'The temple of art is an emanation from that Divine Spirit who fills it with Himself. It is the plastic evolution of the idea which man has of Him, of His nature, of His ways, as manifested in the universe. From its central sanctuary in which He, the unseen, dwells, this temple projects, extending itself in space in every direction; but by an opposite movement all its parts, closely united, converge to the sanctuary, gravitating toward the central point where their Head, their essential and primordial Reason, dwells; they struggle to penetrate its mystic veil, to mingle with it, to have their being in it, in order to accomplish the perfect union of variety with unity, of the finite with the infinite.

'The art temple struggles to develop itself by a process analogous to that of creation. The surface of the earth was first clothed with vegetation, from the lowly moss and creeping lichen to the lofty cedar, whose solemn branches mingle with the floating clouds. When the earth was ready for their habitation, came the animals, gifted with higher life, with spontaneous motion, with instinct and sensibility. At last came man, endowed with the incomparable faculties of love and reason.

'The art temple has also its vegetation. Its walls are covered with varied plants, which wind along its cornices and wreathe its plinths; they blossom round the oriels, brightening or deepening in the light; they twine through the nerves of the vaulted arch; like the liane of the cedars, they embrace the tall minarets of the heaven-seeking spire, mounting into the blue depths of ether; they bind the clustering shafts of the columns in heavy sheaves, and crown their capitals with flowers and foliage. The stone grows more and more animated, puts forth in more luxuriant growth; multitudes of new forms spring up in the bosom of this magnificent creation; when lo! at length man completes and embodies them all—his own noble image stands revealed—the rude, but white and glittering stone glows almost into life under the passion of his forming hand.

'Sculpture is but an immediate development of architecture, proceeding naturally and organically from it. In proof of this, we have only to examine it in its first efforts. Forms, unfinished and embryonic, at first closely attached to the stone, growing by degrees in accordance with their own fixed laws until able to detach themselves from the medium through which they were originated, after having acquired the conditions necessary for their individual life, spring to actual life, to independent life, almost as the organized being springs from the womb of its mother.

'Sculpture, however, represents but imperfectly the marvellous glories of God's creation. It can give but faint ideas of the various effects of light and shade, the constantly shifting play of colors; it cannot offer that full harmony of beauty which nature is ever spreading before us in the complicated scenes of life. To satisfy this want, a new art is created! Closely linked with all those which have preceded it, its development is but their legitimate expansion. The gray and stern arches, the hitherto colorless sky of the art temple, now take the azure hue of the heavens, while hovering cherubs look down from their cerulean depths; the relievos glow, and color defines, as it etherealizes, the works of man. Painting, at first absorbed in the plastic arts, scarcely begins to show symptoms of life until she is fully born, and living in her own distinctive form! As that power which develops the almost infinite variety of forms is to the universe, so is painting with its ever ready and vivid canvas to the temple of art.

'Meanwhile the art temple has not remained wrapped in gloomy silence; and another series of developments, bearing the same relation to sound and hearing as the first did to light and sight, have commenced. As beings ascend in the scale of life, the forms appealing to sight alone, become less capable of expressing their nature. If the universe had been without voice, the highest which it contains had been shrouded in the pall of an eternal silence; but creation has a voice which is specific in every genus, in every species, in every individual. Transport yourself in thought to one of the vast solitudes of the New World—listen to the rustling of the myriad-leafed forests as they forever murmur on the banks of the thousands of nameless and unknown streams which ripple through them; to the clash of the impetuous torrents as they rush down the precipitous sides of the mountains to glide on from their feet through beds of soft moss or sedgy grass; to the booming thunder, driving, scattering, and tearing the flying clouds; to the intermingling sounds arising from the myriads of creatures which are roaring, bellowing, humming, buzzing, hissing, singing, upon the bosom of this primeval world—listen! this is the voice of nature, indistinct and confused, but majestic, solemn, multitudinous, full of mystery and palpitating with vague emotions.

