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124 portions of the mediEeval building, although neither fonned part of the original design. They were probably about the same age as the chapter-house, and it is certain that the consistory-house was in existence during Bishop Cameron's episcopate. These two interesting adjuncts were wantonly pulled down by rash and ignorant restorers about forty-five years ago,' when the sweeping and garnishing ah-eady referred to were in progress. This error can never be rectified ; but the time seems opjjortune for insisting upon the custodiers of the building giving it so much attention as to guard against mutilation still more serious. The correction of the placards is a comparatively trifling matter, but it also is one which demands immediate attention.

It is impossible to examine such a building aS Glasgow Cathedral thoughtfully — to note the won- derful skill with which the proportions of parts and their convenient disposition have been at once adapted and subordinated to structural requirements; the marvellous ingenuity with which in some cases obstacles to such harmonious combination have been surmounted ; the refinement and beauty of the details; and the excellence of the workmanshijJ — without realising how difficult it is to account for

the production of such a magnificent work of art in the poor, troublous, ignorant, and tyrannical Scot- land of the thirteenth century. If modern theories are correct, it would be difficult to imagine circumstances less favourable to artistic development than those under which this cathedral grew in its beauty. Yet with all the light and leading of the bygone cen- turies, with all the aids of science, and all the teachings of a thousand schools, we have in these days of liberty and wealth failed to produce one single original work at all comparable to this. Here we shall find as little trace of socialistic art as of South Kensington. ' The base ' was very narrow in Bishop Bondington's day, but art has no sympathy with communism. It can neither be made nor marred by anything of the kind. It is essentially autocratic, and must ever be so. The harmonious complexity of our cryptal labyrinth, the intricate groining of the overarching vault, the wealth of ex- cpiisite detail, the all-pervading unity, are not the outcome of co-operative art, but only of co-operative craft. One and all of them, even in their minutest or tenderest effect, bear witness to the despotism of a master-mind. We have effijctually got rid of two mediaeval despotisms — despotic government and de- spotic faith, — but the dynasty of art remains en- throned, and genius claims universal homage as of yore. John Honeyman.