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THE CIVIL ENGINEER AND ARCHITECTS JOURNAL. 



LJ ULV, 



its character, too circumscribed in its views, and too much fettered 

 by conventional forms to expand and assert an independent posi- 

 tion ; aiming solely at the expression of devotional feelinj? by tlie 

 adoption of the most simple forms. These remarks do not apply 

 to the artists of the revival in Italy ; who, forming their taste on 

 the model of the anticpie, united to these sentiments the lofty ex- 

 pression of intellect and ideal perfection ; and thus produced a 

 distinguishing merit and charm in their works. In the revival of 

 the classic styles in Italy, we, in the treatment of the two arts of 

 nrchitecture and sculpture, meet with the observance of the same 

 principles which guided the artists of classic times ; but not, how- 

 ever, carried out with the same refinement of feeling and correct- 

 ness of taste. The vigorous and fertile imagination of the great 

 Italian masters (though it enabled them to trace out their own 

 path, and to imitate the example and catch the feeling without 

 tamely copying their model) often betrayed them into irregularity, 

 which marred the effect of their most successful works; while by 

 artists of inferior talent, exaggerated action and expression, eccen- 

 tricity, and extravagant conceits, were too often confouiuled with 

 tiie bold originality and vigorous conceptions of true genius. Of 

 these defects the jialaces and churches of Italy afford innumerable 

 instances, which will immediately occur to those acquainted with 

 tlie works of these masters. It cannot, indeed, be denied, that the 

 peculiar character of the Italian style admitted a freedom of treat- 

 ment in the sculptural accessories which would be offensive and 

 inadmissible in more correct and regular compositions ; but at the 

 game time it will he obvious that there is a limit to these irregu- 

 larities, which can only be assigned by good taste and discriminat- 

 ing judgment on the part of the artist himself. 



The first and most important point is to observe a perfect ac- 

 cfjrdance in style and character with that of the building to which 

 we apjily it, that it not only should illustrate its object and pur- 

 pose, by intelligible and appropriate allegory, but convey it also 

 with congruity of feeling and sentiment, even to the minutiae of 

 execution, (for the skilful architect not only adapts the main 

 features of his building to the purpose for which it is designed, 

 but also expresses it in every member, and moulds every detail in 

 exact accordance). But to produce that harmony and propriety 

 (which is the source of our most agreeable sensations in contemp- 

 lating the productions of art), we must in addition, distribute it 

 so judiciously through the composition, and so nicely adjust it in 

 f)roportion and position, that it shall appear an integral portion of 

 tlie design, — the work as it were of one hand, and so completely 

 the expression of one idea, that a chasm and vidd would be created 

 b.y its removal : that neither by disproportionate size, nor too pro- 

 minent a position, it should obtrude offensively on the eye ; nor by 

 tlie opposite extreme, ap])ear to retire too much and lose its legiti- 

 mate effect and place in the composition. Tlie regulation and nice 

 adjustment of these points cannot, however, be determined by rule, 

 since every individual case will require a different treatment, but 

 it must altogether he attained by that refinement and correctness 

 of taste on the part of the artist which can only result from a 

 careful and accurate study of the best models, united with tlie 

 greatest judgment and discrimination. 



As a subordinate and purely decorative feature, it will be of the 

 utmost importance that the outline of the sculpture should be re- 

 gulated by, and accord most accurately with, that of the architec- 

 ture ; and that it fiU up with precision those circumscribing lines 

 within which it is placed ; that there be no protuberance, undue 

 projection, or ungraceful deflection in the contour, either in itself, 

 or in combination ; and that it do not interfere with, or break off 

 those main lines which indicate the constructive features of the 

 building, or the continuity of which expresses the arrangement 

 and proportions of the composition. 



It will also be found a point of considerable importance, in com- 

 bining sculpture with architecture, to adopt a sober and subdued 

 style of composition in the position and arrangement, and particu- 

 larly in the treatment, of the draperies and accessories, not only 

 in isolated figures and in those which form the terminations and 

 crowning members, but also in the composition of the friezes and 

 pediments. The confusion produced by exaggerated action or 

 intricate grouping will be immediately detected by its discomposing 

 and harshly contrasting, without relieving the lines of the archi- 

 tecture; though on the other hand must be avoided a meagre and 

 straggling arrangement, and the stiff effect arising from perpen- 

 dicular and horizontal lines. The value of sculpture as a decora- 

 tion (independent of the sentiment it conveys) consists mueli in 

 the relief it affords by carrying up the eye with its graceful termi- 

 nations ; filling up what would otherwise be void and blank, with 

 varied and undulating lines and forms of the most exquisite 

 beauty. The success with which the artists of Greece moulded 



and adapted these requirements will prove that, when properly 

 treated, they tend neither to cramp the ideas nor to shackle the 

 invention of the artist. 



