684 
Tt is not a little remarkable that this 
dissertation was written for the express 
purpose of serving as an inaugural essay 
to the degree of doctor in philosophy, at 
a German university ! 
“ Aux Eleves & Aux Amateurs de 
YArchitecture,” &c.—An Address to 
such Scholars and Amateurs as delight in 
Architecture, by the Anse UGGEREI, 
architect.—As some of the hints and 
observations contained in the address of 
this celebrated Italian, who was at once 
a priest and an architect, may prove ser- 
viceable in this country, we shall here 
subjoina few of them. ‘The Abbé begins 
by observing, that, if philosophy be the 
fambeau that conducts to the art of de- 
sign, architecture is still more indis- 
pensibly indebted to such alight. As 
this branch: of knowledge possesses an 
equal claim to the two honourable titles 
of art and science, so ought its produc- 
tions to have no other guide than reason. 
If after the restoration of the arts, mo- 
dern architects had not wandered from 
so excellent a guide, they would not have 
mistaken their own caprice for a rule; 
and we should not have seen the im- 
mense multitude of unreasonable works, 
which occasion equal surprise to the well- 
informed spectator, both as to the possi- 
bility of the invention and the folly of 
the applause bestowed on productions 
equally vain, wild, and. insignificant. 
Notwithstanding this, the absurd and 
capricious style of architecture, here 
alluded to, had so seduced a great majo- 
rity of artists, that the philosophical opi- 
nions of Laugier and Tregier, in France, 
and the reiterated and sarcastical re- 
marks of Lodoli and Milizia, in Italy, 
were in. vain exerted, in order to bring 
them back to the paths of right reason, 
These mannerists, pleased with their own 
eapricios, refused to hear her, and it was 
not until towards the conclusion of the 
Jast century, that the propriety of their 
arguments began to be discovered. —* 
Milizia, it is true, was no -more than 
the echo of his predecessors, with this 
difference however, that he reproduced 
their ideas, with more order and greater 
method, and that with these he mingled 
some of his own natural causticity and 
eynicism, which made him be dreaded by 
other artists. At length, they not only 
avoided contradicting, but even listened 
to them with attention. This new man- 
ner of writing on architecture, produced 
a revolution in the art; for it was ac- 
companied with this advantage, that the 
scholars themselves began to argue on 
atid 
Retrospect of French Literature—Miscellanies. 
the subject, and at length felt how pres. - 
ferable the lessons of reason were, tq 
those of a master governed by prejudices, 
It was then that they endeavoured, for 
the first time, to trace the source of those” 
forms and proportions, so often hitherto” 
copied without being comprehended; 
denied by ignorance, and violated with. 
out remorse by innovation. It was then 
that they discovered in the divisions and’ 
the mouldings of the different orders, the 
principles whence they derived their 
origin; hence they perceived the neces- 
sity of applying these in such a manner, 
as to proportion the solidity and elegance 
of their edifices, to their quality and de- 
sign. In short, it was at length fairly’ 
avowed, that the Franciscan, Father . 
Lodoli, so justly denominated the Socrates 
of Architecture, had developed a prin- 
ciple replete with the most happy con. 
sequences in the two following bad Italian 
verses ; ‘ 
*¢ Debbonsi unire.e fabrica e ragione, 
E sia funzione la rapresentazione.”” ; 
Since this fortunate return to truth, 
architects have become the faithful dis- 
ciples of the philosophy of the ‘arts, by, 
not only conforming to these maxims 
themselves, but also in inspiring them, 
into their disciples. PS 
*“ And in order the more effectually to. 
fortify the minds of such young men as 
may devote themselves to architecture,” 
says our author, ‘the necessity of an 
elementary book has been intimated to 
me. It is with this view I have just 
published the result of my studies, and 
my toils, relative to the three Greek ore 
ders of architecture, while J have not 
been inattentive to those remains of Ro- 
man art, which are still to be met with 
in such profusion in Italy. Tt was on 
such monuments as these, that Palladio 
and Vignoles formed their style and 
composed their models, The works of 
these two celebrated authors ought to be 
constantly in the hands, or rather in the 
hearts, of young artists, that,’out of de- 
fereuce to, and in imitation of, them, 
they may contemplate and admire the 
antique, &c. thus perceive the real source 
of whatever is beautiful. The labours of 
such great masters, wiil enable them to 
select and to apply the principles of the 
ancients, to the edifices of their own age ; 
and accustom them at the same time, to — 
contemplate every thing .with their own 
eyes, without being blindly led by others, 
and thus becoming the slaves of exam- 
ple. In fine, as the advancement of the 
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