On the Fire Arts. 83 
hills. In the more/oriental nations we find the same ge- 
neral principle obvious, and io their permanent structures a, 
similar resemblance to the featurcs of what were probably 
the primeval habitations of the nations. In the light and 
pavilion appearance of the Chinese buildings, we may see 
the herecitary indications of a people that formerly re- 
sided in tents, and’ such temporary abodes as were likely to 
be constructed by the inhabitants of a country abounding 
in extensive plains, and of a climate unfavourable to the 
growth of trees, and yet not so hot as to oblige the natives 
to seek shelter in natural or artificial excavations. 
The first savage, who in the construction of his hut 
united a degree of symmetry with solidity, must be regarded 
as the inventor of architecture. Multiplying improvements 
upon the first result of a combined plan of the reason and 
imagination, after a long series of errors and accidents, a 
code of rules came to be established, by which the art of 
building has since continued to be regulated. The study — 
of these rules furnishes us with a knowledge of the science 
of architecture. - 
» Although necessity was the mother of architecture, cli- 
mate undoubtedly dictated the choice of the materials em- 
ployed in the construction of buildings, and chance directed 
the fancy of individuals in the selection of ornaments. 
History, in mentioning that Callimachus of Corinth, by 
observing the beautiful effect of a vase accidentally placed in 
the midst of a bunch of parsley, was led to think of forming » 
the Corinthian capital, has furnished us with a fact, which 
proves that, although a natural Jaw governs man in choos- 
ing the style of architecture, and climate prescribes the 
materials, the peculiarities of individual genius, and not the 
effect of any general principle of taste, develop the modi 
fications of ornament. Taste is formed by the conrempla- 
tion of works of art, and the perfection of such works cons 
sists in exhibiting the greatest degree of beauty with the 
utmost possible resemblance to the original models of 
which necessity dictated the formation. Taste, therefore, 
does not instruct us to prefer for any general reason any one 
particular style of architecture to another, but only to ob 
serve and disapprove of deviations from what is natural. 
Every pleasure after enjoyment occasions a new want. 
The shelter and protection obtained from achitecture in 
cited man to seek enjoyments in the improvement of the 
art of building. When his corporeal necessities were sup~ 
plied, the restlessness of his mind led him to seek ad+ 
‘ Fe ditional 
