Page:History of Indian and Eastern Architecture Vol 2.djvu/550

450 CHINESE ARCHITECTURE. BOOK IX. till lately unknown ; foreign invasion was practically impossible, and little dreaded. Hence they have none of those fortalices, or fortified mansions, which by their mass and solidity give such a marked character to a certain class of domestic edifices in the western world. Equality, peace, and toleration, are blessings whose value it would be difficult to over-estimate ; but on the dead though pleasing level where they exist, it is in vain to look for the rugged sublimity of the mountain, or the terrific grandeur of the storm. The Chinese have chosen the humbler path of life, and with singular success. There is not perhaps a more industrious or, till the late wars, happier people on the face of the globe ; but they are at the same time singularly deficient in every element of greatness, either political or artistic. Notwithstanding all this, it certainly is curious to find the oldest civilised people now existing on the face of the globe almost wholly without monuments to record the past, or any desire to convey to posterity a worthy idea of their present greatness. It is no less remarkable to find the most populous of nations, a nation in which millions are always seeking employment, never thinking of any of those higher modes of expression which would serve as a means of multiplying occupation, and which elevate while feeding the masses ; and still more startling to find wealth, such as the Chinese possess, never invested in self-glorification, by individuals erecting for themselves monuments which shall astonish their contempor- aries, and hand down their names to posterity. From these causes it may be that Chinese architecture has not attracted much attention. In one respect, however, it is instructive, since the Chinese are the only people who now employ polychromy as an essential part of their architecture : indeed, with them, colour is far more essential than form ; and certainly the result is so far pleasing and satisfactory, that for the lower grades of art it is hardly doubtful that it should always be so. For the higher grades, however, it is hardly less certain that colour, though most valuable as an accessory, is incapable of that lofty power of expression which form conveys to the human mind.