PRINCIPLES OF ARCHITECTURE.
ALTtIoucH, in all civilized nations, architecture has been considered an object of importance amongst men of ge nius, learning, and scientific skill, yet very few have afforded any satisfactory account of its principles. From Vitruvius to our own times, we have been told of gran deur, order, proportions, harmony, Sze.; but it has ne ver been distinctly stated upon what principles these are founded, nor by what means they are to be attained. This very necessary and important art has, therefore, hitherto been too frequently directed by capricious fancy; and the expence and durability of its works have alone prevented it from experiencing changes equally rapid with those of furniture and dress.
Of late years, men of distinguished talents have be stowed much attention upon subjects connected with this art. To state the various theories which have been ad vanced, would much exceed our limits. We shall there fore only observe, tl'!it the works of Burke, Price, Knight, Reynolds, and Hogarth, afford elaborate and various in formation ; and that the radical errors of those eminent men are fully exposed by Professor Stewart, in his Philo sophical Essays upon beauty, sublimity, and taste, more especially the latter, which he proves to be chiefly an acquired faculty.
" The fact seems to be (as Mr Stewart observes) the mind, when once it has felt the pleasure, has little inclina tion to retrace the steps by which it arrived at it. It is owing to this, that taste has been so generally ranked among our original faculties, and so little attention has hitherto been given to the processes by which it has been formed. Dr Gerard and Mr Alison, indeed, have analyzed, with great ingenuity and success, the most important elements which enter into its composition, as it exists in a well-informed and cultivated mind." Fortified by the opinion of this eminent philosopher, we with confidence state an opinion which we have long entertained, that it is from Mr Alison's Essay on the Principles of Taste alone, that a satisfactory knowledge of the principles of architecture is to be obtained. We shall therefore endeavour, in a cursory manner, to exhi bit his general views of the subject; and, for more per fect information, refer the reader to his elegant and phi losophical work.
In treating of the sublimity and beauty of the material world, Mr Alison observes, " It cannot be doubted that many objects of the material world are productive of the emotions of sublimity and beauty: Some of the fine arts are altogether employed about material objects ; and by far the greater part of the instances of beauty and subli mity which occur in any man's experience, are found in matter, or some of its qualities ; on the other hand, it must be allowed, that matter in itself is unfitted to pro duce any kind of emotion." And, again, " But although
the qualities of matter are in themselves incapable of producing emotion or the exercise of any affection; yet, it is obvious, that they produce this effect from their asso ciation with other qualities." And, " in works of art, particular forms are signs of dexterity, of convenience, of utility ;" and, " in such cases, the constant connec tions we discover between the sign and thing signified, between the material quality and the quality productive of emotion, renders the one expressive to us of the other, and very often disposes us to attribute to the sign that ef fect which is produced by the thing signified." That beauty or sublimity is to be ascribed, not to the material, but associated qualities, is shewn by a great variety of illustrations; in regard to the sense of hearing, whether the sounds are simple or composed, and like wise as to the objects of sight, which are colours, form, and motion.
Architecture being so much affected by all that relates to form, it is necessary to attend carefully to what this enlightened philosopher has advanced respecting it. He states, " of all the material qualities, that which is most generally and naturally productive of the emotions of sublimity and beauty, is form ; other qualities may be separated from most objects, without destroying their nature; but the form of every material object, in a great measure, constitutes its nature and essence, and cannot be destroyed without destroying the individual subject to which it belongs. From whatever cause, therefore, the beauty of any material object proceeds, it is natural to ascribe it to the form, or to that quality which most inti mately belongs to the object, and constitutes its essence to our senses ; the common opinion, therefore, undoubt edly is, that forms, in themselves, are beautiful ; that there is an original and essential beauty in some particu lar forms, and that this quality is as immediately discern able as the forms themselves." Having premised thus much, he proceeds to state, that the beauty and sublimity of forms arises altogether from the associations we connect with them, or the qua lities of which they are expressive to us, and slims, with great accuracy, the different expressions of which forms are susceptible, and which are the foundation of that sublimity and beauty which are ascribed to them. Of inanimate forms, the principal expressions seem to be, 1st, The expressions of such qualities as arise from the nature of the bodies distinguished by such forms; and, 2dly, The expression of such qualities as arise from their being the subject or production of art. The first constitutes their natural, the second their relative, beau ty; besides the expression they acquire from accidental associations, which may be termed accidental beauty.