If it be necessary to observe these rules in the treatment of 

 groups, it will be found still more so in the case of isolated figures ; 

 and the infringement of them produces still more ungraceful 

 effects. On the revival of art in Italy, distortion and exaggerated 

 action and expression were too frequently confounded with origi- 

 nality and vigour of execution ; and we are continually meeting 

 in their works with the most striking instances both of the in- 

 fringement of these rules and the ungraceful effects resulting 

 therefrom. 



In placing sculpture in juxta-position with architecture, it is 

 obviously a point of no small importance to consider the scale 

 thereby imparted to the composition. It will hardly be necessary 

 to demonstrate with argument, that with which every artist must 

 be acquainted ; viz., that magnitude is rel;itive rather than actual, 

 and that by skilfully proportioning details, or by placing in juxta- 

 position features, with the size of which, by habit, experience, or 

 instinct, we are acquainted, with those of which we have no other 

 data for determining the magnitude, he can impart a fictitious 

 scale to his composition ; or that by diminishing one feature and 

 exaggerating another, he can, by this comparison, produce an idea 

 of magnitude which the actual size does nut possess. In practice, 

 this, nevertheless, has hut too frequently been lost sight of; and 

 in many instances, where circumstances institute the comparison, 

 it has been rather the result of accident than design. Perhaps this 

 remark might be more justly restricted to the revival and later 

 productions of art ; since, in the works of the antique, we con- 

 tinually observe not only its application, but the success with 

 which it has been attended. The principle must, however, obvi- 

 ously become of peculiar importance in the case of sculpture, 

 since the proportion of the human figure is that with which we are 

 most naturally and necessarily acquainted, and one which we per- 

 haps more readily apply than any other (adjusting everything to 

 this scale instinctively), and although, to a certain extent, the 

 scale of the sculptural accessories, particularly the isolated figures, 

 will be indicated by viirious circumstances in the proportions of 

 the architecture, it is not absolutely or invariably so, and the ad- 

 vantage to be gained by skilfully adjusting this scale must never 

 be lost sight of. When, by being in due proportion to the mem- 

 bers of the architecture, it would become too colossal, it might be 

 preferable to adopt a different species of decoration ; since, where 

 the ordinary features of the composition are merely increased in 

 actual size, and the same relative proportions observed, the scale 

 by which we measure is increased in nearly the same ratio. We 

 may also observe, that the undue exaggeration of the human 

 figure beyond its natural proportions, so far from invariably pro- 

 ducing an effect of grandeur, is sometimes productive of impres- 

 sions akin to those resulting from actual deformity ; the propor- 

 tioning these parts is, however, a point which must depend solely 

 upon the judgment of the artist, and one for which no rule can be 

 laid down : a careful study of the best models and an accurate ob- 

 servation of works already executed, will form the best and perhaps 

 the only guide. 



VV^hen we observe how necessary to produce a pleasing and har- 

 monious effect (even in isolated works, which are to he considered 

 as complete in themselves and not affected by external circum- 

 stances) are the duly balancing the corresponding parts of the 

 composition ; the skilfully contrasting and combining forms and 

 lines of varying contour; the duly fiUing-in and adjusting every 

 part so as to give one outline to the mass, however varied in 

 detail, — it is obvious, that in combination with architecture, the 

 slightest discrepancy or failing in this respect will be exaggerated, 

 by contrast with the regularity of the lines and masses with which 

 it is associated ; and to this point, therefore, the artist must direct 

 his most diligent attention. 



In designing groups and figures which crown and form the ter- 

 mination of the composition, it will he found of the greatest im- 

 portance that the figures in every aspect appear in perfect 

 equilibrium, and firmly planted and balanced on the pedestal on 

 which they stand, devoid of any protuberance or projection, either 

 in limb or drapery, which may appear to throw the mass more on 

 one side than on the other. It will for this purpose be found ne- 

 cessary carefully to study the work from every possible point of 

 sight from which it can be seen ; since we have continually to 

 observe that though perfect when viewed in some positions, this 

 due equilibrium of the mass is disturbed when seen in others, and 

 that even, when, in reality and mechanically speaking, it is duly 

 poised. 



Of the ill effects resulting from an imperfect or partial study of 