'As the art temple symbolizes the creation, is the plastic image of it, a voice is also heard from its depths, which rides upon the winds, and pierces afar off. The echo of an invisible world, it is solemn, mysterious, and multiform, appealing to the inmost feelings, rousing the sleeping powers, awakening the internal life of the soul, which without it might lie forever benumbed and silent. Corresponding to the voice of nature, it, too, is specifically marked, is individualized in every medium through which it is produced. Developing in unceasing variety, yet ever bound in the closest unity, language syllables air into thought, love. As soon as man mingles his voice, his speech, with that of inferior beings, the whole creation is enlarged, dilates and throbs with new and glowing life. A closer tie unites the two worlds—the world of phenomena and the world of ideas. Rising from the bosom of organic nature, pressing up like a bud closely wrapped in its sheaf of clustering and sheltering leaves, destined to indefinite development, the human word is born; it is named: Oratory, Poetry, Music! The art temple is now complete. Symbol of the universe, it represents all that is contained therein under the glittering veil of art.'

It is strange how, in the middle ages, the temple of art almost grew into one with the temple of faith; to this fact may be traced the elevated and devout character of the chefs-d'œuvre of those dim centuries. Thus the church became a sublime poem, where the glowing imagination of a tender faith lavished all its glories. That the Christian church then satisfied the heart with its mystic dogmas and symbolic representations, is proved by the fact that the masses did not care how obscure and squalid their own hovels might be, provided the temple was great and magnificent. It was the temple of simple, unreasoning, unquestioning faith, but decorated with the highest marvels of art; it was always thrown open to the people, and in it they passed nearly half their days. Man brought what he held to be his best to the temple in which he came to worship God, and in it was concentrated all the world knew of beauty. Its light but ornate steeples seemed to pierce the very clouds; its columns rivalled the shafts of the forest; its balustrades were exquisitely chiselled; its tapestry inwrought with the finest needle work;—all gave evidence that the hand of love had lingered tenderly over every line in the house dedicated by man to his Maker. The pictured saints and angels seemed to smile upon the kneeling people, while the majestic chants and requiems sounded to them like the very voices of the angels, heard from within the 'jasper gates' of the heavenly city. The white-robed and entoning priests were their joy and pride; they, as well as the cherished artists, were most frequently from their own oppressed ranks. Religion and art were alone then democratic; alone expounded to them the original equality of man. Thus they looked upon these temples, which art beautified for faith, as peculiarly their own, their refuge, their solace, their ark of safety in those times of war and trouble. They earnestly and devoutly believed them to be the sanctuaries of the risen God, in which dwelt his glorified Body. With the first rays of the sun flushing with roseate hues the mystic beauty of the temple, they congregated there to receive, in the glorious unity of a common humanity, Him whom the heavens cannot contain—the Son of God. They did not think, they felt; they could not reason, but they heard the church. Naive, simple, and trusting souls, with the Virgin to smile upon them, and the saints to pray for them.

It cannot surely be denied that art is full of indefinite and instinctive longing for the infinite.

Poetry is full of its pining voice. Chateaubriand says:

'When we are alone with nature, the feeling of the infinite forces itself irresistibly upon us. When the universe with its inexhaustible variety opens before us, when we contemplate the myriads of stars moving in ever-mystic harmony through the limitless immensity of space, when we gaze upon the ocean mingling with the sky in the boundless distance of the far horizon, when the earth and sea are rocked into profound calm, and creation itself seems wrapped in mystic contemplation—an undefinable feeling of melancholy seizes upon us, unknown desires awaken in the soul, they seem to call us into other countries far beyond the limits of the known—must it not then be the vague feeling after, the dim longing for, the infinite, which at such moments we feel strangely stirring in the calm depths of the divining soul?'

We find the same yearning breathing through the following beautiful poem of Mrs. Osgood's:

'As plains the home-sick ocean shell
Far from its own remembered sea,
Repeating, like a fairy spell,
Of love, the charmed melody
It learned within that whispering wave,
Whose wondrous and mysterious tone
Still wildly haunts its winding cave
Of pearl, with softest music-moan—

'So asks my home-sick soul below,
For something loved, yet undefined;
So mourns to mingle with the flow
Of music from the Eternal Mind;
So murmurs, with its childlike sigh,
The melody it learned above,
To which no echo may reply
Save from thy voice, Eternal Love!'

