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diff --git a/36441-h/36441-h.htm b/36441-h/36441-h.htm new file mode 100644 index 0000000..1da37e7 --- /dev/null +++ b/36441-h/36441-h.htm @@ -0,0 +1,2612 @@ +<!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;} + span.brace { float: right; right: auto; line-height: 1.4em; font-size: 300%; } + 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—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 <i>M——s, F——ft, G——s, L——i, W——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—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 <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—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).<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—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—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——</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—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 + +<span class="pagenum"><a id="pagemv" name="pagemv"></a>[pg v]</span> + + epistemology, further, shifted attention from the external world—the +previous source of the rules—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—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, +</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—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>,——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 ——</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>—<i>The +Art of</i> Cookery, <i>and</i> Harlequin-Horace <i>are two glaring Instances, not +to mention Numberless</i> Translators, Commentators, &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>.—<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>.—-<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"> ——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— </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——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">Dædalus</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—k—r; V—b—'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—l—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>—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——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—s, F—ft, G—-s, L—i, W—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>.—— </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——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——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—b—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—s—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——</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—c-a</span>, with a Front direct, </p> +<p class="i2"> Or stupid <span class="sc">B——s</span>, makes such an Architect; </p> +<p class="i2"> Unhappy I!——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—f—y</i>, think you; <i>C—p—n</i> survive? </p> +<p class="i2"> Will <i>O—k—y</i>, <i>B——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—f—w</i>; <i>M—d—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>,—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——le</span>! or <span class="sc">S—n—pe</span>, <span class="sc">P—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——s</i>, or <i>F—tc—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——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>,——He'd <span class="sc">Ætna</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——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—r—d</span>: down, </p> +<p class="i2"> To <i>B——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. 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