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Updated: May 18, 2025
The sculpture is properly subordinated to the architectonic principle, and one can understand how it is not only the work of a goldsmith, but of a painter. Of all bronze workers, perhaps Peter Vischer is the best known and is certainly one of the best deserving of his wide fame. Peter Vischer was born about the same time as Quentin Matsys, between 1460 and 1470.
For this reason, it is possible to frame an architectonic of all human cognition, the formation of which, at the present time, considering the immense materials collected or to be found in the ruins of old systems, would not indeed be very difficult.
Thus, although the architectonic beauty, in the structure of man, be determined by the idea which has presided at this structure, and by the ends that nature proposes for it, the aesthetic judgment, making abstraction of these ends, considers this beauty in itself; and in the idea which we form of it, nothing enters which does not immediately and properly belong to the exterior appearance.
If, therefore, the pure and beautiful expression of the destination of man, which is marked in his architectonic structure, penetrates us with satisfaction and respect for the sovereign, reason, who is the author of it, at all events these two sentiments will not be for us without mixture but in as far as we see in man a simple creation of nature.
The architectonic beauty of man is then, in the way I have explained it, the visible expression of a rational conception, but it is so only in the same sense and the same title as are in general all the beautiful creations of nature.
If then nature, whilst determining the destiny of man, abandons to the will of man himself the care to accomplish it, the relation of his present state with his destiny cannot be a work of nature, but ought to be the work of the person; it follows, that all in the configuration which expresses this relation will belong, not to nature, but to the person, that is to say, will be considered as a personal expression; if then, the architectonic part of his configuration tells us the views that nature proposed to herself in creating him, the mimic part of his face reveals what he has himself done for the accomplishment of these views.
Such a combination could not long exist in architectonic systems in which the stone column played its true part. It is a survival from the use of wood. Another characteristic feature is the complete absence both from this fragment and from the columns in the sculptured reliefs of vertical lines or divisions of any kind, no trace of a fluted or polygonal shaft has been found.
The architectonic beauty does honor to the author of nature; grace does honor to him who possesses it. That is a gift, this is a personal merit. Grace can be found only in movement, for a modification which takes place in the soul can only be manifested in the sensuous world as movement. But this does not prevent features fixed and in repose also from possessing grace.
A noble soul spreads even over a face in which the architectonic beauty is wanting an irresistible grace, and often even triumphs over the natural disfavor. All the movements which proceed from a noble soul are easy, sweet, and yet animated.
He accomplished his task in a manner entirely his own, taking for his subjects typical figures of women in Sweden at different periods of history a Viking's widow; the holy Brigitta; a noble house mother of the time of the Vasas, etc. but although his manner of painting was free and blithe it hardly satisfied the most severe critics on account of its lack of architectonic qualities and the absence in it of anything like monumental simplicity.
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