.luoiif iloininion of TJomnn emperors, its clcteriorntion was still more apparent; for, 

 altlioivli the sovoroi<;ns of the world nslonisliod iiiankiii<l l)y iho prodijirious dimensions 

 and fforf^eous splendor of their architectural undertakino;s, yet when compared with 

 (lie purity of Grecian design, the evidences of barbarism are percei)tiblo in most of 

 tlioir works. This corruption of style, unattended, however, with any diminution of 

 cost and magniticence in the buildings tlicmsclves, rapidly increased until all vestiges 

 of l>eauty aud propriety were lost in the long period of darkness which followed the 

 destruction of the empire. 



At the revival of the art in Italy, during the fifteenth and sixteenth centuries, the 

 great architects who adonied that countrj' naturally looked for instruction to the monu- 

 ments with which they were surrounded — the wrecks and fragments of imperial Rome. 

 These were not only successfully imitated, but were sometimes even suqiassed by the 

 Italian artists ; for Bramante and M. Angelo, Palladio and Bernini, designed and 

 executed works which, although of unequal merit, may perhaps fairly cliallenge a com- 

 parison with the boasted productions of the Augustan age. It is not, however, to be 

 expected that their compositions should be free from those imperfections which are to 

 be found in the models from whence they derived their knowledge, and on which their 

 taste was formed. The precious remains of Grecian art were long neglected, and the 

 most beautiful were, in truth, nearly inaccessible to the christian world. It is almost in 

 our own time that obstacles, formerly insurmountable, have been first vanquished ; and 

 that the treasures of art, still unfortunately in the custody of ignorance and barbarism, 

 have not only been visited, but have been accurately measured and delineated. Hence- 

 forth, therefore, these .exquisite remains should form the chief study of the architect 

 who aspires to permanent reputation ; other modes are transitory and uncertain ; but 

 the essential qualities of Grecian excellence, as they are founded on reason, and are 

 consistent with fitness and propriety, will ever continue to deserve his first care. These 

 models should be imitated, however, — not with the timid and servile hand of a copyist, 

 but their beauties should be transferred to our soil, preserving, at the same time, a due 

 regard to the changes of customs and manners, to the difference of our climate, and to 

 the condition of modern society. In this case, it would not be so much the details of 

 the edifice itself, however perfect, which ought to engross the attention of the artist, but 

 he should strive rather to possess himself of the genius by which it was originally 

 planned and directed ; and to acquire those just principles of taste which are capable 

 of general application. The words of a competent judge, in describing the practice of 

 the Greeks, will give additional weight to these opinions : " Omnia enim certa proprie- 

 iate, et a veris naturce dcductis morihus^ traduxerunt in operum pcrfcdiones : et ea pro- 

 baverunt, quorum, explicationes in disputationibus railonem p>ossunt habere veritatis* 

 [Vitruo, Lib. IV. c. 2.] 



* In the most perfect of their productions they suffered nothing to enter but what was consistent with propriety, and 

 deduced from the just ordinance of nature ; approving only of what could be supported by arguments founded upon 

 the basis of truth and reason. — WiH-ins^ Translation. 



For the perfection of all works depends on their fitness to answer the end proposed, and on principles resulting from 

 a consideration of nature herself, and they approved those only which, by strict analogy, were borne out by the ajipear- 

 ance of utility. — GtcUVs TranskiUon. 



