CIVIL ARCHITECTURE. 



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UOQ j yet, ft is obvious, that they produce this effect 



from their association with other qualities." And, " in 



works of art, particular forms are signs of dexterity, of 



convenience, < f utility ;" and, " in such cases, the con- 



tUM cosrctinni we discover between the sign aud tiling 



ugwkVd. between the material quality and the quality 



productive of emotion, renders the one expressive to us 



i- other, and rery often disposes us to attribute to 



n that effect which is produced by the thing sig- 



That beamy or sublimity is to be ascribed, not to the 

 material, but associated qualities is thewn by a great 

 variety of illustration* ; in regard to the sense of hear* 

 ing, whether the sounds are simple or composed, and 

 likewise as to the objects of sight, which arc colours, 

 form, and motion. 



Architecture being so much affected by all that re- 

 lates to form, it is necessary to attend carefully to what 

 this enlightened philosopher has advanced respecting it. 

 He states, ' of all the material qualities th.it which is 

 most generally and naturally productive of the emotions 

 of sublimity and beauty, is form ; other qualities may 

 be separated from most objects, without destroying their 

 nature | but the form of every material object, in a great 

 measure, constitutes its nature and essence, and cannot 

 be destroyed without destroying the individual subject 

 to which it belongs. From whatever cause, therefore, 

 the beauty of any material object proceeds, it is natural 

 to ascribe it to the form, or to that quality which most 

 intimately belongs to the object, and constitutes its es- 

 sence to our senses ; the common opinion, therefore, un- 

 doubtedly is, that forms, in themselves, are beautiful ; 

 that there is an original and essential beauty in some par- 

 ticular forms, and that this quality is as immediately dis- 

 cernable as the forms themselves." 



Having premised thus much, he proceeds to state, 

 that the beauty and sublimity of forms arises altogether 

 from the associations we connect with them, or the qua- 

 lities of which they are expressive to us, and shews, 

 with great accuracy, the different expressions of which 

 forms are susceptible, and which are the foundation of 

 that sublimity and beauty which are ascribed to them. 

 Of inanimate forms, the principal expressions seem to 

 be, 1st, The expressions of such qualities as arise from 

 the nature of the bodies distinguished by such forme ; 

 and, 2dly, The expression of such qualities as arise from 

 their being the subject or production of art. The first 

 constitutes their natural, the second their relative, beau- 

 ty ; besides the expression they acquire from accidental 

 associations, which may be termed accidental beauty. 



We are next taught, that the natural sublimity of inani- 

 mate forms antes from two sources ; 1st, From the nature 

 of the objects distinguished by that form ; and, 2dly , From 

 the quantity or magnitude of the form itself. Thus forms 

 which distinguish bodies connected with danger, power, 

 durability, splendour or magnificence, awe or solem- 

 nity, are in general sublime; magnitude is sublime, as 

 astociaird with power or strength ; with height, it is ex- 

 pntsin of elevation and magnanimity ; with depth, if 

 * danger or terror j with length, of vastness, when appa- 

 rently unbounded of infinity ; and wrth breadth, it is 

 expressive of stability. But that magnitude i only su 

 blltnc ia consequence of being expressive of those quali- 

 ties, is shewn by many illustrations. The conclusions which 

 fallow, are, 1st, That there is no determined magnitude 

 which isaolely orpeculiaily lublime.a* would necessarily be 

 the case were magnitude itself the cause of this emotion, 

 idly, That the same visible magnitude which it sublime 

 in one subject, is frequently the reverse in another ; and, 



3dly, That magnitude, according to its different appear- 

 anccs, has different characters of sublimity correspond- 

 ing to the different expressions which such appearances 

 have ; whereas, if it were ittclf sublime, independently 

 of all expressions, it would, in all cases, have the same 

 degree and the tame character of sublimity. 



Respecting the natural beauty of forms, it is stated, 

 that matter is circumscribed, 1st, By either angular lines; 

 or, 2dly, By curved or winding li.ies. When composed 

 by one of those lines solely, they may be termed sim- 

 pie forms ; when they are composed by au union of these 

 lines, they may be termed complex forms. That simple 

 forms may be described by angular or winding lines ; and 

 as so, are connected with very different associations, or 

 are expressive of very different qualities. That the great- 

 est part of those bodies in nature which possess hardness, 

 durability, and strength, are distinguished by angular 

 forms ; those, on the contrary, which possess weakness, 

 fragility, or delicacy, are distinguished by winding or 

 curvilinear forms 5 and that this is evident in the mineral, 

 vegetable, and animal kingdom ; also, that those which 

 grow and decay, are distinguished by winding forms, but 

 maturer age by forms direct and angular. Likewise, that 

 the sense of touch discovering angular forms to be expres- 

 sive of roughness, sharpness, winding forms of softness, 

 smoothness, delicacy, very early leave permanent impres- 

 sions, and afford numerous associations, which form analo- 

 gies with certain qualities of the mind, and produce some 

 degree of the same emotion. The epithets bold, harsh, deli- 

 catc, gentle, arc universally applied to forms. It is 

 concluded, that the emotions are founded upon the asso- 

 ciated qualities, and are very different from the more agree. 

 able or disagreeable sensations which material qualities 

 alone convey. 



Besides simple curves, there are serpentine forms, in. 

 which different curves take place, or in which a conti- 

 nued line winds into several curvatures, which furnishes 

 an association of ease. When vegetables, or any other 

 delicate body, assume their form, we are impressed with 

 the conviction of its being easy, agreeable to their na- 

 ture, and free from force or constraint. On the contra- 

 ry, when such bodies, in the course of their progress, 

 assume angular forms, we have a strong impression of 

 the operation of force. 



On the subject of lines, Mr Alison makes the following 

 important observations, which deserve the particnl -r a 1 ten 

 tion of the architect. " Lines differ either in regard totheir 

 nature or direction. 1. Lines differ in regard 10 their na- 

 ture, according to the different degrees of their cons ate, tee 

 and strength. Strong and vigorous Lues are ex p. 

 to us of strength and stability, when perpendicular; and 

 of some degree of harshness ,'iid rough. iet>s, when hori- 

 zontal, or in an oblique direct ion. 1-iue and taint Lues 

 are expressive to us of smoothness, fineness, And delicacy. 

 In any given number ot straight hues, l.;.it is ala\> th* 

 most beautiful which is the finest ; or which, w..:ie it 

 preserves its continuity, has the appeal :<<:c of the smal- 

 lest quantay of matter employed in tin formation of it." 

 But these lorms are bcautilul only in c ns'-quence of the 

 associations we connect wuh tlr-a;. Destroy that asso- 

 ciation, and they are no !o> g.r beautiful. 



In the cour.e of illustrating these siibj-rts, it is stated, 

 that the greater part ot biantiful forms in nature arc 

 formed in the vegetable kingdom ; and accordingly, it 

 is from those of the most di licatf texture, thai ;>rn.t:. 

 have selected forms to imitate, tor the purpose ot orna 

 mints and elegance; but it is only t IK which arc par 

 ticularly tine and delicate which are fit for these p^rpo- 

 scs. On the contrary, the different bodies which con- 



Pr.: 



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Angular 

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Curvilinear 

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