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diff --git a/36441.txt b/36441.txt new file mode 100644 index 0000000..42eec06 --- /dev/null +++ b/36441.txt @@ -0,0 +1,1950 @@ +The Project Gutenberg EBook of The Art of Architecture, by Anonymous + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Art of Architecture + A Poem In Imitation of Horace's Art of Poetry + +Author: Anonymous + +Commentator: William A. Gibson + +Release Date: June 15, 2011 [EBook #36441] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE ART OF ARCHITECTURE *** + + + + +Produced by Chris Curnow, Joseph Cooper, David Garcia and +the Online Distributed Proofreading Team at +http://www.pgdp.net + + + + + + + +The Augustan Reprint Society + + + + + + +The Art of Architecture + +A POEM + +In Imitation of Horace's ART OF POETRY + +(Anonymous) + +(1742) + + * * * * * + + _Introduction by_ + William A. Gibson + + * * * * * + + PUBLICATION NUMBER 144 + WILLIAM ANDREWS CLARK MEMORIAL LIBRARY + University of California, Los Angeles + 1970 + + + + +GENERAL EDITORS + + William E. Conway, _William Andrews Clark Memorial Library_ + George Robert Guffey, _University of California, Los Angeles_ + Maximillian E. Novak, _University of California, Los Angeles_ + + +ASSOCIATE EDITOR + + David S. Rodes, _University of California, Los Angeles_ + + +ADVISORY EDITORS + + Richard C. Boys, _University of Michigan_ + James L. Clifford, _Columbia University_ + Ralph Cohen, _University of Virginia_ + Vinton A. Dearing, _University of California, Los Angeles_ + Arthur Friedman, _University of Chicago_ + Louis A. Landa, _Princeton University_ + Earl Miner, _University of California, Los Angeles_ + Samuel H. Monk, _University of Minnesota_ + Everett T. Moore, _University of California, Los Angeles_ + Lawrence Clark Powell, _William Andrews Clark Memorial Library_ + James Sutherland, _University College, London_ + H. T. Swedenberg, Jr., _University of California, Los Angeles_ + Robert Vosper, _William Andrews Clark Memorial Library_ + + +CORRESPONDING SECRETARY + + Edna C. Davis, _William Andrews Clark Memorial Library_ + + +EDITORIAL ASSISTANT + + Roberta Medford, _William Andrews Clark Memorial Library_ + + + + +INTRODUCTION + + +John Gwynn, generally accepted as the author of _The Art of +Architecture_ (1742), is best known to students of English literature +as one of the founders of the Royal Academy and as a friend of Samuel +Johnson, who undertook in 1759 to win the Blackfriars Bridge commission +for Gwynn with a series of three letters in the _Daily Gazeteer_[1]. +To architectural historians Gwynn is best known as the architect whose +proposals for regularizing the street plans of London and Westminster +(in _London and Westminster Improved_, 1766) were prophetic both of the +plan which eventually emerged from the land speculation and building +boom of the eighteenth and nineteenth centuries and of the prominence +subsequently given to city-planning.[2] But like Dr. Johnson, Gwynn +looked as much to the past as he anticipated the future. This is almost +inevitable since he too spans the years which saw the last expressions +of humanist principles of art and the first struggles to find new bases +for aesthetic judgments. Although the date of Gwynn's birth is unknown, +he must have been almost an exact contemporary of Dr. Johnson, for he +also began his literary career in the 1730's, gained public recognition +in the 1750's, associated with members of the Literary Club in the +1760's, and died slightly over a year after Johnson, probably on 27 +February 1786. + +Their careers exhibit two more instructive parallels. Both began +as amateurs, possessed of no specific training, and ended as +self-supporting "professionals," able to exercise their skills on +demand and fully conscious of the qualifications needed for membership +within their professions.[3] Second, both began with the hope of +"fixing" the rules of their arts, but ended by disavowing the intention +or by implicitly contradicting it. Johnson records his disillusionment +with one such attempt in the "Preface" to his _Dictionary_ (1755). +Gwynn's continuing interest in the attempt is evident in his early +proposals for establishing an art academy (_An Essay on Design_, 1749) +and in his serving as a representative of the architectural profession +in the founding of the Royal Academy. However his efforts late in his +career to accommodate his early principles to the needs of a nation in +the midst of an economic and a building boom reveal a considerable +shift from his dogmatic support of the rules of art in _The Art of +Architecture_. + +The poem is significant in a number of ways. It is the work of a young, +inexperienced architect, with literary ambitions, who has learned most +of what he knows about the principles of his art from published +sources--treatises, pattern books, and measured drawings--rather than +in an architect's studio or in a master mason's stone-cutting yard. +Take, for example, one of his lists of architects worthy of study: +"With _M----s, F----ft, G----s, L----i, W----e_,/ Let ADMIRALTY, +or CUSTOM-HOUSE compare" (p. 18). Four of these architects published +treatises or translations of treatises which Gwynn certainly knew: +Robert Morris, _Lectures on Architecture_, 1734-36[4]; James Gibbs, +_Rules for Drawing the Several Parts of Architecture_, 1733; James +Leoni, translations of Palladio, 1715-16, and of Alberti, 1726; Isaac +Ware, translation of Palladio, 1737. The other architect referred to is +Henry Flitcroft. The poem is, secondly, an unusually clear expression +of the architectural principles--and dilemmas--of a man who is +sensitive to changes in taste and in artistic practice, but unaware of +the causes of the changes, and probably incapable of grasping their +significance. This is precisely what makes _The Art of Architecture_ a +valuable document in the history of eighteenth-century criticism. The +poem provides a brief but rather full summary of the major precepts +of humanist architectural theory accepted in the first half of the +century, and introduces an important English innovation. At the same +time it reveals the passionate desperation of a man confident in his +rules of art but powerless to impose them upon a society enamored of +novelty. Gwynn never gave up his youthful ambition of improving English +building, but he did give up the positiveness evident