212 Architecture in the United States. 



Art. II. — Jirchitecture in the United States. 



It is proposed in this article to consider, 



1. The most appropriate use of the Grecian orders; 



2. The application of the Grecian temple form to modern purposes ; 



3. The Gothic style ; 



4. Public monuments and other ornamental architecture ; and 



5. Domestic architecture and ornamental grounds. 



We will commence with the Grecian and the Roman Doric. Of 

 these the Roman is the one more frequently employed in our country. 

 It differs from the Grecian in having a base ; in the height of its shaft, 

 which is eight diameters instead of six; in the capital, which is richer 

 but less natural than the Grecian; in the disposition of the triglyphs; 

 in the admission of a variety of decorations; in the metopes, and in a 

 more richly moulded frieze. Its characteristic is a cheerful dignity, 

 which is often very agreeable, and for which we could perhaps find 

 no substitute in the other orders. I should be far from desiring its 

 exclusion; but wish to have its proper character, and the danger 

 to which we are exposed in using it, clearly understood. The latter 

 arises from the inherent richness of the order, seen in the numerous 

 mouldings, and in the variety of ornament which it admits. A flower, 

 an ox-head, a fillet or something of this kind is almost universally 

 employed in the metopes, and seems indeed to be requisite in order to 

 have the frieze in just keeping with the column and with the remaining 

 parts of the entablature. But there is danger in all this. The powers of 

 the architect are frittered away on these minute parts ; he forgets that 

 the building must take its merit from its powers as a whole; his mind 

 is distracted amid this variety; his taste is vitiated, and the taste of 

 the public is lowered in the same degree. I venture to say that no 

 architect who employs himself entirely or even mainly with the Ro- 

 man orders, can rise to great eminence in his art. His edifice will 

 fail in the most essential part, in expression. By expression, is meant 

 its power of acting as a whole on the imagination and feelings of the 

 beholder. Here is the most difficult part of an architect's labors, 

 and the most important, the part indeed in which his character is chief- 

 ly shewn. I intended to commence this article with an analysis of ex- 

 pression in building, and its difficulties, with an enquiry into an archi- 

 tect's education in regard to it ; but the subject was found to be too ex- 

 tensive for my present limits and was relinquished. I must be allowed 



