222 LoudoJi^s Encyclopiudia of 



because, in tlie analytical and critical remarks, with which we mean to 

 accompanv tluso Desijiiis, we intend to devclo|)P, as it were, incidentally, 

 and l)v little anil littlf, all tlie j)rincii)lcs of Arciiitcctnrc ; anil also those of 

 Landsca|)c-(iardL'nin!;a.s coimectcd witii hiiildinjis. We consider this mode 

 of instruction as best calculated for those practical men who have not had 

 a sufficient e<iucation, or have not pursued such a course of reading in early 

 youth, as would enable them to encer at once on the perusal of discussions, 

 which must necessarily be, to a considerable extent, metajihysical. We 

 also consider this mode as by far the best adapted for initiating the general 

 reader in the principles of architectural taste; and for enabling young per- 

 sons, and especially ladies, to educate themselves in Architecture, as an 

 elegant art. 



The improvement of the dwellings of the great mass of society through- 

 out the world, appears to us an object of such vast importance, as to be 

 well worth attempting, even though we may not all at once succeed to our 

 utmost wishes. In ameliorations necessarily involving considerable ex- 

 pense, much cannot be expected to be performed innnediately ; yet, by 

 making known the various particulars in which these ameliorations consist, 

 to those who are to derive important benefits from them, we may rest cer- 

 tain that, sooner or later, they will be effected. The efforts of Architects, 

 in all ages and countries, have hitherto been, for the most part, directed to 

 public buildings, and to the mansions of princes, noblemen, and men of 

 wealth ; and what have hitherto been considered the inferior or<iers of 

 society have been, for the most part, left to become their own architects. 

 Hence the tardiness with which the improvements made in the accommo- 

 dation, arrangement, and exterior beauty of the mansions of the wealthy, 

 have found their way to the d\.ellings of the poor. The great object of 

 this work is, to show how the dwellings of the whole mass of society may 

 be e(]ualised in point of all essential comforts, conveniences, and beauties. 



After studying with care all the various opinions delivered by different 

 architectural writers on the subject of the principles of their art, and 

 divesting ourselves, as nuich as possible, of all accidental associations and 

 temporary prejudices, we have arrived at the following conclusion : — that 

 the leading principle of Archifcture, as a useful art, is fitness for the end 

 in view; as an art of design, expression of the entl in view ; and, as an art 

 of ta.ste, exjjression of some particular architectural style. Those beauties 

 or effects which arc the result of the first and second prinei|)les, are in their 

 nature permanent; those which are the result of the third principle, are in 

 their nature temporary and accidental. 



All the various principles which come into operation, in the design and 

 construction of buildings, easily range themselves under these three fumla- 

 mcntal princi|)les. 'I'he fitness of a design for the end in view compre- 

 liends not only the fitness of the si/e, shape, number, relative |)osition, 

 and other particulars of the interior divisions of a building, for tlie uses for 

 which thev are intended ; but the fitness of the materials and construction, 

 with reference to the strength and durability which may be reijuired ; and 

 the fitness of tlie expenditure for the means at the connnand of the builder. 

 In like manner, the principle of the expression of tiie purpose, or end in 

 view, applies not only to unity of expression in a building as a whole, but 

 to the separate expression of all the diffl-rent parts of a imilding of the 

 l)urposes for which they are intended. So also the expression of archi- 

 tectural style applies not only to the building taken as a wht)le, which 

 must be in the same style tln-oughout, but to all its component parts, which, 

 even to the most minute details, must belong to that style, ami exhibit its 

 characteristics. 



Thus, as there arc various uses to which buildings are devoted, so are 

 there various kinds of beauty of which they can be reiulered expressive. 

 But, as all the uses to which buildings can be applied, all the arrangements 

 which are re(iuisite for convenience or luxury, and all mechanical or che- 



