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+The Project Gutenberg EBook of The Art of Architecture, by Anonymous
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Art of Architecture
+       A Poem In Imitation of Horace's Art of Poetry
+
+Author: Anonymous
+
+Commentator: William A. Gibson
+
+Release Date: June 15, 2011 [EBook #36441]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ART OF ARCHITECTURE ***
+
+
+
+
+Produced by Chris Curnow, Joseph Cooper, David Garcia and
+the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+
+The Augustan Reprint Society
+
+
+
+
+
+
+The Art of Architecture
+
+A POEM
+
+In Imitation of Horace's ART OF POETRY
+
+(Anonymous)
+
+(1742)
+
+       *       *       *       *       *
+
+  _Introduction by_
+  William A. Gibson
+
+       *       *       *       *       *
+
+  PUBLICATION NUMBER 144
+  WILLIAM ANDREWS CLARK MEMORIAL LIBRARY
+  University of California, Los Angeles
+  1970
+
+
+
+
+GENERAL EDITORS
+
+  William E. Conway, _William Andrews Clark Memorial Library_
+  George Robert Guffey, _University of California, Los Angeles_
+  Maximillian E. Novak, _University of California, Los Angeles_
+
+
+ASSOCIATE EDITOR
+
+  David S. Rodes, _University of California, Los Angeles_
+
+
+ADVISORY EDITORS
+
+  Richard C. Boys, _University of Michigan_
+  James L. Clifford, _Columbia University_
+  Ralph Cohen, _University of Virginia_
+  Vinton A. Dearing, _University of California, Los Angeles_
+  Arthur Friedman, _University of Chicago_
+  Louis A. Landa, _Princeton University_
+  Earl Miner, _University of California, Los Angeles_
+  Samuel H. Monk, _University of Minnesota_
+  Everett T. Moore, _University of California, Los Angeles_
+  Lawrence Clark Powell, _William Andrews Clark Memorial Library_
+  James Sutherland, _University College, London_
+  H. T. Swedenberg, Jr., _University of California, Los Angeles_
+  Robert Vosper, _William Andrews Clark Memorial Library_
+
+
+CORRESPONDING SECRETARY
+
+  Edna C. Davis, _William Andrews Clark Memorial Library_
+
+
+EDITORIAL ASSISTANT
+
+  Roberta Medford, _William Andrews Clark Memorial Library_
+
+
+
+
+INTRODUCTION
+
+
+John Gwynn, generally accepted as the author of _The Art of
+Architecture_ (1742), is best known to students of English literature
+as one of the founders of the Royal Academy and as a friend of Samuel
+Johnson, who undertook in 1759 to win the Blackfriars Bridge commission
+for Gwynn with a series of three letters in the _Daily Gazeteer_[1].
+To  architectural historians Gwynn is best known as the architect whose
+proposals for regularizing the street plans of London and Westminster
+(in _London and Westminster Improved_, 1766) were prophetic both of the
+plan which eventually emerged from the land speculation and building
+boom of the eighteenth and nineteenth centuries and of the prominence
+subsequently given to city-planning.[2] But like Dr. Johnson, Gwynn
+looked as much to the past as he anticipated the future. This is almost
+inevitable since he too spans the years which saw the last expressions
+of humanist principles of art and the first struggles to find new bases
+for aesthetic judgments. Although the date of Gwynn's birth is unknown,
+he must have been almost an exact contemporary of Dr. Johnson, for he
+also began his literary career in the 1730's, gained public recognition
+in the 1750's, associated with members of the Literary Club in the
+1760's, and died slightly over a year after Johnson, probably on 27
+February 1786.
+
+Their careers exhibit two more instructive parallels. Both began
+as amateurs, possessed of no specific training, and ended as
+self-supporting "professionals," able to exercise their skills on
+demand and fully conscious of the qualifications needed for membership
+within their professions.[3] Second, both began with the hope of
+"fixing" the rules of their arts, but ended by disavowing the intention
+or by implicitly contradicting it. Johnson records his disillusionment
+with one such attempt in the "Preface" to his _Dictionary_ (1755).
+Gwynn's continuing interest in the attempt is evident in his early
+proposals for establishing an art academy (_An Essay on Design_, 1749)
+and in his serving as a representative of the architectural profession
+in the founding of the Royal Academy. However his efforts late in his
+career to accommodate his early principles to the needs of a nation in
+the midst of an economic and a building boom reveal a considerable
+shift from his dogmatic support of the rules of art in _The Art of
+Architecture_.
+
+The poem is significant in a number of ways. It is the work of a young,
+inexperienced architect, with literary ambitions, who has learned most
+of what he knows about the principles of his art from published
+sources--treatises, pattern books, and measured drawings--rather than
+in an architect's studio or in a master mason's stone-cutting yard.
+Take, for example, one of his lists of architects worthy of study:
+"With _M----s, F----ft, G----s, L----i, W----e_,/ Let ADMIRALTY,
+or CUSTOM-HOUSE compare" (p. 18). Four of these architects published
+treatises or translations of treatises which Gwynn certainly knew:
+Robert Morris, _Lectures on Architecture_, 1734-36[4]; James Gibbs,
+_Rules for Drawing the Several Parts of Architecture_, 1733; James
+Leoni, translations of Palladio, 1715-16, and of Alberti, 1726; Isaac
+Ware, translation of Palladio, 1737. The other architect referred to is
+Henry Flitcroft. The poem is, secondly, an unusually clear expression
+of the architectural principles--and dilemmas--of a man who is
+sensitive to changes in taste and in artistic practice, but unaware of
+the causes of the changes, and probably incapable of grasping their
+significance. This is precisely what makes _The Art of Architecture_ a
+valuable document in the history of eighteenth-century criticism. The
+poem provides a brief but rather full summary of the major precepts
+of humanist architectural theory accepted in the first half of the
+century, and introduces an important English innovation. At the same
+time it reveals the passionate desperation of a man confident in his
+rules of art but powerless to impose them upon a society enamored of
+novelty. Gwynn never gave up his youthful ambition of improving English
+building, but he did give up the positiveness evident in this poem.
+
+Gwynn's general critical bias is readily identifiable because it is
+consistent with that of many conventionally trained architects of the
+1720's and 1730's, and with that of most propagandists for English
+Palladianism. Like the Earl of Burlington, William Kent, Colin
+Campbell, Morris, Ware, and Alexander Pope, Gwynn venerated Inigo Jones
+as England's Palladio, as the architect who showed how Palladio's rules
+could be naturalized for the English climate (pp. 14, 25). Similarly
+orthodox is his opinion of the fanciful baroque architecture of Sir
+John Vanbrugh and Nicholas Hawksmoor, both of whom are held up as
+perpetrators of tasteless, licentious innovation (pp. 14, 26). The more
+chaste baroque architects--Sir Christopher Wren, Gibbs, and Thomas
+Archer--Gwynn generally admires, although he recognizes occasional
+flaws in the works of Gibbs and Archer (pp. 14, 29). In remarking on
+his other "villain" architects, Gwynn reveals his political preferences
+and some acquaintance with current scandals. At least two of them were
+aligned with the court party. Thomas Ripley, a one-time carpenter who
+was one of Pope's targets of satire, erected Houghton for Robert
+Walpole in accordance with designs by Campbell (pp. 15, 17).[5] Edward
+Oakley dedicated his _Magazine of Architecture_, _Perspective and
+Sculpture_ (1730) to Walpole, but received no posts such as those which
+Ripley, Hawksmoor, Vanbrugh, or John James enjoyed under the Walpole
+administration (p. 28). Two more architects whom he mentions, besides
+Gibbs, Vanbrugh, and Ripley, were employed on the notorious projects of
+the Duke of Chandos--John James and Andrew Shepherd (pp. 10, 23).[6]
+Gwynn's taste and principles were those of an educated elite to which
+he did not belong--conventional in their moral and aesthetic
+implications, and conservative in their political ones.
+
+But the significance of _The Art of Architecture_ is not merely as
+evidence of contemporary attitudes toward Hawksmoor or James, Chapman
+or Banks. It is rather what Gwynn believes they indicate: the failure
+to establish in England a building practice firmly based upon a body of
+principles which architects and men of letters in the first half of
+the eighteenth century had wanted to believe inviolable. The Palladian
+revival had helped to subvert the medieval crafts tradition in building
+(which had been vigorous through the seventeenth century) and had
+contributed to substituting for the pomp and flamboyance of the baroque
+a taste for regularity in outline, clear relationship of parts, and a
+relative simplicity of surface and ornament. Accompanying it was an
+unprecedented deluge of publications, all of which helped to create a
+greater popular consciousness of humanist architectural principles than
+had previously existed. Yet the revival was proving ineffectual, and
+perhaps the clearest evidence is in Gwynn's attack on Kent: "See
+the  old GOTHS, in _K----_'s Designs survive;/ And Modern FOOLS, to
+imitate his strive" (p. 26). Kent edited the drawings of the English
+Palladio for the Earl of Burlington (_The Designs of Inigo Jones, With
+Some Additional Designs_, 1727); but at Esher Place, Surrey (ca. 1730),
+and again in Merlin's Cave, erected at Richmond Park for Queen Caroline
+(1735), he "anticipate[d] by twenty years the rococo Gothic of the
+1750's."[7] The latter design was even published with some by Jones two
+years after _The Art of Architecture_ in John Vardy's _Some Designs of
+Mr. Inigo Jones and Mr. William Kent_ (1744). Clearly Vitruvius's rule
+of _decor_ had not restrained even the publicists of Palladianism.
+
+Humanist architectural theory was losing its authority even as it was
+being widely disseminated; it was also, as was only half clear to
+Gwynn, becoming increasingly unintelligible. Wealthy patrons of the art
+looked more and more upon exact knowledge of it as unbefitting the
+learning of a gentleman. Archaeological studies of antiquities, instead
+of helping to fix the rules of proportion, were contributing to
+aesthetic relativity by demonstrating the disparity between ancient
+practice and Vitruvius's rules. Claude Perrault attempted to resolve
+these disparities by a system of mathematical averages, but the result
+of his empirical method is only to substitute one source of relativity
+for another.[8] By the 1740's what Rudolf Wittkower has called the
+"break-away from the laws of harmonic proportion"[9] was well under
+way, and it represented but a part of the collapse of the several
+systems of arithmetic and geometric proportion which had dominated
+humanist theory. Developments in the history of thought made this
+collapse inevitable. The old aesthetics were based upon correspondences
+between divine and human artifacts. Thus in designing a building the
+architect emulated the Divine Architect who "ordered all things in
+measure and number and weight" (Wisdom 11:20). The geometric forms and
+the systems of mathematical and harmonic proportions of a building
+answered to those of the cosmos; likewise the aesthetic attributes
+of the cosmos--with their attendant moral ones--such as symmetry,
+uniformity, regularity, and fitness had their correspondences in
+architecture. Such assumptions provided immutable bases for the rules
+external to the individual work of art, but the breakdown of analogical
+reasoning in the seventeenth and eighteenth centuries necessarily
+undermined such philosophical-theological foundations. The new
+epistemology, further, shifted attention from the external world--the
+previous source of the rules--to the mind perceiving it.
+
+By the 1740's consciousness was growing of threats against the ethical
+and aesthetic values of Renaissance humanism (best expressed in Pope's
+_Dunciad in Four Books_), and of the consequent need for new sources
+of  authority for the rules of art. One highly eccentric quest for
+authority was published just a year before _The Art of Architecture_:
+John Wood's _The Origins of Building_; or, _The Plagiarism of the
+Heathens Detected_ (1741). Wood reconstructs the history of
+architecture to make it conform to Old Testament chronology. Thus he
+attributes the major tenets of Vitruvius's architectural theory to
+various patriarchs and ancient Jewish heroes, or, when he finds
+any justification for doing so, directly to God. Gwynn's attempt
+to buttress the rules is far more mundane. He seeks support from
+contemporary philosophy; for example, he introduces the epistemological
+and ethical systems of Shaftesbury to account for some principles of
+decorum, but without perceiving the subjectivity he was imposing on
+them. He rationalizes some of Vitruvius's analogies between natural
+and architectural forms. But even more clearly indicative of the
+futility of his effort are his appeals to authority. He implores such
+aristocratic patrons as Pembroke, Chesterfield, and Burlington to "Be
+to my _Muse_ a Friend; assist my Cause;/Be Friend to _Science_, fix'd
+on _Nature's_ Laws" (p. 30). Perhaps most important, however, is the
+authority of Horace himself, who provides the model for the poem.
+
+Although neoclassical critics generally accepted the reality of
+correspondences between architectural and literary criticism, Gwynn did
+not find the _Ars Poetica_ an entirely manageable model.[10] Horace's
+figures of the mad painter and the mad poet which frame the poem at
+either end serve Gwynn well, for his imitations of them as the mad
+painter and the mad architect emphasize the personal, social, and
+artistic consequences of attempting to build without rules, talent, or
+even a clear need to build. But within the poem, allusions to Horace
+are often much more elusive. He usually succeeds best in keeping close
+to Horace when citing the most general principles. Thus Horace's attack
+on bombast and timidity ("professus grandia turget;/serpit humi tutus
+nimium timidusque procellae," 11. 27-28) occasions an attack on
+misunderstood magnificence and on stodginess:
+
+  Others affect _Magnificence_ alone;
+  And rise in large enormous Heaps of Stone;
+  Swell the huge _Dome_, and _Turrets_ bid to rise,
+  And Towers on Towers; attract the Gazer's Eyes.
+  Some dare not leave the old, the beaten Way,
+  To search new Methods, or in Science stray ...
+
+                                               (p. 8.)
+
+
+Similarly clear are Gwynn's adaptations of such commonplaces as the
+need to subordinate parts to the whole (p. 8) or for consistency of
+style (p. 15). Again, Horace asks whether a good poem is the product of
+nature or art--of native talent or of training--and denies that either
+is adequate alone (11. 408-418). Gwynn raises the same question about
+the architect, although in the first person, and answers,
+
+  If _Art_, or _Nature_, form'd me what I am;
+  If one or both, assisted in the Plan,
+  It is beyond, my utmost Power to say:
+  Whether I _Art_, or _Nature_' s Laws obey.
+
+                                               (p. 31.)
+
+
+Since such ambivalence as this is not appropriate to his purpose, he,
+unlike Horace, begins almost immediately to stress a course of study
+that will result in mastery of the rules.
+
+This last rhetorical tactic points to one serious problem which Horace
+poses for Gwynn--that of assuming an appropriate stance for defending
+the rules. The tone of Horace's epistle to the Pisos is familiar
+without being condescending. He writes as an experienced poet and
+critic to fellow writers, delivering his pronouncements freely and
+confidently, but without dogmatism. Gwynn is neither an equal writing
+to equals nor an experienced architect, confident of his qualifications
+to instruct the world. At one moment he acknowledges the "Judgment's
+Height" of the addressee (p. 28), the next he holds himself up as
+possessing a skill worthy of emulation, and proceeds to deliver a
+lesson in the tone of a schoolmaster: "Those Things which seem of
+little Consequence,/ And slight and trivial ..." (p. 32). Horace's wit,
+his reliance upon his audience to grasp the implications of his many
+examples, and his avoidance of positiveness subvert Gwynn's purpose,
+as he reveals frequently in contradictory outbursts and in shifts in
+tone. Yet in one important passage Horace provides him with a stance
+and a theme which help him prop up the rules. After discussing
+pardonable faults (11. 347-365) Horace addresses Piso's elder son,
+compliments him for his wisdom and training, and _reminds him_ of the
+activities in which mediocrity may be tolerated. This serves as a
+contrast to poetry: "mediocribus esse poetis/ non homines, non di,
+non concessere columnae" (11. 372-373). For once Horace is almost
+uncompromising enough for Gwynn's purposes. He adopts a similarly
+magisterial tone, but reorders Horace's materials so that the emphasis
+is more fully on this principle:
+
+    But yet, _my Lord_, this _one_ important Truth,
+  This Law of _Science_, which we teach our Youth
+  Even THIS, no Mediocrity admit,
+  _Rules_, _Nature_, _Reason_, _all_ must jointly fit:
+  A _Painter_ may RAPHAEL'S Judgment want,
+  And yet, we some Abilities will grant: ...
+
+  In BUILDING, there's no _Laws_ of human Kind,
+  Admit a _Medium_; to the Artist's Mind,
+  _All_ must be perfect, or 'tis understood,
+  Excessive _Ill_,----or else sublimely _Good_.
+
+                                               (pp. 29-30.)
+
+
+Especially significant here is his insistence that the "Law of
+_Science_" will "no Mediocrity admit," for Horace discusses poetic
+practice rather than the rules which aid it. Secondly, the belabored
+inference drawn from the principle in the final couplet has no
+precedent at all in Horace. Gwynn has made every effort to place the
+rules outside the realm of human eccentricity and to give them the
+stature of "_Nature's_ Laws."
+
+Considering that the tenets of humanist architectural theory are
+traditionally classified very differently from those of literary
+criticism, as Gwynn acknowledges in his "Preface" (p. iii), he manages
+to accommodate them surprisingly well to the organization of the _Ars
+Poetica_. A good example is his treatment of Horace's discussion of the
+transitoriness of language, as of all things, and the necessary dominance
+of the rules of usage (11. 46-72). The most obvious parallel is the
+inevitable ruin of the pompous buildings which men erect (p. 11).
+But he develops none of the botanical analogies which Horace used to
+illustrate the rhythms of life and death (11. 60-69), for his purpose
+is to emphasize instead the parallel between _usus_ and the
+architectural concept of "use." Horace insists, "multa renascentur quae
+iam cecidere, cadentque/ quae nunc sunt in honore vocabula, si volet
+usus" (11. 70-71). Gwynn elaborates on this:
+
+  But Use has rais'd the _Greek_ and _Roman_ Rules,
+  And banish'd GOTHICK Practice from the Schools.
+  Use is the Judge, the Law, the Rule of Things,
+  Whence ARTS arose, and whence the SCIENCE springs.
+
+                                               (p. 11)[11]
+
+
+Horace and Gwynn both think of "use" operating as a kind of historical
+necessity causing the resurrection of a rule or a form. Gwynn adds to
+this the concept, drawn from Vitruvius and his commentators, that the
+rules of architecture prescribe forms which satisfy particular uses and
+reflect directly the strengths and limitations of building materials
+and techniques. These are the major premises of Gwynn's assertion
+that "on _Nature's_ perfect Plan,/ I form my SYSTEM" (p. 31). To
+buttress this confidence in rules he develops the parallels between
+Horace's history of poetry (11. 73-98) and the history of architecture.
+Cecrops, the first king of Athens, is to architectural practice what
+Homer is to heroic poetry. Daedalus is to the theory of architecture
+what Archilochus is to the meter of dramatic poetry (pp. 11-12). The
+emphasis on the giving and systematizing of rules, although without
+precedent in Horace, reflects the same preoccupation with the authority
+of origins as John Wood's _Origins of Building_, Pope's _Essay on
+Criticism_, or even Locke's _Two Treatises on Government_ for that
+matter.
+
+Horace provides less precise correspondences for one of the most important
+rules. Vitruvius's rule of _decor_ (_De Architectura_, I, ii, 5) is
+only generally parallel to the rules governing decorum of language,
+characterization, and genre. Gwynn nevertheless introduces all of its
+major implications. It dictates the observing of clear correspondences
+between a building's form and its use, inhabitant, and site (or
+"situation," to use the eighteenth-century term). It is based upon the
+notion that architectural styles have recognizable social, ethical,
+religious, and aesthetic attributes. The attributes, which evoke
+predictable psychological responses, express the _uses_ which the
+styles were created to satisfy and the cultures in which they were
+developed. One brief passage beginning "If to adapt your Fabrick, you
+would choose,/ To suit the _Builder's_ Genius, or his Use" (pp. 15-16)
+effectively summarizes the primary dictates of _decor_. The architect
+has to choose forms and ornaments having attributes in common with the
+social station and character traits of the builder of a residence,[12]
+with the deity to whom a temple is dedicated, with a building's
+function, or with the landscape in which it is placed. Thus, for
+example, the heavy, plain Tuscan order is appropriate for "A _little_
+Structure; built for Use alone," the "gaiety" of the middle Ionic order
+for a country villa, and the "delicacy" of the Corinthian order for an
+elegant church or palace (p. 25). An architect's skill is most often
+measured in the poem by his adherence to _decor_.
+
+One violator of _decor_ serves as a focus in an important passage
+wherein Gwynn tries to integrate Vitruvius and Horace while making a
+transition to one of his central concerns, the peculiarly English
+reinterpretation of decorum of situation. In discussing the difficulty
+of treating traditional subjects in novel ways, Horace compares an
+erring "scriptor cyclicus olim" with Homer, summarizes some general
+principles, and then turns to a consideration of how to win public
+applause (11. 119-178). Gwynn is more suspicious of originality than
+Horace (p. 17), and uses Ripley as an example of one who erred in
+trying to avoid customary forms. Ripley's Custom House (1718) and
+Admiralty building (1723-26) become the equivalent of the Cyclic poet's
+bad verse, while Morris, Flitcroft, Gibbs, Leoni, and Ware become the
+modern Homers of architecture (p. 18). Gwynn ends the verse paragraph
+with Horace's theme of suiting the parts to the whole. With Ripley's
+performance as a background Gwynn turns to architecture's most
+fundamental rules:
+
+    CRITICKS, attend the Rules which I impart;
+  They are at least; _instructive_ to the Art:
+  Mark how _Convenience_, _Strength_, and _Beauty_ join:
+  With these let _Harmony of Parts_ combine.
+
+                                               (p. 18.)
+
+
+These lines may be construed as the architect's equivalent of Horace's
+advice for winning applause. But in fact the entire verse paragraph
+which these lines introduce is simply a paraphrase of Vitruvius (I,
+iii, 2. Cf. Wotton's remark, "_Wel-building_ hath three Conditions,
+_Commodity_, _Firmnesse_, and _Delight_").[13] The leap which follows
+the introduction of these three principles has no precedent in Horace,
+but it does in Vitruvius, whose _De Architectura_ is notorious for its
+eccentric organization and abrupt transitions. Immediately following
+this passage in Vitruvius is his chapter on the "salubrity of sites"
+(I, iv).
+
+It is ironical that where Gwynn is closest to Vitruvius in one respect
+he departs most radically from him in another. Vitruvius's attention
+is almost exclusively on the physical requirements of sites for
+maintaining men's health and comfort; Gwynn's is on the requirements
+for maintaining men's psychological well-being. His conceptions of
+decorum of situation begin with Vitruvius and the Renaissance demands
+that a site be healthy, that it permit efficient transportation, and
+that, if possible, it provide raw materials for building, rich lands
+for crops and pastures, and natural beauty conducive to ease and
+contemplation. Gwynn emphasizes this last point, building upon
+perceptions of nature nourished on Thomson's _Seasons_, and upon a
+psychology drawn largely from the Earl of Shaftesbury (pp. 19-22).
+In his earlier _Essay on Harmony_. _As it relates chiefly to Situation
+in Building_ he quotes Shaftesbury on the title page, acknowledges
+his debt to Thomson, and quotes long passages from _The Seasons_ to
+illustrate various rural "situations."[14] In _The Art of Architecture_
+he follows Morris's example in writing his own verse in language
+imitative of Thomson's (except for one direct quotation, "From the
+_moist Meadow_; to the _brown-brow'd Hill_"). The verbal precision of
+his poetic epithets, and the analysis of perception which they imply,
+help to distinguish the sensory, aesthetic, and emotional effects of
+a wide variety of disparate experiences, and thus make possible the
+identification of those attributes that guide an architect in choosing
+a _mode_ appropriate to a site. The perfect fitting of a building
+to its site, as of the parts to a whole, will result in what Gwynn
+calls "Ideal Harmony," for it "ariseth from such Numbers, Parts, or
+Proportions, which may be resolved in the Mind, and ranged together
+in Order, by Contemplation."[15]
+
+For Gwynn such harmony still has quite clear religious and moral
+implications, although he does not, like Morris, attribute to it a
+specifically religious function. Yet since the rules are supposedly
+based upon natural laws, violations of them betray a failure to
+appreciate divine harmony, the highest object of human contemplation.
+This accounts for the indignation Gwynn reveals in attacking mad
+architects and patrons at the end of the poem, even if it also reveals
+his obtuseness in failing to perceive the causes of his outrage.
+But, then, Gwynn was no Alexander Pope, either as a poet or as a
+thinker.[16]
+
+The Ohio State University
+
+
+
+
+NOTES TO THE INTRODUCTION
+
+
+1. Both James Boswell and Sir John Hawkins briefly discuss Johnson's
+relations with Gwynn in their biographies of Johnson. The fullest
+accounts of Gwynn's life and professional activities are those in
+the _DNB_ and in H. M. Colvin, _Biographical Dictionary of English
+Architects_, 1660-1830 (London, 1954), pp. 254-256. Both attribute the
+poem to him. I am much indebted throughout this introduction to Colvin
+for information on the architects mentioned in the poem.
+
+2. For an estimate of the significance of Gwynn's perceptions
+see chapter nine of John Summerson's _Georgian London_, rev. ed.
+(Harmondsworth, 1962). His perceptiveness was recognized by the early
+nineteenth century. Gregg International published a facsimile reprint
+of _London and Westminster Improved_ in 1969.
+
+3. A work which shows Gwynn's awareness of the differences between the
+casual and perhaps well-read dilettante and the dedicated professional
+is his essay _The Qualifications and Duty of a Surveyor_ (London,
+1752). For discussions of the development of the architectural
+profession in eighteenth-century England, see Colvin, pp. 10-25,
+and, in spite of his excessively narrow definition of "profession,"
+Barrington Kaye, _The Development of the Architectural Profession
+in Britain, A Sociological Study_ (London, 1960), pp. 39-67.
+
+4. One indication of Gwynn's admiration for Robert Morris is the title
+page of _The Art of Architecture_. The elevation used as an ornament is
+not just modelled on a design by Morris; the plate used to print the
+elevation is the very plate, slightly reworked, which printed the
+design facing p. 209 in Morris's _Lectures_. Most of the original
+dimension lines have been obliterated, and the original pyramidal roof
+has been truncated.
+
+5. _Epistle to Burlington_, II. 17-18; _Imitations of Horace_, II, i,
+185-186; _The Dunciad in Four Books_, III, 327-328.
+
+6. C. H. Collins and Muriel I. Baker, _The Life and Circumstances of
+James Brydges_, _First Duke of Chandos_ (Oxford, 1949), pp. 115-120,
+146, 300, 387-389.
+
+7. Colvin, p. 342.
+
+8. _A Treatise of the Five Orders of Columns in Architecture_, trans.
+by John James (London, 1708).
+
+9. Rudolf Wittkower, _Architectural Principles in the Age of Humanism_,
+3rd ed. (London, 1962), p. 142. For a summary of England's part in this
+"break-away" see pp. 150-153.
+
+10. Parenthetical references to the _Ars Poetica_ are to the Loeb
+edition, trans., H. Rushton Fairclough (Cambridge, Mass., 1929).
+
+11. Cf. Pope, "You show us, Rome was glorious, not profuse,/ And
+pompous buildings once were things of Use" (_Epistle to Burlington_,
+11. 23-24).
+
+12. See Sir Henry Wotton, "Elements of Architecture" (1624), in
+_Reliquiae Wottonianae_ (London, 1651), pp. 304-305.
+
+13. Ibid., p. 201.
+
+14. _Essay on Harmony_ (London, 1739), pp. 27-31.
+
+15. Ibid., p. 9.
+
+16. This work was supported, in part, by the Ohio State University
+Development Fund through its Faculty Summer Fellowship program, and by
+a grant from the Penrose Fund of the American Philosophical Society.
+I should like to express my gratitude for both of these grants.
+
+
+
+
+BIBLIOGRAPHICAL NOTE
+
+
+    This facsimile of _The Art of Architecture_ (1742)
+    is reproduced from a copy in the British Museum.
+
+
+
+
+THE
+
+Art of Architecture,
+
+A POEM.
+
+In Imitation of HORACE'S Art of POETRY.
+
+Humbly Inscribed to the R^{t}. Hon^{ble} the Earl of ----
+
+       *       *       *       *       *
+
+      _Ingenuas didicisse fideliter artes,
+  Emollit mores, nec finit esse feros._
+
+                                     OVID.
+
+[Illustration]
+
+_LONDON:_
+
+  Printed for R. DODSLEY, at TULLY's Head in _Pall-Mall_; and
+  Sold by T. COOPER at the _Globe_ in _Pater-noster-Row_, 1742.
+
+[Price, One Shilling.]
+
+
+[Illustration]
+
+
+
+
+THE PREFACE.
+
+
+_The great Freedom with which_ HORACE _has been used, I hope will be in
+some Measure an Excuse for the Liberty I take in this Essay._--_The Art
+of_ Cookery, _and_ Harlequin-Horace _are two glaring Instances, not to
+mention Numberless_ Translators, Commentators, &c. _upon his Works; in
+which some have so Remark'd and Revis'd, that they have explain'd the
+Sense of_ Horace _quite away_.--_I for my Part, either as a Poetical_
+ARCHITECT, _or an Architectural_ POET, _profess myself to be only an
+humble_ IMITATOR _of him_: _I have seldom lost sight of the_ Original,
+_at least as far as the Subject will permit_.---_But_ ARCHITECTURE
+_is a barren Theme, and a Path so beaten, that to step out of it,
+though purely to avoid the Crowd, is looked upon as an unpardonable
+Singularity. How far I may have strayed in this_ Poetical Excursion,
+_I  know not; but of this, I am certain I can with Truth say with_
+HORACE,
+
+    ----Si quid novisti rectius istis,
+  Candidus imperti; si non, his Utere Mecum.
+
+
+[Illustration]
+
+
+
+
+[Illustration]
+
+
+
+
+THE
+
+ART of ARCHITECTURE,
+
+In Imitation of HORACE'S Art of POETRY.
+
+
+    Should you, my LORD, a wretched Picture view;
+  Which some unskilful Copying-_Painter_ drew,
+  Without Design, Intolerably bad,
+  Would you not smile, and think the Man was mad?
+  Just so a tasteless Structure; where each Part
+  Is void of _Order_, _Symmetry_, or _Art_:
+  Alike offends, when we the Mimick Place;
+  Compare with _Beauty_, _Harmony_, or _Grace_.
+
+    PAINTERS, and ARCHITECTS are not confin'd
+  By _Pedant-Rules_ to circumscribe the Mind:
+  But give a Loose, their Genius to improve;
+  And 'midst the pleasing Fields of _Science_ rove.
+  But then the Laws of _Nature_; and of Sense,
+  Forbid us with Contraries to dispense:
+  To _paint_ a Snake, engend'ring with a Dove;
+  Or _build_ a Prison 'midst a shady Grove.
