" This traditionary taste (imbibed in early life, partly from the received rules of critics, and partly from the study of approved models of excellence,) is all that the bulk of men aspire to, and perhaps all that they arc qua lified to acquire. But it is the province of a leading mind to outstrip its cotemporaries, by instituting new experi ments for its improvement ; and in proportion as the ob servations and experience of the race are enlarged, the means are facilitated of accomplishing such combinations with success, by the multiplication of those selected ma terials out of which they arc to be formed.
" In individuals of this description, taste includes ge nius as one of its elements ; as genius, in any of the fine arts, necessarily implies a certain portion of taste. In both cases, precepts and models, although of inestimable value, leave much to be done by an inventive imagina tion.
" In the mind of a man who feels and judges for him self, a large proportion of the rules which guide his de cisions, exist only in his own understanding. Many of them he never thought of clothing in language even to himself, and some of them would certainly, if he should attempt to embody them in words, elude all his efforts to convey their import to others." Such are the views we indulge of the future progress of all human attainments ; and as the habits of man would change with his improved condition, there would, in eve ry succeeding age, be still sufficient opportunities for the ingenious architect to exercise cultivated taste and original genius, under the influence of the same unva rying and unerring principles.
Besides the authorities already produced, we may fur, timer state, that Newton, in the preface to his translation of Vitruvius, page vii. says, " I imagine every building should by its appearance express its destination and pur pose, and that some character should prevail therein, which is suitable to, and expressive of the particular end it is to answer ; to effect this will require the exertion of the powers of the mind, the force of genius, and solidity of judgment; and without this, a composition is but a compilation of parts, without meaning or end." And again, page viii. "The character or effects which there may be occasion to express in buildings, may be distin guished into the pleasing and elevating, or those of beau ty and dignity; the several characters of each class might be ascertained, as well as the kinds and degrees of the sensible properties that will produce the appearance of each character; but it would carry me farther than I in tend in this preface, in which I only mean to give a general sketch of my sentiments on this mattet, in order to shcw the opening there seems to be for a full disqui sition of the subject, and the possibility of bringing the art of designing architecture (which at present has no guide but fancy and habit) to some regulation and cer tainty."
Mr Knight, in his book on Taste, p. 172, says, " that fitness depends upon the association of ideas, and symme try more so." And again, p. 182, " that imitators err in copying effects instead of studying and adopting prin ciples, disregarding all those local, temporary, or acci dental circumstances, upon which their propriety or im propriety, their congruity or incongruity, depends ; which principles in art are CO other than the trains of ideas which arise in the minds of the artist, out of a just and adequate consideration of all such circumstances, and di rect him in adapting his work to the purposes for which itwas intended; consequently, if either of those circum stances or purposes change, his ideas must change with them, or his principles will be false, and his works in congruous." Both Newton and Knight confirm the doctrine of as sociation ; but it is Mr Alison alone who explains dis tinctly the means by which we are to determine and attain the various characters which it is necessary to establish. The attentive by studying what has been said re specting colour and form, but more especially the latter, will be enabled to select features suitable to the charac ter of his edifice. He will perceive that large, square, angular forms, composed of straight outlines, are expres sive of power, harshness, strength, and durability, and that such are found in 'the temples, palaces, pyramids, and gigantic statues of Upper Egypt ; also in the bold projecting porticos of the rectangular temples of Greece, placed upon broad platforms, and consisting of strongly marked parts.
It will also be evident, that slender, curved, and wind ing lines are expressive of gaiety and lightness: to exem plify this, we may mention the whole of tent architecture, also a great portion of the decorations of ceiling, friezes, and panne's, whether executed in sculpture, stucco, or painting. The tripod form, also, by diminishing in di mensions towards the base, is expressive of the reverse of weight and stability.