From the whole of the foregoing discussions and il lustrations, the following conclusions are drawn : " That the principal sources of the beauty of forms are, 1st, The expression which we connect with peculiar forms, either from the form itself, or the nature of the subject formed. 2dly, the qualities of design, and fit ness, and utility, which they indicate ; and, idly, The ac cidental associations which we happen to connect with them.
All forms are either ornamental or useful.
I. The beauty of merely ornamental forms appears tc+. arise from three sources : I. The expression of the form itself.
2. The expression of design.
3. Accidental expression.
" The real and positive beauty, therefore, of every ornamental form, will be in proportion to the nature and the permanence of the expression by which it, is distin guished. The strongest and most permanent emotion, however, we can receive from such expressions, is that which arises from the nature of the form itself. The emotion we receive from the expression of design, is nei ther so strong nor so permanent, and that which acciden tal associations produce, perishes often with the year which gave it birth. The beauty of accidental expres sion is as variable as the caprice or fancy of mankind. The beauty of expression of design varies with every period of the art. The beauty which arises from the form itself, is alone permanent, as founded on the uni form constitution of the human mind. Considering, there fore, the beauty of forms, as constituted by the degree and permanence of their expression, the following con clusions seem immediately to suggest themselves.
1. That the greatest beauty which ornamental forms can receive, will be that which arises from the expression of the form itself.
2. That the next will he that which arises from the expression of design or skill. And, 3. That the least will be that which arises from acci dental or temporary expression.
In all those arts, therefore, that respect the beauty of form, it ought to be the unceasing- study of the artist to disengage his mind from the accidental associations of his age, as Well as the common prejudices of his art, to labour to distinguish his productions by that pure and permanent expression, which may be felt in every age, and to disdain to borrow a transitory fame, by yielding to the temporary caprices of his time, or by exhibiting only the display of his own dexterity and skill." We conceive that the reader who has attentively con sidered even this slight sketch' of Mr .Alison's valuable investigations, will agree with us, that the true principles of architecture have at last been distinctly established ; and that the liberal-minded artist will perceive with plea sure, that, instead of being left, as formerly, entangled in uncertainty and confusion, the path to correct prac tice in his profession is now precisely marked out, and that all his operations are guided by principles as inva riable as the constitution of the human mind.
From the principles here laid down, it follows, that architecture, as well as sculpture and painting, is per fectly susceptible of distinct expressions of character ; that this character may and ought to accord with the si tuation and purposes for which the edifice is destined ; and that all the component parts should tend to promote a full and distinct expression of the general character.
For can any thing be more absurd, than to see an edifice appropriated to the sacred purposes of divine worship, composed of a variety of trifling parts, disfigured by gau dy decorations, and neither externally nor internally pos sessing features expressive of its true character ; or, to see what is too frequently met with in buildings appro priated to the most ordinary purposes of life, puny imi tations of those forms which ought only to be introduced, of suitable dimensions, in works of magnificence and sub limity ; or to find, mixed in the same edifice, forms of expression so opposite as to distract the mind, and com pletely destroy the intended effect.
The following judicious observations of Professor Stewart will account distinctly for the incongruities and had taste which have occasionally overspread every coun try in every school of architecture, and which must con tinue to be the case, unless mankind will benefit by the errors.of their predecessors, and be contented to guide their conduct upon true principles. " From the account which has been given of the natural progress of taste, in separating the genuine principles of beauty from the su perfluous and offensive concomitants, it is evident there is a limit beyond which the love of simplicity cannot be carried ; no bounds indeed can be set to the creations of genius ; but as this quality occurs seldom in an eminent degree, it commonly happens, that after a period of great refinement of taste, men begin to gratify their love of variety, by adding superfluous circumstances to the finish ed models exhibited by their predecessors, or by making other trifling alterations on them, with a view of merely diversifying the effect. These additions and alterations, indifferent perhaps, or even in some degree offensive in themselves, acquire soon a borrowed beauty, from the connexion in which we sec them, or from the influence of fashion ; the same cause which at first produced them, continues perpetually to increase their number, and taste returns to barbarism, by almost the same steps which conducted it to perfection." (See Elementa of the Philo sophy of the Human Mind, 3d edit. 8vo. p. 373.) But, in stead of contemplating the prospect of degeneracy in ar chitecture, may we not hope, by the general dissemination of true principles, to witness a progressive improvement, agreeably to the views taken by the same able and pro found philosopher, in page 460 of his Phi!. Essays P The history of taste will be found analogous to that of human reason, the taste of each successive age, being formed on the study of more perfect models than that of the age before it, and leaving in its turn to after times a more elevated ground work on which they may raise their own superstructure.