+
+    At setting out, some promise mighty Things,
+  _Temples_ they form, and _Palaces_ for Kings;
+  With a few _Ornaments_ profusely drest,
+  They shine through all the _Dulness_ of the rest.
+  At some long _Vista's_ End, the Structure stands;
+  The Spot a Summit, and a View commands:
+  The wide-extended Plain appears below,
+  And Streams, which through the verdant Meadows flow.
+  Here _Towns_, and _Spires_, and _Hills_ o'er Hills extend;
+  There _shady Groves_, and _Lawns_, the Prospect end.
+  Through lavish _Ornaments_, the Fabrick shines
+  With wild Festoons of Fruits, and clust'ring Vines:
+  Luxuriant Decorations fill each Space,                       }
+  And vast Incumbrances, void of _Rules_ or _Grace_;           }
+  Without Coherence, crowded in each Place.                    }
+
+    Should you require a little rising Pile,
+  The Parts appropriate to the fertile Soil:
+  Where _Neatness_, _Order_, and _Proportion_ join;
+  Where _Strength_, and _Art_, and _Nature_ should combine:
+  The mimick _Architect_ perhaps would be                      }
+  As much to seek in his Design; as HE                         }
+  Whose only Talent was, to paint a _Tree_.                    }
+  With such gay Structures, why do they begin
+  Such _Glare_ of Ornament to usher in?
+  Why such external needless Dress and Show?
+  The End impropriate, and the Meaning low.
+  Form to each _Clime_, each _Place_, a _Modus_ still;
+  But use the same Proportions at your Will.
+  Change, modify your Form: Transpose, divide;
+  The same unerring Rules the _Science_ guide.
+
+    Most ARCHITECTS in something do offend,
+  When led by, aim'd-at-Excellence; to mend--
+  By striving to be plain, they sometimes fall,
+  So _Mean_, so _Dull_, so _Tasteless_: they spoil all.
+  Others affect _Magnificence_ alone;
+  And rise in large enormous Heaps of Stone;
+  Swell the huge _Dome_, and _Turrets_ bid to rise,
+  And Towers on Towers; attract the Gazer's Eyes.
+  Some dare not leave the old, the beaten Way,
+  To search new Methods, or in Science stray:
+  Others with wild Varieties engage,
+  And build a Seat to face the _Ocean's_ Rage;
+  Carve _Fruit_ and _Flowers_, to face the raging Floods,
+  Festoons of Shells, or Fish, for shady Woods.
+  Thus willful Erring, join'd with Want of Skill,
+  Is the most certain Way of Erring still.
+
+    The meanest Workman, may attempt to place
+  A little Dress to decorate a Space;
+  May put an Ornament about a Door,
+  Or decorate a Window, and no more:
+  But then to _finish_, is beyond his Skill,
+  And we suppose the rest, exceeding ill.
+  And 'tis ridiculous for one good Part,
+  Where what remains are Scandal to the Art;
+  Where only one is luckily adorn'd,
+  And all the rest remarkably deform'd.
+
+    Let _Architects_ attempt their Skill to show
+  In _small_ Designs at first; in what they know.
+  Then as they find their Genius rise, to try
+  How much their Structures they can magnify.
+  Shew how _Convenience_, _Beauty_, _Symmetry_,
+  How _Method_, _Art_, and _Nature_ will agree.
+  Rules well appropriate will ever please,
+  And proper Dress, is plac'd with greatest Ease.
+  First study _Nature_, where, and how to fill
+  The various Voids, and ornament with Skill.
+  Chuse the _just_ Emblems for the Pile and Spot;
+  The Dress of _Temples_ suit not with a _Grot_.
+  The _Palace_, and the _Villa_ differ wide,
+  For both, a proper Ornament provide,
+  Perhaps in _this_, you must Profuseness spare;
+  When _that_; requires you to be lavish there.
+
+    If from the usual Taste your Building springs
+  Magnificently great, a Seat for Kings,
+  Let your exalted Fancy, tho' 'tis new,
+  Keep the great Arts of _Greece_ and _Rome_ in View;
+  From thence your Fabrick form, your Genius flow,
+  Thence bid the _Ravish'd Gazer's_ Bosom glow.
+  Can an impartial Critick justly blame
+  A Fault in JONES, (or FL-T-FT, is the same;)
+  And yet approve in HAWKSMOOR, or in J----s,
+  The same wild Error, or the same Extremes?
+  Why should the few, the Rules which I impart,
+  Be construed ill, be Scandal to the Art?
+  When GIBBS, so copious, so enrich'd has been,
+  No Part's obscure, but all are useful seen.
+
+    Men always had, and ever will, Pretence,
+  At least with Method, to improve our Sense:
+  And the last Laws, however just or true,
+  Must give the Palm to such which are more new.
+  One Year, a Train of Images arise,
+  The next a gayer, newer Form supplies.
+  One Scene improv'd, must to another yield,
+  And all resign to FATE, and quit the Field.
+
+    The fam'd St. HELLEN's, and the fam'd TORBAY,
+  Where GEORGE's GLORIOUS FLEETS, in _Safety_ lay.
+  The _Bank_, the _Meuse_, the _Treasury_ will fall,
+  One common Ruin overwhelming all:
+  Nay this great CITY may be lost in Flames,
+  And what are _Villa_'s, may be desart _Plains_.
+  The _Bleating Flocks_, on ruin'd _Fabricks_ stray,
+  And what were _Temples_, now in _Ashes_ lay:
+  The _Groves_ arise where _Gilded Turrets_ shone,
+  And what are _Gardens_ now, were Heaps of _Stone_.
+  Yet THOSE, and THEY, will in Oblivion lye,
+  And all, in future Times, forgot, and die.
+  Why then should _Artists_ challenge future Praise,
+  When Time devours their Works so many Ways?
+  But Use has rais'd the _Greek_ and _Roman_ Rules,
+  And banish'd GOTHICK Practice from the Schools.
+  Use is the Judge, the Law, the Rule of Things,
+  Whence ARTS arose, and whence the SCIENCE springs.
+
+    At ATHENS first the rising Art began;
+  CECROPS, the King, first modell'd out the Plan.
+  The studious Youth; pursued with ardent Care
+  The Infant Rules, unpolish'd as they were,
+  Till banish'd DÆDALUS Protection sought,
+  _There_ well receiv'd, the stricter Rules he taught;
+  Their _Arts_, their _Sciences_, were learn'd in Schools,
+  And all their _Precepts_ were confin'd to Rules.
+
+    The swelling _Tree_, as it unpolish'd grew
+  Undecorated, _Native_ Graces shew;
+  From thence the COLUMN, in its purer Dress,
+  The Work of _Nature_, must the Form confess:
+  The _wreath'd_, the _fluted_, or th' _encumb'ring_ Vine,
+  With plenteous _Branches_ round the Pillar twine;
+  Yet still its pure Simplicity you see;
+  The Shaft of _Art_, resembles still a _Tree_.
+
+    But how to appropriate, to embellish still
+  Justly, the Space to decorate and fill,
+  To give proportion'd Beauty to each Part,
+  To make the whole subservient to the Art:
+  The Inborn-Traces of the Mind pursue,
+  For Nature teaches how to find the Clue.
+
+    The _silent Groves_ a little Pile must grace;
+  Nor yet too grave, or lavish for the Place.
+  We find the middle Path, the Way to please,
+  And decorate the Parts with greater Ease.
+  But when the Opening to some distant Scene,
+  Where _Lawns_, and _liv'ning Prospects_ intervene;
+  Where _Vista's_ or delightful _Gardens_ charm;
+  Where _verdant Beauties_ all our Senses warm:
+  Let _Flow'rs_ and _Fruit_ in seeming Wildness grow;
+  And there let lavish _Nature_ seem to flow.
+  _There_ let the Parts, the Gazer's Eye surprize;
+  And with the _Glebe_ the _Structure_ HARMONIZE.
+  Where _Severn_, _Trent_, or _Thames's_ ouzy _Side_,
+  Pours the smooth Current of their easy Tide:
+  Each will require a Sameness to the Spot,
+  For this a _Cell_, a _Cascade_, or a _Grott_.
+  The _Moss_, or _gliding Streams_ productive Store,
+  To grace the _Building_ on the _verdant Shore_:
+  There the rough _Tuscan_, or the _Rustick_ fix,
+  Or _Pebbles_, _Shells_, or calcin'd _Matter_ mix.
+  The _frozen Isicle's_ resembled Form,
+  Or _Sea-green Weed_, your GROTTO must adorn.
+
+    Near some _lone Wood_, the _gay Pavilion_ place;
+  Let the CORINTHIAN MODE the Structure grace:
+  Carve here _Festoons_ of lovely Flowers and Fruit:
+  And with the Spot, let the _Enrichments_ suit.
+  On some Ascent, the plainer Fabrick view;
+  The Dress IONICK, and the SCULPTURES few.
+  Few are the Ornaments, but plain and neat,
+  The _least_ REDUNDANT are the _most_ COMPLEAT.
+  GIBBS may be said, most Times in Dress to please,
+  And few can decorate with greater Ease:
+  But JONES more justly knew the Eye to charm,
+  To please the Judgment, and the Fancy warm;
+  To give a Greatness to the _opening Glade_,
+  Or pleasing Softness to the _solemn Shade_;
+  To suit the _Valley_, or the rising _Hill_,
+  Or grace the _Flow'ry Mead_, or _Silver Rill_.
+
+    In _H--k--r; V--b--'s_ very Soul you trace,
+  The same _unmeaning_ Dress, in every Place;
+  The same _wild Heap_ of inconsistent Things:
+  From whence the PRISON, or the Palace springs;
+  A _Tuscan Portal_ for a _Palace Gate_,
+  And a _Corinthian Column_ in a LAKE.
+  For disproportion'd Columns _R--l--s_ see,
+  Where neither _Art_, or _Rules_, or Form agree;
+  Absurdly bad, and grown a publick Jest:
+  By far too HIGH--too HEAVY all the rest.
+
+    Would you the Sister-Arts improve in Schools?
+  In _Sculpture_ follow RYSBRACK's chosen Rules;
+  In _Portrait_ seek for AMICONI's Force:
+  _Humour_ in HOGARTH: WOOTEN for a _Horse_:
+  In _Landscape_, LAMBERT; or in _Crayons_, see
+  The Charms of _Colours_ flowing from GOUPEE.
+  In _Eloquence_, you see young MURRAY shine;
+  In _Musick_, HANDEL's Graces are divine.
+
+    If to adapt your Fabrick, you would choose
+  To suit the _Builder_'s Genius, or his Use:
+  Consider well his _Station_, _Birth_, or _Parts_,
+  And make for each the _Quintessence_ of Arts.
+  Here to the MUSE, a proper Part assign,
+  To BACCHUS there, direct the _golden Vine_;
+  To VENUS, fix a little _silent Cell_,
+  Where all the LOVES and GRACES choose to dwell:
+  Where the young _Wantons_, revel, sport, and play;
+  And _frisk_ and _frolick_ tedious Time away.
+  The PRISON's Entrance, _massy Chains_ declare,
+  The loss of Freedom, to the Wretched there.
+  Thus every Spot assumes a various Face;
+  And _Decoration_ varies with the Place.
+  The TUSCAN or the DORIAN Modus here;
+  Th' IONICK, or CORINTHIAN Modus there.
+
+    The _Temples_, _Baths_, or solemn _sacred Urn_,
+  Requires Attention, and our Skill in turn.
+  The _weeping Statue_ to the HERO lend;
+  True to his _Country_, _Family_, or _Friend_:
+  So place the Figure, that as you draw near,
+  You join his Grief, and drop a silent Tear.
+  So _fine_, so _just_, the _Attitude_ is made,
+  The faithful _Marble_ bids you mourn his Shade.
+  If you advent'rous, try your utmost Skill
+  To tread unbeaten Paths, be _Lofty_ still;
+  Keep up the _Strength_, the _Dignity_, and _Force_
+  Of _stated Rules_; let those direct your Course.
+  New Methods are not easy understood;
+  And few will step in an untrodden Road.
+  'Tis better to pursue the Rule that's known,
+  Than trust to an Invention of your own.
+  But then, be sure your Choice direct you right;
+  Vary, but keep the Original in sight:
+  The Orders just proportion; strict observe,
+  The Variation; various Uses serve.
+  Perhaps the Waste, which every Pile endures,
+  May make the Copy, justly pass for yours.
+  You need not slavish Imitators be,
+  Exact in Copy; but your Fancy free:
+  THIS Ornament omit, or THERE express
+  The changing Modus, by a different Dress.
+
+    _R----y_, in _Rustick_ heavy Buildings still,
+  Attempts in vain to please, or shew his Skill;
+  How far he strays from the pure _Roman_ Stile,
+  And labours on in DULNESS all the while!
+  With _M--s, F--ft, G---s, L--i, W--e_,
+  Let ADMIRALTY, or CUSTOM-HOUSE compare.
+  You'll see the wretched Structure's sinking State,
+  Blam'd to Futurity, their certain Fate.
+  He with a Glare of Gaiety extends
+  The lengthen'd PILE, and still with DULNESS ends:
+  But THOSE without your Expectation rise;
+  And dazzle the Beholder with Surprize.
+  Nothing is vain, or ill-expos'd to sight;
+  No Part too _heavy_, nor no Dress too _light_.
+  So certain are the Methods they have fix'd,
+  So just proportion'd, and so aptly mix'd,
+  That all seem Graceful, Uniform, and Neat;
+  Each Part is _perfect_, and the _Whole_ compleat.
+
+    CRITICKS, attend the Rules which I impart;
+  They are at least; _instructive_ to the Art:
+  Mark how _Convenience_, _Strength_, and _Beauty_ join:
+  With these let _Harmony of Parts_ combine.
+  Appropriate well the _Structure_ to the Place;
+  And give each Part a _Symmetry_ and _Grace_.
+  Make RULES your Guide, your Fancy to controul;
+  And make _each_ Part subservient to the Whole.
+
+    But choice of Place must be the BUILDER's Care,
+  For various _Climates_, various _Modes_ prepare.
+  To some a _pleasing Vale_; (the Poet's Song)
+  Where _silver Streams_ in Eddies glide along;
+  A little rising Hill, with Woods o'ergrown,
+  And at the Foot, a verdant Carpet thrown:
+  Where the soft _vernal Bloom_ beneath is spread;
+  Where the tall _Poplar_ hangs its _drooping Head_.
+  Where, on the Bank, the _Flowers_ and _Oziers_ green,
+  Shade the smooth _Current_ as it runs between;
+  The _fertile Meads_, enamell'd all around,
+  And the _rich Glebe_ with _yellow Harvest_ crown'd.
+
+    Others in long-extended Views delight,
+  Where _gilded_ Objects catch the Gazer's Sight.
+  Where the _wide Plain_, or _lawny Prospect_ lye,
+  In mingled Sweets, to chear the _ravish'd Eye_.
+  Where the VALE, winding round the _rising Hill_;
+  The LILLY drinks beneath; the latent RILL.
+  The _Lawns_, the _silver Streams_, the _opening Glade_,
+  The distant _solemn Grove's_ collected Shade:
+  Charms of the _verdant_, or the _flow'ry_ Plain;
+  The rising _Mountain_, or the distant _Main_.----
+  Where _rugged Rocks_, in wild Disorder rise;
+  Where _unprolifick Nature_, naked lies;
+  Where the vast _craggy Summit_ seems to shew,
+  A _falling Precipice_ to those below:
+  Expos'd to scorching Heats, or piercing Wind,
+  May more delight another's changing Mind;
+  Or the rude _Billows_ of tempestuous Seas,
+  Another's Eye, perhaps, may chance to please:
+  View on the Summit of a foaming Wave,
+  The unhappy _Sailor_ try's himself to save;
+  The floating Wreck, the Vessel's shatter'd Side,
+  Dash'd on the Shore, by the resistless Tide:
+  The foaming _Surge_ the Shore repells again;
+  And beats alternate, back upon the Main:
+  View the abandon'd, helpless Wretch's State;
+  Sinking, bemoans his LAST unhappy Fate.
+
+    All these the ARCHITECT must study well;
+  From the proud _Palace_ to the humble _Cell_.
+  The barren _Mountain_, and the rural _Shade_;
+  The mingled gay Profusion, Nature made,
+  To fit and tally, Art requires his Skill,                    }
+  From the _moist Meadow_; to the _brown-brow'd Hill_,         }
+  The silent _shady Grove_, or _silver Rill_.                  }
+  To give a Grandeur to the _Opening Lawn_;
+  And pleasing Softness, to the _solemn Dawn_;
+  To join the _vivid_, with the _vernal_ Bloom;
+  Where scarce a Sun Beam wanders thro' the Gloom.
+  This is the Art's Perfection well to know;
+  To charm the Sense, and bid the Bosom glow:
+  Teach us to imitate the ANCIENTS well;
+  And where the _Moderns_ we should still _excell_.
+
+    Make the _Pavilion_ proper for the Spot,
+  Or the _gay Temple_, or the _graver Grot_.
+  Adorn your _Villa_ with the nicest Art,
+  And let your Dress, be just in every Part;
+  Appropriate well, the Ornaments you choose;
+  But not alone for Gaiety; but Use.
+
+    In a warm Climate where the _Tyber_ flows;
+  Where in the Soil, the obdurate _Marble_ grows,
+  There on the Spot, make choice of what you will,
+  But HERE to use it, would be want of Skill:
+  And 'tis an equal Fault of those alone;
+  Who vainly imitate a _Portland-Stone_,
+  The dryer Climates, cherish _Stucco_ there,
+  But Rains, and colder Snows, destroy it here.
+  Avoid, as much as in you lyes, to place,
+  _Festoons_, or looser Ornament for Grace:
+  Few let the _Carvings_ be; for outside Dress:
+  A Boldness rather should your Thoughts express,
+  Redundancy, and Neatness will be lost:
+  And but to finish HIGH; is needless Cost.
+  But then, regard to Distance must be had:
+  If near the Eye, the Fault would be as bad.
+
+    S----D, in Spite of Reason and of Sense,
+  With all those Faults, and Follies will dispense;
+  _Carv'd Fronts_, and STUCCO decorated still,
+  Without Regard to place, the Fabrick fill:
+  'Tis meant perhaps some _Fracture_ to conceal,
+  Though frequent so; the more it does reveal:
+  Such are the Reasons, should our Practice sway,
+  And where the strongest plead, we should obey,
+  The _most_ demonstrative, the _safest_ are;
+  And what are not, we should avoid with Care:
+  As you'd fly SCYLLA, or CHARYBDIS shun,
+  Or Tricks of SCAPIN, HARLEQUIN, or LUN.
+
+    _Convenience_ first, then _Beauty_ is a Part,
+  And _Strength_ must be Assistant to the Art.
+  A _little_ Seat, a Neatness will require:
+  A PALACE claims a more majestick Fire,
+  _That_ made for Decency; for Grandeur _this_,
+  And even Profuseness, may be not amiss.
+  _Here_ a long vista'd Chain of Rooms of State,
+  To entertain the Attendants on the Great,
+  The glittering Dress, to _catch_ the Gazer's Sight,
+  At once to give Surprise; and to delight.
+
+    The GREEKS to three, confined the stated Rules,
+  And only _those_, were known in public Schools;
+  Till Rome the _Tuscan_, and _Composite_ join'd,
+  To enrich the Art, and to improve Mankind,
+  From these alone, all _Modes_, all ORDERS spring
+  To build a _Cell_, or _Palace_ for a KING.
+
+    First the grave DORICK Mode; for Use was form'd,
+  When in its Infant-State, and unadorn'd:
+  'Twas Entertainment for the _sager_ Few,
+  And pleas'd the Times, till something started new:
+  Then the gay, _Lydian Mode_; in Order rose,
+  And Art to Art, they wantonly oppose:
+  For Men grew fickle by Prosperity,
+  Study'd new Arts, and Ease and Luxury.
+  At length the rich CORINTHIAN's gayer Dress
+  The Artist's Decorations, well express.
+
+    The GOTHS first introduc'd the frantick Way
+  Of forming Apes, or _Monsters_, wild as they
+  Because the Tumult, fond of Tricks and Apes,
+  Lov'd such Variety, and antick Shapes.
+  But K----T has no Excuse, to copy these,
+  Unless he has; NO other Way to please.
+
+    The _Modern_ Artists, all their Genius show
+  In a _Venetian-Window_, or a Bow.
+  The _Cell_, the _Temple_, _Palace_, _Villa_, all             }
+  Must have a Window, they _Venetian_ call,                    }
+  Or Bow; to grace a _Grotto_, or a _Hall_.                    }
+
+    A _little_ Structure; built for Use alone,
+  Requires no Dress, nor Ornament of Stone:
+  The _Plainest_, _Neatest_, Method is the best:
+  One simple Modus, governs all the rest.
+  The _Villa_ next with Ornament you blend;
+  The _gay_ and _pleasing_ through the whole extend;
+  The TEMPLE, or the GAYER-PALACE will,
+  In Decoration, try your utmost Skill.
+  Learn of PALLADIO, how to deck a Space;
+  Of JONES you'll learn Magnificence, and Grace:
+  CAMPBELL will teach, the Beauty they impart;
+  And GIBBS, the Rules and Modus of the Art:
+  Keep still these Rules, and Methods, in your Sight;
+  Read them by Day, and meditate by Night.
+
+    But V--B--H was admir'd, in _Anna_'s Days,
+  And even his _Blenheim_, would excite some Praise.
+  And H--S--R travell'd in the same _dull_ Road,
+  And trod the Footsteps, which his _Master_ trod:
+  But BOYLE and PEMBROKE, have the Art restor'd;
+  And _distant_ Ages will their Fame record.
+
+    See the old GOTHS, in K----'s Designs survive;
+  And Modern FOOLS, to imitate his strive:
+  Renouncing all the _Rules_ the ROMANS had,
+  Are past reclaiming, obstinately mad.
+  Drunken N--C-A, with a Front direct,
+  Or stupid B----S, makes such an Architect;
+  Unhappy I!----But _Fortune_ stept between:
+  And proper _Physick_ cur'd me of the Spleen.
+  And now I'm satisfy'd to keep my Sense:
+  Make RULES my Guide, to plead in my Defence:
+  Give to the _Roman Sciences_ their Due:
+  And _write_, to whet that Appetite, in you.
+  Tell what the Duty of a BUILDER is,
+  Point out what's _Right_ in Practice; what's amiss.
+  Shew _where_, and _how_ to decorate with Skill,
+  What _Ornaments_ are just, and what are ill.
+  Shew how the _Judgment_, should conduct the Art,
+  And where _Judiciousness_, directs the Part;
+  Where proper _Situation_ claims our Care;
+  Where RULES should guide; and where most _useful_ are.
+
+    The ARCHITECT, all Ranks of Men should know,
+  And when, and where, to bid his Genius flow
+  To swell the _Rules_, for MAJESTY, and State,
+  To equal all the Grandeur of the Great;
+  To serve the Use of SENATORS, or KINGS,
+  And be the Source, from whence all _Science_ springs.
+
+    Sometimes in _old_ Designs, you _Grandeur_ view,
+  And even in _Negligence_, find something new.
+  But modern Youth are taught to _sing_, and _dance_,
+  And learn the FOLLIES, and the _Modes_ of _France_;
+  Neglecting _Method_, _Order_, _Time_, or _Sense_,
+  With all their JARGON, and their _Modes_ dispense.
+  They make the _Dorick_, and _Corinthian_ mix;
+  And with th' _Ionian_, the _Composite_ fix.
+  The _Grave_ and _Gay_, in one long Range extend;
+  And with the _Solemn_, the _Profusive_ blend.
+  Can Structures, built by such a _Builder_, live?
+  Will _A--f--y_, think you; _C--p--n_ survive?
+  Will _O--k--y_, _B----s_, and some whom I could name?
+  Whose Works already; DAMN them into Fame.
+  Will they, or _not_, all Rules, all Modes deface.
+  Invert all ORDER, and the Art _disgrace_?
+  Will _B--f--w_; _M--d--n_; FOOLS by Nature made
+  Will they encrease, or will they ruin Trade?
+
+    'Tis you, MY LORD, who know your Judgment's Height,
+  Your Precepts, and Instructions, are of Weight;
+  Clear, and succinct, the _lower Class_ to teach,
+  And oft, above the _towring_ Artists Reach;
+  Where the gay Ornament you please to place,
+  And where it gives a _Majesty_ and Grace.
+  These are the _Rules_, will live in _future_ Days,
+  The Youth's Director, and the _Poet's Lays_,
+  'Tis these will shine when in Oblivion lay'd:
+  The GOTHS forgotten, and the MODERNS dead.
+
+    The skillful Archer, may his Aim mistake;
+  And the best Hand in Musick, Jarring make:
+  So that, the Frailty of our Nature will,
+  Excuse as Accident, nor construe ill.
+  But if the Impertinent, their _Faults_ are told,
+  And _still_ persist; and _still_, their Follies hold:
+  Let them _abandon'd_, _senseless_, _stupid_ be,
+  And, past reclaiming, still be DULL for me.
+
+    In some great Structures, _Lowness_ is exprest;
+  And SLEEP even sometimes, HOMER lull'd to Rest;
+  _Building_, like _Painting_, proper Point of Sight,
+  Requires to view it, in its clearest Light;
+  And some tho' aim'd at _Grandeur_; or at Ease,
+  Even please but _once_, and some will EVER please.
+
+    But yet, _my Lord_, this _one_ important Truth,
+  This Law of _Science_, which we teach our Youth,
+  Even THIS, no Mediocrity admit,
+  _Rules_, _Nature_, _Reason_, all must jointly fit:
+  A _Painter_ may RAPHAEL's Judgment want,
+  And yet, we some Abilities will grant:
+  He may, perhaps, a skillful Painter be,
+  Tho' not so great, yet great in some Degree.
+  In BUILDING, there's no _Laws_ of human Kind,
+  Admit a _Medium_; to the Artist's Mind,
+  _All_ must be perfect, or 'tis understood,
+  Excessive _Ill_,--or else sublimely _Good_.
+  In Things where Reason, seems but to subside,
+  Men learn to stem, the Torrent of the _Tide_;
+  They _dance_, or _fence_, or vainly wish to _fly_,
+  But if they fail, contented cease to try.
+  But all in BUILDING, universal run,
+  Undoing others, and themselves undone.
+
+    Oh B----LE! or S--N--PE, P--M-KE; any Name,
+  That ARTS, or VIRTUE; raises into Fame,
+  Be to my _Muse_ a Friend; assist my Cause;
+  Be Friend to _Science_, fix'd on _Nature_'s Laws.
+  On that alone, on _Nature_'s perfect Plan,
+  I form my SYSTEM, as I FIRST began.
+  By YOU inspir'd, I boldly lay the Line,
+  And ev'n am vain to call the Subject mine.
+  So ORPHEUS, once by more than human Sway,
+  Tam'd _savage Beasts_, or Men as wild as they;
+  And when AMPHION, built the THEBAN WALL,
+  The Stones, by Magick Power, obey'd his Call.
+  So _Ancient_, even in EGYPT's pristine State,
+  Recorded ARCHITECTURE, has its Date.
+
+    Since thus, my Lord; what GODS and KINGS inspire,
+  _What_ bids my Bosom glow with _arduous_ Fire;
+  This _Noble Art_, disdain not to protect;
+  If not the Art, at least the ARCHITECT.
+  If _Art_, or _Nature_, form'd me what I am;
+  If one or both, assisted in the Plan,
+  It is beyond, my utmost Power to say:
+  Whether I _Art_, or _Nature_'s Laws obey.
+  Without each other, we in vain should strive;
+  To BUILD, or keep the SCIENCES alive;
+  _Each_ mutually assist, and _each_ will need,
+  The other's Help, as NATURE has decreed.
+
+    He that intends an _Architect_ to be,
+  Must seriously deliberate, like me;
+  Must see the _Situation_, _Mode_ and _Form_,
+  Of every _Structure_, which they would adorn:
+  All Parts _External_, and _Internal_, view;
+  Before they aim to raise, a something new.
+
+    Ask _G----s_, or _F--tc--t_, to correct your Plan,
+  They'll freely, where you err, instruct the Man,
+  In what's amiss, with Judgment, and with Care,
+  Where needful _add_; and where profusive; _spare_.
+  But if you selfish; foolishly defend;
+  Your glaring Faults, and will not strive to mend,
+  To his own Folly----leave the Wretch alone,
+  And without Rival, let him BLUNDER on.
+
+    Those Things which seem of little Consequence,
+  And slight and trivial; know; you some time hence,
+  When you are made ridiculous; will find,
+  They are important, and instruct the Mind:
+  If in a _Building Fit_, a FRANTIC Man:
+  Should _wildly_ scheme, a bad, or monstrous Plan,
+  Not minding _where_, or _how_, or _what_, to lay,
+  For a Foundation, or his _Workmen_ pay:
+  If he should find, a Prison for his Pains,
+  (Misfortune justly suited to his Brains)
+  No one would _pity_, or _condole_ his Fate,
+  But think he merited, the _Bedlam-State_.
+
+    EMPEDOCLES, with Madness sought the Flame,
+  And thought by that; to gain immortal _Fame_.
+  Let ARCHITECTS, and BUILDERS, _mad_ as they,
+  In Folly; run, and make themselves away;
+  Why should it be a _Sin_, such Men to kill,
+  More than to keep alive, against their Will?
+  It was not _Chance_, but _Choice_, the Poet made,
+  To seek _Divinity_, in LETHE's Shade;
+  For if he was, from PLUTO's _Sable Plain_,
+  Return'd to _Earth_,----He'd ÆTNA seek again.
+
+    'Tis hard to say, whether the _Gloomy Clime_,
+  Or _Murder_, _Incest_, or some heinous Crime,
+  Sends _Building-Fiends_, into the _Madding World_,
+  Govern'd by _Frenzy_; by Confusion _hurl'd_,
+  Seize all they meet; and----like the baited BEAR,
+  Without Distinction, _Range_, and _Rend_, and _Tear_:
+  No one escapes them: from Lord O--R--D: down,
+  To _B----s_, and every errant Fool in Town:
+  They _build_, or teach; are leading, or are led;
+  And never cease, till they're in Jail, or dead.
+
+
+_FINIS._
+
+[Illustration]
+
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+16. Henry Nevil Payne, _The Fatal Jealousie_ (_1673_).
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+    (1719), and Aaron Hill, _Preface to The Creation_ (1720).
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+1949-1950
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+19. Susanna Centlivre, _The Busie Body_ (1709).
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+     (1706).
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+1964-1965
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+110. John Tutchin, _Selected Poems_ (1685-1700).
+
+111. Anonymous, _Political Justice_ (1736).
+
+112. Robert Dodsley, _An Essay on Fable_ (1764).