in this poem. + +Gwynn's general critical bias is readily identifiable because it is +consistent with that of many conventionally trained architects of the +1720's and 1730's, and with that of most propagandists for English +Palladianism. Like the Earl of Burlington, William Kent, Colin +Campbell, Morris, Ware, and Alexander Pope, Gwynn venerated Inigo Jones +as England's Palladio, as the architect who showed how Palladio's rules +could be naturalized for the English climate (pp. 14, 25). Similarly +orthodox is his opinion of the fanciful baroque architecture of Sir +John Vanbrugh and Nicholas Hawksmoor, both of whom are held up as +perpetrators of tasteless, licentious innovation (pp. 14, 26). The more +chaste baroque architects--Sir Christopher Wren, Gibbs, and Thomas +Archer--Gwynn generally admires, although he recognizes occasional +flaws in the works of Gibbs and Archer (pp. 14, 29). In remarking on +his other "villain" architects, Gwynn reveals his political preferences +and some acquaintance with current scandals. At least two of them were +aligned with the court party. Thomas Ripley, a one-time carpenter who +was one of Pope's targets of satire, erected Houghton for Robert +Walpole in accordance with designs by Campbell (pp. 15, 17).[5] Edward +Oakley dedicated his _Magazine of Architecture_, _Perspective and +Sculpture_ (1730) to Walpole, but received no posts such as those which +Ripley, Hawksmoor, Vanbrugh, or John James enjoyed under the Walpole +administration (p. 28). Two more architects whom he mentions, besides +Gibbs, Vanbrugh, and Ripley, were employed on the notorious projects of +the Duke of Chandos--John James and Andrew Shepherd (pp. 10, 23).[6] +Gwynn's taste and principles were those of an educated elite to which +he did not belong--conventional in their moral and aesthetic +implications, and conservative in their political ones. + +But the significance of _The Art of Architecture_ is not merely as +evidence of contemporary attitudes toward Hawksmoor or James, Chapman +or Banks. It is rather what Gwynn believes they indicate: the failure +to establish in England a building practice firmly based upon a body of +principles which architects and men of letters in the first half of +the eighteenth century had wanted to believe inviolable. The Palladian +revival had helped to subvert the medieval crafts tradition in building +(which had been vigorous through the seventeenth century) and had +contributed to substituting for the pomp and flamboyance of the baroque +a taste for regularity in outline, clear relationship of parts, and a +relative simplicity of surface and ornament. Accompanying it was an +unprecedented deluge of publications, all of which helped to create a +greater popular consciousness of humanist architectural principles than +had previously existed. Yet the revival was proving ineffectual, and +perhaps the clearest evidence is in Gwynn's attack on Kent: "See +the old GOTHS, in _K----_'s Designs survive;/ And Modern FOOLS, to +imitate his strive" (p. 26). Kent edited the drawings of the English +Palladio for the Earl of Burlington (_The Designs of Inigo Jones, With +Some Additional Designs_, 1727); but at Esher Place, Surrey (ca. 1730), +and again in Merlin's Cave, erected at Richmond Park for Queen Caroline +(1735), he "anticipate[d] by twenty years the rococo Gothic of the +1750's."[7] The latter design was even published with some by Jones two +years after _The Art of Architecture_ in John Vardy's _Some Designs of +Mr. Inigo Jones and Mr. William Kent_ (1744). Clearly Vitruvius's rule +of _decor_ had not restrained even the publicists of Palladianism. + +Humanist architectural theory was losing its authority even as it was +being widely disseminated; it was also, as was only half clear to +Gwynn, becoming increasingly unintelligible. Wealthy patrons of the art +looked more and more upon exact knowledge of it as unbefitting the +learning of a gentleman. Archaeological studies of antiquities, instead +of helping to fix the rules of proportion, were contributing to +aesthetic relativity by demonstrating the disparity between ancient +practice and Vitruvius's rules. Claude Perrault attempted to resolve +these disparities by a system of mathematical averages, but the result +of his empirical method is only to substitute one source of relativity +for another.[8] By the 1740's what Rudolf Wittkower has called the +"break-away from the laws of harmonic proportion"[9] was well under +way, and it represented but a part of the collapse of the several +systems of arithmetic and geometric proportion which had dominated +humanist theory. Developments in the history of thought made this +collapse inevitable. The old aesthetics were based upon correspondences +between divine and human artifacts. Thus in designing a building the +architect emulated the Divine Architect who "ordered all things in +measure and number and weight" (Wisdom 11:20). The geometric forms and +the systems of mathematical and harmonic proportions of a building +answered to those of the cosmos; likewise the aesthetic attributes +of the cosmos--with their attendant moral ones--such as symmetry, +uniformity, regularity, and fitness had their correspondences in +architecture. Such assumptions provided immutable bases for the rules +external to the individual work of art, but the breakdown of analogical +reasoning in the seventeenth and eighteenth centuries necessarily +undermined such philosophical-theological foundations. The new +epistemology, further, shifted attention from the external world--the +previous source of the rules--to the mind perceiving it. + +By the 1740's consciousness was growing of threats against the ethical +and aesthetic values of Renaissance humanism (best expressed in Pope's +_Dunciad in Four Books_), and of the consequent need for new sources +of authority for the rules of art. One highly eccentric quest for +authority was published just a year before _The Art of Architecture_: +John Wood's _The Origins of Building_; or, _The Plagiarism of the +Heathens Detected_ (1741). Wood reconstructs the history of +architecture to make it conform to Old Testament chronology. Thus he +attributes the major tenets of Vitruvius's architectural theory to +various patriarchs and ancient Jewish heroes, or, when he finds +any justification for doing so, directly to God. Gwynn's attempt +to buttress the rules is far more mundane. He seeks support from +contemporary philosophy; for example, he introduces the epistemological +and ethical systems of Shaftesbury to account for some principles of +decorum, but without perceiving the subjectivity he was imposing on +them. He rationalizes some of Vitruvius's analogies between natural +and architectural forms. But even more clearly indicative of the +futility of his effort are his appeals to authority. He implores such +aristocratic patrons as Pembroke, Chesterfield, and Burlington to "Be +to my _Muse_ a Friend; assist my Cause;/Be Friend to _Science_, fix'd +on _Nature's_ Laws" (p. 30). Perhaps most important, however, is the +authority of Horace himself, who provides the model for the poem. + +Although neoclassical critics generally accepted the reality of +correspondences between architectural and literary criticism, Gwynn did +not find the _Ars Poetica_ an entirely manageable model.