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comparing these two ails in their aesthetic form with their respective 

 material elements, he said, the source of the material form of architec- 

 ture, i. e. habitational construction, was physical necessity ; the source 

 of the material form of poetry or language was social necessity; and 

 that, by the action of the art-spirit thereupon, these physical and social 

 necessities were elevated into the ethereal region of art. 



Thus, too, by the action of the highest on the lowest element of life, 

 — of the aspirations of the soul on the necessities of the body, — was 

 brought to light the first germ of science. Architecture, in common 

 with all the arts of form, as well as music, called for and became based 

 on geometry ; and the ruined temple and the bardic fragment were 

 witnesses, not only to the birth of architecture and of poetry, but also 

 to the progress of the mathematics, of mechanics, and of dialectics. 

 The ruhis of many of the primitive specimens of architecture set forth 

 in their arrangement the exactitude of mathematical figure and propor- 

 tion, while the massiveness of their constituent materials showed the 

 existence of the knowledge of the mechanical powers, and their mode of 

 application ; and in the earlier poetry we often found a clearness of 

 perception, an accuracy of definition, a power 6f harmony of language, 

 and a critical sagacity, which, if not logic itself, was the spirit of the 

 end that logic aims at. 



Architecture, thus produced, had been ever, in common with all the 

 arts of form, indissolubly connected with science : along with sculptiu-e 

 and painting, it had been fed and administered to by nearly the whole 

 range of its branches, — chemical, mechanical, anatomical, mathematical. 

 Euclid contributed in no shght degree to Greek architecture and sculp- 

 ture, when he gave his propositions to the world ; painting was indebted 

 to optics and perspective, and to chemistry, in the matter of colour; 

 and whether the researches of Hippocrates in anatomy first led to the 

 minute anatomical parts being expressed in Greek sculptiu-e, as some 

 contend, or not, certain it was that a knowledge of anatomy was an 

 indispensable advantage to both the sculptor and the painter. Nor was 

 art slow in requiting the obligation : pictorial ait had been the indis- 

 pensable agent of science in diffusing knowledge in its various branches, 

 — ^physiological, botanical, geological. The connection of poetry with 

 science, though of a different nature, was not less intimate than that of 

 architecture, though by supei-ficial people, the former had been thought 

 and spoken of as a thing distinct from science, which had been supposed 

 inimical to it, nay destructive of it; and scientific men themselves had 

 too often forgotten the true nature of the poet's office. Poetry had been 

 well defined as the breath and finer spirit of all knowledge, — the impas- 

 sioned expression that is on the countenance of all science. Science 