+
+113. T. R., _An Essay Concerning Critical and Curious Learning_ (1698).
+
+114. _Two Poems Against Pope_: Leonard Welsted, _One Epistle to Mr. A.
+     Pope_ (1730), and Anonymous, _The Blatant Beast_ (1742).
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+
+120. Bernard Mandeville, _Aesop Dress'd or a Collection of Fables_ (1704).
+
+
+1966-1967
+
+123. Edmond Malone, _Cursory Observations on the Poems Attributed to
+     Mr. Thomas Rowley_ (1782).
+
+124. Anonymous, _The Female Wits_ (1704).
+
+125. Anonymous, _The Scribleriad_ (1742). Lord Hervey, _The Difference
+     Between Verbal and Practical Virtue_ (1742).
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+1967-1968
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+132. Walter Harte, _An Essay on Satire, Particularly on the Dunciad_
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+1968-1969
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+133. John Courtenay, _A Poetical Review of the Literary and Moral
+Character of the Late Samuel Johnson_ (1786).
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+135. Sir John Hill, _Hypochondriasis, a Practical Treatise_ (1766).
+
+136. Thomas Sheridan, _Discourse ... Being Introductory to His Course
+     of Lectures on Elocution and the English Language_ (1759).
+
+137. Arthur Murphy, _The Englishman From Paris_ (1736).
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+138. [Catherine Trotter], _Olinda's Adventures_ (1718).
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+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+<html xmlns="http://www.w3.org/1999/xhtml">
+<head>
+<meta http-equiv="Content-Type"
+    content="text/html; charset=iso-8859-1" />
+<meta content="pg2html (binary v0.18)" name="generator" />
+<title>The Project Gutenberg eBook of
+    The Art of Architecture,
+    by Anonymous.
+</title>
+<style type="text/css">
+ body { margin-left: 10%; margin-right: 10%; }
+    p { text-indent:   1em;
+        margin-top:    .75em;
+        font-size:     100%;
+        text-align:    justify;
+        margin-bottom: .75em; }
+    h1,h2,h3,h4,h5,h6 { text-align: center; }
+    hr  { width: 50%; }
+    .foot { margin-left: 10%; margin-right: 10%; text-align: justify; text-indent: -3em; font-size: 90%; }
+    .poem { margin-left: 30%; margin-right: 25%; margin-bottom: 1em; text-align: left; }
+    .poem .stanza { margin-left: auto; margin-right:auto; margin-top: 1em; margin-bottom: 1em; }
+    .poem p     { margin: 0; padding-left: 3em; text-indent: -3em; line-height: 1.4em; }
+    .poem p.i2  { margin-left: 1.5em; }
+    .poem p.i4  { margin-left: 2.5em; }
+    .poem p.i6  { margin-left: 3.5em; }
+    .poem p.rj  { margin-left: 50%; }
+    .figure { margin-left: 10%; margin-right: 10%; text-indent: 0em; text-align: center; font-size: 90%; font-variant: small-caps; }
+    span.pagenum { position: absolute; left: 1%; right: 91%; font-size: 8pt; color: gray; background-color: inherit; }
+    .sc { font-variant: small-caps; }
+    .center { text-indent: 0em; text-align: center;}
+    .right { text-align: right;}
+    .cathang { margin-left: 6%; margin-right: 6%; text-indent: 0em; text-indent: -4em; padding-left: 4em;}
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+    a, img { border: none!important; }
+    img.cap { float:left; margin: 0 50px 0 -50px; position: relative; }
+</style>
+</head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of The Art of Architecture, by Anonymous
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Art of Architecture
+       A Poem In Imitation of Horace's Art of Poetry
+
+Author: Anonymous
+
+Commentator: William A. Gibson
+
+Release Date: June 15, 2011 [EBook #36441]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ART OF ARCHITECTURE ***
+
+
+
+
+Produced by Chris Curnow, Joseph Cooper, David Garcia and
+the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<p><span class="pagenum"><a id="pagex1" name="pagex1"></a>[pg]</span></p>
+
+<div style="height: 6em;"><br /><br /><br /><br /><br /><br /></div>
+
+<p class="center">
+    <big><span class="sc">The Augustan Reprint Society</span></big>
+</p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h1>
+THE
+<br />
+<big>Art of Architecture</big>
+</h1>
+
+<p class="center">
+A
+<br />
+<big>POEM</big>
+</p>
+
+<div style="height: 2em;"><br /><br /></div>
+
+<p class="center">
+<big>In Imitation of Horace's <span class="sc">Art of Poetry</span></big>
+</p>
+
+<p class="center">
+<big>(Anonymous)</big>
+</p>
+
+<p class="center">
+(1742)
+</p>
+
+<hr />
+
+<p class="center">
+<i>Introduction by</i><br />
+<big><span class="sc">William A. Gibson</span></big>
+</p>
+
+<hr />
+
+<div style="height: 2em;"><br /><br /><br /><br /></div>
+
+<p class="center">
+  <small>PUBLICATION NUMBER 144</small><br />
+  WILLIAM ANDREWS CLARK MEMORIAL LIBRARY<br />
+  <small><span class="sc">University of California, Los Angeles</span></small><br />
+  1970
+</p>
+
+<p><span class="pagenum"><a id="pagex2" name="pagex2"></a>[pg]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<p class="center">
+<big>GENERAL EDITORS</big>
+</p>
+
+<p class="center">
+  William E. Conway, <i>William Andrews Clark Memorial Library</i><br />
+  George Robert Guffey, <i>University of California, Los Angeles</i><br />
+  Maximillian E. Novak, <i>University of California, Los Angeles</i><br />
+</p>
+
+<p class="center">
+<big>ASSOCIATE EDITOR</big>
+</p>
+
+<p class="center">
+  David S. Rodes, <i>University of California, Los Angeles</i>
+</p>
+
+<p class="center">
+<big>ADVISORY EDITORS</big>
+</p>
+
+<p class="center">
+Richard C. Boys, <i>University of Michigan</i> <br />
+James L. Clifford, <i>Columbia University</i> <br />
+Ralph Cohen, <i>University of Virginia</i> <br />
+Vinton A. Dearing, <i>University of California, Los Angeles</i> <br />
+Arthur Friedman, <i>University of Chicago</i> <br />
+Louis A. Landa, <i>Princeton University</i> <br />
+Earl Miner, <i>University of California, Los Angeles</i> <br />
+Samuel H. Monk, <i>University of Minnesota</i> <br />
+Everett T. Moore, <i>University of California, Los Angeles</i> <br />
+Lawrence Clark Powell, <i>William Andrews Clark Memorial Library</i> <br />
+James Sutherland, <i>University College, London</i> <br />
+H. T. Swedenberg, Jr., <i>University of California, Los Angeles</i> <br />
+Robert Vosper, <i>William Andrews Clark Memorial Library</i>
+</p>
+
+<p class="center">
+<big>CORRESPONDING SECRETARY</big>
+</p>
+
+<p class="center">
+  Edna C. Davis, <i>William Andrews Clark Memorial Library</i>
+</p>
+
+<p class="center">
+<big>EDITORIAL ASSISTANT</big>
+</p>
+
+<p class="center">
+  Roberta Medford, <i>William Andrews Clark Memorial Library</i>
+</p>
+
+<p><span class="pagenum"><a id="pagemi" name="pagemi"></a>[pg i]</span></p>
+
+<div style="height: 4em;">
+<a name="h2H_INTR" id="h2H_INTR"><!-- H2 anchor --></a>
+<br /><br /><br /><br /></div>
+
+<h2>
+    INTRODUCTION
+</h2>
+
+<p>
+John Gwynn, generally accepted as the author of <i>The Art of
+Architecture</i> (1742), is best known to students of English literature
+as one of the founders of the Royal Academy and as a friend of Samuel
+Johnson, who undertook in 1759 to win the Blackfriars Bridge commission
+for Gwynn with a series of three letters in the <i>Daily Gazeteer</i><a href="#note-1" name="noteref-1"><small>1</small></a>.
+To  architectural historians Gwynn is best known as the architect whose
+proposals for regularizing the street plans of London and Westminster
+(in <i>London and Westminster Improved</i>, 1766) were prophetic both of the
+plan which eventually emerged from the land speculation and building
+boom of the eighteenth and nineteenth centuries and of the prominence
+subsequently given to city-planning.<a href="#note-2" name="noteref-2"><small>2</small></a> But like Dr. Johnson, Gwynn
+looked as much to the past as he anticipated the future. This is almost
+inevitable since he too spans the years which saw the last expressions
+of humanist principles of art and the first struggles to find new bases
+for aesthetic judgments. Although the date of Gwynn's birth is unknown,
+he must have been almost an exact contemporary of Dr. Johnson, for he
+also began his literary career in the 1730's, gained public recognition
+in the 1750's, associated with members of the Literary Club in the
+1760's, and died slightly over a year after Johnson, probably on 27
+February 1786.
+</p>
+<p>
+Their careers exhibit two more instructive parallels. Both began
+as amateurs, possessed of no specific training, and ended as
+self-supporting "professionals," able to exercise their skills on
+demand and fully conscious of the qualifications needed for membership
+within their professions.<a href="#note-3" name="noteref-3"><small>3</small></a> Second, both began with the hope of
+"fixing" the rules of their arts, but ended by disavowing the intention
+or by implicitly contradicting it. Johnson records his disillusionment
+with one such attempt in the "Preface" to his <i>Dictionary</i> (1755).
+Gwynn's continuing interest in the attempt is evident in his early
+proposals for establishing an art academy (<i>An Essay on Design</i>, 1749)
+and in his serving as a representative of the architectural profession
+in the founding of the Royal Academy. However his efforts
+
+<span class="pagenum"><a id="pagemii" name="pagemii"></a>[pg ii]</span>
+
+                                                          late in his
+career to accommodate his early principles to the needs of a nation in
+the midst of an economic and a building boom reveal a considerable
+shift from his dogmatic support of the rules of art in <i>The Art of
+Architecture</i>.
+</p>
+<p>
+The poem is significant in a number of ways. It is the work of a young,
+inexperienced architect, with literary ambitions, who has learned most
+of what he knows about the principles of his art from published
+sources&mdash;treatises, pattern books, and measured drawings&mdash;rather than
+in an architect's studio or in a master mason's stone-cutting yard.
+Take, for example, one of his lists of architects worthy of study:
+"With <i>M&mdash;&mdash;s, F&mdash;&mdash;ft, G&mdash;&mdash;s, L&mdash;&mdash;i, W&mdash;&mdash;e</i>,/ Let <span class="sc">Admiralty</span>,
+or <span class="sc">Custom-house</span> compare" (p. 18). Four of these architects published
+treatises or translations of treatises which Gwynn certainly knew:
+Robert Morris, <i>Lectures on Architecture</i>, 1734-36<a href="#note-4" name="noteref-4"><small>4</small></a>; James Gibbs,
+<i>Rules for Drawing the Several Parts of Architecture</i>, 1733; James
+Leoni, translations of Palladio, 1715-16, and of Alberti, 1726; Isaac
+Ware, translation of Palladio, 1737. The other architect referred to is
+Henry Flitcroft. The poem is, secondly, an unusually clear expression
+of the architectural principles&mdash;and dilemmas&mdash;of a man who is
+sensitive to changes in taste and in artistic practice, but unaware of
+the causes of the changes, and probably incapable of grasping their
+significance. This is precisely what makes <i>The Art of Architecture</i> a
+valuable document in the history of eighteenth-century criticism. The
+poem provides a brief but rather full summary of the major precepts
+of humanist architectural theory accepted in the first half of the
+century, and introduces an important English innovation. At the same
+time it reveals the passionate desperation of a man confident in his
+rules of art but powerless to impose them upon a society enamored of
+novelty. Gwynn never gave up his youthful ambition of improving English
+building, but he did give up the positiveness evident in this poem.
+</p>
+<p>
+Gwynn's general critical bias is readily identifiable because it is
+consistent with that of many conventionally trained architects of the
+1720's and 1730's, and with that of most propagandists for English
+Palladianism. Like the Earl of Burlington, William Kent, Colin
+Campbell, Morris, Ware, and Alexander Pope, Gwynn venerated Inigo Jones
+as England's Palladio, as the architect who showed how Palladio's rules
+could be
+
+<span class="pagenum"><a id="pagemiii" name="pagemiii"></a>[pg iii]</span>
+
+         naturalized for the English climate (pp. 14, 25). Similarly
+orthodox is his opinion of the fanciful baroque architecture of Sir
+John Vanbrugh and Nicholas Hawksmoor, both of whom are held up as
+perpetrators of tasteless, licentious innovation (pp. 14, 26). The more
+chaste baroque architects&mdash;Sir Christopher Wren, Gibbs, and Thomas
+Archer&mdash;Gwynn generally admires, although he recognizes occasional
+flaws in the works of Gibbs and Archer (pp. 14, 29). In remarking on
+his other "villain" architects, Gwynn reveals his political preferences
+and some acquaintance with current scandals. At least two of them were
+aligned with the court party. Thomas Ripley, a one-time carpenter who
+was one of Pope's targets of satire, erected Houghton for Robert
+Walpole in accordance with designs by Campbell (pp. 15, 17).<a href="#note-5" name="noteref-5"><small>5</small></a> Edward
+Oakley dedicated his <i>Magazine of Architecture</i>, <i>Perspective and
+Sculpture</i> (1730) to Walpole, but received no posts such as those which
+Ripley, Hawksmoor, Vanbrugh, or John James enjoyed under the Walpole
+administration (p. 28). Two more architects whom he mentions, besides
+Gibbs, Vanbrugh, and Ripley, were employed on the notorious projects of
+the Duke of Chandos&mdash;John James and Andrew Shepherd (pp. 10, 23).<a href="#note-6" name="noteref-6"><small>6</small></a>
+Gwynn's taste and principles were those of an educated elite to which
+he did not belong&mdash;conventional in their moral and aesthetic
+implications, and conservative in their political ones.
+</p>
+<p>
+But the significance of <i>The Art of Architecture</i> is not merely as
+evidence of contemporary attitudes toward Hawksmoor or James, Chapman
+or Banks. It is rather what Gwynn believes they indicate: the failure
+to establish in England a building practice firmly based upon a body of
+principles which architects and men of letters in the first half of
+the eighteenth century had wanted to believe inviolable. The Palladian
+revival had helped to subvert the medieval crafts tradition in building
+(which had been vigorous through the seventeenth century) and had
+contributed to substituting for the pomp and flamboyance of the baroque
+a taste for regularity in outline, clear relationship of parts, and a
+relative simplicity of surface and ornament. Accompanying it was an
+unprecedented deluge of publications, all of which helped to create a
+greater popular consciousness of humanist architectural principles than
+had previously existed. Yet the revival was proving ineffectual, and
+perhaps the clearest evidence is in Gwynn's attack on Kent: "See the
+old <span class="sc">Goths</span>,
+
+<span class="pagenum"><a id="pagemiv" name="pagemiv"></a>[pg iv]</span>
+
+                    in <i>K&mdash;&mdash;</i>'s Designs survive;/ And Modern <span class="sc">Fools</span>, to
+imitate his strive" (p. 26). Kent edited the drawings of the English
+Palladio for the Earl of Burlington (<i>The Designs of Inigo Jones, With
+Some Additional Designs</i>, 1727); but at Esher Place, Surrey (ca. 1730),
+and again in Merlin's Cave, erected at Richmond Park for Queen Caroline
+(1735), he "anticipate[d] by twenty years the rococo Gothic of the
+1750's."<a href="#note-7" name="noteref-7"><small>7</small></a> The latter design was even published with some by Jones two
+years after <i>The Art of Architecture</i> in John Vardy's <i>Some Designs of
+Mr. Inigo Jones and Mr. William Kent</i> (1744). Clearly Vitruvius's rule
+of <i>decor</i> had not restrained even the publicists of Palladianism.
+</p>
+<p>
+Humanist architectural theory was losing its authority even as it was
+being widely disseminated; it was also, as was only half clear to
+Gwynn, becoming increasingly unintelligible. Wealthy patrons of the art
+looked more and more upon exact knowledge of it as unbefitting the
+learning of a gentleman. Archaeological studies of antiquities, instead
+of helping to fix the rules of proportion, were contributing to
+aesthetic relativity by demonstrating the disparity between ancient
+practice and Vitruvius's rules. Claude Perrault attempted to resolve
+these disparities by a system of mathematical averages, but the result
+of his empirical method is only to substitute one source of relativity
+for another.<a href="#note-8" name="noteref-8"><small>8</small></a> By the 1740's what Rudolf Wittkower has called the
+"break-away from the laws of harmonic proportion"<a href="#note-9" name="noteref-9"><small>9</small></a> was well under
+way, and it represented but a part of the collapse of the several
+systems of arithmetic and geometric proportion which had dominated
+humanist theory. Developments in the history of thought made this
+collapse inevitable. The old aesthetics were based upon correspondences
+between divine and human artifacts. Thus in designing a building the
+architect emulated the Divine Architect who "ordered all things in
+measure and number and weight" (Wisdom 11:20). The geometric forms and
+the systems of mathematical and harmonic proportions of a building
+answered to those of the cosmos; likewise the aesthetic attributes
+of the cosmos&mdash;with their attendant moral ones&mdash;such as symmetry,
+uniformity, regularity, and fitness had their correspondences in
+architecture. Such assumptions provided immutable bases for the rules
+external to the individual work of art, but the breakdown of analogical
+reasoning in the seventeenth and eighteenth centuries necessarily
+undermined such philosophical-theological foundations. The new
+
+<span class="pagenum"><a id="pagemv" name="pagemv"></a>[pg v]</span>
+
+ epistemology, further, shifted attention from the external world&mdash;the
+previous source of the rules&mdash;to the mind perceiving it.
+</p>
+<p>
+By the 1740's consciousness was growing of threats against the ethical
+and aesthetic values of Renaissance humanism (best expressed in Pope's
+<i>Dunciad in Four Books</i>), and of the consequent need for new sources
+of  authority for the rules of art. One highly eccentric quest for
+authority was published just a year before <i>The Art of Architecture</i>:
+John Wood's <i>The Origins of Building</i>; or, <i>The Plagiarism of the
+Heathens Detected</i> (1741). Wood reconstructs the history of
+architecture to make it conform to Old Testament chronology. Thus he
+attributes the major tenets of Vitruvius's architectural theory to
+various patriarchs and ancient Jewish heroes, or, when he finds
+any justification for doing so, directly to God. Gwynn's attempt
+to buttress the rules is far more mundane. He seeks support from
+contemporary philosophy; for example, he introduces the epistemological
+and ethical systems of Shaftesbury to account for some principles of
+decorum, but without perceiving the subjectivity he was imposing on
+them. He rationalizes some of Vitruvius's analogies between natural
+and architectural forms. But even more clearly indicative of the
+futility of his effort are his appeals to authority. He implores such
+aristocratic patrons as Pembroke, Chesterfield, and Burlington to "Be
+to my <i>Muse</i> a Friend; assist my Cause;/Be Friend to <i>Science</i>, fix'd
+on <i>Nature's</i> Laws" (p. 30). Perhaps most important, however, is the
+authority of Horace himself, who provides the model for the poem.
+</p>
+<p>
+Although neoclassical critics generally accepted the reality of
+correspondences between architectural and literary criticism, Gwynn did
+not find the <i>Ars Poetica</i> an entirely manageable model.<a href="#note-10" name="noteref-10"><small>10</small></a> Horace's
+figures of the mad painter and the mad poet which frame the poem at
+either end serve Gwynn well, for his imitations of them as the mad
+painter and the mad architect emphasize the personal, social, and
+artistic consequences of attempting to build without rules, talent, or
+even a clear need to build. But within the poem, allusions to Horace
+are often much more elusive. He usually succeeds best in keeping close
+to Horace when citing the most general principles. Thus Horace's attack
+on bombast and timidity ("professus grandia turget;/serpit humi tutus
+nimium timidusque procellae," 11. 27-28) occasions an attack on
+misunderstood magnificence and on stodginess:
+</p>
+
+<p><span class="pagenum"><a id="pagemvi" name="pagemvi"></a>[pg vi]</span></p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">  Others affect <i>Magnificence</i> alone; </p>
+<p class="i2">  And rise in large enormous Heaps of Stone; </p>
+<p class="i2">  Swell the huge <i>Dome</i>, and <i>Turrets</i> bid to rise, </p>
+<p class="i2">  And Towers on Towers; attract the Gazer's Eyes. </p>
+<p class="i2">  Some dare not leave the old, the beaten Way, </p>
+<p class="i2">  To search new Methods, or in Science stray ... </p>
+</div>
+<p class="rj">  (p. 8.) </p>
+</div>
+
+<p>
+Similarly clear are Gwynn's adaptations of such commonplaces as the
+need to subordinate parts to the whole (p. 8) or for consistency of
+style (p. 15). Again, Horace asks whether a good poem is the product of
+nature or art&mdash;of native talent or of training&mdash;and denies that either
+is adequate alone (11. 408-418). Gwynn raises the same question about
+the architect, although in the first person, and answers,
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">  If <i>Art</i>, or <i>Nature</i>, form'd me what I am; </p>
+<p class="i2">  If one or both, assisted in the Plan, </p>
+<p class="i2">  It is beyond, my utmost Power to say: </p>
+<p class="i2">  Whether I <i>Art</i>, or <i>Nature</i>' s Laws obey. </p>
+</div>
+<p class="rj">  (p. 31.) </p>
+</div>
+
+<p>
+Since such ambivalence as this is not appropriate to his purpose, he,
+unlike Horace, begins almost immediately to stress a course of study
+that will result in mastery of the rules.
+</p>
+<p>
+This last rhetorical tactic points to one serious problem which Horace
+poses for Gwynn&mdash;that of assuming an appropriate stance for defending
+the rules. The tone of Horace's epistle to the Pisos is familiar
+without being condescending. He writes as an experienced poet and
+critic to fellow writers, delivering his pronouncements freely and
+confidently, but without dogmatism. Gwynn is neither an equal writing
+to equals nor an experienced architect, confident of his qualifications
+to instruct the world. At one moment he acknowledges the "Judgment's
+Height" of the addressee (p. 28), the next he holds himself up as
+possessing a skill worthy of emulation, and proceeds to deliver a
+lesson in the tone of a schoolmaster: "Those Things which seem of
+little Consequence,/ And slight and trivial ..." (p. 32). Horace's wit,
+his reliance upon his audience to grasp the implications of his many
+examples, and his avoidance of
+
+<span class="pagenum"><a id="pagemvii" name="pagemvii"></a>[pg vii]</span>
+
+                               positiveness subvert Gwynn's purpose,
+as he reveals frequently in contradictory outbursts and in shifts in
+tone. Yet in one important passage Horace provides him with a stance
+and a theme which help him prop up the rules. After discussing
+pardonable faults (11. 347-365) Horace addresses Piso's elder son,
+compliments him for his wisdom and training, and <i>reminds him</i> of the
+activities in which mediocrity may be tolerated. This serves as a
+contrast to poetry: "mediocribus esse poetis/ non homines, non di,
+non concessere columnae" (11. 372-373). For once Horace is almost
+uncompromising enough for Gwynn's purposes. He adopts a similarly
+magisterial tone, but reorders Horace's materials so that the emphasis
+is more fully on this principle:
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i4">    But yet, <i>my Lord</i>, this <i>one</i> important Truth, </p>
+<p class="i2">  This Law of <i>Science</i>, which we teach our Youth </p>
+<p class="i2">  Even <small>THIS</small>, no Mediocrity admit, </p>
+<p class="i2">  <i>Rules</i>, <i>Nature</i>, <i>Reason</i>, <i>all</i> must jointly fit: </p>
+<p class="i2">  A <i>Painter</i> may <span class="sc">Raphael's</span> Judgment want, </p>
+<p class="i2">  And yet, we some Abilities will grant: ... </p>
+</div>
+<div class="stanza">
+<p class="i2">  In <span class="sc">Building</span>, there's no <i>Laws</i> of human Kind, </p>
+<p class="i2">  Admit a <i>Medium</i>; to the Artist's Mind, </p>
+<p class="i2">  <i>All</i> must be perfect, or 'tis understood, </p>
+<p class="i2">  Excessive <i>Ill</i>,&mdash;&mdash;or else sublimely <i>Good</i>. </p>
+</div>
+<p class="rj">  (pp. 29-30.) </p>
+</div>
+
+<p>
+Especially significant here is his insistence that the "Law of
+<i>Science</i>" will "no Mediocrity admit," for Horace discusses poetic
+practice rather than the rules which aid it. Secondly, the belabored
+inference drawn from the principle in the final couplet has no
+precedent at all in Horace. Gwynn has made every effort to place the
+rules outside the realm of human eccentricity and to give them the
+stature of "<i>Nature's</i> Laws."
+</p>
+<p>
+Considering that the tenets of humanist architectural theory are
+traditionally classified very differently from those of literary
+criticism, as Gwynn acknowledges in his "Preface" (p. iii), he manages
+to accommodate them surprisingly well to the organization of the <i>Ars
+Poetica</i>. A good example is his treatment of Horace's discussion of the
+transitoriness of
+
+<span class="pagenum"><a id="pagemviii" name="pagemviii"></a>[pg viii]</span>
+
+                  language, as of all things, and the necessary dominance
+of the rules of usage (11. 46-72). The most obvious parallel is the
+inevitable ruin of the pompous buildings which men erect (p. 11).
+But he develops none of the botanical analogies which Horace used to
+illustrate the rhythms of life and death (11. 60-69), for his purpose
+is to emphasize instead the parallel between <i>usus</i> and the
+architectural concept of "use." Horace insists, "multa renascentur quae
+iam cecidere, cadentque/ quae nunc sunt in honore vocabula, si volet
+usus" (11. 70-71). Gwynn elaborates on this:
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">  But Use has rais'd the <i>Greek</i> and <i>Roman</i> Rules, </p>
+<p class="i2">  And banish'd <span class="sc">Gothick</span> Practice from the Schools. </p>
+<p class="i2">  Use is the Judge, the Law, the Rule of Things, </p>
+<p class="i2">  Whence <span class="sc">Arts</span> arose, and whence the <span class="sc">Science</span> springs. </p>
+</div>
+<p class="rj">  (p. 11)<a href="#note-11" name="noteref-11"><small>11</small></a></p>
+</div>
+
+<p>
+Horace and Gwynn both think of "use" operating as a kind of historical
+necessity causing the resurrection of a rule or a form. Gwynn adds to
+this the concept, drawn from Vitruvius and his commentators, that the
+rules of architecture prescribe forms which satisfy particular uses and
+reflect directly the strengths and limitations of building materials
+and techniques. These are the major premises of Gwynn's assertion that
+"on <i>Nature's</i> perfect Plan,/ I form my <span class="sc">System</span>" (p. 31). To
+buttress this confidence in rules he develops the parallels between
+Horace's history of poetry (11. 73-98) and the history of architecture.
+Cecrops, the first king of Athens, is to architectural practice what
+Homer is to heroic poetry. Daedalus is to the theory of architecture
+what Archilochus is to the meter of dramatic poetry (pp. 11-12). The
+emphasis on the giving and systematizing of rules, although without
+precedent in Horace, reflects the same preoccupation with the authority
+of origins as John Wood's <i>Origins of Building</i>, Pope's <i>Essay on
+Criticism</i>, or even Locke's <i>Two Treatises on Government</i> for that
+matter.
+</p>
+<p>
+Horace provides less precise correspondences for one of the most important
+rules. Vitruvius's rule of <i>decor</i> (<i>De Architectura</i>, I, ii, 5) is
+only generally parallel to the rules governing decorum of language,
+characterization, and genre. Gwynn nevertheless introduces all of its
+major implications. It dictates
+
+<span class="pagenum"><a id="pagemix" name="pagemix"></a>[pg ix]</span>
+
+                                the observing of clear correspondences
+between a building's form and its use, inhabitant, and site (or
+"situation," to use the eighteenth-century term). It is based upon the
+notion that architectural styles have recognizable social, ethical,
+religious, and aesthetic attributes. The attributes, which evoke
+predictable psychological responses, express the <i>uses</i> which the
+styles were created to satisfy and the cultures in which they were
+developed. One brief passage beginning "If to adapt your Fabrick, you
+would choose,/ To suit the <i>Builder's</i> Genius, or his Use" (pp. 15-16)
+effectively summarizes the primary dictates of <i>decor</i>. The architect
+has to choose forms and ornaments having attributes in common with the
+social station and character traits of the builder of a residence,<a href="#note-12" name="noteref-12"><small>12</small></a>
+with the deity to whom a temple is dedicated, with a building's
+function, or with the landscape in which it is placed. Thus, for
+example, the heavy, plain Tuscan order is appropriate for "A <i>little</i>
+Structure; built for Use alone," the "gaiety" of the middle Ionic order
+for a country villa, and the "delicacy" of the Corinthian order for an
+elegant church or palace (p. 25). An architect's skill is most often
+measured in the poem by his adherence to <i>decor</i>.
+</p>
+<p>
+One violator of <i>decor</i> serves as a focus in an important passage
+wherein Gwynn tries to integrate Vitruvius and Horace while making a
+transition to one of his central concerns, the peculiarly English
+reinterpretation of decorum of situation. In discussing the difficulty
+of treating traditional subjects in novel ways, Horace compares an
+erring "scriptor cyclicus olim" with Homer, summarizes some general
+principles, and then turns to a consideration of how to win public
+applause (11. 119-178). Gwynn is more suspicious of originality than
+Horace (p. 17), and uses Ripley as an example of one who erred in
+trying to avoid customary forms. Ripley's Custom House (1718) and
+Admiralty building (1723-26) become the equivalent of the Cyclic poet's
+bad verse, while Morris, Flitcroft, Gibbs, Leoni, and Ware become the
+modern Homers of architecture (p. 18). Gwynn ends the verse paragraph
+with Horace's theme of suiting the parts to the whole. With Ripley's
+performance as a background Gwynn turns to architecture's most
+fundamental rules:
+</p>
+
+<p><span class="pagenum"><a id="pagemx" name="pagemx"></a>[pg x]</span></p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i4">    <span class="sc">Criticks</span>, attend the Rules which I impart; </p>
+<p class="i2">  They are at least; <i>instructive</i> to the Art: </p>
+<p class="i2">  Mark how <i>Convenience</i>, <i>Strength</i>, and <i>Beauty</i> join: </p>
+<p class="i2">  With these let <i>Harmony of Parts</i> combine. </p>
+</div>
+<p class="rj">  (p. 18.) </p>
+</div>
+
+<p>
+These lines may be construed as the architect's equivalent of Horace's
+advice for winning applause. But in fact the entire verse paragraph
+which these lines introduce is simply a paraphrase of Vitruvius (I,
+iii, 2. Cf. Wotton's remark, "<i>Wel-building</i> hath three Conditions,
+<i>Commodity</i>, <i>Firmnesse</i>, and <i>Delight</i>").<a href="#note-13" name="noteref-13"><small>13</small></a> The leap which follows
+the introduction of these three principles has no precedent in Horace,
+but it does in Vitruvius, whose <i>De Architectura</i> is notorious for its
+eccentric organization and abrupt transitions. Immediately following
+this passage in Vitruvius is his chapter on the "salubrity of sites"
+(I, iv).
