CIVIL ARCHITECTURE. 



bulk of men aspire to, and perhap* all that they are qua- 

 lified to acquire. But it is the province of a leading mind 

 to outstrip iti cotcmporanci, by instituting new cxperi- 

 menu for in improvement ; and in proportion ai the ob- 

 temtion* and experience of the race are enlarged, the 

 not are facilitated of accomplishing such combmatioui 

 with success, br the multiplication of those (elected ma- 

 trrtalt out of which they are to be formed. 



In individual* of this description, taste includes'ge- 

 iui as one of it* element* ; a* genius, in any of the fine 

 Mta, necessarily implies a certain portion of taste. In 

 both cases, precept* and models, although of inestimable 

 value, leave much to be done by an inventive imagina- 

 tion. 



" In the mind of a man who feels and judges for him- 

 self, a large proportion of the rules which guide his de- 

 cision*, exist only in his own understanding. Many of 

 them be never thought of clothing in language even to 

 himself, and some of them would certainly, if he should 

 attempt to embody them in words, elude all his efforts to 

 convey their import to others." 



Such are the views we indulge of the future progress 

 of all human attainments ; and as the habits of man would 

 change with his improved condition, there would, in eve- 

 ry succeeding age, be still sufficient opportunities for 

 the ingenious architect to exercise cultivated taste and 

 original geniui, under the influence of the same unvary- 

 ing and unerring principles. 



Besides the authorities already produced, we may fur- 

 ther state, that Newton, in the preface to his translation 

 of I'ilruviut, page vii. says, " I imagine every building 

 should by its appearance express its destination and pur- 

 pose, and that some character should prevail therein, 

 which is suitable to, and expressive of, the particular end 

 it is to answer ; to effect this will require the exertion of 

 the powers of the mind, the force of genius, and solidity 

 of judgment; and without this, a composition is but a 

 compilation of parts, without meaning or end." And 

 again, page viii. " The character or effects which there 

 may be occasion to express in buildings, may be distin- 

 guished into the pleasing and elevating, or those of beau- 

 ty and dignity ; the several characters of each class 

 might be ascertained, as well as the kinds and degrees of 

 the sensible properties that will produce the appearance 

 of each character ; but it would carry me farther than I 

 intend in this preface, in which I only mean to give a 

 general sketch of my sentiments on this matter, in order 

 to shew the opening there teems to. be for a full disqui- 

 sition of the subject, and the possibility of bringing the 

 art of designing architecture (which at present has no- 

 guide but fancy and habit) to some regulation and cer- 

 tainty." 



Mr Knight, in his book on Taste, p. 172, says, " that 

 fitness depends upon the association of ideas, and symme- 

 try more o." And again, p. 182, that imitators err 

 in copying effect* instead of studying and adopting prin- 

 ciples, disregarding all those local, temporary, or acci- 

 dental circumstances, upon which their propriety or im- 

 propriety, their congruity or incongruity depends; which 

 principles in art are no other than the trains of ideas 

 which arise in the minds of the artist, out of a just and 

 adequate consideration of all such circumstances, and di- 

 rect him in adapting his work to. the purposes for which 

 it was intended ; consequently, if cither of those circum- 

 stances or purposes change, his ideas must change with 

 item, or his principles will be faUe, and his works in- 

 ojogruou*." 



Both Newton and Knight confirm the doctrine of as- Ptinciple*. 

 sociation ; but it is Mr Alison alone who explains dis- ""~ 

 tinclly the means by which we are to determine and attain [lo "" r 

 the various characters which it is necessary to establish. 

 The attentive artist, by studying what has been said re- 

 specting colour and form, but more especially the latter, 

 will be enabled to select features suitable to the charac- 

 ter of his edifice. He will perceive that large, square, 

 angular forms, composed of straight outlines, are expres- 

 sive of power, harshness, strength, and durability, and Power, 

 that such arc found in the temples, palaces, pyramids, rj ura i>ilitv 

 and gigantic statues of Upper Egypt ; also in the bold 

 projecting porticos of the rectangular temples of Greece, 

 placed upon broad platforms, and consisting of strongly 

 marked parts. 



It will also be evident, that slender, curved, and wind- Gaiety, 

 ing lines are expressive of gaiety and lightness : to exem- 

 plify this, we may mention the whole of,tent architecture, 

 also a great portion of the decorations of ceiling, friezes, 

 and pannels, whether executed in sculpture, stucco, or 

 painting. The tripod form, also, by diminishing in di- 

 mensions towards the base, is expressive of the reverse of 

 weight and stability. 



In decorative sculpture, both these distinctions arc 

 strongly marked ; the first by the bold and square out- 

 lines in the statues of Olympian Jupiter, and the last by 

 the delicate flowing outlines of Greek statues of fauns, 

 nymphs, and graces. 



Richness will be expressed by the value of the mate- Richness 

 rials, and the quantity and dexterity of labour bestowed 

 upon them. As it is not in modern Europe the custom 

 in architecture to work much in metals, it has therefore 

 been by marbles, highly polished and dexterously sculp- 

 tured, that this art has been chiefly enriched. But in 

 former times, when metal was introduced amongst the an- 

 cient Romans, and the later Eastern nations, and as it is 

 at present in chimneys, it is the quantity of labour and 

 art bestowed upon nice cutting, high polishing, and de- 

 licate engravings, which commands our admiration. Even 

 materials less costly are converted into objects of regard, 

 by the hand of art being liberally bestowed upon them. 

 For we see that sandstone and stucco, by being formed 

 into sculptured mouldings, highly worked Guilochi and 

 fret-work, become expressive of richness. And nothing 

 of this sort is a more convincing proof of the truth of 

 the doctrine of association, than the indenting or inlaying 

 of different kinds of woods and marbles, which are al- 

 ways valued in proportion to their rarity, and the quantity 

 and dexterity of labour bestowed upon them ; and their 

 particular character is determined by the shape and sub- 

 stance of the forms into which they are disposed. 



Sublimity is strongly exemplified in the lofty dome, Sublimity, 

 spire, and embattled tower ; and these, beside* the asso- 

 ciations of the expense, power, and design necessary in 

 their construction, have our veneration increased by their- 

 antiquity, and appropriation to the purposes of religion 

 and war; 



These slight observations, with the recollection of Conclusion*, 

 what has already been said of the relative beauty of fit- 

 ness and utility, will lead the reader, interested in such 

 speculations, to pursue the subject to a greater length 

 than can be afforded in a work of this nature. He will 

 be at no loss to select abundance of examples from works 

 in every school of architecture ; and by duly apprecia- 

 ting the principles here laid down, he will be enabled to 

 produce original designs, which cannot fail of command? 

 ing the admiration of mankind. 