It is to his fervent and fiery expression of this longing for the infinite, characterizing, whether pure or perverted, almost the whole of Byron's poetry, breaking out sometimes in imprecations and despair, and not to his immorality, that his great popularity is to be attributed. Even in the midst of the most unhappy scepticism, it was the haunting passion of his soul. Alas! that this longing for the food of heaven should have been fed on husks until the lower rungs of the heaven ladder became so covered with the corruption of matter and fiery sparks of evil, that it seemed rather meant for the foul feet of demons, than for the elastic tread of the redeemed human soul to God! We quote from him in proof:

'Blue rolls the water, blue the sky
Spreads like an ocean hung on high,
Bespangled with those isles of light,
So wildly, spiritually bright;
Who ever gazed upon them shining
Nor turned to earth without repining,
Nor wished for wings to flee away,
And mix with their eternal ray?'

'Oh, thou beautiful
And unimaginable ether! and
Ye multiplying masses of increased
And still increasing lights! what are ye?
What
Is this blue wilderness of interminable
Air, wherein ye roll along as I have seen
The leaves along the limpid streams of
Eden?

Is your course measured for ye? or do ye
Sweep on in your unbounded revelry
Through an aerial universe of endless
Expansion, at which my soul aches to think—
Intoxicated with eternity?'

'All heaven and earth are still—though not in sleep,
And breathless, as we grow when feeling most;
And silent, as we stand in thoughts too deep;—
All heaven and earth are still: from the high host
Of stars, to the lulled lake and mountain coast,
All is concentred in a life intense,
Where not a beam, nor air, nor leaf is lost,
But hath a part of being, and a sense
Of that which is of all Creator and Defence.

'Then stirs the feeling infinite, so felt
In solitude, where we are least alone;
A truth, which through our being then doth melt,
And purify from self: it is a tone
The soul and source of music, which makes known
Eternal harmony, and sheds a charm,
Like to the fabled Cytherea's zone,
Binding all things with beauty; 'twould disarm
The spectre Death, had he substantial power to harm.'

In some of the most forcible lines ever penned, Byron has given us the whole psychological analysis of the effects of human passion, when, in its insane perversion, and misdirected thirst for the infinite, it pours upon the dust that love and worship which is due to God alone. No one who has thus sinned, will refuse to acknowledge their force and truth. Fearful in their Medusa-like beauty, they fascinate the heart, only to turn its warm pulses into ice. They are actually withering in their despair. Poor Byron! did he never, never cry with the repentant but happy St. Augustin: 'Oh, eternal beauty! too late have I known thee!'

'Alas! our young affections run to waste,
Or water but the desert; whence arise
But weeds of dark luxuriance, tares of haste,
Rank at the core, though tempting to the eyes,
Flowers whose wild odors breathe but agonies,
And trees whose gums are poison; such the plants
Which spring beneath her steps, as Passion flies
O'er the world's wilderness, and vainly pants
For some celestial fruit forbidden to our wants.

'O Love! no habitant of earth thou art—
An unseen seraph, we believe in thee;
A faith whose martyrs are the broken heart,
But never yet hath seen, nor e'er shall see
The naked eye, thy form, as it should be;
The mind hath made thee, as it peopled heaven
Even with its own desiring phantasy,
And to a thought such shape and image given,
As haunts the unquenched soul—parched—wearied—wrung and riven.

'Of its own beauty is the mind diseased,
And fevers into false creation:—where,
Where are the forms the sculptor's soul hath seized?
In him alone. Can Nature show so fair?
Where are the charms and virtues which we dare
Conceive in boyhood and pursue as men,
The unreached Paradise of our despair,
Which o'er informs the pencil and the pen,
And overpowers the page where it would bloom again?

'Who loves, raves—'tis youth's frenzy—but the cure
Is bitterer still; as charm by charm unwinds
Which robed our idols, and we see too sure
Nor worth nor beauty dwells from out the mind's
Ideal shape of such; yet still it binds
The fatal spell, and still it draws us on,
Reaping the whirlwind from the oft-sown winds;
The stubborn heart, its alchemy begun,
Seems ever near the prize—wealthiest when most undone.

'We wither from our youth, we gasp away—
Sick—sick; unfound the boon—unslaked the thirst,
Though to the last, in verge of our decay
Some phantom lures, such as we sought at first—
But all too late, so are we doubly cursed.
Love, fame, ambition, avarice—'tis the same,
Each idle—and all ill—and none the worst—
For all are meteors with a different name,
And Death the sable smoke where vanishes the flame.

