Art's highest efforts should be concentrated on what is most essential to the work in hand.
"Bezaleel made the ark." Bezaleel, "filled with the spirit of God, in wisdom, in understanding, and in knowledge, and in all manner of workmanship" (Exodus 35:31), while he entrusted most of the rest of the work to others, reserved to himself the construction of the ark, with the cherubim and mercy seat. The ark was clearly the central object of the newly devised structure, that towards which the eyes of all would be directed, on which the thoughts of all would rest, which, itself unseen, dominated the entire edifice and formed its material basis and raison d'etre. Shrined in the holy of holies, shrouded from sight by the veil, never seen but by the high-priest once a-year, yet known to occupy the innermost penetrale of the sanctuary, and to lie there in the light of the Divine presence constantly, it challenged the attention of all, and occupied a unique position among the sacred objects which the sanctuary was to contain. Bezaleel, the master-artist, felt that there was a call on him to construct it. What wealth of loving work he lavished on the construction, with what rich and delicate tracery of fanciful ornament he adorned it, no one can say. The ark never returned from Babylon; and the master-work of the master-artist of these times has been lost to humanity. But his choice asserted some important principles, and deserves imitation through all ages. It pointed out—
I. THAT THE LAW OF ORNAMENT IS NOT ONE OF GENERAL UNIFORM ELABORATION UP TO A CERTAIN HEIGHT, BUT ONE OF SPECIAL CONCENTRATION UPON A POINT OR POINTS. Compare Magdalen Tower with the Houses of Parliament, the western front of the Parthenon with the ordinary porch of a church of the Jesuits, the facade of St. Zeno at Verona with even the front of St. Mark's at Venice, and it will at once be seen how superior is ornament concentrated to ornament dispersed, elaboration of certain parts, set off by the comparative plainness of others, to diffusion generally of equal elaboration everywhere. A sense of heaviness, of over-loading, of weariness, is produced by the one plan, a feeling of unmixed pleasure by the other.
II. THAT THE CONCENTRATION SHOULD BE ON SUCH PARTS OF THE WORK AS ARE MOST ESSENTIAL TO IT. If a campanile or bell-tower be the work in hand, the concentration should be towards the chamber in which the bells are hung, as in the great campanile of St. Mark's, Venice. If a college, towards the parts common to all, the chapel, hall, library; if a sepulchral monument, towards the tomb; if a palace, towards the state-rooms; and the like. Here, in this case of the tabernacle, the concentration was towards the holy of holies. Most properly. And on the ark: since, of the holy of holies, the ark was the glory.
In Christian churches, according as preaching, or the administration of the sacraments, or the elevation of the thoughts to heaven, are regarded as the main object of sacred buildings, the concentration of artistic effort will naturally be towards the pulpit, or towards font and altar, or towards the roof. Examples of the first are common in Germany and Switzerland, of the second in Roman Catholic churches generally, of the third in English churches of the Tudor period, e.g. Henry the Seventh's Chapel in Westminster Abbey, and the like.
For further Homiletics, see those on chs. 25. and 30.