[10] Horace's +figures of the mad painter and the mad poet which frame the poem at +either end serve Gwynn well, for his imitations of them as the mad +painter and the mad architect emphasize the personal, social, and +artistic consequences of attempting to build without rules, talent, or +even a clear need to build. But within the poem, allusions to Horace +are often much more elusive. He usually succeeds best in keeping close +to Horace when citing the most general principles. Thus Horace's attack +on bombast and timidity ("professus grandia turget;/serpit humi tutus +nimium timidusque procellae," 11. 27-28) occasions an attack on +misunderstood magnificence and on stodginess: + + Others affect _Magnificence_ alone; + And rise in large enormous Heaps of Stone; + Swell the huge _Dome_, and _Turrets_ bid to rise, + And Towers on Towers; attract the Gazer's Eyes. + Some dare not leave the old, the beaten Way, + To search new Methods, or in Science stray ... + + (p. 8.) + + +Similarly clear are Gwynn's adaptations of such commonplaces as the +need to subordinate parts to the whole (p. 8) or for consistency of +style (p. 15). Again, Horace asks whether a good poem is the product of +nature or art--of native talent or of training--and denies that either +is adequate alone (11. 408-418). Gwynn raises the same question about +the architect, although in the first person, and answers, + + If _Art_, or _Nature_, form'd me what I am; + If one or both, assisted in the Plan, + It is beyond, my utmost Power to say: + Whether I _Art_, or _Nature_' s Laws obey. + + (p. 31.) + + +Since such ambivalence as this is not appropriate to his purpose, he, +unlike Horace, begins almost immediately to stress a course of study +that will result in mastery of the rules. + +This last rhetorical tactic points to one serious problem which Horace +poses for Gwynn--that of assuming an appropriate stance for defending +the rules. The tone of Horace's epistle to the Pisos is familiar +without being condescending. He writes as an experienced poet and +critic to fellow writers, delivering his pronouncements freely and +confidently, but without dogmatism. Gwynn is neither an equal writing +to equals nor an experienced architect, confident of his qualifications +to instruct the world. At one moment he acknowledges the "Judgment's +Height" of the addressee (p. 28), the next he holds himself up as +possessing a skill worthy of emulation, and proceeds to deliver a +lesson in the tone of a schoolmaster: "Those Things which seem of +little Consequence,/ And slight and trivial ..." (p. 32). Horace's wit, +his reliance upon his audience to grasp the implications of his many +examples, and his avoidance of positiveness subvert Gwynn's purpose, +as he reveals frequently in contradictory outbursts and in shifts in +tone. Yet in one important passage Horace provides him with a stance +and a theme which help him prop up the rules. After discussing +pardonable faults (11. 347-365) Horace addresses Piso's elder son, +compliments him for his wisdom and training, and _reminds him_ of the +activities in which mediocrity may be tolerated. This serves as a +contrast to poetry: "mediocribus esse poetis/ non homines, non di, +non concessere columnae" (11. 372-373). For once Horace is almost +uncompromising enough for Gwynn's purposes. He adopts a similarly +magisterial tone, but reorders Horace's materials so that the emphasis +is more fully on this principle: + + But yet, _my Lord_, this _one_ important Truth, + This Law of _Science_, which we teach our Youth + Even THIS, no Mediocrity admit, + _Rules_, _Nature_, _Reason_, _all_ must jointly fit: + A _Painter_ may RAPHAEL'S Judgment want, + And yet, we some Abilities will grant: ... + + In BUILDING, there's no _Laws_ of human Kind, + Admit a _Medium_; to the Artist's Mind, + _All_ must be perfect, or 'tis understood, + Excessive _Ill_,----or else sublimely _Good_. + + (pp. 29-30.) + + +Especially significant here is his insistence that the "Law of +_Science_" will "no Mediocrity admit," for Horace discusses poetic +practice rather than the rules which aid it. Secondly, the belabored +inference drawn from the principle in the final couplet has no +precedent at all in Horace. Gwynn has made every effort to place the +rules outside the realm of human eccentricity and to give them the +stature of "_Nature's_ Laws." + +Considering that the tenets of humanist architectural theory are +traditionally classified very differently from those of literary +criticism, as Gwynn acknowledges in his "Preface" (p. iii), he manages +to accommodate them surprisingly well to the organization of the _Ars +Poetica_. A good example is his treatment of Horace's discussion of the +transitoriness of language, as of all things, and the necessary dominance +of the rules of usage (11. 46-72). The most obvious parallel is the +inevitable ruin of the pompous buildings which men erect (p. 11). +But he develops none of the botanical analogies which Horace used to +illustrate the rhythms of life and death (11. 60-69), for his purpose +is to emphasize instead the parallel between _usus_ and the +architectural concept of "use." Horace insists, "multa renascentur quae +iam cecidere, cadentque/ quae nunc sunt in honore vocabula, si volet +usus" (11. 