'Few—none—find what they love or could have loved,
Though accident, blind contact, and the strong
Necessity of loving, have removed
Antipathies—but to recur, ere long,
Envenomed with irrevocable wrong;
And circumstance, that unspiritual god
And miscreator, makes and helps along
Our coming evils with a crutch-like rod,
Whose touch turns hope to dust—the dust we all have trod.

'Our life is a false nature—'tis not in
The harmony of things,—this hard decree,
This uneradicable taint of sin,
This boundless Upas, this all blasting tree.
Whose root is earth, whose leaves and branches be
The skies which rain their plagues on men like dew—
Disease—death—bondage—all the woes we see—
And worse—the woes we see not—which throb through
The immedicable soul, with heartaches ever new.'

Again:

'What is the worst? Nay, do not ask—
In pity from the search forbear:
Smile on—nor venture to unmask
Man's heart, and view the hell that's there!'

Merciful God! how men suffer when they fly from Thee. When they refuse to listen to the sublime voice implanted within, which calls them to Thee, forever reminding them that they were made for things infinite, eternal! O ye men of pleasure, it is the very greatness of your nature which torments you: there is nothing save God capable of filling the immeasurable depths of your longing! How different the language of Klopstock, as already quoted: 'What recompense could I ask? I have tasted the cup of angels in singing of my Redeemer!'

One of the most dangerous, yet most brilliant among the novelists of the present day, says:

'Properly speaking, love is not a violent aspiration of every faculty toward a created being; it is rather a holy thirst of the most ethereal part of our being for the unknown. Tormented with intuitions of an eternal love, filled with torturing and insatiate desires for the infinite, we vainly seek their gratification in the dying forms which surround us, and obstinately adorn our perishable idols with that immaterial beauty which haunts our dreams. The emotions of the senses do not suffice us; in the treasure house of the simple joys of nature there is nothing sufficiently exquisite to fill our high demands; we would fain grasp heaven, and it is not within our reach. Then we seek it in a creature fallible as ourselves; we expend upon it all the high energies given us for far nobler ends. We refuse to worship God, and kneel before a worm like ourselves! But when the veil falls, when we see behind the clouds of incense and the halos woven by love, only a miserable and imperfect creature—we blush for our delusion, overturn our idol in our despair, and trample it rudely under foot. But as we must love, and will not give our hearts to God, for whom they were created, we seek another idol—and are again deceived! Through this bitter, bitter school we are purified and enlightened, until, abandoning all hope of finding perfection on earth, we are at last ready to offer God that pure, but now broken-hearted worship, which should never have been given save to Him alone.'—George Sand.

Thus is it that 'love's best interpreter is still a sigh.'

Let him who would in safety delight his soul with mystic intuitions of the infinite, turn to that most exquisite of all poems, the Apocalypse, for 'blessed is he that readeth and heareth the words of this prophecy, and keepeth those things which are written in it.' St. Jerome says 'it contains as many mysteries as words'—as many truths as mysteries—and these truths are all revelations of the infinite. 'Be thou faithful unto death, and I will give thee the crown of life,' says He who can bring thee into that heavenly city which needeth no temple: 'For the Lord God Almighty is the temple thereof, and the Lamb! And the city hath no need of the sun, nor of the moon to shine in it. For the glory of God hath enlightened it, and the Lamb is the lamp of it.' There shall we feed upon the infinite!

The pantheistic feeling into which the imaginative mind so readily falls, is thus sketched by a poet of our own times:

'I seated myself, after sunset, by the water's side; nothing was to be heard save the dash of the waves as they broke upon the lonely shore; and I gradually fell into that state so well known among solitary travellers:—no distinct remembrance of my own separate being remained to me: I seemed to be but a part of some great whole, to undulate with the lake, to vegetate with the trees, to sigh with the winds, to blossom with the flowers.'

