6 On GOTHIC ARCHITECTURE. 



Before we enter upon this inquiry, which is chiefly dire<5led 

 towards the inveftigation of a principle of Imitation, it will be 

 proper to premife a few obfervations, on the mode in which 

 the forms of nature have been introduced into works of art ; 

 a fubjecfl which hitherto feems not to have met with the atten- 

 tion it deferves. 



Although the connexion between beauty and utility be flill 

 involved in fuch obfcurity, that we are unable to decide con- 

 cerning the univerfaltty of that connexion, of one thing we are 

 certain, that, in a work intended to anfwer fome ufeful purpofe, 

 whatever vifibly counteracts that purpofe always occafions de- 

 formity. Hence it is, that, even where ornament is principally 

 intended, the oftenfibly ufeful objecfl of the work, if it have 

 any fuch, mufl: be provided for, in the firft place, in preference 

 to every other confideration. 



But, inmoft ufeful worksy fome parts occur, the fhape of 

 which is quite indiiFerent with refpeft to the propofed utility, 

 and which, therefore, the artift is at liberty to execute as he plea- 

 fes ; a liberty, which has opened a wide field to the tafte and 

 invention of ingenious men of every age and country, who 

 have turned their attention to the compofition of ornaments ; and 

 whofe exertions have been more or lefs influenced by the fl:ate of 

 civilization in which they lived. It would feem, however, if 

 we may judge by thofe various efforts, that little has been effedl- 

 ed by mere human ingenuity ; fuice we fee, that recourfe has 

 been had, alraofl univerfally, to Nature, the great and legitimate 

 fource of beauty ; and that ornament has been attained, by the 



imitation 



mination of the monuments of the art now in exiftence, and an application of our 

 principles to every part of therr. 



The prtfent publication ccnfii!: of the intrcauftion to the whole Effiy, together 

 with, the elementary pr.rt, illjflrated by fix plates. 



