but to make the transition thoroughly striking, you ought to pa.s.s from the greatest light, to as much darkness as is consistent with the uses of architecture. At night the contrary rule will hold, but for the very same reason; and the more highly a room is then illuminated, the grander will the pa.s.sion be.

SECTION XVI.

COLOR CONSIDERED AS PRODUCTIVE OF THE SUBLIME.

Among colors, such as are soft or cheerful (except perhaps a strong red, which is cheerful) are unfit to produce grand images. An immense mountain covered with a s.h.i.+ning green turf, is nothing, in this respect, to one dark and gloomy; the cloudy sky is more grand than the blue; and night more sublime and solemn than day. Therefore in historical painting, a gay or gaudy drapery can never have a happy effect: and in buildings, when the highest degree of the sublime is intended, the materials and ornaments ought neither to be white, nor green, nor yellow, nor blue, nor of a pale red, nor violet, nor spotted, but of sad and fuscous colors, as black, or brown, or deep purple, and the like. Much of gilding, mosaics, painting, or statues, contribute but little to the sublime. This rule need not be put in practice, except where an uniform degree of the most striking sublimity is to be produced, and that in every particular; for it ought to be observed, that this melancholy kind of greatness, though it be certainly the highest, ought not to be studied in all sorts of edifices, where yet grandeur must be studied; in such cases the sublimity must be drawn from the other sources; with a strict caution however against anything light and riant; as nothing so effectually deadens the whole taste of the sublime.

SECTION XVII.

SOUND AND LOUDNESS.

The eye is not the only organ of sensation by which a sublime pa.s.sion may be produced. Sounds have a great power in these as in most other pa.s.sions. I do not mean words, because words do not affect simply by their sounds, but by means altogether different. Excessive loudness alone is sufficient to overpower the soul, to suspend its action, and to fill it with terror. The noise of vast cataracts, raging storms, thunder, or artillery, awakes a great and awful sensation in the mind, though we can observe no nicety or artifice in those sorts of music. The shouting of mult.i.tudes has a similar effect; and by the sole strength of the sound, so amazes and confounds the imagination, that, in this staggering and hurry of the mind, the best established tempers can scarcely forbear being borne down, and joining in the common cry, and common resolution of the crowd.

SECTION XVIII.

SUDDENNESS.

A sudden beginning, or sudden cessation of sound of any considerable force, has the same power. The attention is roused by this; and the faculties driven forward, as it were, on their guard. Whatever, either in sights or sounds, makes the transition from one extreme to the other easy, causes no terror, and consequently can be no cause of greatness.

In everything sudden and unexpected, we are apt to start; that is, we have a perception of danger, and our nature rouses us to guard against it. It may be observed that a single sound of some strength, though but of short duration, if repeated after intervals, has a grand effect. Few things are more awful than the striking of a great clock, when the silence of the night prevents the attention from being too much dissipated. The same may be said of a single stroke on a drum, repeated with pauses; and of the successive firing of cannon at a distance. All the effects mentioned in this section have causes very nearly alike.

SECTION XIX.

INTERMITTING.

A low, tremulous, intermitting sound, though it seems, in some respects, opposite to that just mentioned, is productive of the sublime. It is worth while to examine this a little. The fact itself must be determined by every man's own experience and reflection. I have already observed, that night[22] increases our terror, more perhaps than anything else; it is our nature, when we do not know what may happen to us, to fear the worst that can happen; and hence it is that uncertainty is so terrible, that we often seek to be rid of it, at the hazard of a certain mischief.

Now some low, confused, uncertain sounds, leave us in the same fearful anxiety concerning their causes, that no light, or an uncertain light, does concerning the objects that surround us.

Quale per incertam lunam sub luce maligna Est iter in sylvis.

"A faint shadow of uncertain light, Like as a lamp, whose life doth fade away; Or as the moon clothed with cloudy night Doth show to him who walks in fear and great affright."

SPENSER.

But light now appearing, and now leaving us, and so off and on, is even more terrible than total darkness; and a sort of uncertain sounds are, when the necessary dispositions concur, more alarming than a total silence.