to meet his fellows on that low level of
society, which, made up as it is of many individualities, has none of
those secret aspirations which arise out of his own isolation. Society
is a systematic aggregation for the benefit of the multitude, but great
men lift themselves above it into a purer atmosphere. As Longfellow
says, "They rise like towers in the city of God." So with Art,--when we
systematize it for the indiscriminate use of thoughtless and unloving
men, we degrade it. And a singular proof of this is found in the fact
that the Roman academical orders never have anything in them reserved
from the common ken. They are superficial. They say all that they have
to say and express all that they have to express at once, and disturb
the mind with no doubt about any hidden meaning. They are at once
understood. All their intention and purpose are patent to the most
casual observer. He does not pause to inquire what motives actuated the
architect in the composition of any Corinthian capital, because he feels
that it is made according to the dictates of a rigid school created for
the convenience of an unartistic age, and there is no individual love or
aspiration in it.

Virtually, the Roman orders died in the first century of the Christian
era. We all know how, when the authority of the Pagan schools was gone
and the stern Vitruvian laws had become lost in the mists of antiquity,
these orders gradually fell from their strict allegiance, and imbibed a
new and healthy life from that rude but earnest Romanesque spirit, as in
Byzantium and Lombardy. And we know, too, how, in after Gothic times,
the spirit of the forgotten Aphrodite, Ideal Beauty, sometimes
lurked furtively in the image of the Virgin Mary, and inspired the
cathedral-builders with somewhat of the old creative impulse of Love.
But the workings of this impulse are singularly contrasted in the
productions of the Greek and Mediaeval artists. Nature, we have seen,
offered to the former mysterious and oracular Sibylline leaves,
profoundly significant of an indwelling humanity diffused through all
her woods and fields and mountains, all her fountains, streams, and
seas. Those meditative creators sat at her feet, earnest disciples,
but gathering rather the spirit and motive of her gifts than the gifts
themselves, making an Ideal and worshipping it as a deity. But for the
cathedral-builder, Dryads and Hamadryads, Oreads, Fauns, and Naiads did
not exist,--the Oak of Dodo