EXPRESSION IN ARCHITECTURE. 



Certain it is, vre can thus express ideas by form : different forms are suggestive by a 

 natural association of different sentiments; and the architect must not so much aim at 

 abstract beautj^ as at the conditions of the intended expression. If, for instance, the build- 

 ing be for a gay purpose, he must employ those forms and lines, and that style of com- 

 position that will express gaiety. If for a solemn purpose, such a character of design, and 

 such proportions, as will yield a solemn aspect. And this gaiety and solemnity are quali- 

 ties of the destined use or purpose of the work expressed by the features of the building, 

 as qualities of the mind are expressed by the features of the face. Thus rough-hewn and 

 boldly rusticated masonry, harsh angular lines, lofty and unpierced walls, will give tlie 

 ideas of a prison; prison-like strength, combined with palatial sumptuousness of decora- 

 tion, will characterise a bank; severity of outline and form, a character grave and solemn, 

 of patriarchal simplicity, in which nothing is hidden, intricate, or but partially told, and 

 the absence of all imaginativeness, will distinguish a justice court. 



But architectural qualities must not be confounded with moral or metaphysical quali- 

 ties. We speak of the "smiling aspect of a building," and "the frowning aspect of a 

 building;" but these are figurative expressions: and Avhen we say a building is grave or 

 gay, or mirthful or solemn, we do it by a metaphor. The building has material qualities; 

 the institution which it enshrines or serves, has moral or mental ones; but it is on the 

 analogy between these two classes of qualities which are naturally associated in the mind, 

 that architecture is dependant for its power of expression. Thus we cannot directly or 

 literally express the mirth or pleasure of a ball-room, or its associated ideas of human 

 beauty and grace; but we can express qualities analogous them, — naturally connected 

 with them, — and will characterize such a building by elegance of form and proportion, 

 graceful lines, softness of light and shadow, and minuteness and delicacj^ of ornament and 

 detail. The ideas of royalty and power associated with a regal palace, we can only shadow 

 forth by majestic proportions, — by boldness of composition, with which, together with 

 power of light and shade, we secure that dignity which is said to be " the harness of 

 power;" while the idea of earthly dominion finds expression in horizontal composition 

 and wide-spreading dimensions. And what the architect must observe is, that there be 

 an analogical correspondence between the qualities developed by the design and composi- 

 tion of the building, and those emotions of the mind which arise from the contemplation, 

 or belong to the ideas, of its use and destination. 



This characterizing of edifices, according to their purpose, is among the highest effects 

 of mind on inanimate matter, and is a more wonderful conversion of stone into " golden 

 visions of thought and feeling," than in sculpture itself, as there is less imitation of na- 

 ture. It is a source of pleasure, of interest, of edification, of refinement, and a gratifica- 

 tion of the innate love of variety.* 



The purpose of the entire building should not only be thus expressed, but each orna- 

 ment should tend to illustrate the nature of the particular part to which it is applied and 

 partake of its general character and relations. From the particular properties of that 

 portion originate the motives of its design and combinations, while the ornaments must 



* This love of variety in the human breast requires thai dwelling-houses should differ in tlicir character from each 

 other ; an arrangement further dictated by the analogy of nature in reference to their occupants. They should ex- 

 press " domestic," all of them, as nature expressed " man" in the form and face of the human subject; but they may 

 do this without being all alike. If architects would free their minds from uimutural shackle and undue precedcjit, we 

 should have as great variety of houses in our streets as of casts of countenance. — a great relief to our monotonous 

 " town-imprisoned" life. This diversity of aspect, form, and character would not be wiiliout its moral effects. A 

 mau's love of home, which is the parent of many virtues, would be stronger when his house possessed a proper indi- 

 viduality, a distinct character. AVhen it is different from all other houses and homes, it must muke a greater, a stronger 

 impression on his lancy and imaghiation, aiid, through them, on his feelings. 



