_The Stones of
Venice_ had, from beginning to end, no other aim than to show that the
Gothic architecture of Venice had arisen out of, and indicated in all
its features, a state of pure national faith, and of domestic virtue;
and that its Renaissance architecture had arisen out of, and in all
its features indicated, a state of concealed national infidelity, and
of domestic corruption. And now, you ask me what style is best to
build in, and how can I answer, knowing the meaning of the two styles,
but by another question--do you mean to build as Christians or as
Infidels? And still more--do you mean to build as honest Christians or
as honest Infidels? as thoroughly and confessedly either one or the
other? You don't like to be asked such rude questions. I cannot help
it; they are of much more importance than this Exchange business; and
if they can be at once answered, the Exchange business settles itself
in a moment. But before I press them farther, I must ask leave to
explain one point clearly.
In all my past work, my endeavour has been to show that good
architecture is essentially religious--the production of a faithful
and virtuous, not of an infidel and corrupted people. But in the
course of doing this, I have had also to show that good architecture
is not _ecclesiastical_.
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