1801.]: 
comparative illuftration of fome of the 
principal branches of this very numerous 
EAIKKRAN Fanan. 
Fon (away) - - 2 
For (prepofition) . « « - 
—- (prefix) ° 
Fur, far Wate tga eta ie 
PEO re Water: Peal vb whe p8 has Geshe 
Forth ° ° . e ol 07 ° 
Ford ° ry ° ° e a ° 
OT in cals, minim yan ae ag 
To the Editor -of the Monthly Magazine. 
SiR, . 
S you make your ufeful Publication 
A a vehicle of communication of cpi- 
nion,as well on the arts,as on any other fub- 
ject, I with through it to convey fome 
thoughts on the treatment fhewn to a par- 
ticular fubjeét, in the annual exhibitions 
at the Royal Academy. The obje&t I 
mean to direct attention to is architec- 
ture. . 
Does the Academy mean to intimate 
that it is afchool for architecture, as well 
as for painting? Does it mean to imply, 
that becaufe a few architetural drawings 
are hung any where, in its yearly dilplay of 
art, that it is a foftering-mother to it, as 
well as to painting? 
The room appropriated to the hanging 
of the architectural defigns, is of itfelf as 
ineligible as it well can be for an exhibi- 
tion of pictures of any kind; it furely 
need not be rendered worfe by the introduc-: 
tion of any thing to obftruét an equal 
diltribution of what little light there is, 
as is done by crowding this fmall room 
with large groups of ftatuary, which not 
only poffefs the very belt fituations for 
‘ fhewing the drawings to any advantage 
but obfcure them in that poft they are 
fuffered to occupy. Statuary is no more 
* "The words former, foremoft, generally 
confidered as derivaties of fore, are the com- 
parative and fuperlative degrees of the Anglo- 
. Saxon fyflum or Fhiom, beginning. 
+ The Latin per was employed as a prefix 
in the fame fenfe with fon and wage. Thus 
perjuro, to forfwear; perdo, to give away (as 
perdere operam, to lofe one’s labour 5) 
make away with, deftroy, pereo, fon-Fanan, 
perith, perverto, fon-cyppan, to turn 
away, &c. 
t ogew alfo fignified dcyond, which Mr. 
Tooke thews to be a derivative ef the par- 
ticiple gone. 
Architeétural Drawings of the Royal Academy. 
213 
family, in the principal dialects of Norther} 
and Southern Europe. 
Tleveetye 
mogos, HE. pore, L. foris. 
maex (as raex t+, wherefore). 
(wacuteeucs to take awayt eq 
mogewl ‘ah porro. 
Teds 
mroeewler. 
TORT AOSe 
WECKWe 
Sept. 6, 180%y 
aiding to the effe&t of architetural draw- 
ings, than it is to painting ; lefs fo; and 
inftead of filling and darkening that httle 
room with an immenfe pedeftal, compara= 
tively, for ftatuary, it would be much 
more properly placed in the centre of the 
great room above, at a convenient diftance 
trom which, feats might be placed. But 
better than either would be to appropriate 
the room below, the model-academy, to 
ftatuary and models alone, and give the 
library and antique-room to the fubjeéts of 
architeture, placing its miniature draw= 
ings neareft the light. If the academy, 
continuing its prefent treatment, ityles it- 
felf a {chool of architeflure, furely none 
but boys will in future pay any deference 
to it, for it can be worthy. the ambition of 
boys only to fend dehgns there, and be 
proud of having their names inferted 
in their Catalogue, and their works con~ 
tribute to {well their annual exhibition. 
Architeéts are not to betold, how little 
architeéture is known or-regarded by por- 
trait painters 5 the one and the other is 
fuficiently indicated in their works, and 
treatment. But it may be neceflary that 
portrait-painters fhould be informed by~ 
architeéts, in what light they /ould confi- 
der their art, and be told that there is 
much more ftudy and thought required in 
compofing a itru€ture combining tafte, 
convenience, and durability, than in {uit- 
ing the drefs and back-ground of a por- 
trait to the complexion and charaSter of 
the human countenance; and that the 
ftudy is of a much more exalted nature, 
requiring confiderably more knowledge 
than is neceffary to harmonifea few colours 
ona canvas, and to copy the different li- 
neaments of the-face. 
More painters, from their unacquaint- 
ednefs with architecture, judge of its merits - 
only by its approximity to the effeéts of 
their own branch of art; and fuch compo- 
fitions,\as by the glow and brilliancy of 
their colouring and finifhing, epproach 
the 