+</p>
+<p>
+It is ironical that where Gwynn is closest to Vitruvius in one respect
+he departs most radically from him in another. Vitruvius's attention
+is almost exclusively on the physical requirements of sites for
+maintaining men's health and comfort; Gwynn's is on the requirements
+for maintaining men's psychological well-being. His conceptions of
+decorum of situation begin with Vitruvius and the Renaissance demands
+that a site be healthy, that it permit efficient transportation, and
+that, if possible, it provide raw materials for building, rich lands
+for crops and pastures, and natural beauty conducive to ease and
+contemplation. Gwynn emphasizes this last point, building upon
+perceptions of nature nourished on Thomson's <i>Seasons</i>, and upon a
+psychology drawn largely from the Earl of Shaftesbury (pp. 19-22).
+In his earlier <i>Essay on Harmony</i>. <i>As it relates chiefly to Situation
+in Building</i> he quotes Shaftesbury on the title page, acknowledges
+his debt to Thomson, and quotes long passages from <i>The Seasons</i> to
+illustrate various rural "situations."<a href="#note-14" name="noteref-14"><small>14</small></a> In <i>The Art of Architecture</i>
+he follows Morris's example in writing his own verse in language
+imitative of Thomson's (except for one direct quotation, "From the
+<i>moist Meadow</i>; to the <i>brown-brow'd Hill</i>"). The verbal precision of
+his poetic epithets, and the analysis of perception which they imply,
+help to distinguish the sensory, aesthetic, and emotional effects of
+a wide variety of disparate experiences, and thus make possible the
+identification of those attributes that
+
+<span class="pagenum"><a id="pagemxi" name="pagemxi"></a>[pg xi]</span>
+
+                                        guide an architect in choosing
+a <i>mode</i> appropriate to a site. The perfect fitting of a building
+to its site, as of the parts to a whole, will result in what Gwynn
+calls "Ideal Harmony," for it "ariseth from such Numbers, Parts, or
+Proportions, which may be resolved in the Mind, and ranged together
+in Order, by Contemplation."<a href="#note-15" name="noteref-15"><small>15</small></a>
+</p>
+<p>
+For Gwynn such harmony still has quite clear religious and moral
+implications, although he does not, like Morris, attribute to it a
+specifically religious function. Yet since the rules are supposedly
+based upon natural laws, violations of them betray a failure to
+appreciate divine harmony, the highest object of human contemplation.
+This accounts for the indignation Gwynn reveals in attacking mad
+architects and patrons at the end of the poem, even if it also reveals
+his obtuseness in failing to perceive the causes of his outrage.
+But, then, Gwynn was no Alexander Pope, either as a poet or as a
+thinker.<a href="#note-16" name="noteref-16"><small>16</small></a>
+</p>
+<p style="margin-top: 2em;">
+The Ohio State University
+</p>
+
+<p><span class="pagenum"><a id="pagemxii" name="pagemxii"></a>[pg xii]</span></p>
+
+<div style="height: 4em;">
+<a name="h2H_NOTE" id="h2H_NOTE"><!-- H2 anchor --></a>
+<br /><br /><br /><br /></div>
+
+<h2>
+    NOTES TO THE INTRODUCTION
+</h2>
+
+<p class="foot">
+<a name="note-1"><!--Note--></a>
+1. (<a href="#noteref-1">return</a>)<br />
+Both James Boswell and Sir John Hawkins briefly discuss Johnson's
+relations with Gwynn in their biographies of Johnson. The fullest
+accounts of Gwynn's life and professional activities are those in
+the <i>DNB</i> and in H. M. Colvin, <i>Biographical Dictionary of English
+Architects</i>, 1660-1830 (London, 1954), pp. 254-256. Both attribute the
+poem to him. I am much indebted throughout this introduction to Colvin
+for information on the architects mentioned in the poem.
+</p>
+
+<p class="foot">
+<a name="note-2"><!--Note--></a>
+2. (<a href="#noteref-2">return</a>)<br />
+For an estimate of the significance of Gwynn's perceptions
+see chapter nine of John Summerson's <i>Georgian London</i>, rev. ed.
+(Harmondsworth, 1962). His perceptiveness was recognized by the early
+nineteenth century. Gregg International published a facsimile reprint
+of <i>London and Westminster Improved</i> in 1969.
+</p>
+
+<p class="foot">
+<a name="note-3"><!--Note--></a>
+3. (<a href="#noteref-3">return</a>)<br />
+A work which shows Gwynn's awareness of the differences between the
+casual and perhaps well-read dilettante and the dedicated professional
+is his essay <i>The Qualifications and Duty of a Surveyor</i> (London,
+1752). For discussions of the development of the architectural
+profession in eighteenth-century England, see Colvin, pp. 10-25,
+and, in spite of his excessively narrow definition of "profession,"
+Barrington Kaye, <i>The Development of the Architectural Profession
+in Britain, A Sociological Study</i> (London, 1960), pp. 39-67.
+</p>
+
+<p class="foot">
+<a name="note-4"><!--Note--></a>
+4. (<a href="#noteref-4">return</a>)<br />
+One indication of Gwynn's admiration for Robert Morris is the title
+page of <i>The Art of Architecture</i>. The elevation used as an ornament is
+not just modelled on a design by Morris; the plate used to print the
+elevation is the very plate, slightly reworked, which printed the
+design facing p. 209 in Morris's <i>Lectures</i>. Most of the original
+dimension lines have been obliterated, and the original pyramidal roof
+has been truncated.
+</p>
+
+<p class="foot">
+<a name="note-5"><!--Note--></a>
+5. (<a href="#noteref-5">return</a>)<br />
+<i>Epistle to Burlington</i>, II. 17-18; <i>Imitations of Horace</i>, II, i,
+185-186; <i>The Dunciad in Four Books</i>, III, 327-328.
+</p>
+
+<p class="foot">
+<a name="note-6"><!--Note--></a>
+6. (<a href="#noteref-6">return</a>)<br />
+C. H. Collins and Muriel I. Baker, <i>The Life and Circumstances of
+James Brydges</i>, <i>First Duke of Chandos</i> (Oxford, 1949), pp. 115-120,
+146, 300, 387-389.
+</p>
+
+<p class="foot">
+<a name="note-7"><!--Note--></a>
+7. (<a href="#noteref-7">return</a>)<br />
+Colvin, p. 342.
+</p>
+
+<p><span class="pagenum"><a id="pagemxiii" name="pagemxiii"></a>[pg xiii]</span></p>
+
+<p class="foot">
+<a name="note-8"><!--Note--></a>
+8. (<a href="#noteref-8">return</a>)<br />
+<i>A Treatise of the Five Orders of Columns in Architecture</i>, trans.
+by John James (London, 1708).
+</p>
+
+<p class="foot">
+<a name="note-9"><!--Note--></a>
+9. (<a href="#noteref-9">return</a>)<br />
+Rudolf Wittkower, <i>Architectural Principles in the Age of Humanism</i>,
+3rd ed. (London, 1962), p. 142. For a summary of England's part in this
+"break-away" see pp. 150-153.
+</p>
+
+<p class="foot">
+<a name="note-10"><!--Note--></a>
+10. (<a href="#noteref-10">return</a>)<br />
+Parenthetical references to the <i>Ars Poetica</i> are to the Loeb
+edition, trans., H. Rushton Fairclough (Cambridge, Mass., 1929).
+</p>
+
+<p class="foot">
+<a name="note-11"><!--Note--></a>
+11. (<a href="#noteref-11">return</a>)<br />
+Cf. Pope, "You show us, Rome was glorious, not profuse,/ And
+pompous buildings once were things of Use" (<i>Epistle to Burlington</i>,
+11. 23-24).
+</p>
+
+<p class="foot">
+<a name="note-12"><!--Note--></a>
+12. (<a href="#noteref-12">return</a>)<br />
+See Sir Henry Wotton, "Elements of Architecture" (1624), in
+<i>Reliquiae Wottonianae</i> (London, 1651), pp. 304-305.
+</p>
+
+<p class="foot">
+<a name="note-13"><!--Note--></a>
+13. (<a href="#noteref-13">return</a>)<br />
+Ibid., p. 201.
+</p>
+
+<p class="foot">
+<a name="note-14"><!--Note--></a>
+14. (<a href="#noteref-14">return</a>)<br />
+<i>Essay on Harmony</i> (London, 1739), pp. 27-31.
+</p>
+
+<p class="foot">
+<a name="note-15"><!--Note--></a>
+15. (<a href="#noteref-15">return</a>)<br />
+Ibid., p. 9.
+</p>
+
+<p class="foot">
+<a name="note-16"><!--Note--></a>
+16. (<a href="#noteref-16">return</a>)<br />
+This work was supported, in part, by the Ohio State University
+Development Fund through its Faculty Summer Fellowship program, and by
+a grant from the Penrose Fund of the American Philosophical Society.
+I should like to express my gratitude for both of these grants.
+</p>
+
+<p><span class="pagenum"><a id="pagemxiv" name="pagemxiv"></a>[pg iv]</span></p>
+
+<div style="height: 4em;">
+<a name="h2H_4_0005" id="h2H_4_0005"><!-- H2 anchor --></a>
+<br /><br /><br /><br /></div>
+
+<h2>
+    BIBLIOGRAPHICAL NOTE
+</h2>
+
+<p class="center">
+    This facsimile of <i>The Art of Architecture</i> (1742)<br />
+    is reproduced from a copy in the British Museum.
+</p>
+
+<p><span class="pagenum"><a id="page1" name="page1"></a>[pg 1]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<p class="center">
+<small>THE</small>
+<br />
+<big>Art of Architecture,</big>
+</p>
+
+<p class="center">
+A
+<br />
+<big>POEM.</big>
+</p>
+
+<p class="center">
+<big>In Imitation of HORACE'S Art of <span class="sc">Poetry</span>.</big>
+</p>
+
+<p class="center">
+<small>Humbly Inscribed to the R<sup>t</sup>. Hon<sup>ble</sup> the Earl of &mdash;&mdash;</small>
+</p>
+
+<hr />
+
+<div class="poem">
+<div class="stanza">
+<p class="i6">      <i>Ingenuas didicisse fideliter artes,</i> </p>
+<p class="i2">  <i>Emollit mores, nec finit esse feros.</i></p>
+</div>
+<p class="rj">  <span class="sc">Ovid.</span> </p>
+</div>
+
+<div class="figure">
+<a name="image-0001"><!--IMG--></a>
+<a href="images/title-f.png"><img src="images/title-s.png" width="300" height="160"
+alt="" /></a>
+</div>
+
+<p class="center">
+<i>LONDON:</i>
+</p>
+
+<p class="center">
+Printed for <span class="sc">R. Dodsley</span>, at <span class="sc">Tully</span>'s Head in <i>Pall-Mall</i>; and<br />
+Sold by <span class="sc">T. Cooper</span> at the <i>Globe</i> in <i>Pater-noster-Row</i>, 1742.
+</p>
+
+<p class="center">
+[Price, One Shilling.]
+</p>
+
+<p><span class="pagenum"><a id="pagei" name="pagei"></a>[pg i]</span></p>
+
+<p><!--[Blank Page]--><br /></p>
+
+<p><span class="pagenum"><a id="pageii" name="pageii"></a>[pg ii]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<div class="figure">
+<a name="image-0002"><!--IMG--></a>
+<a href="images/pref-f.png"><img src="images/pref-s.png" width="400" height="120"
+alt="(decorative header)" /></a>
+</div>
+
+<div style="height: 4em;">
+<a name="h2H_4_0006" id="h2H_4_0006"><!-- H2 anchor --></a>
+<br /><br /><br /><br /></div>
+
+<h2>
+<small>THE</small>
+<br />
+PREFACE.
+</h2>
+
+<p>
+<i>The great Freedom with which</i> <span class="sc">Horace</span> <i>has been used, I hope will
+be in some Measure an Excuse for the Liberty I take in this Essay.</i>&mdash;<i>The
+Art of</i> Cookery, <i>and</i> Harlequin-Horace <i>are two glaring Instances, not
+to mention Numberless</i> Translators, Commentators, &amp;c. <i>upon his Works;
+in which some have so Remark'd and Revis'd, that they have explain'd the
+Sense of</i> Horace <i>quite away</i>.&mdash;<i>I for my Part, either as a Poetical</i>
+<span class="sc">Architect</span>, <i>or an Architectural</i> <span class="sc">Poet</span>, <i>profess myself to be
+only an humble</i> <span class="sc">Imitator</span> <i>of</i>
+
+<span class="pagenum"><a id="pageiii" name="pageiii"></a>[pg iii]</span>
+
+                                       <i>him</i>: <i>I have seldom lost sight of the</i>
+Original, <i>at least as far as the Subject will permit</i>.&mdash;-<i>But</i> <span class="sc">Architecture</span>
+<i>is a barren Theme, and a Path so beaten, that to step out of it,
+though purely to avoid the Crowd, is looked upon as an unpardonable
+Singularity. How far I may have strayed in this</i> Poetical Excursion,
+<i>I know not; but of this, I am certain I can with Truth say with</i>
+<span class="sc">Horace</span>,
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i4">    &mdash;&mdash;Si quid novisti rectius istis, </p>
+<p class="i2">  Candidus imperti; si non, his Utere Mecum. </p>
+</div>
+</div>
+
+<div class="figure">
+<a name="image-0003"><!--IMG--></a>
+<a href="images/pref2-f.png"><img src="images/pref2-s.png" width="150" height="95"
+alt="(decoration)" /></a>
+</div>
+
+<p><span class="pagenum"><a id="page5" name="page5"></a>[pg 5]</span></p>
+
+<div style="height: 4em;">
+<a name="h2H_4_0007" id="h2H_4_0007"><!-- H2 anchor --></a>
+<br /><br /><br /><br /></div>
+
+<div class="figure">
+<a name="image-0004"><!--IMG--></a>
+<a href="images/header-s.png"><img src="images/header-f.png" width="400" height="45"
+alt="(decorative header)" /></a>
+</div>
+
+<h2>
+    THE
+<br />
+    <big><span class="sc">Art</span> of <span class="sc">Architecture</span>,</big>
+</h2>
+
+<p class="center">
+In Imitation of HORACE'S Art of <span class="sc">Poetry</span>.
+</p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<div class="poem">
+
+<div>
+<a name="image-0004a"><!--IMG--></a>
+<a href="images/drop-f.png">
+<img class="cap" src="images/drop-s.png" width="50" height="50" alt="S" />
+</a>
+</div>
+
+<div class="stanza">
+<p class="i4">    Should you, my <span class="sc">Lord</span>, a wretched Picture view;</p>
+<p class="i2">  Which some unskilful Copying-<i>Painter</i> drew, </p>
+<p class="i2">  Without Design, Intolerably bad, </p>
+<p class="i2">  Would you not smile, and think the Man was mad? </p>
+<p class="i2">  Just so a tasteless Structure; where each Part </p>
+<p class="i2">  Is void of <i>Order</i>, <i>Symmetry</i>, or <i>Art</i>: </p>
+<p class="i2">  Alike offends, when we the Mimick Place; </p>
+<p class="i2">  Compare with <i>Beauty</i>, <i>Harmony</i>, or <i>Grace</i>. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     <span class="sc">Painters</span>, and <span class="sc">Architects</span> are not confin'd </p>
+<p class="i2">  By <i>Pedant-Rules</i> to circumscribe the Mind: </p>
+
+<span class="pagenum"><a id="page6" name="page6"></a>[pg 6]</span>
+
+<p class="i2">  But give a Loose, their Genius to improve; </p>
+<p class="i2">  And 'midst the pleasing Fields of <i>Science</i> rove. </p>
+<p class="i2">  But then the Laws of <i>Nature</i>; and of Sense, </p>
+<p class="i2">  Forbid us with Contraries to dispense: </p>
+<p class="i2">  To <i>paint</i> a Snake, engend'ring with a Dove; </p>
+<p class="i2">  Or <i>build</i> a Prison 'midst a shady Grove. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">    At setting out, some promise mighty Things, </p>
+<p class="i2">  <i>Temples</i> they form, and <i>Palaces</i> for Kings; </p>
+<p class="i2">  With a few <i>Ornaments</i> profusely drest, </p>
+<p class="i2">  They shine through all the <i>Dulness</i> of the rest. </p>
+<p class="i2">  At some long <i>Vista's</i> End, the Structure stands; </p>
+<p class="i2">  The Spot a Summit, and a View commands: </p>
+<p class="i2">  The wide-extended Plain appears below, </p>
+<p class="i2">  And Streams, which through the verdant Meadows flow. </p>
+<p class="i2">  Here <i>Towns</i>, and <i>Spires</i>, and <i>Hills</i> o'er Hills extend; </p>
+<p class="i2">  There <i>shady Groves</i>, and <i>Lawns</i>, the Prospect end. </p>
+<p class="i2">  Through lavish <i>Ornaments</i>, the Fabrick shines </p>
+<p class="i2">  With wild Festoons of Fruits, and clust'ring Vines: </p>
+<p class="i2">  Luxuriant Decorations fill each Space, <span class="brace">}</span> </p>
+<p class="i2">  And vast Incumbrances, void of <i>Rules</i> or <i>Grace</i>; </p>
+<p class="i2">  Without Coherence, crowded in each Place. </p>
+</div>
+
+<span class="pagenum"><a id="page7" name="page7"></a>[pg 7]</span>
+
+<div class="stanza">
+<p class="i4">    Should you require a little rising Pile, </p>
+<p class="i2">  The Parts appropriate to the fertile Soil: </p>
+<p class="i2">  Where <i>Neatness</i>, <i>Order</i>, and <i>Proportion</i> join; </p>
+<p class="i2">  Where <i>Strength</i>, and <i>Art</i>, and <i>Nature</i> should combine: </p>
+<p class="i2">  The mimick <i>Architect</i> perhaps would be <span class="brace">} </span> </p>
+<p class="i2">  As much to seek in his Design; as <small>HE</small> </p>
+<p class="i2">  Whose only Talent was, to paint a <i>Tree</i>. </p>
+<p class="i2">  With such gay Structures, why do they begin </p>
+<p class="i2">  Such <i>Glare</i> of Ornament to usher in? </p>
+<p class="i2">  Why such external needless Dress and Show? </p>
+<p class="i2">  The End impropriate, and the Meaning low. </p>
+<p class="i2">  Form to each <i>Clime</i>, each <i>Place</i>, a <i>Modus</i> still; </p>
+<p class="i2">  But use the same Proportions at your Will. </p>
+<p class="i2">  Change, modify your Form: Transpose, divide; </p>
+<p class="i2">  The same unerring Rules the <i>Science</i> guide. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">    Most <span class="sc">Architects</span> in something do offend, </p>
+<p class="i2">  When led by, aim'd-at-Excellence; to mend&mdash; </p>
+<p class="i2">  By striving to be plain, they sometimes fall, </p>
+<p class="i2">  So <i>Mean</i>, so <i>Dull</i>, so <i>Tasteless</i>: they spoil all. </p>
+
+<span class="pagenum"><a id="page8" name="page8"></a>[pg 8]</span>
+
+<p class="i2">  Others affect <i>Magnificence</i> alone; </p>
+<p class="i2">  And rise in large enormous Heaps of Stone; </p>
+<p class="i2">  Swell the huge <i>Dome</i>, and <i>Turrets</i> bid to rise, </p>
+<p class="i2">  And Towers on Towers; attract the Gazer's Eyes. </p>
+<p class="i2">  Some dare not leave the old, the beaten Way, </p>
+<p class="i2">  To search new Methods, or in Science stray: </p>
+<p class="i2">  Others with wild Varieties engage, </p>
+<p class="i2">  And build a Seat to face the <i>Ocean's</i> Rage; </p>
+<p class="i2">  Carve <i>Fruit</i> and <i>Flowers</i>, to face the raging Floods, </p>
+<p class="i2">  Festoons of Shells, or Fish, for shady Woods. </p>
+<p class="i2">  Thus willful Erring, join'd with Want of Skill, </p>
+<p class="i2">  Is the most certain Way of Erring still. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     The meanest Workman, may attempt to place </p>
+<p class="i2">  A little Dress to decorate a Space; </p>
+<p class="i2">  May put an Ornament about a Door, </p>
+<p class="i2">  Or decorate a Window, and no more: </p>
+<p class="i2">  But then to <i>finish</i>, is beyond his Skill, </p>
+<p class="i2">  And we suppose the rest, exceeding ill. </p>
+<p class="i2">  And 'tis ridiculous for one good Part, </p>
+<p class="i2">  Where what remains are Scandal to the Art; </p>
+
+<span class="pagenum"><a id="page9" name="page9"></a>[pg 9]</span>
+
+<p class="i2">  Where only one is luckily adorn'd, </p>
+<p class="i2">  And all the rest remarkably deform'd. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     Let <i>Architects</i> attempt their Skill to show </p>
+<p class="i2">  In <i>small</i> Designs at first; in what they know. </p>
+<p class="i2">  Then as they find their Genius rise, to try </p>
+<p class="i2">  How much their Structures they can magnify. </p>
+<p class="i2">  Shew how <i>Convenience</i>, <i>Beauty</i>, <i>Symmetry</i>, </p>
+<p class="i2">  How <i>Method</i>, <i>Art</i>, and <i>Nature</i> will agree. </p>
+<p class="i2">  Rules well appropriate will ever please, </p>
+<p class="i2">  And proper Dress, is plac'd with greatest Ease. </p>
+<p class="i2">  First study <i>Nature</i>, where, and how to fill </p>
+<p class="i2">  The various Voids, and ornament with Skill. </p>
+<p class="i2">  Chuse the <i>just</i> Emblems for the Pile and Spot; </p>
+<p class="i2">  The Dress of <i>Temples</i> suit not with a <i>Grot</i>. </p>
+<p class="i2">  The <i>Palace</i>, and the <i>Villa</i> differ wide, </p>
+<p class="i2">  For both, a proper Ornament provide, </p>
+<p class="i2">  Perhaps in <i>this</i>, you must Profuseness spare; </p>
+<p class="i2">  When <i>that</i>; requires you to be lavish there. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     If from the usual Taste your Building springs </p>
+<p class="i2">  Magnificently great, a Seat for Kings, </p>
+
+<span class="pagenum"><a id="page10" name="page10"></a>[pg 10]</span>
+
+<p class="i2">  Let your exalted Fancy, tho' 'tis new, </p>
+<p class="i2">  Keep the great Arts of <i>Greece</i> and <i>Rome</i> in View; </p>
+<p class="i2">  From thence your Fabrick form, your Genius flow, </p>
+<p class="i2">  Thence bid the <i>Ravish'd Gazer's</i> Bosom glow. </p>
+<p class="i2">  Can an impartial Critick justly blame </p>
+<p class="i2">  A Fault in <span class="sc">Jones</span>, (or <span class="sc">Fl-t-ft</span>, is the same;) </p>
+<p class="i2">  And yet approve in <span class="sc">Hawksmoor</span>, or in J&mdash;&mdash;s, </p>
+<p class="i2">  The same wild Error, or the same Extremes? </p>
+<p class="i2">  Why should the few, the Rules which I impart, </p>
+<p class="i2">  Be construed ill, be Scandal to the Art? </p>
+<p class="i2">  When <span class="sc">Gibbs</span>, so copious, so enrich'd has been, </p>
+<p class="i2">  No Part's obscure, but all are useful seen. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     Men always had, and ever will, Pretence, </p>
+<p class="i2">  At least with Method, to improve our Sense: </p>
+<p class="i2">  And the last Laws, however just or true, </p>
+<p class="i2">  Must give the Palm to such which are more new. </p>
+<p class="i2">  One Year, a Train of Images arise, </p>
+<p class="i2">  The next a gayer, newer Form supplies. </p>
+<p class="i2">  One Scene improv'd, must to another yield, </p>
+<p class="i2">  And all resign to <span class="sc">Fate</span>, and quit the Field. </p>
+</div>
+
+<span class="pagenum"><a id="page11" name="page11"></a>[pg 11]</span>
+
+<div class="stanza">
+<p class="i4">     The fam'd St. <span class="sc">Hellen</span>'s, and the fam'd <span class="sc">Torbay</span>, </p>
+<p class="i2">  Where GEORGE's <span class="sc">Glorious Fleets</span>, in <i>Safety</i> lay. </p>
+<p class="i2">  The <i>Bank</i>, the <i>Meuse</i>, the <i>Treasury</i> will fall, </p>
+<p class="i2">  One common Ruin overwhelming all: </p>
+<p class="i2">  Nay this great <span class="sc">City</span> may be lost in Flames, </p>
+<p class="i2">  And what are <i>Villa</i>'s, may be desart <i>Plains</i>. </p>
+<p class="i2">  The <i>Bleating Flocks</i>, on ruin'd <i>Fabricks</i> stray, </p>
+<p class="i2">  And what were <i>Temples</i>, now in <i>Ashes</i> lay: </p>
+<p class="i2">  The <i>Groves</i> arise where <i>Gilded Turrets</i> shone, </p>
+<p class="i2">  And what are <i>Gardens</i> now, were Heaps of <i>Stone</i>. </p>
+<p class="i2">  Yet <span class="sc">Those</span>, and <span class="sc">They</span>, will in Oblivion lye, </p>
+<p class="i2">  And all, in future Times, forgot, and die. </p>
+<p class="i2">  Why then should <i>Artists</i> challenge future Praise, </p>
+<p class="i2">  When Time devours their Works so many Ways? </p>
+<p class="i2">  But Use has rais'd the <i>Greek</i> and <i>Roman</i> Rules, </p>
+<p class="i2">  And banish'd <span class="sc">Gothick</span> Practice from the Schools. </p>
+<p class="i2">  Use is the Judge, the Law, the Rule of Things, </p>
+<p class="i2">  Whence <span class="sc">Arts</span> arose, and whence the <span class="sc">Science</span> springs. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     At <span class="sc">Athens</span> first the rising Art began; </p>
+<p class="i2">  <span class="sc">Cecrops</span>, the King, first modell'd out the Plan. </p>
+
+<span class="pagenum"><a id="page12" name="page12"></a>[pg 12]</span>
+
+<p class="i2">  The studious Youth; pursued with ardent Care </p>
+<p class="i2">  The Infant Rules, unpolish'd as they were, </p>
+<p class="i2">  Till banish'd <span class="sc">D&aelig;dalus</span> Protection sought, </p>
+<p class="i2">  <i>There</i> well receiv'd, the stricter Rules he taught; </p>
+<p class="i2">  Their <i>Arts</i>, their <i>Sciences</i>, were learn'd in Schools, </p>
+<p class="i2">  And all their <i>Precepts</i> were confin'd to Rules. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     The swelling <i>Tree</i>, as it unpolish'd grew </p>
+<p class="i2">  Undecorated, <i>Native</i> Graces shew; </p>
+<p class="i2">  From thence the <span class="sc">Column</span>, in its purer Dress, </p>
+<p class="i2">  The Work of <i>Nature</i>, must the Form confess: </p>
+<p class="i2">  The <i>wreath'd</i>, the <i>fluted</i>, or th' <i>encumb'ring</i> Vine, </p>
+<p class="i2">  With plenteous <i>Branches</i> round the Pillar twine; </p>
+<p class="i2">  Yet still its pure Simplicity you see; </p>
+<p class="i2">  The Shaft of <i>Art</i>, resembles still a <i>Tree</i>. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     But how to appropriate, to embellish still </p>
+<p class="i2">  Justly, the Space to decorate and fill, </p>
+<p class="i2">  To give proportion'd Beauty to each Part, </p>
+<p class="i2">  To make the whole subservient to the Art: </p>
+<p class="i2">  The Inborn-Traces of the Mind pursue, </p>
+<p class="i2">  For Nature teaches how to find the Clue. </p>
+</div>
+
+<span class="pagenum"><a id="page13" name="page13"></a>[pg 13]</span>
+
+<div class="stanza">
+<p class="i4">     The <i>silent Groves</i> a little Pile must grace; </p>
+<p class="i2">  Nor yet too grave, or lavish for the Place. </p>
+<p class="i2">  We find the middle Path, the Way to please, </p>
+<p class="i2">  And decorate the Parts with greater Ease. </p>
+<p class="i2">  But when the Opening to some distant Scene, </p>
+<p class="i2">  Where <i>Lawns</i>, and <i>liv'ning Prospects</i> intervene; </p>
+<p class="i2">  Where <i>Vista's</i> or delightful <i>Gardens</i> charm; </p>
+<p class="i2">  Where <i>verdant Beauties</i> all our Senses warm: </p>
+<p class="i2">  Let <i>Flow'rs</i> and <i>Fruit</i> in seeming Wildness grow; </p>
+<p class="i2">  And there let lavish <i>Nature</i> seem to flow. </p>
+<p class="i2">  <i>There</i> let the Parts, the Gazer's Eye surprize; </p>
+<p class="i2">  And with the <i>Glebe</i> the <i>Structure</i> <span class="sc">Harmonize</span>. </p>
+<p class="i2">  Where <i>Severn</i>, <i>Trent</i>, or <i>Thames's</i> ouzy <i>Side</i>, </p>
+<p class="i2">  Pours the smooth Current of their easy Tide: </p>
+<p class="i2">  Each will require a Sameness to the Spot, </p>
+<p class="i2">  For this a <i>Cell</i>, a <i>Cascade</i>, or a <i>Grott</i>. </p>
+<p class="i2">  The <i>Moss</i>, or <i>gliding Streams</i> productive Store, </p>
+<p class="i2">  To grace the <i>Building</i> on the <i>verdant Shore</i>: </p>
+<p class="i2">  There the rough <i>Tuscan</i>, or the <i>Rustick</i> fix, </p>
+<p class="i2">  Or <i>Pebbles</i>, <i>Shells</i>, or calcin'd <i>Matter</i> mix. </p>
+
+<span class="pagenum"><a id="page14" name="page14"></a>[pg 14]</span>
+
+<p class="i2">  The <i>frozen Isicle's</i> resembled Form, </p>
+<p class="i2">  Or <i>Sea-green Weed</i>, your <span class="sc">Grotto</span> must adorn. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     Near some <i>lone Wood</i>, the <i>gay Pavilion</i> place; </p>
+<p class="i2">  Let the <span class="sc">Corinthian Mode</span> the Structure grace: </p>
+<p class="i2">  Carve here <i>Festoons</i> of lovely Flowers and Fruit: </p>
+<p class="i2">  And with the Spot, let the <i>Enrichments</i> suit. </p>
+<p class="i2">  On some Ascent, the plainer Fabrick view; </p>
+<p class="i2">  The Dress <span class="sc">Ionick</span>, and the <span class="sc">Sculptures</span> few. </p>
+<p class="i2">  Few are the Ornaments, but plain and neat, </p>
+<p class="i2">  The <i>least</i> <span class="sc">Redundant</span> are the <i>most</i> <span class="sc">Compleat</span>. </p>