70-71). Gwynn elaborates on this: + + But Use has rais'd the _Greek_ and _Roman_ Rules, + And banish'd GOTHICK Practice from the Schools. + Use is the Judge, the Law, the Rule of Things, + Whence ARTS arose, and whence the SCIENCE springs. + + (p. 11)[11] + + +Horace and Gwynn both think of "use" operating as a kind of historical +necessity causing the resurrection of a rule or a form. Gwynn adds to +this the concept, drawn from Vitruvius and his commentators, that the +rules of architecture prescribe forms which satisfy particular uses and +reflect directly the strengths and limitations of building materials +and techniques. These are the major premises of Gwynn's assertion +that "on _Nature's_ perfect Plan,/ I form my SYSTEM" (p. 31). To +buttress this confidence in rules he develops the parallels between +Horace's history of poetry (11. 73-98) and the history of architecture. +Cecrops, the first king of Athens, is to architectural practice what +Homer is to heroic poetry. Daedalus is to the theory of architecture +what Archilochus is to the meter of dramatic poetry (pp. 11-12). The +emphasis on the giving and systematizing of rules, although without +precedent in Horace, reflects the same preoccupation with the authority +of origins as John Wood's _Origins of Building_, Pope's _Essay on +Criticism_, or even Locke's _Two Treatises on Government_ for that +matter. + +Horace provides less precise correspondences for one of the most important +rules. Vitruvius's rule of _decor_ (_De Architectura_, I, ii, 5) is +only generally parallel to the rules governing decorum of language, +characterization, and genre. Gwynn nevertheless introduces all of its +major implications. It dictates the observing of clear correspondences +between a building's form and its use, inhabitant, and site (or +"situation," to use the eighteenth-century term). It is based upon the +notion that architectural styles have recognizable social, ethical, +religious, and aesthetic attributes. The attributes, which evoke +predictable psychological responses, express the _uses_ which the +styles were created to satisfy and the cultures in which they were +developed. One brief passage beginning "If to adapt your Fabrick, you +would choose,/ To suit the _Builder's_ Genius, or his Use" (pp. 15-16) +effectively summarizes the primary dictates of _decor_. The architect +has to choose forms and ornaments having attributes in common with the +social station and character traits of the builder of a residence,[12] +with the deity to whom a temple is dedicated, with a building's +function, or with the landscape in which it is placed. Thus, for +example, the heavy, plain Tuscan order is appropriate for "A _little_ +Structure; built for Use alone," the "gaiety" of the middle Ionic order +for a country villa, and the "delicacy" of the Corinthian order for an +elegant church or palace (p. 25). An architect's skill is most often +measured in the poem by his adherence to _decor_. + +One violator of _decor_ serves as a focus in an important passage +wherein Gwynn tries to integrate Vitruvius and Horace while making a +transition to one of his central concerns, the peculiarly English +reinterpretation of decorum of situation. In discussing the difficulty +of treating traditional subjects in novel ways, Horace compares an +erring "scriptor cyclicus olim" with Homer, summarizes some general +principles, and then turns to a consideration of how to win public +applause (11. 119-178). Gwynn is more suspicious of originality than +Horace (p. 17), and uses Ripley as an example of one who erred in +trying to avoid customary forms. Ripley's Custom House (1718) and +Admiralty building (1723-26) become the equivalent of the Cyclic poet's +bad verse, while Morris, Flitcroft, Gibbs, Leoni, and Ware become the +modern Homers of architecture (p. 18). Gwynn ends the verse paragraph +with Horace's theme of suiting the parts to the whole. With Ripley's +performance as a background Gwynn turns to architecture's most +fundamental rules: + + CRITICKS, attend the Rules which I impart; + They are at least; _instructive_ to the Art: + Mark how _Convenience_, _Strength_, and _Beauty_ join: + With these let _Harmony of Parts_ combine. + + (p. 18.) + + +These lines may be construed as the architect's equivalent of Horace's +advice for winning applause. But in fact the entire verse paragraph +which these lines introduce is simply a paraphrase of Vitruvius (I, +iii, 2. Cf. Wotton's remark, "_Wel-building_ hath three Conditions, +_Commodity_, _Firmnesse_, and _Delight_").[13] The leap which follows +the introduction of these three principles has no precedent in Horace, +but it does in Vitruvius, whose _De Architectura_ is notorious for its +eccentric organization and abrupt transitions. Immediately following +this passage in Vitruvius is his chapter on the "salubrity of sites" +(I, iv). + +It is ironical that where Gwynn is closest to Vitruvius in one respect +he departs most radically from him in another. Vitruvius's attention +is almost exclusively on the physical requirements of sites for +maintaining men's health and comfort; Gwynn's is on the requirements +for maintaining men's psychological well-being. His conceptions of +decorum of situation begin with Vitruvius and the Renaissance demands +that a site be healthy, that it permit efficient transportation, and +that, if possible, it provide raw materials for building, rich lands +for crops and pastures, and natural beauty conducive to ease and +contemplation. Gwynn emphasizes this last point, building upon +perceptions of nature nourished on Thomson's _Seasons_, and upon a +psychology drawn largely from the Earl of Shaftesbury (pp. 19-22). +In his earlier _Essay on Harmony_. _As it relates chiefly to Situation +in Building_ he quotes Shaftesbury on the title page, acknowledges +his debt to Thomson, and quotes long passages from _The Seasons_ to +illustrate various rural "situations."[14] In _The Art of Architecture_ +he follows Morris's example in writing his own verse in language +imitative of Thomson's (except for one direct quotation, "From the +_moist Meadow_; to the _brown-brow'd Hill_"). The verbal precision of +his poetic epithets, and the analysis of perception which they imply, +help to distinguish the sensory, aesthetic, and emotional effects of +a wide variety of disparate experiences, and thus make possible the +identification of those attributes that guide an architect in choosing +a _mode_ appropriate to a site. The perfect fitting of a building +to its site, as of the parts to a whole, will result in what Gwynn +calls "Ideal Harmony," for it "ariseth from such Numbers, Parts, or +Proportions, which may be resolved in the Mind, and ranged together +in Order, by Contemplation."