This feeling of the infinite so pervaded antiquity, that man almost lost the consciousness of his own personality in the immensity of the universe, regarding himself but as an element of the absolute unity of the world. His imagination fell into profound reverie, he felt himself but as an integral part of a universal movement drawing all things to a single centre, confounding all beings with one sole substance. We have only to open the Vedas to convince ourselves how deeply this feeling pervaded the early philosophy of the Hindoos. For example:

'Brahma is eternal, the only substantial being, revealing himself in happiness and joy. The universe is his name, his image; this primal existence, containing all in itself, is the only one substantially existing. All phenomena have their cause in Brahma: he is not subjected to the conditions of time and space. He is imperishable; he is the soul of the world; the soul of every individual being. The universe is Brahma—it comes from Brahma—it subsists in Brahma—Bramah, or the sole self-existing being, is the form of all science, the form of systems of worlds, without end forever. The universes of stars are one with him; they have no being but as they exist in the supremacy of his will. This eternal will is the central heart of all that is. It reveals itself in creation, in preservation, in destruction, in motion, in rest, in space, in time.'

Such an absorption of all things in the infinite, with the consequent loss of personality, individuality, and all moral responsibility, had a most depressing effect upon the character of the people who embraced this strange system. This is so manifest that it may be plainly read in the sombre character of their architectural remains.

'In their subterranean, vast, and dim excavations; in the gigantic proportions of their colossal architecture, always impressing us with sadness and with the nothingness of man; in their long, still, damp, dreary cities of sepulchres; in their half-shrouded and mummy-like statues, which, in their corpse-like immobility, seem struck with eternal death, or in slowly detaching themselves in their vast and unfinished forms from primeval and gigantic rocks, grow into a kind of dull, embryonic, and stagnant life, far more abhorrent than death itself—do we not clearly recognize the idea of the infinite absorbing all things into itself, crushing the soaring spirit of man under a blind fatalism, robbing him of all hope and aim in life, of the dignity of personal effort and moral responsibility, presenting as the only aim of all his glowing desires, the utter absorption of his own individuality in the bosom of the limitless whole—thus reducing the vivid action of his varied life to the stillness of the grave, without its repose?'

It is a strange fact, which we will view more closely when we treat of Unity, that the quest for variety which led men into polytheism, or the fractioning of the Deity into false and wicked gods and goddesses, necessarily forced man to the creation of a Fate, to which Jupiter himself was subjected, more blind, more crushing, more appalling to the imagination (because while retaining his entire individuality, man was yet forced to submit to its irrational and pitiless decrees) than was even the hopeless fatalism consequent upon the pantheistic absorption of the East.

What a step from the vague yet crushing, abstract yet deadening dreaming of a fearful and misinterpreted infinite; from the cruel rigors of an unreasoning and implacable fate—to that full revelation that the Infinite is a personal God, cognizant of the human, gifting it with a free will to choose good or evil, and united with it in mercy and love through the mystic life and still more mystic death of the Divine Redeemer!

In sculpture, the thirst for the infinite is manifest in the various statues of the gods which it has given us; in painting, an art more closely related to Christianity, in the numberless figures of angels and heads of cherubs, in the countless pictures upon holy subjects with which it has presented us. The marble speaks, the canvas glows with human aspirations toward the infinite.

It is certainly a very significant fact, too, that there must be a point of escape in every picture, a window to let in the light, a glimpse of the sky: an idea of distance must in some way be given, or the painting will oppress us like a prison. No amount of beauty in a nearer form will make us content to remain with it, so long as we are shut down to it alone, nor is any form so cold but that we may look upon it with kindness, so that it rise against the infinite light of hope beyond. Gaze into Vernet's pictures: always sunrises or sunsets, calms or tempests, nights of moonlight, misty horizons in which it is quite impossible to distinguish the limiting lines—the infinite is always suggested in them: hence their hold upon the popular imagination.

It is really wonderful in how many ways this feeling appeals to us; it seems to be the background of our whole finite being. Saint Pierre says:

'The reason of the pleasure we experience in the sight of an immense tree, springs from the feeling of the infinite which is excited in us by its pyramidal form. The decrease in the different tiers of its branches; the infinitesimal gradations in its shades of green, always lighter at the extremity of the tree than in the rest of its foliage—give it an elevation apparently without limit. We experience the same sensations in the horizontal lines of landscapes, where we see row after row of hills unrolling one behind the other, until the last appears to melt into the blue of the distant heavens. Nature seems to love to produce the same effect upon extended plains or rolling prairies through the means of the mists and vapors so frequently rising from the bosoms of lakes and rivers. Sometimes these mists hang like curtains along the skirts of isolated forests, sometimes they rise like armed columns, and move in serried ranks along the beds of rivers; sometimes they are gray, gloomy, and motionless, sometimes moving with startling rapidity; their sombre hues changing into glowing rose, or penetrated and permeated with the glittering and golden light of the sun. Under all these shifting aspects they open for us perspective after perspective of the infinite into the infinite itself.'

