works which are effected in other arts are examined." The beauties of architecture, though it is strange to say they have never hitherto been illustrated, are more easily defined than those of any other; because it is one of its principal perfections, that there be no imperfect touches in it, nothing left, as oftentimes in poetry, painting, &c., to be finished by the fancy of the reader or beholder; it is absolutely necessary in architecture, that every single part (in the façade, at least,) be a whole, and of proper form, size, office, and place.

ture im

the man of

artist, the

the patriot.

11. In every point of view, therefore, we cannot Architecbut consider architecture, in a land where the fine portant to arts are cultivated, as a study of the greatest import- taste, the ance, and worthy the cultivation of every man of scholar, taste, that his eye may meet what is worthy of his mind; of every artist of every description, as the very best foundation for general improvement; of every scholar, as a wide field for the exercise of his mind; and of every patriot, as he would wish to see his own country rank foremost among civilized nations.

says treat

losophy of

12. As the next essay will briefly exhibit the scheme These esof the succeeding essay, it may be necessary before of the phientering upon that, to remark, that the reader will the art. not here find what are commonly termed the rudiments, but the philosophy of the art; and though the philosophy, which comprises the fundamental principles of the art are in fact, or at least should be considered the rudiments of the art; yet in the present state of the art, the rudiments of this art are too often looked upon to consist in what are termed the five

The science of an architect.

Vitruvius

recom

mends general

knowledge to the architect.

The fabrica.

orders, the mouldings, the received proportions, &c.; this is the discipline of the modern and Roman architect. It may be very well for the student to be acquainted with not only the Roman, but every system of every country, that he may obtain a store of ideas, and be able to apply and understand the principles laid down in these essays; but here he will not find style traced to countries, further than is necessary to illustrate the subject.

13. The architect has, however, a great deal more to learn; for as architecture is the queen of the fine arts, as it is the most universal, the most independent, and the most useful of them, the information of the architect should be general, and liberal. Vitruvius mentions a long string of sciences necessary for him; some of them, indeed, such as law, music, physic and astronomy, seem very remotely, if at all, connected with it. Michael Angelo is of opinion, that anatomy is absolutely necessary for an architect to study. How far, and in what way such sciences are to be studied, I leave to more experienced persons than myself to investigate; though there is no doubt, that, as the architect is apxOC TEKTOV, or chief artist, his information should be very general; and he should not only be acquainted with every art, at all connected with his own, but also with all arts that are likely to enlarge his intellect, and give him a liberal knowledge of every thing he sees. For the mere common purposes of this art alone, he should be first acquainted with what Vitruvius calls the fabrica of the art, which consists in a knowledge of all arts of every sort, absolutely necessary to a building, all which are

dwelt very much upon by Vitruvius, as well also as by modern writers on architecture; and as these, on account of their great importance in all ages and countries, even when taste has or has not existed, have often been well treated of; and as the greater part of Vitruvius is on these very subjects, it will not be necessary in these essays, which are more upon the composition and design, than the construction of buildings, to give more than a general outline of the fabrica.

Peculiari

The work

Materials.

ry.

14. The fabrica of architecture we may divide, as it has nearly been divided by others, under five heads:-situation, the peculiarities, the work itself, the mate- Situation. rials, and the tools or machinery. In the first place, ties. the situation may be divided into the situation of the itself. whole, and the situation of the parts; the situation of Machinethe whole must be convenient for water, and other necessaries, for building materials, for access, neighbourhood, and many similar things, as health, prospect, foundation, &c. ; the situation of the parts respects the necessary site of the kitchen, larder, and library, which should be to the north, the dining-room east, and such like things. Secondly, the peculiarities must appertain only to each individual case; thus we must, in a private house, consult the taste, purse, and rank of its owner, in theatre, and churches, the science of acoustics, or the conveyance of sound; in military buildings, the science of fortification or defence; in bridge-building, the theories of equilibration. Thirdly, the work itself, or what may be more particularly called the fabrica, will lead us into the contemplation of the best mode of constructing the different parts, as the

walls, stairs, chimneys, shores, and drains; we here find the necessity of being acquainted with the arts of the carpenter, bricklayer, mason, painter, and in short every art that is called forth in the completion of the house. Fourthly, the materials should be attended to, the cement, stone, bricks, timber, and roofing. And fifthly, we are not to consider it unworthy of an architect to direct his attention to the very tools and machinery, all which he should be well acquainted with, from the trowel, hammer, and gimblet, to the crane, pile engine, quadrant, theodolite, &c., which, besides hundreds more, are all used in some way or other towards the attainment and perfection of a complete architectural work.

15. It is impossible to close this essay without remarking, that however dry the studies above enumerated may appear, they must be surmounted by the complete architect. The science of the beauty of architecture, will at first appear as dry as the science of the practice of architecture; the former, however, will throw open new light, and new interest upon the student: for while the latter may be acquired by any plodding student, or common mechanic, the former is the sole province of a feeling, enlightened, and thinking mind.

END OF THE FIRST ESSAY.

13

ESSAY II.

THE OBJECT OF THESE ESSAYS.

"Interdum vulgus rectum videt; est ubi peccat."--HOR. Ep. i. v. 63.

Areverence

quity.

ful.

1. Upon the term ancient we have ever been accustomed to look with the greatest reverence and for antiesteem; this feeling is indeed almost carried to excess our ancestors are often looked upon as giants, and their works as types of every thing, that is excellent; but however extravagant our notions may be, the principle is good-the antiquarian is without doubt, a most useful member of society. In five Very usethousand eight hundred and odd years, since the foundation of the world, it would be wonderful indeed if many geniuses had not existed; and it is the noble office of the antiquarian to lay before his contemporaries the riches of so many past ages. In such an extensive period there must have been some bright spots; and as the stars in the vault of heaven direct the mariners to the golden mines and spicy shores, so these bright stars of antiquity will direct us in the deep mines and intricate mazes of science, and the grateful and pleasant empire of taste.