+<p class="i2">  <span class="sc">Gibbs</span> may be said, most Times in Dress to please, </p>
+<p class="i2">  And few can decorate with greater Ease: </p>
+<p class="i2">  But <span class="sc">Jones</span> more justly knew the Eye to charm, </p>
+<p class="i2">  To please the Judgment, and the Fancy warm; </p>
+<p class="i2">  To give a Greatness to the <i>opening Glade</i>, </p>
+<p class="i2">  Or pleasing Softness to the <i>solemn Shade</i>; </p>
+<p class="i2">  To suit the <i>Valley</i>, or the rising <i>Hill</i>, </p>
+<p class="i2">  Or grace the <i>Flow'ry Mead</i>, or <i>Silver Rill</i>. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     In <i>H&mdash;k&mdash;r; V&mdash;b&mdash;'s</i> very Soul you trace, </p>
+<p class="i2">  The same <i>unmeaning</i> Dress, in every Place; </p>
+
+<span class="pagenum"><a id="page15" name="page15"></a>[pg 15]</span>
+
+<p class="i2">  The same <i>wild Heap</i> of inconsistent Things: </p>
+<p class="i2">  From whence the <span class="sc">Prison</span>, or the Palace springs; </p>
+<p class="i2">  A <i>Tuscan Portal</i> for a <i>Palace Gate</i>, </p>
+<p class="i2">  And a <i>Corinthian Column</i> in a <span class="sc">Lake</span>. </p>
+<p class="i2">  For disproportion'd Columns <i>R&mdash;l&mdash;s</i> see, </p>
+<p class="i2">  Where neither <i>Art</i>, or <i>Rules</i>, or Form agree; </p>
+<p class="i2">  Absurdly bad, and grown a publick Jest: </p>
+<p class="i2">  By far too <small>HIGH</small>&mdash;too <small>HEAVY</small> all the rest. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     Would you the Sister-Arts improve in Schools? </p>
+<p class="i2">  In <i>Sculpture</i> follow <span class="sc">Rysbrack</span>'s chosen Rules; </p>
+<p class="i2">  In <i>Portrait</i> seek for <span class="sc">Amiconi</span>'s Force: </p>
+<p class="i2">  <i>Humour</i> in <span class="sc">Hogarth</span>: <span class="sc">Wooten</span> for a <i>Horse</i>: </p>
+<p class="i2">  In <i>Landscape</i>, <span class="sc">Lambert</span>; or in <i>Crayons</i>, see </p>
+<p class="i2">  The Charms of <i>Colours</i> flowing from <span class="sc">Goupee</span>. </p>
+<p class="i2">  In <i>Eloquence</i>, you see young <span class="sc">Murray</span> shine; </p>
+<p class="i2">  In <i>Musick</i>, <span class="sc">Handel</span>'s Graces are divine. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     If to adapt your Fabrick, you would choose </p>
+<p class="i2">  To suit the <i>Builder</i>'s Genius, or his Use: </p>
+<p class="i2">  Consider well his <i>Station</i>, <i>Birth</i>, or <i>Parts</i>, </p>
+<p class="i2">  And make for each the <i>Quintessence</i> of Arts. </p>
+
+<span class="pagenum"><a id="page16" name="page16"></a>[pg 16]</span>
+
+<p class="i2">  Here to the <span class="sc">Muse</span>, a proper Part assign, </p>
+<p class="i2">  To <span class="sc">Bacchus</span> there, direct the <i>golden Vine</i>; </p>
+<p class="i2">  To <span class="sc">Venus</span>, fix a little <i>silent Cell</i>, </p>
+<p class="i2">  Where all the <span class="sc">Loves</span> and <span class="sc">Graces</span> choose to dwell: </p>
+<p class="i2">  Where the young <i>Wantons</i>, revel, sport, and play; </p>
+<p class="i2">  And <i>frisk</i> and <i>frolick</i> tedious Time away. </p>
+<p class="i2">  The <span class="sc">Prison</span>'s Entrance, <i>massy Chains</i> declare, </p>
+<p class="i2">  The loss of Freedom, to the Wretched there. </p>
+<p class="i2">  Thus every Spot assumes a various Face; </p>
+<p class="i2">  And <i>Decoration</i> varies with the Place. </p>
+<p class="i2">  The <span class="sc">Tuscan</span> or the <span class="sc">Dorian</span> Modus here; </p>
+<p class="i2">  Th' <span class="sc">Ionick</span>, or <span class="sc">Corinthian</span> Modus there. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     The <i>Temples</i>, <i>Baths</i>, or solemn <i>sacred Urn</i>, </p>
+<p class="i2">  Requires Attention, and our Skill in turn. </p>
+<p class="i2">  The <i>weeping Statue</i> to the <span class="sc">Hero</span> lend; </p>
+<p class="i2">  True to his <i>Country</i>, <i>Family</i>, or <i>Friend</i>: </p>
+<p class="i2">  So place the Figure, that as you draw near, </p>
+<p class="i2">  You join his Grief, and drop a silent Tear. </p>
+<p class="i2">  So <i>fine</i>, so <i>just</i>, the <i>Attitude</i> is made, </p>
+<p class="i2">  The faithful <i>Marble</i> bids you mourn his Shade. </p>
+
+<span class="pagenum"><a id="page17" name="page17"></a>[pg 17]</span>
+
+<p class="i2">  If you advent'rous, try your utmost Skill </p>
+<p class="i2">  To tread unbeaten Paths, be <i>Lofty</i> still; </p>
+<p class="i2">  Keep up the <i>Strength</i>, the <i>Dignity</i>, and <i>Force</i> </p>
+<p class="i2">  Of <i>stated Rules</i>; let those direct your Course. </p>
+<p class="i2">  New Methods are not easy understood; </p>
+<p class="i2">  And few will step in an untrodden Road. </p>
+<p class="i2">  'Tis better to pursue the Rule that's known, </p>
+<p class="i2">  Than trust to an Invention of your own. </p>
+<p class="i2">  But then, be sure your Choice direct you right; </p>
+<p class="i2">  Vary, but keep the Original in sight: </p>
+<p class="i2">  The Orders just proportion; strict observe, </p>
+<p class="i2">  The Variation; various Uses serve. </p>
+<p class="i2">  Perhaps the Waste, which every Pile endures, </p>
+<p class="i2">  May make the Copy, justly pass for yours. </p>
+<p class="i2">  You need not slavish Imitators be, </p>
+<p class="i2">  Exact in Copy; but your Fancy free: </p>
+<p class="i2">  <span class="sc">This</span> Ornament omit, or <small>THERE</small> express </p>
+<p class="i2">  The changing Modus, by a different Dress. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     <i>R&mdash;&mdash;y</i>, in <i>Rustick</i> heavy Buildings still, </p>
+<p class="i2">  Attempts in vain to please, or shew his Skill; </p>
+
+<span class="pagenum"><a id="page18" name="page18"></a>[pg 18]</span>
+
+<p class="i2">  How far he strays from the pure <i>Roman</i> Stile, </p>
+<p class="i2">  And labours on in <span class="sc">Dulness</span> all the while! </p>
+<p class="i2">  With <i>M&mdash;s, F&mdash;ft, G&mdash;-s, L&mdash;i, W&mdash;e</i>, </p>
+<p class="i2">  Let <span class="sc">Admiralty</span>, or <span class="sc">Custom-house</span> compare. </p>
+<p class="i2">  You'll see the wretched Structure's sinking State, </p>
+<p class="i2">  Blam'd to Futurity, their certain Fate. </p>
+<p class="i2">  He with a Glare of Gaiety extends </p>
+<p class="i2">  The lengthen'd <span class="sc">Pile</span>, and still with <span class="sc">Dulness</span> ends: </p>
+<p class="i2">  But <small>THOSE</small> without your Expectation rise; </p>
+<p class="i2">  And dazzle the Beholder with Surprize. </p>
+<p class="i2">  Nothing is vain, or ill-expos'd to sight; </p>
+<p class="i2">  No Part too <i>heavy</i>, nor no Dress too <i>light</i>. </p>
+<p class="i2">  So certain are the Methods they have fix'd, </p>
+<p class="i2">  So just proportion'd, and so aptly mix'd, </p>
+<p class="i2">  That all seem Graceful, Uniform, and Neat; </p>
+<p class="i2">  Each Part is <i>perfect</i>, and the <i>Whole</i> compleat. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     <span class="sc">Criticks</span>, attend the Rules which I impart; </p>
+<p class="i2">  They are at least; <i>instructive</i> to the Art: </p>
+<p class="i2">  Mark how <i>Convenience</i>, <i>Strength</i>, and <i>Beauty</i> join: </p>
+<p class="i2">  With these let <i>Harmony of Parts</i> combine. </p>
+
+<span class="pagenum"><a id="page19" name="page19"></a>[pg 19]</span>
+
+<p class="i2">  Appropriate well the <i>Structure</i> to the Place; </p>
+<p class="i2">  And give each Part a <i>Symmetry</i> and <i>Grace</i>. </p>
+<p class="i2">  Make <span class="sc">Rules</span> your Guide, your Fancy to controul; </p>
+<p class="i2">  And make <i>each</i> Part subservient to the Whole. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">    But choice of Place must be the <span class="sc">Builder</span>'s Care, </p>
+<p class="i2">  For various <i>Climates</i>, various <i>Modes</i> prepare. </p>
+<p class="i2">  To some a <i>pleasing Vale</i>; (the Poet's Song) </p>
+<p class="i2">  Where <i>silver Streams</i> in Eddies glide along; </p>
+<p class="i2">  A little rising Hill, with Woods o'ergrown, </p>
+<p class="i2">  And at the Foot, a verdant Carpet thrown: </p>
+<p class="i2">  Where the soft <i>vernal Bloom</i> beneath is spread; </p>
+<p class="i2">  Where the tall <i>Poplar</i> hangs its <i>drooping Head</i>. </p>
+<p class="i2">  Where, on the Bank, the <i>Flowers</i> and <i>Oziers</i> green, </p>
+<p class="i2">  Shade the smooth <i>Current</i> as it runs between; </p>
+<p class="i2">  The <i>fertile Meads</i>, enamell'd all around, </p>
+<p class="i2">  And the <i>rich Glebe</i> with <i>yellow Harvest</i> crown'd. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">    Others in long-extended Views delight, </p>
+<p class="i2">  Where <i>gilded</i> Objects catch the Gazer's Sight. </p>
+<p class="i2">  Where the <i>wide Plain</i>, or <i>lawny Prospect</i> lye, </p>
+<p class="i2">  In mingled Sweets, to chear the <i>ravish'd Eye</i>. </p>
+
+<span class="pagenum"><a id="page20" name="page20"></a>[pg 20]</span>
+
+<p class="i2">  Where the <span class="sc">Vale</span>, winding round the <i>rising Hill</i>; </p>
+<p class="i2">  The <span class="sc">Lilly</span> drinks beneath; the latent <span class="sc">Rill</span>. </p>
+<p class="i2">  The <i>Lawns</i>, the <i>silver Streams</i>, the <i>opening Glade</i>, </p>
+<p class="i2">  The distant <i>solemn Grove's</i> collected Shade: </p>
+<p class="i2">  Charms of the <i>verdant</i>, or the <i>flow'ry</i> Plain; </p>
+<p class="i2">  The rising <i>Mountain</i>, or the distant <i>Main</i>.&mdash;&mdash; </p>
+<p class="i2">  Where <i>rugged Rocks</i>, in wild Disorder rise; </p>
+<p class="i2">  Where <i>unprolifick Nature</i>, naked lies; </p>
+<p class="i2">  Where the vast <i>craggy Summit</i> seems to shew, </p>
+<p class="i2">  A <i>falling Precipice</i> to those below: </p>
+<p class="i2">  Expos'd to scorching Heats, or piercing Wind, </p>
+<p class="i2">  May more delight another's changing Mind; </p>
+<p class="i2">  Or the rude <i>Billows</i> of tempestuous Seas, </p>
+<p class="i2">  Another's Eye, perhaps, may chance to please: </p>
+<p class="i2">  View on the Summit of a foaming Wave, </p>
+<p class="i2">  The unhappy <i>Sailor</i> try's himself to save; </p>
+<p class="i2">  The floating Wreck, the Vessel's shatter'd Side, </p>
+<p class="i2">  Dash'd on the Shore, by the resistless Tide: </p>
+<p class="i2">  The foaming <i>Surge</i> the Shore repells again; </p>
+<p class="i2">  And beats alternate, back upon the Main: </p>
+
+<span class="pagenum"><a id="page21" name="page21"></a>[pg 21]</span>
+
+<p class="i2">  View the abandon'd, helpless Wretch's State; </p>
+<p class="i2">  Sinking, bemoans his <small>LAST</small> unhappy Fate. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">    All these the <span class="sc">Architect</span> must study well; </p>
+<p class="i2">  From the proud <i>Palace</i> to the humble <i>Cell</i>. </p>
+<p class="i2">  The barren <i>Mountain</i>, and the rural <i>Shade</i>; </p>
+<p class="i2">  The mingled gay Profusion, Nature made, </p>
+<p class="i2">  To fit and tally, Art requires his Skill, <span class="brace">}</span> </p>
+<p class="i2">  From the <i>moist Meadow</i>; to the <i>brown-brow'd Hill</i>, </p>
+<p class="i2">  The silent <i>shady Grove</i>, or <i>silver Rill</i>. </p>
+<p class="i2">  To give a Grandeur to the <i>Opening Lawn</i>; </p>
+<p class="i2">  And pleasing Softness, to the <i>solemn Dawn</i>; </p>
+<p class="i2">  To join the <i>vivid</i>, with the <i>vernal</i> Bloom; </p>
+<p class="i2">  Where scarce a Sun Beam wanders thro' the Gloom. </p>
+<p class="i2">  This is the Art's Perfection well to know; </p>
+<p class="i2">  To charm the Sense, and bid the Bosom glow: </p>
+<p class="i2">  Teach us to imitate the <span class="sc">Ancients</span> well; </p>
+<p class="i2">  And where the <i>Moderns</i> we should still <i>excell</i>. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">    Make the <i>Pavilion</i> proper for the Spot, </p>
+<p class="i2">  Or the <i>gay Temple</i>, or the <i>graver Grot</i>. </p>
+
+<span class="pagenum"><a id="page22" name="page22"></a>[pg 22]</span>
+
+<p class="i2">  Adorn your <i>Villa</i> with the nicest Art, </p>
+<p class="i2">  And let your Dress, be just in every Part; </p>
+<p class="i2">  Appropriate well, the Ornaments you choose; </p>
+<p class="i2">  But not alone for Gaiety; but Use. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     In a warm Climate where the <i>Tyber</i> flows; </p>
+<p class="i2">  Where in the Soil, the obdurate <i>Marble</i> grows, </p>
+<p class="i2">  There on the Spot, make choice of what you will, </p>
+<p class="i2">  But <small>HERE</small> to use it, would be want of Skill: </p>
+<p class="i2">  And 'tis an equal Fault of those alone; </p>
+<p class="i2">  Who vainly imitate a <i>Portland-Stone</i>, </p>
+<p class="i2">  The dryer Climates, cherish <i>Stucco</i> there, </p>
+<p class="i2">  But Rains, and colder Snows, destroy it here. </p>
+<p class="i2">  Avoid, as much as in you lyes, to place, </p>
+<p class="i2">  <i>Festoons</i>, or looser Ornament for Grace: </p>
+<p class="i2">  Few let the <i>Carvings</i> be; for outside Dress: </p>
+<p class="i2">  A Boldness rather should your Thoughts express, </p>
+<p class="i2">  Redundancy, and Neatness will be lost: </p>
+<p class="i2">  And but to finish <small>HIGH</small>; is needless Cost. </p>
+<p class="i2">  But then, regard to Distance must be had: </p>
+<p class="i2">  If near the Eye, the Fault would be as bad. </p>
+</div>
+
+<span class="pagenum"><a id="page23" name="page23"></a>[pg 23]</span>
+
+<div class="stanza">
+<p class="i4">     <span class="sc">S&mdash;&mdash;d</span>, in Spite of Reason and of Sense, </p>
+<p class="i2">  With all those Faults, and Follies will dispense; </p>
+<p class="i2">  <i>Carv'd Fronts</i>, and <span class="sc">Stucco</span> decorated still, </p>
+<p class="i2">  Without Regard to place, the Fabrick fill: </p>
+<p class="i2">  'Tis meant perhaps some <i>Fracture</i> to conceal, </p>
+<p class="i2">  Though frequent so; the more it does reveal: </p>
+<p class="i2">  Such are the Reasons, should our Practice sway, </p>
+<p class="i2">  And where the strongest plead, we should obey, </p>
+<p class="i2">  The <i>most</i> demonstrative, the <i>safest</i> are; </p>
+<p class="i2">  And what are not, we should avoid with Care: </p>
+<p class="i2">  As you'd fly <span class="sc">Scylla</span>, or <span class="sc">Charybdis</span> shun, </p>
+<p class="i2">  Or Tricks of <span class="sc">Scapin</span>, <span class="sc">Harlequin</span>, or <span class="sc">Lun</span>. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     <i>Convenience</i> first, then <i>Beauty</i> is a Part, </p>
+<p class="i2">  And <i>Strength</i> must be Assistant to the Art. </p>
+<p class="i2">  A <i>little</i> Seat, a Neatness will require: </p>
+<p class="i2">  A <span class="sc">Palace</span> claims a more majestick Fire, </p>
+<p class="i2">  <i>That</i> made for Decency; for Grandeur <i>this</i>, </p>
+<p class="i2">  And even Profuseness, may be not amiss. </p>
+<p class="i2">  <i>Here</i> a long vista'd Chain of Rooms of State, </p>
+<p class="i2">  To entertain the Attendants on the Great, </p>
+
+<span class="pagenum"><a id="page24" name="page24"></a>[pg 24]</span>
+
+<p class="i2">  The glittering Dress, to <i>catch</i> the Gazer's Sight, </p>
+<p class="i2">  At once to give Surprise; and to delight. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     The <span class="sc">Greeks</span> to three, confined the stated Rules, </p>
+<p class="i2">  And only <i>those</i>, were known in public Schools; </p>
+<p class="i2">  Till Rome the <i>Tuscan</i>, and <i>Composite</i> join'd, </p>
+<p class="i2">  To enrich the Art, and to improve Mankind, </p>
+<p class="i2">  From these alone, all <i>Modes</i>, all <span class="sc">Orders</span> spring </p>
+<p class="i2">  To build a <i>Cell</i>, or <i>Palace</i> for a <span class="sc">King</span>. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     First the grave <span class="sc">Dorick</span> Mode; for Use was form'd, </p>
+<p class="i2">  When in its Infant-State, and unadorn'd: </p>
+<p class="i2">  'Twas Entertainment for the <i>sager</i> Few, </p>
+<p class="i2">  And pleas'd the Times, till something started new: </p>
+<p class="i2">  Then the gay, <i>Lydian Mode</i>; in Order rose, </p>
+<p class="i2">  And Art to Art, they wantonly oppose: </p>
+<p class="i2">  For Men grew fickle by Prosperity, </p>
+<p class="i2">  Study'd new Arts, and Ease and Luxury. </p>
+<p class="i2">  At length the rich <span class="sc">Corinthian</span>'s gayer Dress </p>
+<p class="i2">  The Artist's Decorations, well express. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     The <span class="sc">Goths</span> first introduc'd the frantick Way </p>
+<p class="i2">  Of forming Apes, or <i>Monsters</i>, wild as they </p>
+
+<span class="pagenum"><a id="page25" name="page25"></a>[pg 25]</span>
+
+<p class="i2">  Because the Tumult, fond of Tricks and Apes, </p>
+<p class="i2">  Lov'd such Variety, and antick Shapes. </p>
+<p class="i2">  But <span class="sc">K&mdash;&mdash;t</span> has no Excuse, to copy these, </p>
+<p class="i2">  Unless he has; <small>NO</small> other Way to please. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">    The <i>Modern</i> Artists, all their Genius show </p>
+<p class="i2">  In a <i>Venetian-Window</i>, or a Bow. </p>
+<p class="i2">  The <i>Cell</i>, the <i>Temple</i>, <i>Palace</i>, <i>Villa</i>, all <span class="brace">}</span> </p>
+<p class="i2">  Must have a Window, they <i>Venetian</i> call,  </p>
+<p class="i2">  Or Bow; to grace a <i>Grotto</i>, or a <i>Hall</i>. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">    A <i>little</i> Structure; built for Use alone, </p>
+<p class="i2">  Requires no Dress, nor Ornament of Stone: </p>
+<p class="i2">  The <i>Plainest</i>, <i>Neatest</i>, Method is the best: </p>
+<p class="i2">  One simple Modus, governs all the rest. </p>
+<p class="i2">  The <i>Villa</i> next with Ornament you blend; </p>
+<p class="i2">  The <i>gay</i> and <i>pleasing</i> through the whole extend; </p>
+<p class="i2">  The <span class="sc">Temple</span>, or the <span class="sc">Gayer-Palace</span> will, </p>
+<p class="i2">  In Decoration, try your utmost Skill. </p>
+<p class="i2">  Learn of <span class="sc">Palladio</span>, how to deck a Space; </p>
+<p class="i2">  Of <span class="sc">Jones</span> you'll learn Magnificence, and Grace: </p>
+
+<span class="pagenum"><a id="page26" name="page26"></a>[pg 26]</span>
+
+<p class="i2">  <span class="sc">Campbell</span> will teach, the Beauty they impart; </p>
+<p class="i2">  And <span class="sc">Gibbs</span>, the Rules and Modus of the Art: </p>
+<p class="i2">  Keep still these Rules, and Methods, in your Sight; </p>
+<p class="i2">  Read them by Day, and meditate by Night. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     But <span class="sc">V&mdash;b&mdash;h</span> was admir'd, in <i>Anna</i>'s Days, </p>
+<p class="i2">  And even his <i>Blenheim</i>, would excite some Praise. </p>
+<p class="i2">  And <span class="sc">H&mdash;s&mdash;r</span> travell'd in the same <i>dull</i> Road, </p>
+<p class="i2">  And trod the Footsteps, which his <i>Master</i> trod: </p>
+<p class="i2">  But <span class="sc">Boyle</span> and <span class="sc">Pembroke</span>, have the Art restor'd; </p>
+<p class="i2">  And <i>distant</i> Ages will their Fame record. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     See the old <span class="sc">Goths</span>, in <span class="sc">K&mdash;&mdash;</span>'s Designs survive; </p>
+<p class="i2">  And Modern <span class="sc">Fools</span>, to imitate his strive: </p>
+<p class="i2">  Renouncing all the <i>Rules</i> the <span class="sc">Romans</span> had, </p>
+<p class="i2">  Are past reclaiming, obstinately mad. </p>
+<p class="i2">  Drunken <span class="sc">N&mdash;c-a</span>, with a Front direct, </p>
+<p class="i2">  Or stupid <span class="sc">B&mdash;&mdash;s</span>, makes such an Architect; </p>
+<p class="i2">  Unhappy I!&mdash;&mdash;But <i>Fortune</i> stept between: </p>
+<p class="i2">  And proper <i>Physick</i> cur'd me of the Spleen. </p>
+<p class="i2">  And now I'm satisfy'd to keep my Sense: </p>
+<p class="i2">  Make <span class="sc">Rules</span> my Guide, to plead in my Defence: </p>
+
+<span class="pagenum"><a id="page27" name="page27"></a>[pg 27]</span>
+
+<p class="i2">  Give to the <i>Roman Sciences</i> their Due: </p>
+<p class="i2">  And <i>write</i>, to whet that Appetite, in you. </p>
+<p class="i2">  Tell what the Duty of a <span class="sc">Builder</span> is, </p>
+<p class="i2">  Point out what's <i>Right</i> in Practice; what's amiss. </p>
+<p class="i2">  Shew <i>where</i>, and <i>how</i> to decorate with Skill, </p>
+<p class="i2">  What <i>Ornaments</i> are just, and what are ill. </p>
+<p class="i2">  Shew how the <i>Judgment</i>, should conduct the Art, </p>
+<p class="i2">  And where <i>Judiciousness</i>, directs the Part; </p>
+<p class="i2">  Where proper <i>Situation</i> claims our Care; </p>
+<p class="i2">  Where <span class="sc">Rules</span> should guide; and where most <i>useful</i> are. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     The <span class="sc">Architect</span>, all Ranks of Men should know, </p>
+<p class="i2">  And when, and where, to bid his Genius flow </p>
+<p class="i2">  To swell the <i>Rules</i>, for <span class="sc">Majesty</span>, and State, </p>
+<p class="i2">  To equal all the Grandeur of the Great; </p>
+<p class="i2">  To serve the Use of <span class="sc">Senators</span>, or <span class="sc">Kings</span>, </p>
+<p class="i2">  And be the Source, from whence all <i>Science</i> springs. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     Sometimes in <i>old</i> Designs, you <i>Grandeur</i> view, </p>
+<p class="i2">  And even in <i>Negligence</i>, find something new. </p>
+<p class="i2">  But modern Youth are taught to <i>sing</i>, and <i>dance</i>, </p>
+<p class="i2">  And learn the <span class="sc">Follies</span>, and the <i>Modes</i> of <i>France</i>; </p>
+
+<span class="pagenum"><a id="page28" name="page28"></a>[pg 28]</span>
+
+<p class="i2">  Neglecting <i>Method</i>, <i>Order</i>, <i>Time</i>, or <i>Sense</i>, </p>
+<p class="i2">  With all their <span class="sc">Jargon</span>, and their <i>Modes</i> dispense. </p>
+<p class="i2">  They make the <i>Dorick</i>, and <i>Corinthian</i> mix; </p>
+<p class="i2">  And with th' <i>Ionian</i>, the <i>Composite</i> fix. </p>
+<p class="i2">  The <i>Grave</i> and <i>Gay</i>, in one long Range extend; </p>
+<p class="i2">  And with the <i>Solemn</i>, the <i>Profusive</i> blend. </p>
+<p class="i2">  Can Structures, built by such a <i>Builder</i>, live? </p>
+<p class="i2">  Will <i>A&mdash;f&mdash;y</i>, think you; <i>C&mdash;p&mdash;n</i> survive? </p>
+<p class="i2">  Will <i>O&mdash;k&mdash;y</i>, <i>B&mdash;&mdash;s</i>, and some whom I could name? </p>
+<p class="i2">  Whose Works already; <small>DAMN</small> them into Fame. </p>
+<p class="i2">  Will they, or <i>not</i>, all Rules, all Modes deface. </p>
+<p class="i2">  Invert all <span class="sc">Order</span>, and the Art <i>disgrace</i>? </p>
+<p class="i2">  Will <i>B&mdash;f&mdash;w</i>; <i>M&mdash;d&mdash;n</i>; <span class="sc">Fools</span> by Nature made </p>
+<p class="i2">  Will they encrease, or will they ruin Trade? </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     'Tis you, <span class="sc">my Lord</span>, who know your Judgment's Height, </p>
+<p class="i2">  Your Precepts, and Instructions, are of Weight; </p>
+<p class="i2">  Clear, and succinct, the <i>lower Class</i> to teach, </p>
+<p class="i2">  And oft, above the <i>towring</i> Artists Reach; </p>
+<p class="i2">  Where the gay Ornament you please to place, </p>
+<p class="i2">  And where it gives a <i>Majesty</i> and Grace. </p>
+
+<span class="pagenum"><a id="page29" name="page29"></a>[pg 29]</span>
+
+<p class="i2">  These are the <i>Rules</i>, will live in <i>future</i> Days, </p>
+<p class="i2">  The Youth's Director, and the <i>Poet's Lays</i>, </p>
+<p class="i2">  'Tis these will shine when in Oblivion lay'd: </p>
+<p class="i2">  The <span class="sc">Goths</span> forgotten, and the <span class="sc">Moderns</span> dead. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     The skillful Archer, may his Aim mistake; </p>
+<p class="i2">  And the best Hand in Musick, Jarring make: </p>
+<p class="i2">  So that, the Frailty of our Nature will, </p>
+<p class="i2">  Excuse as Accident, nor construe ill. </p>
+<p class="i2">  But if the Impertinent, their <i>Faults</i> are told, </p>
+<p class="i2">  And <i>still</i> persist; and <i>still</i>, their Follies hold: </p>
+<p class="i2">  Let them <i>abandon'd</i>, <i>senseless</i>, <i>stupid</i> be, </p>
+<p class="i2">  And, past reclaiming, still be <small>DULL</small> for me. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     In some great Structures, <i>Lowness</i> is exprest; </p>
+<p class="i2">  And <span class="sc">Sleep</span> even sometimes, <span class="sc">Homer</span> lull'd to Rest; </p>
+<p class="i2">  <i>Building</i>, like <i>Painting</i>, proper Point of Sight, </p>
+<p class="i2">  Requires to view it, in its clearest Light; </p>
+<p class="i2">  And some tho' aim'd at <i>Grandeur</i>; or at Ease, </p>
+<p class="i2">  Even please but <i>once</i>, and some will <small>EVER</small> please. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     But yet, <i>my Lord</i>, this <i>one</i> important Truth, </p>
+<p class="i2">  This Law of <i>Science</i>, which we teach our Youth, </p>
+
+<span class="pagenum"><a id="page30" name="page30"></a>[pg 30]</span>
+
+<p class="i2">  Even <small>THIS</small>, no Mediocrity admit, </p>
+<p class="i2">  <i>Rules</i>, <i>Nature</i>, <i>Reason</i>, all must jointly fit: </p>
+<p class="i2">  A <i>Painter</i> may <span class="sc">Raphael</span>'s Judgment want, </p>
+<p class="i2">  And yet, we some Abilities will grant: </p>
+<p class="i2">  He may, perhaps, a skillful Painter be, </p>
+<p class="i2">  Tho' not so great, yet great in some Degree. </p>
+<p class="i2">  In <span class="sc">Building</span>, there's no <i>Laws</i> of human Kind, </p>
+<p class="i2">  Admit a <i>Medium</i>; to the Artist's Mind, </p>
+<p class="i2">  <i>All</i> must be perfect, or 'tis understood, </p>
+<p class="i2">  Excessive <i>Ill</i>,&mdash;or else sublimely <i>Good</i>. </p>
+<p class="i2">  In Things where Reason, seems but to subside, </p>
+<p class="i2">  Men learn to stem, the Torrent of the <i>Tide</i>; </p>
+<p class="i2">  They <i>dance</i>, or <i>fence</i>, or vainly wish to <i>fly</i>, </p>
+<p class="i2">  But if they fail, contented cease to try. </p>
+<p class="i2">  But all in <span class="sc">Building</span>, universal run, </p>
+<p class="i2">  Undoing others, and themselves undone. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     Oh <span class="sc">B&mdash;&mdash;le</span>! or <span class="sc">S&mdash;n&mdash;pe</span>, <span class="sc">P&mdash;m-ke</span>; any Name, </p>
