On GOtHIC ^RCHirECT'URE. ii 



are called architedlonic forms, in which the variety of nature, 

 being fubjedled to the regularity of art, the work acquires that 

 peculiar charadler, which, in a natural objedl, we confider as of- 

 fenfive, under the name of formality ; but which, in archi- 

 tedlure, we admire as a beauty^ under the name of symmetry : 

 thus, we reprobate the formality of an avenue, and praife the 

 fymmetry of a colonnade. 



Such is the nature of architedlonic imitation; a device, which 

 probably originated in accident, but to which architedure is in- 

 debted for its highefl attainments. 



I WAS firft led by Mr Byres, a very refpeftable member of 

 this Society, to obferve, among the remains of antiquity at Rome, 

 many beautiful examples of the application of thefe principles 

 by the ancients ; and though my view of the fubje61: was 

 then very obfcure, the theoretical folution of the queftion not 

 having occurred till long after, I was fully aware of the very 

 great pradlical advantages which they had derived from the em- 

 ployment of the principle of imitation. 



Occupied with this view of ancient art, as I was travelling 

 through the weftern provinces of France, in my return from 

 Italy, in the end of 1785, I was ftruck with the beauty of many 

 Gothic edifices, which, far from appearing contemptible, after 

 the mafterpieces of art I had feen in Italy and Sicily, now pleafed 

 me more than ever. I was thus induced to believe, that thofe 

 extenfive works, poflefTed throughout of fo peculiar a charader, 

 and fo eminent for unity of ftyle, could not have been carried on, 

 unlefs the architedls who built them, like thofe of ancient 

 Greece, had been guided, in their execution, by fome peculiar 

 principle ; and being diflatisfied with all the theories of the art 

 which I had heard of, I undertook the inveftigation, which has; 

 given rife to the following Eflay *. 



b 2 Conceiving 



* After ftating my own views at full length, 1 Ihall enumerate and examine 

 the various opinions of others on the fiibjeft of Gothic architefture, no lefs than five 



ia 



