The objects. upon which this art is employed, besides being costly, are also very durable. Centuries must pro bably pass before they are renewed, and during that time, the sacredness of antiquity is acquired by the sub ject itself, and likewise a strong motive for the preserva tion of t,imilar forms.
The foregoing observations relate wholly to the ex ternal parts of architecture. It is therefore necessary to consider, whether the Internal Pt oportions are guided by the same principles.
Internal proportions arise from the disposition of length, breadth, and height, so as to render an apartment pleasing in its forms ; and certain proportions of these dimensions have been held as beautiful in themselves, from the original constitution of our nature, and independent of any expression ; but, agreeably to the principles esta blished in this Essay, the beauty of their proportion arises from the expression of fitness.
A plain wall is only capable of that proportion of height which is necessary for the expression of strength and stability. This is all we desire ; it is also, of course, ap plicable to four walls inclosing a space. But acid a roof to this inclosurc, and other proportions are demanded, in consideration of the apparent weight which is to be supported. If the walls are too high, they seem insuffi cient for the weight ; if too low, the roof appears unne cessarily heavy ; and if the length is too great, the weight of the roof, by the perspective, appears to become too great as it retires ; if the breadth is too great, there is an apparent insufficiency created by the too great distance of the walls : Certain proportions, therefore, in length, breadth, and height, fitted for the full and easy support of the roof, are required. if these are accomplished, we require no more ; and if they are not accomplished, every person is sensible of the defect. It therefore fol lows, that these proportions are beautiful, from being expressive of fitness. The real beauty of the internal proportions of architecture is not, to the bulk of man kind, greater than what attends the expressions of fitness ; it is satisfaction rather than positive delight. In apart ments where this proportion has been studied, it is with the convenience, furniture, decorations, or magnificence, we are delighted. With the mere outlines of the best
proportioned, but unfinished, room, we have only the same moderate pleasure which we receive from observ ing a well-constructed machine. " If, therefore, certain proportions are demanded in a room as expressive of fit ness, and if the emotion that is produced by the establish ed and regular proportions is no greater than that which we receive in other cases ; from the expression of this quality, it seems reasonable to think, that these propor tions are in fact beautiful, from the expressions of this fitness." The common language of men confirms these statements : they express their sense of proportions by too high or too low, by being heavy or light ; and in ex plaining to them the nature of internal proportions, we should do it by pointing out, that the walls were well fit ted or adapted to support the weight ; or that they were too high, or too low, or too distant, or that the roof was heavy or light ; but this might, and most probably would, all be clone, without even mentioning proportions, but referring to the expressions of fitness.
The progress of taste is also decisive upon this sub ject. If proportions were originally beautiful, the early period of life would be remarkable for the discovery of them ; but every one is sensible, that it is only after we have, from experience, acquired a knowledge of the rela tion between weight and support, that we are sensible of proportions. If there were any absolute and independent beauty in forms, every violation of. them would be eqtialL ly painful ; but it is evident that this is not the case : too great a height or length in any apartment, is not so dis agreeable as too great a breadth, or being too low. No uniform emotion, therefore, attending the perception of these proportions, as would necessarily be the case if their beauty were perceived by any peculiar sense, and the emotions which we receive from them being different according to their different expressions of fitness, it seems reasonable to ascribe their beauty to.this expression, and not to any original beauty in the proportions themselves.