+<p class="i2">  That <span class="sc">Arts</span>, or <span class="sc">Virtue</span>; raises into Fame, </p>
+<p class="i2">  Be to my <i>Muse</i> a Friend; assist my Cause; </p>
+<p class="i2">  Be Friend to <i>Science</i>, fix'd on <i>Nature</i>'s Laws. </p>
+
+<span class="pagenum"><a id="page31" name="page31"></a>[pg 31]</span>
+
+<p class="i2">  On that alone, on <i>Nature</i>'s perfect Plan, </p>
+<p class="i2">  I form my <span class="sc">System</span>, as I <small>FIRST</small> began. </p>
+<p class="i2">  By <small>YOU</small> inspir'd, I boldly lay the Line, </p>
+<p class="i2">  And ev'n am vain to call the Subject mine. </p>
+<p class="i2">  So <span class="sc">Orpheus</span>, once by more than human Sway, </p>
+<p class="i2">  Tam'd <i>savage Beasts</i>, or Men as wild as they; </p>
+<p class="i2">  And when <span class="sc">Amphion</span>, built the <span class="sc">Theban Wall</span>, </p>
+<p class="i2">  The Stones, by Magick Power, obey'd his Call. </p>
+<p class="i2">  So <i>Ancient</i>, even in <span class="sc">Egypt</span>'s pristine State, </p>
+<p class="i2">  Recorded <span class="sc">Architecture</span>, has its Date. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     Since thus, my Lord; what <span class="sc">Gods</span> and <span class="sc">Kings</span> inspire, </p>
+<p class="i2">  <i>What</i> bids my Bosom glow with <i>arduous</i> Fire; </p>
+<p class="i2">  This <i>Noble Art</i>, disdain not to protect; </p>
+<p class="i2">  If not the Art, at least the <span class="sc">Architect</span>. </p>
+<p class="i2">  If <i>Art</i>, or <i>Nature</i>, form'd me what I am; </p>
+<p class="i2">  If one or both, assisted in the Plan, </p>
+<p class="i2">  It is beyond, my utmost Power to say: </p>
+<p class="i2">  Whether I <i>Art</i>, or <i>Nature</i>'s Laws obey. </p>
+<p class="i2">  Without each other, we in vain should strive; </p>
+<p class="i2">  To <span class="sc">Build</span>, or keep the <span class="sc">Sciences</span> alive; </p>
+
+<span class="pagenum"><a id="page32" name="page32"></a>[pg 32]</span>
+
+<p class="i2">  <i>Each</i> mutually assist, and <i>each</i> will need, </p>
+<p class="i2">  The other's Help, as <span class="sc">Nature</span> has decreed. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     He that intends an <i>Architect</i> to be, </p>
+<p class="i2">  Must seriously deliberate, like me; </p>
+<p class="i2">  Must see the <i>Situation</i>, <i>Mode</i> and <i>Form</i>, </p>
+<p class="i2">  Of every <i>Structure</i>, which they would adorn: </p>
+<p class="i2">  All Parts <i>External</i>, and <i>Internal</i>, view; </p>
+<p class="i2">  Before they aim to raise, a something new. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     Ask <i>G&mdash;&mdash;s</i>, or <i>F&mdash;tc&mdash;t</i>, to correct your Plan, </p>
+<p class="i2">  They'll freely, where you err, instruct the Man, </p>
+<p class="i2">  In what's amiss, with Judgment, and with Care, </p>
+<p class="i2">  Where needful <i>add</i>; and where profusive; <i>spare</i>. </p>
+<p class="i2">  But if you selfish; foolishly defend; </p>
+<p class="i2">  Your glaring Faults, and will not strive to mend, </p>
+<p class="i2">  To his own Folly&mdash;&mdash;leave the Wretch alone, </p>
+<p class="i2">  And without Rival, let him <span class="sc">Blunder</span> on. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     Those Things which seem of little Consequence, </p>
+<p class="i2">  And slight and trivial; know; you some time hence, </p>
+<p class="i2">  When you are made ridiculous; will find, </p>
+<p class="i2">  They are important, and instruct the Mind: </p>
+
+<span class="pagenum"><a id="page33" name="page33"></a>[pg 33]</span>
+
+<p class="i2">  If in a <i>Building Fit</i>, a <span class="sc">Frantic</span> Man: </p>
+<p class="i2">  Should <i>wildly</i> scheme, a bad, or monstrous Plan, </p>
+<p class="i2">  Not minding <i>where</i>, or <i>how</i>, or <i>what</i>, to lay, </p>
+<p class="i2">  For a Foundation, or his <i>Workmen</i> pay: </p>
+<p class="i2">  If he should find, a Prison for his Pains, </p>
+<p class="i2">  (Misfortune justly suited to his Brains) </p>
+<p class="i2">  No one would <i>pity</i>, or <i>condole</i> his Fate, </p>
+<p class="i2">  But think he merited, the <i>Bedlam-State</i>. </p>
+</div>
+
+<div class="stanza">
+<p class="i4">     <span class="sc">Empedocles</span>, with Madness sought the Flame, </p>
+<p class="i2">  And thought by that; to gain immortal <i>Fame</i>. </p>
+<p class="i2">  Let <span class="sc">Architects</span>, and <span class="sc">Builders</span>, <i>mad</i> as they, </p>
+<p class="i2">  In Folly; run, and make themselves away; </p>
+<p class="i2">  Why should it be a <i>Sin</i>, such Men to kill, </p>
+<p class="i2">  More than to keep alive, against their Will? </p>
+<p class="i2">  It was not <i>Chance</i>, but <i>Choice</i>, the Poet made, </p>
+<p class="i2">  To seek <i>Divinity</i>, in <span class="sc">Lethe</span>'s Shade; </p>
+<p class="i2">  For if he was, from <span class="sc">Pluto</span>'s <i>Sable Plain</i>, </p>
+<p class="i2">  Return'd to <i>Earth</i>,&mdash;&mdash;He'd <span class="sc">&AElig;tna</span> seek again. </p>
+</div>
+
+<span class="pagenum"><a id="page34" name="page34"></a>[pg 34]</span>
+
+<div class="stanza">
+<p class="i4">     'Tis hard to say, whether the <i>Gloomy Clime</i>, </p>
+<p class="i2">  Or <i>Murder</i>, <i>Incest</i>, or some heinous Crime, </p>
+<p class="i2">  Sends <i>Building-Fiends</i>, into the <i>Madding World</i>, </p>
+<p class="i2">  Govern'd by <i>Frenzy</i>; by Confusion <i>hurl'd</i>, </p>
+<p class="i2">  Seize all they meet; and&mdash;&mdash;like the baited <span class="sc">Bear</span>, </p>
+<p class="i2">  Without Distinction, <i>Range</i>, and <i>Rend</i>, and <i>Tear</i>: </p>
+<p class="i2">  No one escapes them: from Lord <span class="sc">O&mdash;r&mdash;d</span>: down, </p>
+<p class="i2">  To <i>B&mdash;&mdash;s</i>, and every errant Fool in Town: </p>
+<p class="i2">  They <i>build</i>, or teach; are leading, or are led; </p>
+<p class="i2">  And never cease, till they're in Jail, or dead. </p>
+</div>
+</div>
+
+<p class="center">
+<big><i>FINIS.</i></big>
+</p>
+
+<div class="figure">
+<a name="image-0005"><!--IMG--></a>
+<a href="images/footer-s.png"><img src="images/footer-f.png" width="200" height="125"
+alt="decorative footer" /></a>
+</div>
+
+<p><span class="pagenum"><a id="pagex3" name="pagex3"></a>[pg]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+<p><!--[Blank Page]--><br /></p>
+
+<p><span class="pagenum"><a id="pagex4" name="pagex4"></a>[pg]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+<p><!--[Blank Page]--><br /></p>
+
+<p><span class="pagenum"><a id="pagex5" name="pagex5"></a>[pg]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<p class="center">
+<big>
+WILLIAM ANDREWS CLARK
+<br />
+MEMORIAL LIBRARY
+</big>
+</p>
+
+<p class="center">
+<small>UNIVERSITY OF CALIFORNIA, LOS ANGELES</small>
+</p>
+
+<div class="figure">
+<a name="image-0006"><!--IMG--></a>
+<img src="images/deco1.png" width="150" height="90"
+alt="(decoration)" />
+</div>
+
+<p class="center">
+<big><span class="sc">The Augustan Reprint Society</span></big>
+<br />
+<small>PUBLICATIONS IN PRINT</small>
+</p>
+
+<p><span class="pagenum"><a id="pagex6" name="pagex6"></a>[pg]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<p class="center">
+<big><span class="sc">The Augustan Reprint Society</span></big>
+</p>
+
+<p class="center">
+<small>PUBLICATIONS IN PRINT</small>
+</p>
+
+<div class="figure">
+<a name="image-0007"><!--IMG--></a>
+<img src="images/deco1.png" width="150" height="90"
+alt="(decoration)" />
+</div>
+
+<h3>
+1948-1949
+</h3>
+
+<p class="cathang">
+16. Henry Nevil Payne, <i>The Fatal Jealousie</i> (<i>1673</i>).
+</p>
+<p class="cathang">
+18. Anonymous, "Of Genius," in <i>The Occasional Paper</i>, Vol. III, No. 10
+    (1719), and Aaron Hill, <i>Preface to The Creation</i> (1720).
+</p>
+
+<h3>
+1949-1950
+</h3>
+
+<p class="cathang">
+19. Susanna Centlivre, <i>The Busie Body</i> (1709).
+</p>
+<p class="cathang">
+20. Lewis Theobald, <i>Preface to the Works of Shakespeare</i> (1734).
+</p>
+<p class="cathang">
+22. Samuel Johnson, <i>The Vanity of Human Wishes</i> (1749), and two
+    <i>Rambler</i> papers (1750).
+</p>
+<p class="cathang">
+23. John Dryden, <i>His Majesties Declaration Defended</i> (1681).
+</p>
+
+<h3>
+1950-1951
+</h3>
+
+<p class="cathang">
+26. Charles Macklin, <i>The Man of the World</i> (1792).
+</p>
+
+<h3>
+1951-1952
+</h3>
+
+<p class="cathang">
+31. Thomas Gray, <i>An Elegy Wrote in a Country Churchyard</i> (1751), and
+     <i>The Eton College Manuscript</i>.
+</p>
+
+<h3>
+1952-1953
+</h3>
+
+<p class="cathang">
+41. Bernard Mandeville, <i>A Letter to Dion</i> (1732).
+</p>
+
+<h3>
+1963-1964
+</h3>
+
+<p class="cathang">
+104. Thomas D'Urfey, <i>Wonders in the Sun; or, The Kingdom of the Birds</i>
+     (1706).
+</p>
+
+<h3>
+1964-1965
+</h3>
+
+<p class="cathang">
+110. John Tutchin, <i>Selected Poems</i> (1685-1700).
+</p>
+<p class="cathang">
+111. Anonymous, <i>Political Justice</i> (1736).
+</p>
+<p class="cathang">
+112. Robert Dodsley, <i>An Essay on Fable</i> (1764).
+</p>
+<p class="cathang">
+113. T. R., <i>An Essay Concerning Critical and Curious Learning</i> (1698).
+</p>
+<p class="cathang">
+114. <i>Two Poems Against Pope</i>: Leonard Welsted, <i>One Epistle to Mr. A.
+     Pope</i> (1730), and Anonymous, <i>The Blatant Beast</i> (1742).
+</p>
+
+<p><span class="pagenum"><a id="pagex7" name="pagex7"></a>[pg]</span></p>
+
+<h3>
+1965-1966
+</h3>
+
+<p class="cathang">
+115. Daniel Defoe and others, <i>Accounts of the Apparition of Mrs. Veal</i>.
+</p>
+<p class="cathang">
+116. Charles Macklin, <i>The Covent Garden Theatre</i> (1752).
+</p>
+<p class="cathang">
+117. Sir George L'Estrange, <i>Citt and Bumpkin</i> (1680).
+</p>
+<p class="cathang">
+118. Henry More, <i>Enthusiasmus Triumphatus</i> (1662).
+</p>
+<p class="cathang">
+119. Thomas Traherne, <i>Meditations on the Six Days of the Creation</i> (1717).
+</p>
+<p class="cathang">
+120. Bernard Mandeville, <i>Aesop Dress'd or a Collection of Fables</i> (1704).
+</p>
+
+<h3>
+1966-1967
+</h3>
+
+<p class="cathang">
+123. Edmond Malone, <i>Cursory Observations on the Poems Attributed to
+     Mr. Thomas Rowley</i> (1782).
+</p>
+<p class="cathang">
+124. Anonymous, <i>The Female Wits</i> (1704).
+</p>
+<p class="cathang">
+125. Anonymous, <i>The Scribleriad</i> (1742). Lord Hervey, <i>The Difference
+     Between Verbal and Practical Virtue</i> (1742).
+</p>
+
+<h3>
+1967-1968
+</h3>
+
+<p class="cathang">
+129. Lawrence Echard, Prefaces to <i>Terence's Comedies</i> (1694) and
+     <i>Plautus's Comedies</i> (1694).
+</p>
+<p class="cathang">
+130. Henry More, <i>Democritus Platonissans</i> (1646).
+</p>
+<p class="cathang">
+132. Walter Harte, <i>An Essay on Satire, Particularly on the Dunciad</i>
+     (1730).
+</p>
+
+<h3>
+1968-1969
+</h3>
+
+<p class="cathang">
+133. John Courtenay, <i>A Poetical Review of the Literary and Moral
+Character of the Late Samuel Johnson</i> (1786).
+</p>
+<p class="cathang">
+134. John Downes, <i>Roscius Anglicanus</i> (1708).
+</p>
+<p class="cathang">
+135. Sir John Hill, <i>Hypochondriasis, a Practical Treatise</i> (1766).
+</p>
+<p class="cathang">
+136. Thomas Sheridan, <i>Discourse ... Being Introductory to His Course
+     of Lectures on Elocution and the English Language</i> (1759).
+</p>
+<p class="cathang">
+137. Arthur Murphy, <i>The Englishman From Paris</i> (1736).
+</p>
+<p class="cathang">
+138. [Catherine Trotter], <i>Olinda's Adventures</i> (1718).
+</p>
+
+<p>
+Publications of the first fifteen years of the Society (numbers 1-90)
+are available in paperbound units of six issues at $16.00 per unit,
+from the Kraus Reprint Company, 16 East 46th Street, New York, N.Y.
+10017.
+</p>
+<p>
+Publications in print are available at the regular membership rate of
+$5.00 yearly. Prices of single issues may be obtained upon request.
+Subsequent publications may be checked in the annual prospectus.
+</p>
+
+<p><span class="pagenum"><a id="pagex8" name="pagex8"></a>[pg]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<div class="figure">
+<a name="image-0008"><!--IMG--></a>
+<img src="images/deco2.png" width="150" height="50"
+alt="(decoration)" />
+</div>
+
+<p class="center">
+<big>The Augustan Reprint Society</big>
+</p>
+
+<p class="center">
+<span class="sc">William Andrews Clark</span><br />
+<span class="sc">Memorial Library</span>
+</p>
+
+<p class="center">
+UNIVERSITY OF CALIFORNIA, LOS ANGELES
+<br />
+<small>2520 Cimarron Street (at West Adams), Los Angeles, California 90018</small>
+</p>
+
+<div class="figure">
+<a name="image-0009"><!--IMG--></a>
+<img src="images/deco3.png" width="150" height="50"
+alt="(decoration)" />
+</div>
+
+<p class="center">
+<i>Make check or money order payable to</i>
+<br />
+THE REGENTS OF THE UNIVERSITY OF CALIFORNIA
+</p>
+
+<p><span class="pagenum"><a id="pagex9" name="pagex9"></a>[pg]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<p class="center">
+William Andrews Clark Memorial Library: University of California, Los Angeles
+</p>
+<p class="center">
+<big><span class="sc">The Augustan Reprint Society</span></big>
+</p>
+<p class="center">
+<small>2520 CIMARRON STREET, LOS ANGELES, CALIFORNIA 90018</small>
+</p>
+
+<p class="center">
+<i>General Editors</i>: William E. Conway, William Andrews Clark Memorial
+Library;<br /> George Robert Guffey, University of California, Los Angeles;<br />
+Maximillian E. Novak, University of California, Los Angeles
+</p>
+<p class="center">
+<i>Corresponding Secretary</i>: Mrs. Edna C. Davis, William Andrews Clark
+Memorial Library
+</p>
+
+<hr style="width: 10%; margin: 3em;" />
+
+<p>
+The Society's purpose is to publish rare Restoration and
+eighteenth-century works (usually as facsimile reproductions).
+All income of the Society is devoted to defraying costs of
+publication and mailing.
+</p>
+<p>
+Correspondence concerning memberships in the United States and Canada
+should be addressed to the Corresponding Secretary at the William
+Andrews Clark Memorial Library, 2520 Cimarron Street, Los Angeles,
+California. Correspondence concerning editorial matters may be
+addressed to the General Editors at the same address. Manuscripts of
+introductions should conform to the recommendations of the MLA <i>Style
+Sheet</i>. The membership fee is $5.00 a year in the United States and
+Canada and £1.19.6 in Great Britain and Europe. British and European
+prospective members should address B. H. Blackwell, Broad Street,
+Oxford, England. Copies of back issues in print may be obtained from
+the Corresponding Secretary.
+</p>
+<p>
+Publications of the first fifteen years of the Society (numbers 1-90)
+are available in paperbound units of six issues at $16.00 per unit,
+from the Kraus Reprint Company, 16 East 46th Street, New York, N.Y.
+10017.
+</p>
+
+<hr style="width: 10%; margin: 3em;" />
+
+<p class="center">
+Make check or money order payable to <span class="sc">The Regents of the University
+of California</span>
+</p>
+
+<p><span class="pagenum"><a id="pagex10" name="pagex10"></a>[pg]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h3>
+REGULAR PUBLICATIONS FOR 1969-1970
+</h3>
+
+<p class="cathang">
+139. John Ogilvie, <i>An Essay on the lyric poetry of the ancients</i>
+     (1762). Introduction by Wallace Jackson.
+</p>
+<p class="cathang">
+140. <i>A Learned Dissertation on Dumpling</i> (1726) and <i>Pudding burnt
+     to pot or a compleat key to the Dissertation on Dumpling</i> (1727).
+     Introduction by Samuel L. Macey.
+</p>
+<p class="cathang">
+141. Selections from Sir Roger L'Estrange's <i>Observator</i> (1681-1687).
+     Introduction by Violet Jordain.
+</p>
+<p class="cathang">
+142. Anthony Collins, <i>A Discourse concerning Ridicule and Irony in
+     writing</i> (1729). Introduction by Edward A. Bloom and Lillian D. Bloom.
+</p>
+<p class="cathang">
+143. <i>A Letter from a clergyman to his friend, with an account of the
+     travels of Captain Lemuel Gulliver</i> (1726). Introduction by Martin
+     Kallich.
+</p>
+<p class="cathang">
+144. <i>The Art of Architecture, a poem. In imitation of Horace's Art of
+poetry</i> (1742). Introduction by William A. Gibson.
+</p>
+
+<p><span class="pagenum"><a id="pagex11" name="pagex11"></a>[pg]</span></p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h3>
+SPECIAL PUBLICATION FOR 1969-1970
+</h3>
+
+<p class="cathang">
+Gerard Langbaine, <i>An Account of the English Dramatick Poets</i> (1691),
+Introduction by John Loftis. 2 Volumes. Approximately 600 pages. Price
+to members of the Society, $7.00 for the first copy (both volumes),
+and $8.50 for additional copies. Price to non-members, $10.00.
+</p>
+<hr />
+<p>
+Already published in this series:
+</p>
+
+<p class="cathang">
+1. John Ogilby, <i>The Fables of Aesop Paraphras'd in Verse</i> (1668), with
+   an Introduction by Earl Miner. 228 pages.
+</p>
+<p class="cathang">
+2. John Gay, <i>Fables</i> (1727, 1738), with an Introduction by Vinton A.
+   Dearing. 366 pages.
+</p>
+<p class="cathang">
+3. <i>The Empress of Morocco and Its Critics</i> (Elkanah Settle, <i>The
+   Empress of Morocco</i> [1673] with five plates; <i>Notes and Observations on
+   the Empress of Morocco</i> [1674] by John Dryden, John Crowne and Thomas
+   Snadwell; <i>Notes and Observations on the Empress of Morocco Revised</i>
+   [1674] by Elkanah Settle; and <i>The Empress of Morocco. A Farce</i> [1674]
+   by Thomas Duffett), with an Introduction by Maximillian E. Novak. 348
+   pages.
+</p>
+<p class="cathang">
+4. <i>After THE TEMPEST</i> (the Dryden-Davenant version of <i>The Tempest</i>
+   [1670]; the "operatic" <i>Tempest</i> [1674]; Thomas Duffett's
+   <i>Mock-Tempest</i> [1675]; and the "Garrick" <i>Tempest</i> [1756]), with an
+   Introduction by George Robert Guffey. 332 pages.
+</p>
+<p>
+Price to members of the Society, $3.50 for the first copy of each
+title, and $4.25 for additional copies. Price to non-members, $5.00.
+Standing orders for this continuing series of Special Publications will
+be accepted. British and European orders should be addressed to B. H.
+Blackwell, Broad Street, Oxford, England.
+</p>
+
+<div style="height: 6em;"><br /><br /><br /><br /><br /><br /></div>
+
+<div style="border: solid 1px; padding: 2em;">
+<p><b>Transcriber's Notes:</b> Two sets of page numbers are present, one each from
+the Augustan Reprint numbering and that of the original. These are retained as-printed,
+and have unique identifiers within the XHTML. Spelling is retained as in the original.</p>
+<p><b>Contact information and pricing for the Augustan Reprint Society is presented
+solely as content original to the physical volume from which this transcription
+was produced and should not be considered current or reliable.</b></p>
+</div>
+
+<div style="height: 6em;"><br /><br /><br /><br /><br /><br /></div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Art of Architecture, by Anonymous
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE ART OF ARCHITECTURE ***
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+The Project Gutenberg EBook of The Art of Architecture, by Anonymous
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Art of Architecture
+       A Poem In Imitation of Horace's Art of Poetry
+
+Author: Anonymous
+
+Commentator: William A. Gibson
+
+Release Date: June 15, 2011 [EBook #36441]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ART OF ARCHITECTURE ***
+
+
+
+
+Produced by Chris Curnow, Joseph Cooper, David Garcia and
+the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+
+The Augustan Reprint Society
+
+
+
+
+
+
+The Art of Architecture
+
+A POEM
+
+In Imitation of Horace's ART OF POETRY
+
+(Anonymous)
+
+(1742)
+
+       *       *       *       *       *
+
+  _Introduction by_
+  William A. Gibson
+
+       *       *       *       *       *
+
+  PUBLICATION NUMBER 144
+  WILLIAM ANDREWS CLARK MEMORIAL LIBRARY
+  University of California, Los Angeles
+  1970
+
+
+
+
+GENERAL EDITORS
+
+  William E. Conway, _William Andrews Clark Memorial Library_
+  George Robert Guffey, _University of California, Los Angeles_
+  Maximillian E. Novak, _University of California, Los Angeles_
+
+
+ASSOCIATE EDITOR
+
+  David S. Rodes, _University of California, Los Angeles_
+
+
+ADVISORY EDITORS
+
+  Richard C. Boys, _University of Michigan_
+  James L. Clifford, _Columbia University_
+  Ralph Cohen, _University of Virginia_
+  Vinton A. Dearing, _University of California, Los Angeles_
+  Arthur Friedman, _University of Chicago_
+  Louis A. Landa, _Princeton University_
+  Earl Miner, _University of California, Los Angeles_
+  Samuel H. Monk, _University of Minnesota_
+  Everett T. Moore, _University of California, Los Angeles_
+  Lawrence Clark Powell, _William Andrews Clark Memorial Library_
+  James Sutherland, _University College, London_
+  H. T. Swedenberg, Jr., _University of California, Los Angeles_
+  Robert Vosper, _William Andrews Clark Memorial Library_
+
+
+CORRESPONDING SECRETARY
+
+  Edna C. Davis, _William Andrews Clark Memorial Library_
+
+
+EDITORIAL ASSISTANT
+
+  Roberta Medford, _William Andrews Clark Memorial Library_
+
+
+
+
+INTRODUCTION
+
+
+John Gwynn, generally accepted as the author of _The Art of
+Architecture_ (1742), is best known to students of English literature
+as one of the founders of the Royal Academy and as a friend of Samuel
+Johnson, who undertook in 1759 to win the Blackfriars Bridge commission
+for Gwynn with a series of three letters in the _Daily Gazeteer_[1].
+To  architectural historians Gwynn is best known as the architect whose
+proposals for regularizing the street plans of London and Westminster
+(in _London and Westminster Improved_, 1766) were prophetic both of the
+plan which eventually emerged from the land speculation and building
+boom of the eighteenth and nineteenth centuries and of the prominence
+subsequently given to city-planning.[2] But like Dr. Johnson, Gwynn
+looked as much to the past as he anticipated the future. This is almost
+inevitable since he too spans the years which saw the last expressions
+of humanist principles of art and the first struggles to find new bases
+for aesthetic judgments. Although the date of Gwynn's birth is unknown,
+he must have been almost an exact contemporary of Dr. Johnson, for he
+also began his literary career in the 1730's, gained public recognition
+in the 1750's, associated with members of the Literary Club in the
+1760's, and died slightly over a year after Johnson, probably on 27
+February 1786.
+
+Their careers exhibit two more instructive parallels. Both began
+as amateurs, possessed of no specific training, and ended as
+self-supporting "professionals," able to exercise their skills on
+demand and fully conscious of the qualifications needed for membership
+within their professions.[3] Second, both began with the hope of
+"fixing" the rules of their arts, but ended by disavowing the intention
+or by implicitly contradicting it. Johnson records his disillusionment
+with one such attempt in the "Preface" to his _Dictionary_ (1755).
+Gwynn's continuing interest in the attempt is evident in his early
+proposals for establishing an art academy (_An Essay on Design_, 1749)
+and in his serving as a representative of the architectural profession
+in the founding of the Royal Academy. However his efforts late in his
+career to accommodate his early principles to the needs of a nation in
+the midst of an economic and a building boom reveal a considerable
+shift from his dogmatic support of the rules of art in _The Art of
+Architecture_.
+
+The poem is significant in a number of ways. It is the work of a young,
+inexperienced architect, with literary ambitions, who has learned most
+of what he knows about the principles of his art from published
+sources--treatises, pattern books, and measured drawings--rather than
+in an architect's studio or in a master mason's stone-cutting yard.
+Take, for example, one of his lists of architects worthy of study:
+"With _M----s, F----ft, G----s, L----i, W----e_,/ Let ADMIRALTY,
+or CUSTOM-HOUSE compare" (p. 18). Four of these architects published
+treatises or translations of treatises which Gwynn certainly knew:
+Robert Morris, _Lectures on Architecture_, 1734-36[4]; James Gibbs,
+_Rules for Drawing the Several Parts of Architecture_, 1733; James
+Leoni, translations of Palladio, 1715-16, and of Alberti, 1726; Isaac
+Ware, translation of Palladio, 1737. The other architect referred to is
+Henry Flitcroft. The poem is, secondly, an unusually clear expression
+of the architectural principles--and dilemmas--of a man who is
+sensitive to changes in taste and in artistic practice, but unaware of
+the causes of the changes, and probably incapable of grasping their
+significance. This is precisely what makes _The Art of Architecture_ a
+valuable document in the history of eighteenth-century criticism. The
+poem provides a brief but rather full summary of the major precepts
+of humanist architectural theory accepted in the first half of the
+century, and introduces an important English innovation. At the same
+time it reveals the passionate desperation of a man confident in his
+rules of art but powerless to impose them upon a society enamored of
+novelty. Gwynn never gave up his youthful ambition of improving English
+building, but he did give up the positiveness evident in this poem.
+
+Gwynn's general critical bias is readily identifiable because it is
+consistent with that of many conventionally trained architects of the
+1720's and 1730's, and with that of most propagandists for English
+Palladianism. Like the Earl of Burlington, William Kent, Colin
+Campbell, Morris, Ware, and Alexander Pope, Gwynn venerated Inigo Jones
+as England's Palladio, as the architect who showed how Palladio's rules
+could be naturalized for the English climate (pp. 14, 25). Similarly
+orthodox is his opinion of the fanciful baroque architecture of Sir
+John Vanbrugh and Nicholas Hawksmoor, both of whom are held up as
+perpetrators of tasteless, licentious innovation (pp. 14, 26). The more
+chaste baroque architects--Sir Christopher Wren, Gibbs, and Thomas
+Archer--Gwynn generally admires, although he recognizes occasional
+flaws in the works of Gibbs and Archer (pp. 14, 29). In remarking on
+his other "villain" architects, Gwynn reveals his political preferences
+and some acquaintance with current scandals. At least two of them were
+aligned with the court party. Thomas Ripley, a one-time carpenter who
+was one of Pope's targets of satire, erected Houghton for Robert
+Walpole in accordance with designs by Campbell (pp. 15, 17).[5] Edward
+Oakley dedicated his _Magazine of Architecture_, _Perspective and
+Sculpture_ (1730) to Walpole, but received no posts such as those which
+Ripley, Hawksmoor, Vanbrugh, or John James enjoyed under the Walpole
+administration (p. 28). Two more architects whom he mentions, besides
+Gibbs, Vanbrugh, and Ripley, were employed on the notorious projects of
+the Duke of Chandos--John James and Andrew Shepherd (pp. 10, 23).[6]
+Gwynn's taste and principles were those of an educated elite to which
+he did not belong--conventional in their moral and aesthetic
+implications, and conservative in their political ones.