[15] + +For Gwynn such harmony still has quite clear religious and moral +implications, although he does not, like Morris, attribute to it a +specifically religious function. Yet since the rules are supposedly +based upon natural laws, violations of them betray a failure to +appreciate divine harmony, the highest object of human contemplation. +This accounts for the indignation Gwynn reveals in attacking mad +architects and patrons at the end of the poem, even if it also reveals +his obtuseness in failing to perceive the causes of his outrage. +But, then, Gwynn was no Alexander Pope, either as a poet or as a +thinker.[16] + +The Ohio State University + + + + +NOTES TO THE INTRODUCTION + + +1. Both James Boswell and Sir John Hawkins briefly discuss Johnson's +relations with Gwynn in their biographies of Johnson. The fullest +accounts of Gwynn's life and professional activities are those in +the _DNB_ and in H. M. Colvin, _Biographical Dictionary of English +Architects_, 1660-1830 (London, 1954), pp. 254-256. Both attribute the +poem to him. I am much indebted throughout this introduction to Colvin +for information on the architects mentioned in the poem. + +2. For an estimate of the significance of Gwynn's perceptions +see chapter nine of John Summerson's _Georgian London_, rev. ed. +(Harmondsworth, 1962). His perceptiveness was recognized by the early +nineteenth century. Gregg International published a facsimile reprint +of _London and Westminster Improved_ in 1969. + +3. A work which shows Gwynn's awareness of the differences between the +casual and perhaps well-read dilettante and the dedicated professional +is his essay _The Qualifications and Duty of a Surveyor_ (London, +1752). For discussions of the development of the architectural +profession in eighteenth-century England, see Colvin, pp. 10-25, +and, in spite of his excessively narrow definition of "profession," +Barrington Kaye, _The Development of the Architectural Profession +in Britain, A Sociological Study_ (London, 1960), pp. 39-67. + +4. One indication of Gwynn's admiration for Robert Morris is the title +page of _The Art of Architecture_. The elevation used as an ornament is +not just modelled on a design by Morris; the plate used to print the +elevation is the very plate, slightly reworked, which printed the +design facing p. 209 in Morris's _Lectures_. Most of the original +dimension lines have been obliterated, and the original pyramidal roof +has been truncated. + +5. _Epistle to Burlington_, II. 17-18; _Imitations of Horace_, II, i, +185-186; _The Dunciad in Four Books_, III, 327-328. + +6. C. H. Collins and Muriel I. Baker, _The Life and Circumstances of +James Brydges_, _First Duke of Chandos_ (Oxford, 1949), pp. 115-120, +146, 300, 387-389. + +7. Colvin, p. 342. + +8. _A Treatise of the Five Orders of Columns in Architecture_, trans. +by John James (London, 1708). + +9. Rudolf Wittkower, _Architectural Principles in the Age of Humanism_, +3rd ed. (London, 1962), p. 142. For a summary of England's part in this +"break-away" see pp. 150-153. + +10. Parenthetical references to the _Ars Poetica_ are to the Loeb +edition, trans., H. Rushton Fairclough (Cambridge, Mass., 1929). + +11. Cf. Pope, "You show us, Rome was glorious, not profuse,/ And +pompous buildings once were things of Use" (_Epistle to Burlington_, +11. 23-24). + +12. See Sir Henry Wotton, "Elements of Architecture" (1624), in +_Reliquiae Wottonianae_ (London, 1651), pp. 304-305. + +13. Ibid., p. 201. + +14. _Essay on Harmony_ (London, 1739), pp. 27-31. + +15. Ibid., p. 9. + +16. This work was supported, in part, by the Ohio State University +Development Fund through its Faculty Summer Fellowship program, and by +a grant from the Penrose Fund of the American Philosophical Society. +I should like to express my gratitude for both of these grants. + + + + +BIBLIOGRAPHICAL NOTE + + + This facsimile of _The Art of Architecture_ (1742) + is reproduced from a copy in the British Museum. + + + + +THE + +Art of Architecture, + +A POEM. + +In Imitation of HORACE'S Art of POETRY. + +Humbly Inscribed to the R^{t}. Hon^{ble} the Earl of ---- + + * * * * * + + _Ingenuas didicisse fideliter artes, + Emollit mores, nec finit esse feros._ + + OVID. + +[Illustration] + +_LONDON:_ + + Printed for R. DODSLEY, at TULLY's Head in _Pall-Mall_; and + Sold by T. COOPER at the _Globe_ in _Pater-noster-Row_, 1742. + +[Price, One Shilling.] + + +[Illustration] + + + + +THE PREFACE. + + +_The great Freedom with which_ HORACE _has been used, I hope will be in +some Measure an Excuse for the Liberty I take in this Essay._--_The Art +of_ Cookery, _and_ Harlequin-Horace _are two glaring Instances, not to +mention Numberless_ Translators, Commentators, &c. _upon his Works; in +which some have so Remark'd and Revis'd, that they have explain'd the +Sense of_ Horace _quite away_.--_I for my Part, either as a Poetical_ +ARCHITECT, _or an Architectural_ POET, _profess myself to be only an +humble_ IMITATOR _of him_: _I have seldom lost sight of the_ Original, +_at least as far as the Subject will permit_.---_But_ ARCHITECTURE +_is a barren Theme, and a Path so beaten, that to step out of it, +though purely to avoid the Crowd, is looked upon as an unpardonable +Singularity. How far I may have strayed in this_ Poetical Excursion, +_I know not; but of this, I am certain I can with Truth say with_ +HORACE, + + ----Si quid novisti rectius istis, + Candidus imperti; si non, his Utere Mecum. + + +[Illustration] + + + + +[Illustration] + + + + +THE + +ART of ARCHITECTURE, + +In Imitation of HORACE'S Art of POETRY. + + + Should you, my LORD, a wretched Picture view; + Which some unskilful Copying-_Painter_ drew, + Without Design, Intolerably bad, + Would you not smile, and think the Man was mad? + Just so a tasteless Structure; where each Part + Is void of _Order_, _Symmetry_, or _Art_: + Alike offends, when we the Mimick Place; + Compare with _Beauty_, _Harmony_, or _Grace_. + + PAINTERS, and ARCHITECTS are not confin'd + By _Pedant-Rules_ to circumscribe the Mind: + But give a Loose, their Genius to improve; + And 'midst the pleasing Fields of _Science_ rove. + But then the Laws of _Nature_; and of Sense, + Forbid us with Contraries to dispense: + To _paint_ a Snake, engend'ring