Indeed nature seems never wearied in her varied suggestions of the infinite. Ruskin says, Is not the pleasure we receive from the effects of calm and luminous distance at the hour of sunset and sunrise among the most memorable and singular of which we are conscious; and is not all that is dazzling in color, perfect in form, gladdening in expression, of evanescent and shallow appealing when compared with the still small voice of the level twilight behind purple hills, or the scarlet arch of dawn over the dark and troublous edged sea? Almost all poets and painters have depicted sunrises and sunsets; every heart responds—there must then be something in them of a peculiar character, which must be one of the primal and most earnest motives of beauty to human sensation. Do they show us finer characters of form than can be developed by the broader daylight? Not so—for their power is almost independent of the forms they assume or display; it matters little whether the bright clouds be simple or manifold, whether the mountain line be subdued or majestic; the fairer forms of earthly things are by them subdued and disguised, the round and muscular growth of the forest trunks is sunk into skeleton lines of quiet shade, the purple clefts of the hillside are labyrinthed in the darkness, the orbed spring and whirling wave of the torrent have given place to a white, ghastly, interrupted gleaming. Have they more perfection or fulness of color? Not so—for their effect is often deeper when their hues are dim than when they are blazoned with crimson and pale gold; and assuredly in the blue of the rainy sky, in the many tints of morning flowers, in the sunlight on summer foliage and field, there are more sources of mere sensuous color-pleasure than in the single streak of the wan and dying light of sunset. It is not then by nobler form, it is not by positiveness of hue, it is not by intensity of light, that this strange distant apace possesses its attractive power. But there is one thing which it has or suggests, which no other object of sight suggests in an equal degree, and that is—infinity. It is of all visible things the least material, the least finite, the farthest withdrawn from the earth prison-house, the most typical of the nature of God, the most suggestive of the glory of His dwelling place. For the sky of the night, though we may know it is boundless, is dark; it is a studded vault, a roof that shuts us in and down; but the transparent distance of sunrise and sunset has no limit; we feel its infinity as we rejoice in its purity of light. That this has been deeply felt by artists, is evident in their works.

'And can the sun so rise,
So bright, so rolling back the clouds into
Vapors more lovely than the unclouded sky,
With golden pinnacles and snowy mountains,
And billows purpler than the ocean's, making
In heaven a glorious mockery of the earth,
So like, we almost deem it permanent,
So fleeting, we can scarcely call it aught
Beyond a vision, 'tis so transiently
Scattered along the eternal vault; and yet
It dwells upon the soul, and soothes the soul,
And blends itself into the soul, until
Sunset and sunrise form the haunted epoch
Of sorrow and of love; which they who mark not
Know not the realm where these twin genii
(Who chasten and who purify our hearts,
So that we would not change their sweet rebukes
For all the boisterous joys that ever shook
The air with clamor) build the palaces
Where their fond votaries repose and breathe
Briefly;—but in that brief cool calm inhale
Enough of heaven to enable them to bear
The rest of common, heavy, human hours,
And dream them through in placid sufferance.'

Byron.

No work of art in which this expression of infinity is possible, can be very elevated without it; and in proportion to its presence it will exalt and render impressive themes in themselves tame and trivial. If we will but think of it, it is very strange in how many unexpected places we shall find it lurking: for example, the painter of portraits is unhappy without his conventional white stroke under the sleeve or beside the armchair; the painter of interiors feels like a caged bird unless he can throw a window open or set a door ajar; the landscapist dare not lose himself in the forest without a gleam of light under its farthest branches, nor ventures out in the rain unless he may somewhere pierce to a better promise in the distance, or cling to some closing gap of variable blue above—escape from the finite—hope—infinity—by whatever conventionalism sought—the desire is the same in all.

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The Continental Monthly, Vol. 4, No. 1, July, 1863

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