+
+But the significance of _The Art of Architecture_ is not merely as
+evidence of contemporary attitudes toward Hawksmoor or James, Chapman
+or Banks. It is rather what Gwynn believes they indicate: the failure
+to establish in England a building practice firmly based upon a body of
+principles which architects and men of letters in the first half of
+the eighteenth century had wanted to believe inviolable. The Palladian
+revival had helped to subvert the medieval crafts tradition in building
+(which had been vigorous through the seventeenth century) and had
+contributed to substituting for the pomp and flamboyance of the baroque
+a taste for regularity in outline, clear relationship of parts, and a
+relative simplicity of surface and ornament. Accompanying it was an
+unprecedented deluge of publications, all of which helped to create a
+greater popular consciousness of humanist architectural principles than
+had previously existed. Yet the revival was proving ineffectual, and
+perhaps the clearest evidence is in Gwynn's attack on Kent: "See
+the  old GOTHS, in _K----_'s Designs survive;/ And Modern FOOLS, to
+imitate his strive" (p. 26). Kent edited the drawings of the English
+Palladio for the Earl of Burlington (_The Designs of Inigo Jones, With
+Some Additional Designs_, 1727); but at Esher Place, Surrey (ca. 1730),
+and again in Merlin's Cave, erected at Richmond Park for Queen Caroline
+(1735), he "anticipate[d] by twenty years the rococo Gothic of the
+1750's."[7] The latter design was even published with some by Jones two
+years after _The Art of Architecture_ in John Vardy's _Some Designs of
+Mr. Inigo Jones and Mr. William Kent_ (1744). Clearly Vitruvius's rule
+of _decor_ had not restrained even the publicists of Palladianism.
+
+Humanist architectural theory was losing its authority even as it was
+being widely disseminated; it was also, as was only half clear to
+Gwynn, becoming increasingly unintelligible. Wealthy patrons of the art
+looked more and more upon exact knowledge of it as unbefitting the
+learning of a gentleman. Archaeological studies of antiquities, instead
+of helping to fix the rules of proportion, were contributing to
+aesthetic relativity by demonstrating the disparity between ancient
+practice and Vitruvius's rules. Claude Perrault attempted to resolve
+these disparities by a system of mathematical averages, but the result
+of his empirical method is only to substitute one source of relativity
+for another.[8] By the 1740's what Rudolf Wittkower has called the
+"break-away from the laws of harmonic proportion"[9] was well under
+way, and it represented but a part of the collapse of the several
+systems of arithmetic and geometric proportion which had dominated
+humanist theory. Developments in the history of thought made this
+collapse inevitable. The old aesthetics were based upon correspondences
+between divine and human artifacts. Thus in designing a building the
+architect emulated the Divine Architect who "ordered all things in
+measure and number and weight" (Wisdom 11:20). The geometric forms and
+the systems of mathematical and harmonic proportions of a building
+answered to those of the cosmos; likewise the aesthetic attributes
+of the cosmos--with their attendant moral ones--such as symmetry,
+uniformity, regularity, and fitness had their correspondences in
+architecture. Such assumptions provided immutable bases for the rules
+external to the individual work of art, but the breakdown of analogical
+reasoning in the seventeenth and eighteenth centuries necessarily
+undermined such philosophical-theological foundations. The new
+epistemology, further, shifted attention from the external world--the
+previous source of the rules--to the mind perceiving it.
+
+By the 1740's consciousness was growing of threats against the ethical
+and aesthetic values of Renaissance humanism (best expressed in Pope's
+_Dunciad in Four Books_), and of the consequent need for new sources
+of  authority for the rules of art. One highly eccentric quest for
+authority was published just a year before _The Art of Architecture_:
+John Wood's _The Origins of Building_; or, _The Plagiarism of the
+Heathens Detected_ (1741). Wood reconstructs the history of
+architecture to make it conform to Old Testament chronology. Thus he
+attributes the major tenets of Vitruvius's architectural theory to
+various patriarchs and ancient Jewish heroes, or, when he finds
+any justification for doing so, directly to God. Gwynn's attempt
+to buttress the rules is far more mundane. He seeks support from
+contemporary philosophy; for example, he introduces the epistemological
+and ethical systems of Shaftesbury to account for some principles of
+decorum, but without perceiving the subjectivity he was imposing on
+them. He rationalizes some of Vitruvius's analogies between natural
+and architectural forms. But even more clearly indicative of the
+futility of his effort are his appeals to authority. He implores such
+aristocratic patrons as Pembroke, Chesterfield, and Burlington to "Be
+to my _Muse_ a Friend; assist my Cause;/Be Friend to _Science_, fix'd
+on _Nature's_ Laws" (p. 30). Perhaps most important, however, is the
+authority of Horace himself, who provides the model for the poem.
+
+Although neoclassical critics generally accepted the reality of
+correspondences between architectural and literary criticism, Gwynn did
+not find the _Ars Poetica_ an entirely manageable model.[10] Horace's
+figures of the mad painter and the mad poet which frame the poem at
+either end serve Gwynn well, for his imitations of them as the mad
+painter and the mad architect emphasize the personal, social, and
+artistic consequences of attempting to build without rules, talent, or
+even a clear need to build. But within the poem, allusions to Horace
+are often much more elusive. He usually succeeds best in keeping close
+to Horace when citing the most general principles. Thus Horace's attack
+on bombast and timidity ("professus grandia turget;/serpit humi tutus
+nimium timidusque procellae," 11. 27-28) occasions an attack on
+misunderstood magnificence and on stodginess:
+
+  Others affect _Magnificence_ alone;
+  And rise in large enormous Heaps of Stone;
+  Swell the huge _Dome_, and _Turrets_ bid to rise,
+  And Towers on Towers; attract the Gazer's Eyes.
+  Some dare not leave the old, the beaten Way,
+  To search new Methods, or in Science stray ...
+
+                                               (p. 8.)
+
+
+Similarly clear are Gwynn's adaptations of such commonplaces as the
+need to subordinate parts to the whole (p. 8) or for consistency of
+style (p. 15). Again, Horace asks whether a good poem is the product of
+nature or art--of native talent or of training--and denies that either
+is adequate alone (11. 408-418). Gwynn raises the same question about
+the architect, although in the first person, and answers,
+
+  If _Art_, or _Nature_, form'd me what I am;
+  If one or both, assisted in the Plan,
+  It is beyond, my utmost Power to say:
+  Whether I _Art_, or _Nature_' s Laws obey.
+
+                                               (p. 31.)
+
+
+Since such ambivalence as this is not appropriate to his purpose, he,
+unlike Horace, begins almost immediately to stress a course of study
+that will result in mastery of the rules.
+
+This last rhetorical tactic points to one serious problem which Horace
+poses for Gwynn--that of assuming an appropriate stance for defending
+the rules. The tone of Horace's epistle to the Pisos is familiar
+without being condescending. He writes as an experienced poet and
+critic to fellow writers, delivering his pronouncements freely and
+confidently, but without dogmatism. Gwynn is neither an equal writing
+to equals nor an experienced architect, confident of his qualifications
+to instruct the world. At one moment he acknowledges the "Judgment's
+Height" of the addressee (p. 28), the next he holds himself up as
+possessing a skill worthy of emulation, and proceeds to deliver a
+lesson in the tone of a schoolmaster: "Those Things which seem of
+little Consequence,/ And slight and trivial ..." (p. 32). Horace's wit,
+his reliance upon his audience to grasp the implications of his many
+examples, and his avoidance of positiveness subvert Gwynn's purpose,
+as he reveals frequently in contradictory outbursts and in shifts in
+tone. Yet in one important passage Horace provides him with a stance
+and a theme which help him prop up the rules. After discussing
+pardonable faults (11. 347-365) Horace addresses Piso's elder son,
+compliments him for his wisdom and training, and _reminds him_ of the
+activities in which mediocrity may be tolerated. This serves as a
+contrast to poetry: "mediocribus esse poetis/ non homines, non di,
+non concessere columnae" (11. 372-373). For once Horace is almost
+uncompromising enough for Gwynn's purposes. He adopts a similarly
+magisterial tone, but reorders Horace's materials so that the emphasis
+is more fully on this principle:
+
+    But yet, _my Lord_, this _one_ important Truth,
+  This Law of _Science_, which we teach our Youth
+  Even THIS, no Mediocrity admit,
+  _Rules_, _Nature_, _Reason_, _all_ must jointly fit:
+  A _Painter_ may RAPHAEL'S Judgment want,
+  And yet, we some Abilities will grant: ...
+
+  In BUILDING, there's no _Laws_ of human Kind,
+  Admit a _Medium_; to the Artist's Mind,
+  _All_ must be perfect, or 'tis understood,
+  Excessive _Ill_,----or else sublimely _Good_.
+
+                                               (pp. 29-30.)
+
+
+Especially significant here is his insistence that the "Law of
+_Science_" will "no Mediocrity admit," for Horace discusses poetic
+practice rather than the rules which aid it. Secondly, the belabored
+inference drawn from the principle in the final couplet has no
+precedent at all in Horace. Gwynn has made every effort to place the
+rules outside the realm of human eccentricity and to give them the
+stature of "_Nature's_ Laws."
+
+Considering that the tenets of humanist architectural theory are
+traditionally classified very differently from those of literary
+criticism, as Gwynn acknowledges in his "Preface" (p. iii), he manages
+to accommodate them surprisingly well to the organization of the _Ars
+Poetica_. A good example is his treatment of Horace's discussion of the
+transitoriness of language, as of all things, and the necessary dominance
+of the rules of usage (11. 46-72). The most obvious parallel is the
+inevitable ruin of the pompous buildings which men erect (p. 11).
+But he develops none of the botanical analogies which Horace used to
+illustrate the rhythms of life and death (11. 60-69), for his purpose
+is to emphasize instead the parallel between _usus_ and the
+architectural concept of "use." Horace insists, "multa renascentur quae
+iam cecidere, cadentque/ quae nunc sunt in honore vocabula, si volet
+usus" (11. 70-71). Gwynn elaborates on this:
+
+  But Use has rais'd the _Greek_ and _Roman_ Rules,
+  And banish'd GOTHICK Practice from the Schools.
+  Use is the Judge, the Law, the Rule of Things,
+  Whence ARTS arose, and whence the SCIENCE springs.
+
+                                               (p. 11)[11]
+
+
+Horace and Gwynn both think of "use" operating as a kind of historical
+necessity causing the resurrection of a rule or a form. Gwynn adds to
+this the concept, drawn from Vitruvius and his commentators, that the
+rules of architecture prescribe forms which satisfy particular uses and
+reflect directly the strengths and limitations of building materials
+and techniques. These are the major premises of Gwynn's assertion
+that "on _Nature's_ perfect Plan,/ I form my SYSTEM" (p. 31). To
+buttress this confidence in rules he develops the parallels between
+Horace's history of poetry (11. 73-98) and the history of architecture.
+Cecrops, the first king of Athens, is to architectural practice what
+Homer is to heroic poetry. Daedalus is to the theory of architecture
+what Archilochus is to the meter of dramatic poetry (pp. 11-12). The
+emphasis on the giving and systematizing of rules, although without
+precedent in Horace, reflects the same preoccupation with the authority
+of origins as John Wood's _Origins of Building_, Pope's _Essay on
+Criticism_, or even Locke's _Two Treatises on Government_ for that
+matter.
+
+Horace provides less precise correspondences for one of the most important
+rules. Vitruvius's rule of _decor_ (_De Architectura_, I, ii, 5) is
+only generally parallel to the rules governing decorum of language,
+characterization, and genre. Gwynn nevertheless introduces all of its
+major implications. It dictates the observing of clear correspondences
+between a building's form and its use, inhabitant, and site (or
+"situation," to use the eighteenth-century term). It is based upon the
+notion that architectural styles have recognizable social, ethical,
+religious, and aesthetic attributes. The attributes, which evoke
+predictable psychological responses, express the _uses_ which the
+styles were created to satisfy and the cultures in which they were
+developed. One brief passage beginning "If to adapt your Fabrick, you
+would choose,/ To suit the _Builder's_ Genius, or his Use" (pp. 15-16)
+effectively summarizes the primary dictates of _decor_. The architect
+has to choose forms and ornaments having attributes in common with the
+social station and character traits of the builder of a residence,[12]
+with the deity to whom a temple is dedicated, with a building's
+function, or with the landscape in which it is placed. Thus, for
+example, the heavy, plain Tuscan order is appropriate for "A _little_
+Structure; built for Use alone," the "gaiety" of the middle Ionic order
+for a country villa, and the "delicacy" of the Corinthian order for an
+elegant church or palace (p. 25). An architect's skill is most often
+measured in the poem by his adherence to _decor_.
+
+One violator of _decor_ serves as a focus in an important passage
+wherein Gwynn tries to integrate Vitruvius and Horace while making a
+transition to one of his central concerns, the peculiarly English
+reinterpretation of decorum of situation. In discussing the difficulty
+of treating traditional subjects in novel ways, Horace compares an
+erring "scriptor cyclicus olim" with Homer, summarizes some general
+principles, and then turns to a consideration of how to win public
+applause (11. 119-178). Gwynn is more suspicious of originality than
+Horace (p. 17), and uses Ripley as an example of one who erred in
+trying to avoid customary forms. Ripley's Custom House (1718) and
+Admiralty building (1723-26) become the equivalent of the Cyclic poet's
+bad verse, while Morris, Flitcroft, Gibbs, Leoni, and Ware become the
+modern Homers of architecture (p. 18). Gwynn ends the verse paragraph
+with Horace's theme of suiting the parts to the whole. With Ripley's
+performance as a background Gwynn turns to architecture's most
+fundamental rules:
+
+    CRITICKS, attend the Rules which I impart;
+  They are at least; _instructive_ to the Art:
+  Mark how _Convenience_, _Strength_, and _Beauty_ join:
+  With these let _Harmony of Parts_ combine.
+
+                                               (p. 18.)
+
+
+These lines may be construed as the architect's equivalent of Horace's
+advice for winning applause. But in fact the entire verse paragraph
+which these lines introduce is simply a paraphrase of Vitruvius (I,
+iii, 2. Cf. Wotton's remark, "_Wel-building_ hath three Conditions,
+_Commodity_, _Firmnesse_, and _Delight_").[13] The leap which follows
+the introduction of these three principles has no precedent in Horace,
+but it does in Vitruvius, whose _De Architectura_ is notorious for its
+eccentric organization and abrupt transitions. Immediately following
+this passage in Vitruvius is his chapter on the "salubrity of sites"
+(I, iv).
+
+It is ironical that where Gwynn is closest to Vitruvius in one respect
+he departs most radically from him in another. Vitruvius's attention
+is almost exclusively on the physical requirements of sites for
+maintaining men's health and comfort; Gwynn's is on the requirements
+for maintaining men's psychological well-being. His conceptions of
+decorum of situation begin with Vitruvius and the Renaissance demands
+that a site be healthy, that it permit efficient transportation, and
+that, if possible, it provide raw materials for building, rich lands
+for crops and pastures, and natural beauty conducive to ease and
+contemplation. Gwynn emphasizes this last point, building upon
+perceptions of nature nourished on Thomson's _Seasons_, and upon a
+psychology drawn largely from the Earl of Shaftesbury (pp. 19-22).
+In his earlier _Essay on Harmony_. _As it relates chiefly to Situation
+in Building_ he quotes Shaftesbury on the title page, acknowledges
+his debt to Thomson, and quotes long passages from _The Seasons_ to
+illustrate various rural "situations."[14] In _The Art of Architecture_
+he follows Morris's example in writing his own verse in language
+imitative of Thomson's (except for one direct quotation, "From the
+_moist Meadow_; to the _brown-brow'd Hill_"). The verbal precision of
+his poetic epithets, and the analysis of perception which they imply,
+help to distinguish the sensory, aesthetic, and emotional effects of
+a wide variety of disparate experiences, and thus make possible the
+identification of those attributes that guide an architect in choosing
+a _mode_ appropriate to a site. The perfect fitting of a building
+to its site, as of the parts to a whole, will result in what Gwynn
+calls "Ideal Harmony," for it "ariseth from such Numbers, Parts, or
+Proportions, which may be resolved in the Mind, and ranged together
+in Order, by Contemplation."[15]
+
+For Gwynn such harmony still has quite clear religious and moral
+implications, although he does not, like Morris, attribute to it a
+specifically religious function. Yet since the rules are supposedly
+based upon natural laws, violations of them betray a failure to
+appreciate divine harmony, the highest object of human contemplation.
+This accounts for the indignation Gwynn reveals in attacking mad
+architects and patrons at the end of the poem, even if it also reveals
+his obtuseness in failing to perceive the causes of his outrage.
+But, then, Gwynn was no Alexander Pope, either as a poet or as a
+thinker.[16]
+
+The Ohio State University
+
+
+
+
+NOTES TO THE INTRODUCTION
+
+
+1. Both James Boswell and Sir John Hawkins briefly discuss Johnson's
+relations with Gwynn in their biographies of Johnson. The fullest
+accounts of Gwynn's life and professional activities are those in
+the _DNB_ and in H. M. Colvin, _Biographical Dictionary of English
+Architects_, 1660-1830 (London, 1954), pp. 254-256. Both attribute the
+poem to him. I am much indebted throughout this introduction to Colvin
+for information on the architects mentioned in the poem.
+
+2. For an estimate of the significance of Gwynn's perceptions
+see chapter nine of John Summerson's _Georgian London_, rev. ed.
+(Harmondsworth, 1962). His perceptiveness was recognized by the early
+nineteenth century. Gregg International published a facsimile reprint
+of _London and Westminster Improved_ in 1969.
+
+3. A work which shows Gwynn's awareness of the differences between the
+casual and perhaps well-read dilettante and the dedicated professional
+is his essay _The Qualifications and Duty of a Surveyor_ (London,
+1752). For discussions of the development of the architectural
+profession in eighteenth-century England, see Colvin, pp. 10-25,
+and, in spite of his excessively narrow definition of "profession,"
+Barrington Kaye, _The Development of the Architectural Profession
+in Britain, A Sociological Study_ (London, 1960), pp. 39-67.
+
+4. One indication of Gwynn's admiration for Robert Morris is the title
+page of _The Art of Architecture_. The elevation used as an ornament is
+not just modelled on a design by Morris; the plate used to print the
+elevation is the very plate, slightly reworked, which printed the
+design facing p. 209 in Morris's _Lectures_. Most of the original
+dimension lines have been obliterated, and the original pyramidal roof
+has been truncated.
+
+5. _Epistle to Burlington_, II. 17-18; _Imitations of Horace_, II, i,
+185-186; _The Dunciad in Four Books_, III, 327-328.
+
+6. C. H. Collins and Muriel I. Baker, _The Life and Circumstances of
+James Brydges_, _First Duke of Chandos_ (Oxford, 1949), pp. 115-120,
+146, 300, 387-389.
+
+7. Colvin, p. 342.
+
+8. _A Treatise of the Five Orders of Columns in Architecture_, trans.
+by John James (London, 1708).
+
+9. Rudolf Wittkower, _Architectural Principles in the Age of Humanism_,
+3rd ed. (London, 1962), p. 142. For a summary of England's part in this
+"break-away" see pp. 150-153.
+
+10. Parenthetical references to the _Ars Poetica_ are to the Loeb
+edition, trans., H. Rushton Fairclough (Cambridge, Mass., 1929).
+
+11. Cf. Pope, "You show us, Rome was glorious, not profuse,/ And
+pompous buildings once were things of Use" (_Epistle to Burlington_,
+11. 23-24).
+
+12. See Sir Henry Wotton, "Elements of Architecture" (1624), in
+_Reliquiae Wottonianae_ (London, 1651), pp. 304-305.
+
+13. Ibid., p. 201.
+
+14. _Essay on Harmony_ (London, 1739), pp. 27-31.
+
+15. Ibid., p. 9.
+
+16. This work was supported, in part, by the Ohio State University
+Development Fund through its Faculty Summer Fellowship program, and by
+a grant from the Penrose Fund of the American Philosophical Society.
+I should like to express my gratitude for both of these grants.
+
+
+
+
+BIBLIOGRAPHICAL NOTE
+
+
+    This facsimile of _The Art of Architecture_ (1742)
+    is reproduced from a copy in the British Museum.
+
+
+
+
+THE
+
+Art of Architecture,
+
+A POEM.
+
+In Imitation of HORACE'S Art of POETRY.
+
+Humbly Inscribed to the R^{t}. Hon^{ble} the Earl of ----
+
+       *       *       *       *       *
+
+      _Ingenuas didicisse fideliter artes,
+  Emollit mores, nec finit esse feros._
+
+                                     OVID.
+
+[Illustration]
+
+_LONDON:_
+
+  Printed for R. DODSLEY, at TULLY's Head in _Pall-Mall_; and
+  Sold by T. COOPER at the _Globe_ in _Pater-noster-Row_, 1742.
+
+[Price, One Shilling.]
+
+
+[Illustration]
+
+
+
+
+THE PREFACE.
+
+
+_The great Freedom with which_ HORACE _has been used, I hope will be in
+some Measure an Excuse for the Liberty I take in this Essay._--_The Art
+of_ Cookery, _and_ Harlequin-Horace _are two glaring Instances, not to
+mention Numberless_ Translators, Commentators, &c. _upon his Works; in
+which some have so Remark'd and Revis'd, that they have explain'd the
+Sense of_ Horace _quite away_.--_I for my Part, either as a Poetical_
+ARCHITECT, _or an Architectural_ POET, _profess myself to be only an
+humble_ IMITATOR _of him_: _I have seldom lost sight of the_ Original,
+_at least as far as the Subject will permit_.---_But_ ARCHITECTURE
+_is a barren Theme, and a Path so beaten, that to step out of it,
+though purely to avoid the Crowd, is looked upon as an unpardonable
+Singularity. How far I may have strayed in this_ Poetical Excursion,
+_I  know not; but of this, I am certain I can with Truth say with_
+HORACE,
+
+    ----Si quid novisti rectius istis,
+  Candidus imperti; si non, his Utere Mecum.
+
+
+[Illustration]
+
+
+
+
+[Illustration]
+
+
+
+
+THE
+
+ART of ARCHITECTURE,
+
+In Imitation of HORACE'S Art of POETRY.
+
+
+    Should you, my LORD, a wretched Picture view;
+  Which some unskilful Copying-_Painter_ drew,
+  Without Design, Intolerably bad,
+  Would you not smile, and think the Man was mad?
+  Just so a tasteless Structure; where each Part
+  Is void of _Order_, _Symmetry_, or _Art_:
+  Alike offends, when we the Mimick Place;
+  Compare with _Beauty_, _Harmony_, or _Grace_.
+
+    PAINTERS, and ARCHITECTS are not confin'd
+  By _Pedant-Rules_ to circumscribe the Mind:
+  But give a Loose, their Genius to improve;
+  And 'midst the pleasing Fields of _Science_ rove.
+  But then the Laws of _Nature_; and of Sense,
+  Forbid us with Contraries to dispense:
+  To _paint_ a Snake, engend'ring with a Dove;
+  Or _build_ a Prison 'midst a shady Grove.
+
+    At setting out, some promise mighty Things,
+  _Temples_ they form, and _Palaces_ for Kings;
+  With a few _Ornaments_ profusely drest,
+  They shine through all the _Dulness_ of the rest.
+  At some long _Vista's_ End, the Structure stands;
+  The Spot a Summit, and a View commands:
+  The wide-extended Plain appears below,
+  And Streams, which through the verdant Meadows flow.
+  Here _Towns_, and _Spires_, and _Hills_ o'er Hills extend;
+  There _shady Groves_, and _Lawns_, the Prospect end.
+  Through lavish _Ornaments_, the Fabrick shines
+  With wild Festoons of Fruits, and clust'ring Vines:
+  Luxuriant Decorations fill each Space,                       }
+  And vast Incumbrances, void of _Rules_ or _Grace_;           }
+  Without Coherence, crowded in each Place.                    }
+
+    Should you require a little rising Pile,
+  The Parts appropriate to the fertile Soil:
+  Where _Neatness_, _Order_, and _Proportion_ join;
+  Where _Strength_, and _Art_, and _Nature_ should combine:
+  The mimick _Architect_ perhaps would be                      }
+  As much to seek in his Design; as HE                         }
+  Whose only Talent was, to paint a _Tree_.                    }
+  With such gay Structures, why do they begin
+  Such _Glare_ of Ornament to usher in?
+  Why such external needless Dress and Show?
+  The End impropriate, and the Meaning low.
+  Form to each _Clime_, each _Place_, a _Modus_ still;
+  But use the same Proportions at your Will.
+  Change, modify your Form: Transpose, divide;
+  The same unerring Rules the _Science_ guide.
+
+    Most ARCHITECTS in something do offend,
+  When led by, aim'd-at-Excellence; to mend--
+  By striving to be plain, they sometimes fall,
+  So _Mean_, so _Dull_, so _Tasteless_: they spoil all.
+  Others affect _Magnificence_ alone;
+  And rise in large enormous Heaps of Stone;
+  Swell the huge _Dome_, and _Turrets_ bid to rise,
+  And Towers on Towers; attract the Gazer's Eyes.
+  Some dare not leave the old, the beaten Way,
+  To search new Methods, or in Science stray:
+  Others with wild Varieties engage,
+  And build a Seat to face the _Ocean's_ Rage;
+  Carve _Fruit_ and _Flowers_, to face the raging Floods,
+  Festoons of Shells, or Fish, for shady Woods.
+  Thus willful Erring, join'd with Want of Skill,
+  Is the most certain Way of Erring still.
+
+    The meanest Workman, may attempt to place
+  A little Dress to decorate a Space;
+  May put an Ornament about a Door,
+  Or decorate a Window, and no more:
+  But then to _finish_, is beyond his Skill,
+  And we suppose the rest, exceeding ill.
+  And 'tis ridiculous for one good Part,
+  Where what remains are Scandal to the Art;
+  Where only one is luckily adorn'd,
+  And all the rest remarkably deform'd.
+
+    Let _Architects_ attempt their Skill to show
+  In _small_ Designs at first; in what they know.
+  Then as they find their Genius rise, to try
+  How much their Structures they can magnify.
+  Shew how _Convenience_, _Beauty_, _Symmetry_,
+  How _Method_, _Art_, and _Nature_ will agree.
+  Rules well appropriate will ever please,
+  And proper Dress, is plac'd with greatest Ease.
+  First study _Nature_, where, and how to fill
+  The various Voids, and ornament with Skill.
+  Chuse the _just_ Emblems for the Pile and Spot;
+  The Dress of _Temples_ suit not with a _Grot_.
+  The _Palace_, and the _Villa_ differ wide,
+  For both, a proper Ornament provide,
+  Perhaps in _this_, you must Profuseness spare;
+  When _that_; requires you to be lavish there.
+
+    If from the usual Taste your Building springs
+  Magnificently great, a Seat for Kings,
+  Let your exalted Fancy, tho' 'tis new,
+  Keep the great Arts of _Greece_ and _Rome_ in View;
+  From thence your Fabrick form, your Genius flow,
+  Thence bid the _Ravish'd Gazer's_ Bosom glow.
+  Can an impartial Critick justly blame
+  A Fault in JONES, (or FL-T-FT, is the same;)
+  And yet approve in HAWKSMOOR, or in J----s,
+  The same wild Error, or the same Extremes?
+  Why should the few, the Rules which I impart,
+  Be construed ill, be Scandal to the Art?
+  When GIBBS, so copious, so enrich'd has been,
+  No Part's obscure, but all are useful seen.
+
+    Men always had, and ever will, Pretence,
+  At least with Method, to improve our Sense:
+  And the last Laws, however just or true,
+  Must give the Palm to such which are more new.
+  One Year, a Train of Images arise,
+  The next a gayer, newer Form supplies.
+  One Scene improv'd, must to another yield,
+  And all resign to FATE, and quit the Field.
+
+    The fam'd St. HELLEN's, and the fam'd TORBAY,
+  Where GEORGE's GLORIOUS FLEETS, in _Safety_ lay.
+  The _Bank_, the _Meuse_, the _Treasury_ will fall,
+  One common Ruin overwhelming all:
+  Nay this great CITY may be lost in Flames,
+  And what are _Villa_'s, may be desart _Plains_.
+  The _Bleating Flocks_, on ruin'd _Fabricks_ stray,
+  And what were _Temples_, now in _Ashes_ lay:
+  The _Groves_ arise where _Gilded Turrets_ shone,
+  And what are _Gardens_ now, were Heaps of _Stone_.
+  Yet THOSE, and THEY, will in Oblivion lye,
+  And all, in future Times, forgot, and die.
+  Why then should _Artists_ challenge future Praise,
+  When Time devours their Works so many Ways?
+  But Use has rais'd the _Greek_ and _Roman_ Rules,
+  And banish'd GOTHICK Practice from the Schools.
+  Use is the Judge, the Law, the Rule of Things,
+  Whence ARTS arose, and whence the SCIENCE springs.
+
+    At ATHENS first the rising Art began;
+  CECROPS, the King, first modell'd out the Plan.
+  The studious Youth; pursued with ardent Care
+  The Infant Rules, unpolish'd as they were,
+  Till banish'd DAEDALUS Protection sought,
+  _There_ well receiv'd, the stricter Rules he taught;
+  Their _Arts_, their _Sciences_, were learn'd in Schools,
+  And all their _Precepts_ were confin'd to Rules.
+
+    The swelling _Tree_, as it unpolish'd grew
+  Undecorated, _Native_ Graces shew;
+  From thence the COLUMN, in its purer Dress,
+  The Work of _Nature_, must the Form confess:
+  The _wreath'd_, the _fluted_, or th' _encumb'ring_ Vine,
+  With plenteous _Branches_ round the Pillar twine;
+  Yet still its pure Simplicity you see;
+  The Shaft of _Art_, resembles still a _Tree_.
+
+    But how to appropriate, to embellish still
+  Justly, the Space to decorate and fill,
+  To give proportion'd Beauty to each Part,
+  To make the whole subservient to the Art:
+  The Inborn-Traces of the Mind pursue,
+  For Nature teaches how to find the Clue.
+
+    The _silent Groves_ a little Pile must grace;
+  Nor yet too grave, or lavish for the Place.
+  We find the middle Path, the Way to please,
+  And decorate the Parts with greater Ease.
+  But when the Opening to some distant Scene,
+  Where _Lawns_, and _liv'ning Prospects_ intervene;
+  Where _Vista's_ or delightful _Gardens_ charm;
+  Where _verdant Beauties_ all our Senses warm:
+  Let _Flow'rs_ and _Fruit_ in seeming Wildness grow;
+  And there let lavish _Nature_ seem to flow.
+  _There_ let the Parts, the Gazer's Eye surprize;
+  And with the _Glebe_ the _Structure_ HARMONIZE.
+  Where _Severn_, _Trent_, or _Thames's_ ouzy _Side_,
+  Pours the smooth Current of their easy Tide:
+  Each will require a Sameness to the Spot,
+  For this a _Cell_, a _Cascade_, or a _Grott_.