with a Dove; + Or _build_ a Prison 'midst a shady Grove. + + At setting out, some promise mighty Things, + _Temples_ they form, and _Palaces_ for Kings; + With a few _Ornaments_ profusely drest, + They shine through all the _Dulness_ of the rest. + At some long _Vista's_ End, the Structure stands; + The Spot a Summit, and a View commands: + The wide-extended Plain appears below, + And Streams, which through the verdant Meadows flow. + Here _Towns_, and _Spires_, and _Hills_ o'er Hills extend; + There _shady Groves_, and _Lawns_, the Prospect end. + Through lavish _Ornaments_, the Fabrick shines + With wild Festoons of Fruits, and clust'ring Vines: + Luxuriant Decorations fill each Space, } + And vast Incumbrances, void of _Rules_ or _Grace_; } + Without Coherence, crowded in each Place. } + + Should you require a little rising Pile, + The Parts appropriate to the fertile Soil: + Where _Neatness_, _Order_, and _Proportion_ join; + Where _Strength_, and _Art_, and _Nature_ should combine: + The mimick _Architect_ perhaps would be } + As much to seek in his Design; as HE } + Whose only Talent was, to paint a _Tree_. } + With such gay Structures, why do they begin + Such _Glare_ of Ornament to usher in? + Why such external needless Dress and Show? + The End impropriate, and the Meaning low. + Form to each _Clime_, each _Place_, a _Modus_ still; + But use the same Proportions at your Will. + Change, modify your Form: Transpose, divide; + The same unerring Rules the _Science_ guide. + + Most ARCHITECTS in something do offend, + When led by, aim'd-at-Excellence; to mend-- + By striving to be plain, they sometimes fall, + So _Mean_, so _Dull_, so _Tasteless_: they spoil all. + Others affect _Magnificence_ alone; + And rise in large enormous Heaps of Stone; + Swell the huge _Dome_, and _Turrets_ bid to rise, + And Towers on Towers; attract the Gazer's Eyes. + Some dare not leave the old, the beaten Way, + To search new Methods, or in Science stray: + Others with wild Varieties engage, + And build a Seat to face the _Ocean's_ Rage; + Carve _Fruit_ and _Flowers_, to face the raging Floods, + Festoons of Shells, or Fish, for shady Woods. + Thus willful Erring, join'd with Want of Skill, + Is the most certain Way of Erring still. + + The meanest Workman, may attempt to place + A little Dress to decorate a Space; + May put an Ornament about a Door, + Or decorate a Window, and no more: + But then to _finish_, is beyond his Skill, + And we suppose the rest, exceeding ill. + And 'tis ridiculous for one good Part, + Where what remains are Scandal to the Art; + Where only one is luckily adorn'd, + And all the rest remarkably deform'd. + + Let _Architects_ attempt their Skill to show + In _small_ Designs at first; in what they know. + Then as they find their Genius rise, to try + How much their Structures they can magnify. + Shew how _Convenience_, _Beauty_, _Symmetry_, + How _Method_, _Art_, and _Nature_ will agree. + Rules well appropriate will ever please, + And proper Dress, is plac'd with greatest Ease. + First study _Nature_, where, and how to fill + The various Voids, and ornament with Skill. + Chuse the _just_ Emblems for the Pile and Spot; + The Dress of _Temples_ suit not with a _Grot_. + The _Palace_, and the _Villa_ differ wide, + For both, a proper Ornament provide, + Perhaps in _this_, you must Profuseness spare; + When _that_; requires you to be lavish there. + + If from the usual Taste your Building springs + Magnificently great, a Seat for Kings, + Let your exalted Fancy, tho' 'tis new, + Keep the great Arts of _Greece_ and _Rome_ in View; + From thence your Fabrick form, your Genius flow, + Thence bid the _Ravish'd Gazer's_ Bosom glow. + Can an impartial Critick justly blame + A Fault in JONES, (or FL-T-FT, is the same;) + And yet approve in HAWKSMOOR, or in J----s, + The same wild Error, or the same Extremes? + Why should the few, the Rules which I impart, + Be construed ill, be Scandal to the Art? + When GIBBS, so copious, so enrich'd has been, + No Part's obscure, but all are useful seen. + + Men always had, and ever will, Pretence, + At least with Method, to improve our Sense: + And the last Laws, however just or true, + Must give the Palm to such which are more new. + One Year, a Train of Images arise, + The next a gayer, newer Form supplies. + One Scene improv'd, must to another yield, + And all resign to FATE, and quit the Field. + + The fam'd St. HELLEN's, and the fam'd TORBAY, + Where GEORGE's GLORIOUS FLEETS, in _Safety_ lay. + The _Bank_, the _Meuse_, the _Treasury_ will fall, + One common Ruin overwhelming all: + Nay this great CITY may be lost in Flames, + And what are _Villa_'s, may be desart _Plains_. + The _Bleating Flocks_, on ruin'd _Fabricks_ stray, + And what were _Temples_, now in _Ashes_ lay: + The _Groves_ arise where _Gilded Turrets_ shone, + And what are _Gardens_ now, were Heaps of _Stone_. + Yet THOSE, and THEY, will in Oblivion lye, + And all, in future Times, forgot, and die. + Why then should _Artists_ challenge future Praise, + When Time devours their Works so many Ways? + But Use has rais'd the _Greek_ and _Roman_ Rules, + And banish'd GOTHICK Practice from the Schools. + Use is the Judge, the Law, the Rule of Things, + Whence ARTS arose, and whence the SCIENCE springs. + + At ATHENS first the rising Art began; + CECROPS, the King, first modell'd out the Plan. + The studious Youth; pursued with ardent Care + The Infant Rules, unpolish'd as they were, + Till banish'd DAEDALUS Protection sought, + _There_ well receiv'd, the stricter Rules he taught; + Their _Arts_, their _Sciences_, were learn'd in Schools, + And all their _Precepts_ were confin'd to Rules. + + The swelling _Tree_, as it unpolish'd grew + Undecorated, _Native_ Graces shew; + From thence the COLUMN, in its purer Dress, + The Work of _Nature_, must the Form confess: + The _wreath'd_, the _fluted_, or th' _encumb'ring_ Vine, + With plenteous _Branches_ round the Pillar twine; + Yet still its pure Simplicity you see; + The Shaft of _Art_, resembles still a _Tree_. + + But how to appropriate, to embellish still + Justly, the Space to decorate and fill, + To give proportion'd Beauty to each Part, + To make the whole subservient to the Art: + The Inborn-Traces of the Mind pursue, + For Nature teaches how to find the Clue. + + The _silent Groves_ a little Pile must grace; + Nor yet too grave, or lavish for the Place. + We find the