But in all cases it is not that the noble nature
loves monotony, anymore than it loves darkness or pain. But it can bear
with it, and receives a high pleasure in the endurance or patience, a
pleasure necessary to the well-being of this world; while those who
will not submit to the temporary sameness, but rush from one change to
another, gradually dull the edge of change itself, and bring a shadow
and weariness over the whole world from which there is no more escape.
From these general uses of variety in the economy of the world, we may
at once understand its use and abuse in architecture. The variety of
the Gothic schools is the more healthy and beautiful, because in many
cases it is entirely unstudied, and results, not from the mere love of
change, but from practical necessities. For in one point of view Gothic
is not only the best, but the _only rational_ architecture, as being
that which can fit itself most easily to all services, vulgar or noble.
Undefined in its slope of roof, height of shaft, breadth of arch, or
disposition of ground plan, it can shrink into a turret, expand into a
hall, coil into a staircase, or spring into a spire, with undegraded
grace and unexhausted energy; and whenever it finds occasion for change
in its form or purpose, it submits to it without the slightest sense of
loss either to its unity or majesty,--subtle and flexible like a fiery
serpent, but ever attentive to the voice of the charmer.
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