+  The _Moss_, or _gliding Streams_ productive Store,
+  To grace the _Building_ on the _verdant Shore_:
+  There the rough _Tuscan_, or the _Rustick_ fix,
+  Or _Pebbles_, _Shells_, or calcin'd _Matter_ mix.
+  The _frozen Isicle's_ resembled Form,
+  Or _Sea-green Weed_, your GROTTO must adorn.
+
+    Near some _lone Wood_, the _gay Pavilion_ place;
+  Let the CORINTHIAN MODE the Structure grace:
+  Carve here _Festoons_ of lovely Flowers and Fruit:
+  And with the Spot, let the _Enrichments_ suit.
+  On some Ascent, the plainer Fabrick view;
+  The Dress IONICK, and the SCULPTURES few.
+  Few are the Ornaments, but plain and neat,
+  The _least_ REDUNDANT are the _most_ COMPLEAT.
+  GIBBS may be said, most Times in Dress to please,
+  And few can decorate with greater Ease:
+  But JONES more justly knew the Eye to charm,
+  To please the Judgment, and the Fancy warm;
+  To give a Greatness to the _opening Glade_,
+  Or pleasing Softness to the _solemn Shade_;
+  To suit the _Valley_, or the rising _Hill_,
+  Or grace the _Flow'ry Mead_, or _Silver Rill_.
+
+    In _H--k--r; V--b--'s_ very Soul you trace,
+  The same _unmeaning_ Dress, in every Place;
+  The same _wild Heap_ of inconsistent Things:
+  From whence the PRISON, or the Palace springs;
+  A _Tuscan Portal_ for a _Palace Gate_,
+  And a _Corinthian Column_ in a LAKE.
+  For disproportion'd Columns _R--l--s_ see,
+  Where neither _Art_, or _Rules_, or Form agree;
+  Absurdly bad, and grown a publick Jest:
+  By far too HIGH--too HEAVY all the rest.
+
+    Would you the Sister-Arts improve in Schools?
+  In _Sculpture_ follow RYSBRACK's chosen Rules;
+  In _Portrait_ seek for AMICONI's Force:
+  _Humour_ in HOGARTH: WOOTEN for a _Horse_:
+  In _Landscape_, LAMBERT; or in _Crayons_, see
+  The Charms of _Colours_ flowing from GOUPEE.
+  In _Eloquence_, you see young MURRAY shine;
+  In _Musick_, HANDEL's Graces are divine.
+
+    If to adapt your Fabrick, you would choose
+  To suit the _Builder_'s Genius, or his Use:
+  Consider well his _Station_, _Birth_, or _Parts_,
+  And make for each the _Quintessence_ of Arts.
+  Here to the MUSE, a proper Part assign,
+  To BACCHUS there, direct the _golden Vine_;
+  To VENUS, fix a little _silent Cell_,
+  Where all the LOVES and GRACES choose to dwell:
+  Where the young _Wantons_, revel, sport, and play;
+  And _frisk_ and _frolick_ tedious Time away.
+  The PRISON's Entrance, _massy Chains_ declare,
+  The loss of Freedom, to the Wretched there.
+  Thus every Spot assumes a various Face;
+  And _Decoration_ varies with the Place.
+  The TUSCAN or the DORIAN Modus here;
+  Th' IONICK, or CORINTHIAN Modus there.
+
+    The _Temples_, _Baths_, or solemn _sacred Urn_,
+  Requires Attention, and our Skill in turn.
+  The _weeping Statue_ to the HERO lend;
+  True to his _Country_, _Family_, or _Friend_:
+  So place the Figure, that as you draw near,
+  You join his Grief, and drop a silent Tear.
+  So _fine_, so _just_, the _Attitude_ is made,
+  The faithful _Marble_ bids you mourn his Shade.
+  If you advent'rous, try your utmost Skill
+  To tread unbeaten Paths, be _Lofty_ still;
+  Keep up the _Strength_, the _Dignity_, and _Force_
+  Of _stated Rules_; let those direct your Course.
+  New Methods are not easy understood;
+  And few will step in an untrodden Road.
+  'Tis better to pursue the Rule that's known,
+  Than trust to an Invention of your own.
+  But then, be sure your Choice direct you right;
+  Vary, but keep the Original in sight:
+  The Orders just proportion; strict observe,
+  The Variation; various Uses serve.
+  Perhaps the Waste, which every Pile endures,
+  May make the Copy, justly pass for yours.
+  You need not slavish Imitators be,
+  Exact in Copy; but your Fancy free:
+  THIS Ornament omit, or THERE express
+  The changing Modus, by a different Dress.
+
+    _R----y_, in _Rustick_ heavy Buildings still,
+  Attempts in vain to please, or shew his Skill;
+  How far he strays from the pure _Roman_ Stile,
+  And labours on in DULNESS all the while!
+  With _M--s, F--ft, G---s, L--i, W--e_,
+  Let ADMIRALTY, or CUSTOM-HOUSE compare.
+  You'll see the wretched Structure's sinking State,
+  Blam'd to Futurity, their certain Fate.
+  He with a Glare of Gaiety extends
+  The lengthen'd PILE, and still with DULNESS ends:
+  But THOSE without your Expectation rise;
+  And dazzle the Beholder with Surprize.
+  Nothing is vain, or ill-expos'd to sight;
+  No Part too _heavy_, nor no Dress too _light_.
+  So certain are the Methods they have fix'd,
+  So just proportion'd, and so aptly mix'd,
+  That all seem Graceful, Uniform, and Neat;
+  Each Part is _perfect_, and the _Whole_ compleat.
+
+    CRITICKS, attend the Rules which I impart;
+  They are at least; _instructive_ to the Art:
+  Mark how _Convenience_, _Strength_, and _Beauty_ join:
+  With these let _Harmony of Parts_ combine.
+  Appropriate well the _Structure_ to the Place;
+  And give each Part a _Symmetry_ and _Grace_.
+  Make RULES your Guide, your Fancy to controul;
+  And make _each_ Part subservient to the Whole.
+
+    But choice of Place must be the BUILDER's Care,
+  For various _Climates_, various _Modes_ prepare.
+  To some a _pleasing Vale_; (the Poet's Song)
+  Where _silver Streams_ in Eddies glide along;
+  A little rising Hill, with Woods o'ergrown,
+  And at the Foot, a verdant Carpet thrown:
+  Where the soft _vernal Bloom_ beneath is spread;
+  Where the tall _Poplar_ hangs its _drooping Head_.
+  Where, on the Bank, the _Flowers_ and _Oziers_ green,
+  Shade the smooth _Current_ as it runs between;
+  The _fertile Meads_, enamell'd all around,
+  And the _rich Glebe_ with _yellow Harvest_ crown'd.
+
+    Others in long-extended Views delight,
+  Where _gilded_ Objects catch the Gazer's Sight.
+  Where the _wide Plain_, or _lawny Prospect_ lye,
+  In mingled Sweets, to chear the _ravish'd Eye_.
+  Where the VALE, winding round the _rising Hill_;
+  The LILLY drinks beneath; the latent RILL.
+  The _Lawns_, the _silver Streams_, the _opening Glade_,
+  The distant _solemn Grove's_ collected Shade:
+  Charms of the _verdant_, or the _flow'ry_ Plain;
+  The rising _Mountain_, or the distant _Main_.----
+  Where _rugged Rocks_, in wild Disorder rise;
+  Where _unprolifick Nature_, naked lies;
+  Where the vast _craggy Summit_ seems to shew,
+  A _falling Precipice_ to those below:
+  Expos'd to scorching Heats, or piercing Wind,
+  May more delight another's changing Mind;
+  Or the rude _Billows_ of tempestuous Seas,
+  Another's Eye, perhaps, may chance to please:
+  View on the Summit of a foaming Wave,
+  The unhappy _Sailor_ try's himself to save;
+  The floating Wreck, the Vessel's shatter'd Side,
+  Dash'd on the Shore, by the resistless Tide:
+  The foaming _Surge_ the Shore repells again;
+  And beats alternate, back upon the Main:
+  View the abandon'd, helpless Wretch's State;
+  Sinking, bemoans his LAST unhappy Fate.
+
+    All these the ARCHITECT must study well;
+  From the proud _Palace_ to the humble _Cell_.
+  The barren _Mountain_, and the rural _Shade_;
+  The mingled gay Profusion, Nature made,
+  To fit and tally, Art requires his Skill,                    }
+  From the _moist Meadow_; to the _brown-brow'd Hill_,         }
+  The silent _shady Grove_, or _silver Rill_.                  }
+  To give a Grandeur to the _Opening Lawn_;
+  And pleasing Softness, to the _solemn Dawn_;
+  To join the _vivid_, with the _vernal_ Bloom;
+  Where scarce a Sun Beam wanders thro' the Gloom.
+  This is the Art's Perfection well to know;
+  To charm the Sense, and bid the Bosom glow:
+  Teach us to imitate the ANCIENTS well;
+  And where the _Moderns_ we should still _excell_.
+
+    Make the _Pavilion_ proper for the Spot,
+  Or the _gay Temple_, or the _graver Grot_.
+  Adorn your _Villa_ with the nicest Art,
+  And let your Dress, be just in every Part;
+  Appropriate well, the Ornaments you choose;
+  But not alone for Gaiety; but Use.
+
+    In a warm Climate where the _Tyber_ flows;
+  Where in the Soil, the obdurate _Marble_ grows,
+  There on the Spot, make choice of what you will,
+  But HERE to use it, would be want of Skill:
+  And 'tis an equal Fault of those alone;
+  Who vainly imitate a _Portland-Stone_,
+  The dryer Climates, cherish _Stucco_ there,
+  But Rains, and colder Snows, destroy it here.
+  Avoid, as much as in you lyes, to place,
+  _Festoons_, or looser Ornament for Grace:
+  Few let the _Carvings_ be; for outside Dress:
+  A Boldness rather should your Thoughts express,
+  Redundancy, and Neatness will be lost:
+  And but to finish HIGH; is needless Cost.
+  But then, regard to Distance must be had:
+  If near the Eye, the Fault would be as bad.
+
+    S----D, in Spite of Reason and of Sense,
+  With all those Faults, and Follies will dispense;
+  _Carv'd Fronts_, and STUCCO decorated still,
+  Without Regard to place, the Fabrick fill:
+  'Tis meant perhaps some _Fracture_ to conceal,
+  Though frequent so; the more it does reveal:
+  Such are the Reasons, should our Practice sway,
+  And where the strongest plead, we should obey,
+  The _most_ demonstrative, the _safest_ are;
+  And what are not, we should avoid with Care:
+  As you'd fly SCYLLA, or CHARYBDIS shun,
+  Or Tricks of SCAPIN, HARLEQUIN, or LUN.
+
+    _Convenience_ first, then _Beauty_ is a Part,
+  And _Strength_ must be Assistant to the Art.
+  A _little_ Seat, a Neatness will require:
+  A PALACE claims a more majestick Fire,
+  _That_ made for Decency; for Grandeur _this_,
+  And even Profuseness, may be not amiss.
+  _Here_ a long vista'd Chain of Rooms of State,
+  To entertain the Attendants on the Great,
+  The glittering Dress, to _catch_ the Gazer's Sight,
+  At once to give Surprise; and to delight.
+
+    The GREEKS to three, confined the stated Rules,
+  And only _those_, were known in public Schools;
+  Till Rome the _Tuscan_, and _Composite_ join'd,
+  To enrich the Art, and to improve Mankind,
+  From these alone, all _Modes_, all ORDERS spring
+  To build a _Cell_, or _Palace_ for a KING.
+
+    First the grave DORICK Mode; for Use was form'd,
+  When in its Infant-State, and unadorn'd:
+  'Twas Entertainment for the _sager_ Few,
+  And pleas'd the Times, till something started new:
+  Then the gay, _Lydian Mode_; in Order rose,
+  And Art to Art, they wantonly oppose:
+  For Men grew fickle by Prosperity,
+  Study'd new Arts, and Ease and Luxury.
+  At length the rich CORINTHIAN's gayer Dress
+  The Artist's Decorations, well express.
+
+    The GOTHS first introduc'd the frantick Way
+  Of forming Apes, or _Monsters_, wild as they
+  Because the Tumult, fond of Tricks and Apes,
+  Lov'd such Variety, and antick Shapes.
+  But K----T has no Excuse, to copy these,
+  Unless he has; NO other Way to please.
+
+    The _Modern_ Artists, all their Genius show
+  In a _Venetian-Window_, or a Bow.
+  The _Cell_, the _Temple_, _Palace_, _Villa_, all             }
+  Must have a Window, they _Venetian_ call,                    }
+  Or Bow; to grace a _Grotto_, or a _Hall_.                    }
+
+    A _little_ Structure; built for Use alone,
+  Requires no Dress, nor Ornament of Stone:
+  The _Plainest_, _Neatest_, Method is the best:
+  One simple Modus, governs all the rest.
+  The _Villa_ next with Ornament you blend;
+  The _gay_ and _pleasing_ through the whole extend;
+  The TEMPLE, or the GAYER-PALACE will,
+  In Decoration, try your utmost Skill.
+  Learn of PALLADIO, how to deck a Space;
+  Of JONES you'll learn Magnificence, and Grace:
+  CAMPBELL will teach, the Beauty they impart;
+  And GIBBS, the Rules and Modus of the Art:
+  Keep still these Rules, and Methods, in your Sight;
+  Read them by Day, and meditate by Night.
+
+    But V--B--H was admir'd, in _Anna_'s Days,
+  And even his _Blenheim_, would excite some Praise.
+  And H--S--R travell'd in the same _dull_ Road,
+  And trod the Footsteps, which his _Master_ trod:
+  But BOYLE and PEMBROKE, have the Art restor'd;
+  And _distant_ Ages will their Fame record.
+
+    See the old GOTHS, in K----'s Designs survive;
+  And Modern FOOLS, to imitate his strive:
+  Renouncing all the _Rules_ the ROMANS had,
+  Are past reclaiming, obstinately mad.
+  Drunken N--C-A, with a Front direct,
+  Or stupid B----S, makes such an Architect;
+  Unhappy I!----But _Fortune_ stept between:
+  And proper _Physick_ cur'd me of the Spleen.
+  And now I'm satisfy'd to keep my Sense:
+  Make RULES my Guide, to plead in my Defence:
+  Give to the _Roman Sciences_ their Due:
+  And _write_, to whet that Appetite, in you.
+  Tell what the Duty of a BUILDER is,
+  Point out what's _Right_ in Practice; what's amiss.
+  Shew _where_, and _how_ to decorate with Skill,
+  What _Ornaments_ are just, and what are ill.
+  Shew how the _Judgment_, should conduct the Art,
+  And where _Judiciousness_, directs the Part;
+  Where proper _Situation_ claims our Care;
+  Where RULES should guide; and where most _useful_ are.
+
+    The ARCHITECT, all Ranks of Men should know,
+  And when, and where, to bid his Genius flow
+  To swell the _Rules_, for MAJESTY, and State,
+  To equal all the Grandeur of the Great;
+  To serve the Use of SENATORS, or KINGS,
+  And be the Source, from whence all _Science_ springs.
+
+    Sometimes in _old_ Designs, you _Grandeur_ view,
+  And even in _Negligence_, find something new.
+  But modern Youth are taught to _sing_, and _dance_,
+  And learn the FOLLIES, and the _Modes_ of _France_;
+  Neglecting _Method_, _Order_, _Time_, or _Sense_,
+  With all their JARGON, and their _Modes_ dispense.
+  They make the _Dorick_, and _Corinthian_ mix;
+  And with th' _Ionian_, the _Composite_ fix.
+  The _Grave_ and _Gay_, in one long Range extend;
+  And with the _Solemn_, the _Profusive_ blend.
+  Can Structures, built by such a _Builder_, live?
+  Will _A--f--y_, think you; _C--p--n_ survive?
+  Will _O--k--y_, _B----s_, and some whom I could name?
+  Whose Works already; DAMN them into Fame.
+  Will they, or _not_, all Rules, all Modes deface.
+  Invert all ORDER, and the Art _disgrace_?
+  Will _B--f--w_; _M--d--n_; FOOLS by Nature made
+  Will they encrease, or will they ruin Trade?
+
+    'Tis you, MY LORD, who know your Judgment's Height,
+  Your Precepts, and Instructions, are of Weight;
+  Clear, and succinct, the _lower Class_ to teach,
+  And oft, above the _towring_ Artists Reach;
+  Where the gay Ornament you please to place,
+  And where it gives a _Majesty_ and Grace.
+  These are the _Rules_, will live in _future_ Days,
+  The Youth's Director, and the _Poet's Lays_,
+  'Tis these will shine when in Oblivion lay'd:
+  The GOTHS forgotten, and the MODERNS dead.
+
+    The skillful Archer, may his Aim mistake;
+  And the best Hand in Musick, Jarring make:
+  So that, the Frailty of our Nature will,
+  Excuse as Accident, nor construe ill.
+  But if the Impertinent, their _Faults_ are told,
+  And _still_ persist; and _still_, their Follies hold:
+  Let them _abandon'd_, _senseless_, _stupid_ be,
+  And, past reclaiming, still be DULL for me.
+
+    In some great Structures, _Lowness_ is exprest;
+  And SLEEP even sometimes, HOMER lull'd to Rest;
+  _Building_, like _Painting_, proper Point of Sight,
+  Requires to view it, in its clearest Light;
+  And some tho' aim'd at _Grandeur_; or at Ease,
+  Even please but _once_, and some will EVER please.
+
+    But yet, _my Lord_, this _one_ important Truth,
+  This Law of _Science_, which we teach our Youth,
+  Even THIS, no Mediocrity admit,
+  _Rules_, _Nature_, _Reason_, all must jointly fit:
+  A _Painter_ may RAPHAEL's Judgment want,
+  And yet, we some Abilities will grant:
+  He may, perhaps, a skillful Painter be,
+  Tho' not so great, yet great in some Degree.
+  In BUILDING, there's no _Laws_ of human Kind,
+  Admit a _Medium_; to the Artist's Mind,
+  _All_ must be perfect, or 'tis understood,
+  Excessive _Ill_,--or else sublimely _Good_.
+  In Things where Reason, seems but to subside,
+  Men learn to stem, the Torrent of the _Tide_;
+  They _dance_, or _fence_, or vainly wish to _fly_,
+  But if they fail, contented cease to try.
+  But all in BUILDING, universal run,
+  Undoing others, and themselves undone.
+
+    Oh B----LE! or S--N--PE, P--M-KE; any Name,
+  That ARTS, or VIRTUE; raises into Fame,
+  Be to my _Muse_ a Friend; assist my Cause;
+  Be Friend to _Science_, fix'd on _Nature_'s Laws.
+  On that alone, on _Nature_'s perfect Plan,
+  I form my SYSTEM, as I FIRST began.
+  By YOU inspir'd, I boldly lay the Line,
+  And ev'n am vain to call the Subject mine.
+  So ORPHEUS, once by more than human Sway,
+  Tam'd _savage Beasts_, or Men as wild as they;
+  And when AMPHION, built the THEBAN WALL,
+  The Stones, by Magick Power, obey'd his Call.
+  So _Ancient_, even in EGYPT's pristine State,
+  Recorded ARCHITECTURE, has its Date.
+
+    Since thus, my Lord; what GODS and KINGS inspire,
+  _What_ bids my Bosom glow with _arduous_ Fire;
+  This _Noble Art_, disdain not to protect;
+  If not the Art, at least the ARCHITECT.
+  If _Art_, or _Nature_, form'd me what I am;
+  If one or both, assisted in the Plan,
+  It is beyond, my utmost Power to say:
+  Whether I _Art_, or _Nature_'s Laws obey.
+  Without each other, we in vain should strive;
+  To BUILD, or keep the SCIENCES alive;
+  _Each_ mutually assist, and _each_ will need,
+  The other's Help, as NATURE has decreed.
+
+    He that intends an _Architect_ to be,
+  Must seriously deliberate, like me;
+  Must see the _Situation_, _Mode_ and _Form_,
+  Of every _Structure_, which they would adorn:
+  All Parts _External_, and _Internal_, view;
+  Before they aim to raise, a something new.
+
+    Ask _G----s_, or _F--tc--t_, to correct your Plan,
+  They'll freely, where you err, instruct the Man,
+  In what's amiss, with Judgment, and with Care,
+  Where needful _add_; and where profusive; _spare_.
+  But if you selfish; foolishly defend;
+  Your glaring Faults, and will not strive to mend,
+  To his own Folly----leave the Wretch alone,
+  And without Rival, let him BLUNDER on.
+
+    Those Things which seem of little Consequence,
+  And slight and trivial; know; you some time hence,
+  When you are made ridiculous; will find,
+  They are important, and instruct the Mind:
+  If in a _Building Fit_, a FRANTIC Man:
+  Should _wildly_ scheme, a bad, or monstrous Plan,
+  Not minding _where_, or _how_, or _what_, to lay,
+  For a Foundation, or his _Workmen_ pay:
+  If he should find, a Prison for his Pains,
+  (Misfortune justly suited to his Brains)
+  No one would _pity_, or _condole_ his Fate,
+  But think he merited, the _Bedlam-State_.
+
+    EMPEDOCLES, with Madness sought the Flame,
+  And thought by that; to gain immortal _Fame_.
+  Let ARCHITECTS, and BUILDERS, _mad_ as they,
+  In Folly; run, and make themselves away;
+  Why should it be a _Sin_, such Men to kill,
+  More than to keep alive, against their Will?
+  It was not _Chance_, but _Choice_, the Poet made,
+  To seek _Divinity_, in LETHE's Shade;
+  For if he was, from PLUTO's _Sable Plain_,
+  Return'd to _Earth_,----He'd AETNA seek again.
+
+    'Tis hard to say, whether the _Gloomy Clime_,
+  Or _Murder_, _Incest_, or some heinous Crime,
+  Sends _Building-Fiends_, into the _Madding World_,
+  Govern'd by _Frenzy_; by Confusion _hurl'd_,
+  Seize all they meet; and----like the baited BEAR,
+  Without Distinction, _Range_, and _Rend_, and _Tear_:
+  No one escapes them: from Lord O--R--D: down,
+  To _B----s_, and every errant Fool in Town:
+  They _build_, or teach; are leading, or are led;
+  And never cease, till they're in Jail, or dead.
+
+
+_FINIS._
+
+[Illustration]
+
+       *       *       *       *       *
+
+
+
+
+WILLIAM ANDREWS CLARK MEMORIAL LIBRARY
+
+UNIVERSITY OF CALIFORNIA, LOS ANGELES
+
+[Illustration]
+
+The Augustan Reprint Society
+
+PUBLICATIONS IN PRINT
+
+
+
+
+The Augustan Reprint Society
+
+PUBLICATIONS IN PRINT
+
+[Illustration]
+
+
+1948-1949
+
+16. Henry Nevil Payne, _The Fatal Jealousie_ (_1673_).
+
+18. Anonymous, "Of Genius," in _The Occasional Paper_, Vol. III, No. 10
+    (1719), and Aaron Hill, _Preface to The Creation_ (1720).
+
+
+1949-1950
+
+19. Susanna Centlivre, _The Busie Body_ (1709).
+
+20. Lewis Theobald, _Preface to the Works of Shakespeare_ (1734).
+
+22. Samuel Johnson, _The Vanity of Human Wishes_ (1749), and two
+    _Rambler_ papers (1750).
+
+23. John Dryden, _His Majesties Declaration Defended_ (1681).
+
+
+1950-1951
+
+26. Charles Macklin, _The Man of the World_ (1792).
+
+
+1951-1952
+
+31. Thomas Gray, _An Elegy Wrote in a Country Churchyard_ (1751), and
+     _The Eton College Manuscript_.
+
+
+1952-1953
+
+41. Bernard Mandeville, _A Letter to Dion_ (1732).
+
+
+1963-1964
+
+104. Thomas D'Urfey, _Wonders in the Sun; or, The Kingdom of the Birds_
+     (1706).
+
+
+1964-1965
+
+110. John Tutchin, _Selected Poems_ (1685-1700).
+
+111. Anonymous, _Political Justice_ (1736).
+
+112. Robert Dodsley, _An Essay on Fable_ (1764).
+
+113. T. R., _An Essay Concerning Critical and Curious Learning_ (1698).
+
+114. _Two Poems Against Pope_: Leonard Welsted, _One Epistle to Mr. A.
+     Pope_ (1730), and Anonymous, _The Blatant Beast_ (1742).
+
+
+1965-1966
+
+115. Daniel Defoe and others, _Accounts of the Apparition of Mrs. Veal_.
+
+116. Charles Macklin, _The Covent Garden Theatre_ (1752).
+
+117. Sir George L'Estrange, _Citt and Bumpkin_ (1680).
+
+118. Henry More, _Enthusiasmus Triumphatus_ (1662).
+
+119. Thomas Traherne, _Meditations on the Six Days of the Creation_ (1717).
+
+120. Bernard Mandeville, _Aesop Dress'd or a Collection of Fables_ (1704).
+
+
+1966-1967
+
+123. Edmond Malone, _Cursory Observations on the Poems Attributed to
+     Mr. Thomas Rowley_ (1782).
+
+124. Anonymous, _The Female Wits_ (1704).
+
+125. Anonymous, _The Scribleriad_ (1742). Lord Hervey, _The Difference
+     Between Verbal and Practical Virtue_ (1742).
+
+
+1967-1968
+
+129. Lawrence Echard, Prefaces to _Terence's Comedies_ (1694) and
+     _Plautus's Comedies_ (1694).
+
+130. Henry More, _Democritus Platonissans_ (1646).
+
+132. Walter Harte, _An Essay on Satire, Particularly on the Dunciad_
+     (1730).
+
+
+1968-1969
+
+133. John Courtenay, _A Poetical Review of the Literary and Moral
+Character of the Late Samuel Johnson_ (1786).
+
+134. John Downes, _Roscius Anglicanus_ (1708).
+
+135. Sir John Hill, _Hypochondriasis, a Practical Treatise_ (1766).
+
+136. Thomas Sheridan, _Discourse ... Being Introductory to His Course
+     of Lectures on Elocution and the English Language_ (1759).
+
+137. Arthur Murphy, _The Englishman From Paris_ (1736).
+
+138. [Catherine Trotter], _Olinda's Adventures_ (1718).
+
+
+Publications of the first fifteen years of the Society (numbers 1-90)
+are available in paperbound units of six issues at $16.00 per unit,
+from the Kraus Reprint Company, 16 East 46th Street, New York, N.Y.
+10017.
+
+Publications in print are available at the regular membership rate of
+$5.00 yearly. Prices of single issues may be obtained upon request.
+Subsequent publications may be checked in the annual prospectus.
+
+
+[Illustration]
+
+
+The Augustan Reprint Society
+
+William Andrews Clark Memorial Library
+
+UNIVERSITY OF CALIFORNIA, LOS ANGELES
+
+2520 Cimarron Street (at West Adams), Los Angeles, California 90018
+
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+
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+THE REGENTS OF THE UNIVERSITY OF CALIFORNIA
+
+
+William Andrews Clark Memorial Library: University of California, Los Angeles
+
+The Augustan Reprint Society
+
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+
+_General Editors_: William E. Conway, William Andrews Clark Memorial
+Library; George Robert Guffey, University of California, Los Angeles;
+Maximillian E. Novak, University of California, Los Angeles
+
+_Corresponding Secretary_: Mrs. Edna C. Davis, William Andrews Clark
+Memorial Library
+
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+
+The Society's purpose is to publish rare Restoration and
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+All income of the Society is devoted to defraying costs of
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+
+Correspondence concerning memberships in the United States and Canada
+should be addressed to the Corresponding Secretary at the William
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+prospective members should address B. H. Blackwell, Broad Street,
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+
+Publications of the first fifteen years of the Society (numbers 1-90)
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+10017.
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+Make check or money order payable to THE REGENTS OF THE UNIVERSITY
+OF CALIFORNIA
+
+
+REGULAR PUBLICATIONS FOR 1969-1970
+
+139. John Ogilvie, _An Essay on the lyric poetry of the ancients_
+     (1762). Introduction by Wallace Jackson.
+
+140. _A Learned Dissertation on Dumpling_ (1726) and _Pudding burnt
+     to pot or a compleat key to the Dissertation on Dumpling_ (1727).
+     Introduction by Samuel L. Macey.
+
+141. Selections from Sir Roger L'Estrange's _Observator_ (1681-1687).
+     Introduction by Violet Jordain.
+
+142. Anthony Collins, _A Discourse concerning Ridicule and Irony in
+     writing_ (1729). Introduction by Edward A. Bloom and Lillian D. Bloom.
+
+143. _A Letter from a clergyman to his friend, with an account of the
+     travels of Captain Lemuel Gulliver_ (1726). Introduction by Martin
+     Kallich.
+
+144. _The Art of Architecture, a poem. In imitation of Horace's Art of
+poetry_ (1742). Introduction by William A. Gibson.
+
+
+SPECIAL PUBLICATION FOR 1969-1970
+
+Gerard Langbaine, _An Account of the English Dramatick Poets_ (1691),
+Introduction by John Loftis. 2 Volumes. Approximately 600 pages. Price
+to members of the Society, $7.00 for the first copy (both volumes),
+and $8.50 for additional copies. Price to non-members, $10.00.
+
+       *       *       *       *       *
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+
+Already published in this series:
+
+1. John Ogilby, _The Fables of Aesop Paraphras'd in Verse_ (1668), with
+   an Introduction by Earl Miner. 228 pages.
+
+2. John Gay, _Fables_ (1727, 1738), with an Introduction by Vinton A.
+   Dearing. 366 pages.
+
+3. _The Empress of Morocco and Its Critics_ (Elkanah Settle, _The
+   Empress of Morocco_ [1673] with five plates; _Notes and Observations on
+   the Empress of Morocco_ [1674] by John Dryden, John Crowne and Thomas
+   Snadwell; _Notes and Observations on the Empress of Morocco Revised_
+   [1674] by Elkanah Settle; and _The Empress of Morocco. A Farce_ [1674]
+   by Thomas Duffett), with an Introduction by Maximillian E. Novak. 348
+   pages.
+
+4. _After THE TEMPEST_ (the Dryden-Davenant version of _The Tempest_
+   [1670]; the "operatic" _Tempest_ [1674]; Thomas Duffett's
+   _Mock-Tempest_ [1675]; and the "Garrick" _Tempest_ [1756]), with an
+   Introduction by George Robert Guffey. 332 pages.
+
+
+Price to members of the Society, $3.50 for the first copy of each
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+
+       *       *       *       *       *
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+=Transcriber's Notes:= Spelling is retained as in the original.
+_Contact information and pricing for the Augustan Reprint Society is
+presented solely as content original to the physical volume from which
+this transcription was produced and should not be considered current
+or reliable._
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