middle Path, the Way to please, + And decorate the Parts with greater Ease. + But when the Opening to some distant Scene, + Where _Lawns_, and _liv'ning Prospects_ intervene; + Where _Vista's_ or delightful _Gardens_ charm; + Where _verdant Beauties_ all our Senses warm: + Let _Flow'rs_ and _Fruit_ in seeming Wildness grow; + And there let lavish _Nature_ seem to flow. + _There_ let the Parts, the Gazer's Eye surprize; + And with the _Glebe_ the _Structure_ HARMONIZE. + Where _Severn_, _Trent_, or _Thames's_ ouzy _Side_, + Pours the smooth Current of their easy Tide: + Each will require a Sameness to the Spot, + For this a _Cell_, a _Cascade_, or a _Grott_. + The _Moss_, or _gliding Streams_ productive Store, + To grace the _Building_ on the _verdant Shore_: + There the rough _Tuscan_, or the _Rustick_ fix, + Or _Pebbles_, _Shells_, or calcin'd _Matter_ mix. + The _frozen Isicle's_ resembled Form, + Or _Sea-green Weed_, your GROTTO must adorn. + + Near some _lone Wood_, the _gay Pavilion_ place; + Let the CORINTHIAN MODE the Structure grace: + Carve here _Festoons_ of lovely Flowers and Fruit: + And with the Spot, let the _Enrichments_ suit. + On some Ascent, the plainer Fabrick view; + The Dress IONICK, and the SCULPTURES few. + Few are the Ornaments, but plain and neat, + The _least_ REDUNDANT are the _most_ COMPLEAT. + GIBBS may be said, most Times in Dress to please, + And few can decorate with greater Ease: + But JONES more justly knew the Eye to charm, + To please the Judgment, and the Fancy warm; + To give a Greatness to the _opening Glade_, + Or pleasing Softness to the _solemn Shade_; + To suit the _Valley_, or the rising _Hill_, + Or grace the _Flow'ry Mead_, or _Silver Rill_. + + In _H--k--r; V--b--'s_ very Soul you trace, + The same _unmeaning_ Dress, in every Place; + The same _wild Heap_ of inconsistent Things: + From whence the PRISON, or the Palace springs; + A _Tuscan Portal_ for a _Palace Gate_, + And a _Corinthian Column_ in a LAKE. + For disproportion'd Columns _R--l--s_ see, + Where neither _Art_, or _Rules_, or Form agree; + Absurdly bad, and grown a publick Jest: + By far too HIGH--too HEAVY all the rest. + + Would you the Sister-Arts improve in Schools? + In _Sculpture_ follow RYSBRACK's chosen Rules; + In _Portrait_ seek for AMICONI's Force: + _Humour_ in HOGARTH: WOOTEN for a _Horse_: + In _Landscape_, LAMBERT; or in _Crayons_, see + The Charms of _Colours_ flowing from GOUPEE. + In _Eloquence_, you see young MURRAY shine; + In _Musick_, HANDEL's Graces are divine. + + If to adapt your Fabrick, you would choose + To suit the _Builder_'s Genius, or his Use: + Consider well his _Station_, _Birth_, or _Parts_, + And make for each the _Quintessence_ of Arts. + Here to the MUSE, a proper Part assign, + To BACCHUS there, direct the _golden Vine_; + To VENUS, fix a little _silent Cell_, + Where all the LOVES and GRACES choose to dwell: + Where the young _Wantons_, revel, sport, and play; + And _frisk_ and _frolick_ tedious Time away. + The PRISON's Entrance, _massy Chains_ declare, + The loss of Freedom, to the Wretched there. + Thus every Spot assumes a various Face; + And _Decoration_ varies with the Place. + The TUSCAN or the DORIAN Modus here; + Th' IONICK, or CORINTHIAN Modus there. + + The _Temples_, _Baths_, or solemn _sacred Urn_, + Requires Attention, and our Skill in turn. + The _weeping Statue_ to the HERO lend; + True to his _Country_, _Family_, or _Friend_: + So place the Figure, that as you draw near, + You join his Grief, and drop a silent Tear. + So _fine_, so _just_, the _Attitude_ is made, + The faithful _Marble_ bids you mourn his Shade. + If you advent'rous, try your utmost Skill + To tread unbeaten Paths, be _Lofty_ still; + Keep up the _Strength_, the _Dignity_, and _Force_ + Of _stated Rules_; let those direct your Course. + New Methods are not easy understood; + And few will step in an untrodden Road. + 'Tis better to pursue the Rule that's known, + Than trust to an Invention of your own. + But then, be sure your Choice direct you right; + Vary, but keep the Original in sight: + The Orders just proportion; strict observe, + The Variation; various Uses serve. + Perhaps the Waste, which every Pile endures, + May make the Copy, justly pass for yours. + You need not slavish Imitators be, + Exact in Copy; but your Fancy free: + THIS Ornament omit, or THERE express + The changing Modus, by a different Dress. + + _R----y_, in _Rustick_ heavy Buildings still, + Attempts in vain to please, or shew his Skill; + How far he strays from the pure _Roman_ Stile, + And labours on in DULNESS all the while! + With _M--s, F--ft, G---s, L--i, W--e_, + Let ADMIRALTY, or CUSTOM-HOUSE compare. + You'll see the wretched Structure's sinking State, + Blam'd to Futurity, their certain Fate. + He with a Glare of Gaiety extends + The lengthen'd PILE, and still with DULNESS ends: + But THOSE without your Expectation rise; + And dazzle the Beholder with Surprize. + Nothing is vain, or ill-expos'd to sight; + No Part too _heavy_, nor no Dress too _light_. + So certain are the Methods they have fix'd, + So just proportion'd, and so aptly mix'd, + That all seem Graceful, Uniform, and Neat; + Each Part is _perfect_, and the _Whole_ compleat. + + CRITICKS, attend the Rules which I impart; + They are at least; _instructive_ to the Art: + Mark how _Convenience_, _Strength_, and _Beauty_ join: + With these let _Harmony of Parts_ combine. + Appropriate well the _Structure_ to the Place; + And give each Part a _Symmetry_ and _Grace_. + Make RULES your Guide, your Fancy to controul; + And make _each_ Part subservient to the Whole. + + But choice of Place must be the BUILDER's Care, + For various _Climates_, various _Modes_ prepare. + To some a _pleasing Vale_; (the Poet's Song) + Where _silver Streams_ in Eddies glide along; + A little rising Hill, with Woods o'ergrown, + And at the Foot, a verdant Carpet thrown: + Where the soft _vernal Bloom_ beneath is spread; + Where the tall _Poplar_ hangs its _drooping Head_. + Where, on the Bank, the _Flowers_ and _Oziers_ green, + Shade the smooth _Current_ as it runs between; + The _fertile Meads_, enamell'd all around, + And the _rich Glebe_ with _yellow Harvest_ crown'd. + + Others in long-extended Views delight, + Where _gilded_ Objects catch the Gazer's Sight. + Where the _wide Plain_, or _lawny Prospect_ lye, + In mingled Sweets, to chear the _ravish'd Eye_. + Where the VALE, winding round the _rising Hill_; + The LILLY drinks beneath; the latent RILL. + The _Lawns_, the _silver Streams_, the _opening Glade_, + The distant _solemn Grove's_ collected Shade: + Charms of the _verdant_, or the _flow'ry_ Plain; + The rising _Mountain_, or the distant _Main_.