206

A PILL FOR PUGIN.

heresy, should itself give into a species of practical heresy, retaining as it does so much of paganism in its rites, and adding so many inventions of its own in the form of empty and idle ceremonies that are apparently devised on purpose to amuse the people. If such idolatries are to be allowed, because well-intentioned, and because, if absurd, at least harmless, such excuse savours

as he is pleased to style them, THE TRADE, Mr. Pugin may very well be left to account with them. He has not at all spared them, and they will doubtless in their turn not be at all disposed to spare him, for he has dealt them some exceedingly hard blows. He must not expect a gold medal, for he mentions not a single building or individual but for the purpose of censure; nor does he afford room for supposing that he makes any exception. The late James Wyatt " of execrable memory," Sir F. Chantrey, Nash, Smirke, Soane, Wilkins, all obtain mention of a kind most persons would dispense with from Mr. Pugin. The " Professor's Own" is exhibited by him for any thing save admiration; and of a truth it is a most shocking sample of Sir John's taste. When Mr. Pugin terms Regent's Street, and the Regent's Park "nests of montrosities," I think he does not greatly err; but it is a pity he has not condescended in any instance to enter as it is to be presumed he easily could have done into some detailed explanatory remarks, from which we might have learned something more than merely his antipathies. "No one can look," he says, on Buckingham Palace, the National Gallery, Board of Trade, or the new buildings at the British Museum, or any of the principal buildings lately erected, but must feel the very existence of such public monuments as a national disgrace!" This may be no more than just—and in regard to the palace I admit that it fully deserves the vituperation it receives; yet surely it would not have been foreign to his purpose had the " Præterpluperfect Goth," as the Quarterly styles him, specified some at least of the defects he so liberally imputes to those unfortunate edifices.

CHAPEL OF SAN CARLO.

207

strangely of laxity, nor is it by any means reconcileable with the vigorous attention bestowed upon mere forms and usages. Supposing these to be no more than harmless devices, they do not deserve to be made matters of importance either one way or the other; whereas if not excusable as being altogether indifferent, it remains to be shown upon what grounds they can be defended, as being in any respect essential. To say that positive superstitions are in themselves of no moment, ought to give no offence, and are in no wise derogatory from either the spirit or the character of the Christian religion, would be a kind of argument neither discreet nor decent. Instead of taking the lead in superstitious practices, which are apt to be substituted for internal religion and moral principle, it rather behoves the ministers of the altar to discourage them.

To quit the cathedral without visiting the subterraneous chapel of San Carlo Borromeo, would be unpardonable at least it would be foregoing one of the most splendid sights of the kind imaginable. Before we reach it, we pass another chapel beneath the choir, called the scurolo, which has a remarkably rich stuccoed vault by Pelligrini. From this a flight of nine steps leads down to a vestibule, through the double range of whose elegant columns the interior of the chapel itself displays itself in the most scenic and picturesque manner, with the splendid crystal shrine inlaid with precious stones containing the archbishop's body.

208

CHAPEL OF SAN CARLO.

The form of this apartment is an oblong octagon

about thirty feet in extent, having

having a silver caryatic figure at each angle. There are likewise bas reliefs of the same costly metal; and the walls are further en-" riched by tapestry with a gold pattern on a deep red ground, which serves admirably to set off the rest. The floor, too, both of the chapel and its vestibule is beattifully inlaid in compartments. Taken altogether, it is a perfect architectural bijou, and does great credit to the taste of its designer, Pestagalli. The only fault to be alleged against it is, that it seems too luxurious in its embellishment to be altogether in character, considering its purpose, since, were it not for the shrine, it might" very well be mistaken for some fairy boudoir consecrated to other than saintly devotion.

Yet if any modern saint deserves so gorgeous a sepulchral shrine, it is San Carlo Borromeo, than whom a" more exemplary and amiable one is hardly to be pointed out in the whole Romish calendar. Equally eminent for unspotted morals, genuine piety, and active charity, he would have been an ornament to any church; nor will our admiration of his shining virtues be at all lessened by reflecting that they were exhibited at a period of life, and in a plentitude of fortune, where temptations most urgently beset human frailty, and, moreover, in an age and country where laxity of morals prevailed among churchmen; nay, even open licentiousness, and a flagitious disregard even of external

4

SAN CARLO BORROMEO.

209

decency of conduct was by no means uncommon. Where such men as a Bandello and a Bibiena, writers

whose productions are stamped by the most shameless impurity, were allowed to pollute the church;-where voluptuaries and worldlings, as was Leo X., sat as vicegerents of Christ, and successors of St. Peter, it required more than the fullest sincerity of heart to resist worldly allurements that might have been indulged in without reproach and without shame. The life of Borromeo was one of voluntary privation and exertion, yet not that of a mere ascetic and recluse, but of one indefatigable in benevolence, and in promoting both the temporal and spiritual welfare of his flock; and this life barely attained its meridian, for it was cut off at the age of forty-seven (in the year 1584). Like a Fénélon, a Borromeo is an example for men of all sects,

one

.whom every true Christian could with sincerity salute as his brother.

Р

IN speaking of the Duomo, I have not noticed the aguglia or spire, which is of very peculiar form, not to term it absolutely nondescript, an epithet generally conveying a reproachful meaning. This feature,

which is not of earlier date than the middle of the last century, when it was begun from the design of Francisco Croce, is of rather more fanciful design than could be wished, and has nothing of the Gothic' spire in its composition, or indeed of the Gothic character generally, except in its details. It seems better adapted for a piece of internal decoration, to crown the baldachino of a pulpit, than for the purpose to which it is applied. Nevertheless, when considered in combination with all the rest, it is so far from offending the eye, that it may fairly be questioned whether any thing less exceptionable in itself, and more in accordance with the usual architectural precedents, would have agreed so well with an edifice that, in most other respects, offers striking and marked peculiarities.