---- + Where _rugged Rocks_, in wild Disorder rise; + Where _unprolifick Nature_, naked lies; + Where the vast _craggy Summit_ seems to shew, + A _falling Precipice_ to those below: + Expos'd to scorching Heats, or piercing Wind, + May more delight another's changing Mind; + Or the rude _Billows_ of tempestuous Seas, + Another's Eye, perhaps, may chance to please: + View on the Summit of a foaming Wave, + The unhappy _Sailor_ try's himself to save; + The floating Wreck, the Vessel's shatter'd Side, + Dash'd on the Shore, by the resistless Tide: + The foaming _Surge_ the Shore repells again; + And beats alternate, back upon the Main: + View the abandon'd, helpless Wretch's State; + Sinking, bemoans his LAST unhappy Fate. + + All these the ARCHITECT must study well; + From the proud _Palace_ to the humble _Cell_. + The barren _Mountain_, and the rural _Shade_; + The mingled gay Profusion, Nature made, + To fit and tally, Art requires his Skill, } + From the _moist Meadow_; to the _brown-brow'd Hill_, } + The silent _shady Grove_, or _silver Rill_. } + To give a Grandeur to the _Opening Lawn_; + And pleasing Softness, to the _solemn Dawn_; + To join the _vivid_, with the _vernal_ Bloom; + Where scarce a Sun Beam wanders thro' the Gloom. + This is the Art's Perfection well to know; + To charm the Sense, and bid the Bosom glow: + Teach us to imitate the ANCIENTS well; + And where the _Moderns_ we should still _excell_. + + Make the _Pavilion_ proper for the Spot, + Or the _gay Temple_, or the _graver Grot_. + Adorn your _Villa_ with the nicest Art, + And let your Dress, be just in every Part; + Appropriate well, the Ornaments you choose; + But not alone for Gaiety; but Use. + + In a warm Climate where the _Tyber_ flows; + Where in the Soil, the obdurate _Marble_ grows, + There on the Spot, make choice of what you will, + But HERE to use it, would be want of Skill: + And 'tis an equal Fault of those alone; + Who vainly imitate a _Portland-Stone_, + The dryer Climates, cherish _Stucco_ there, + But Rains, and colder Snows, destroy it here. + Avoid, as much as in you lyes, to place, + _Festoons_, or looser Ornament for Grace: + Few let the _Carvings_ be; for outside Dress: + A Boldness rather should your Thoughts express, + Redundancy, and Neatness will be lost: + And but to finish HIGH; is needless Cost. + But then, regard to Distance must be had: + If near the Eye, the Fault would be as bad. + + S----D, in Spite of Reason and of Sense, + With all those Faults, and Follies will dispense; + _Carv'd Fronts_, and STUCCO decorated still, + Without Regard to place, the Fabrick fill: + 'Tis meant perhaps some _Fracture_ to conceal, + Though frequent so; the more it does reveal: + Such are the Reasons, should our Practice sway, + And where the strongest plead, we should obey, + The _most_ demonstrative, the _safest_ are; + And what are not, we should avoid with Care: + As you'd fly SCYLLA, or CHARYBDIS shun, + Or Tricks of SCAPIN, HARLEQUIN, or LUN. + + _Convenience_ first, then _Beauty_ is a Part, + And _Strength_ must be Assistant to the Art. + A _little_ Seat, a Neatness will require: + A PALACE claims a more majestick Fire, + _That_ made for Decency; for Grandeur _this_, + And even Profuseness, may be not amiss. + _Here_ a long vista'd Chain of Rooms of State, + To entertain the Attendants on the Great, + The glittering Dress, to _catch_ the Gazer's Sight, + At once to give Surprise; and to delight. + + The GREEKS to three, confined the stated Rules, + And only _those_, were known in public Schools; + Till Rome the _Tuscan_, and _Composite_ join'd, + To enrich the Art, and to improve Mankind, + From these alone, all _Modes_, all ORDERS spring + To build a _Cell_, or _Palace_ for a KING. + + First the grave DORICK Mode; for Use was form'd, + When in its Infant-State, and unadorn'd: + 'Twas Entertainment for the _sager_ Few, + And pleas'd the Times, till something started new: + Then the gay, _Lydian Mode_; in Order rose, + And Art to Art, they wantonly oppose: + For Men grew fickle by Prosperity, + Study'd new Arts, and Ease and Luxury. + At length the rich CORINTHIAN's gayer Dress + The Artist's Decorations, well express. + + The GOTHS first introduc'd the frantick Way + Of forming Apes, or _Monsters_, wild as they + Because the Tumult, fond of Tricks and Apes, + Lov'd such Variety, and antick Shapes. + But K----T has no Excuse, to copy these, + Unless he has; NO other Way to please. + + The _Modern_ Artists, all their Genius show + In a _Venetian-Window_, or a Bow. + The _Cell_, the _Temple_, _Palace_, _Villa_, all } + Must have a Window, they _Venetian_ call, } + Or Bow; to grace a _Grotto_, or a _Hall_. } + + A _little_ Structure; built for Use alone, + Requires no Dress, nor Ornament of Stone: + The _Plainest_, _Neatest_, Method is the best: + One simple Modus, governs all the rest. + The _Villa_ next with Ornament you blend; + The _gay_ and _pleasing_ through the whole extend; + The TEMPLE, or the GAYER-PALACE will, + In Decoration, try your utmost Skill. + Learn of PALLADIO, how to deck a Space; + Of JONES you'll learn Magnificence, and Grace: + CAMPBELL will teach, the Beauty they impart; + And GIBBS, the Rules and Modus of the Art: + Keep still these Rules, and Methods, in your Sight; + Read them by Day, and meditate by Night. + + But V--B--H was admir'd, in _Anna_'s Days, + And even his _Blenheim_, would excite some Praise. + And H--S--R travell'd in the same _dull_ Road, + And trod the Footsteps, which his _Master_ trod: + But BOYLE and PEMBROKE, have the Art restor'd; + And _distant_ Ages will their Fame record. + + See the old GOTHS, in K----'s Designs survive; + And Modern FOOLS, to imitate his strive: + Renouncing all the _Rules_ the ROMANS had, + Are past reclaiming, obstinately mad. + Drunken N--C-A, with a Front direct, + Or stupid B----S, makes such an Architect; + Unhappy I!----But _Fortune_ stept between: + And proper _Physick_ cur'd me of the Spleen. + And now I'm satisfy'd to keep my Sense: + Make RULES my Guide, to plead in my Defence: + Give to the _Roman Sciences_ their Due: + And _write_, to whet that Appetite, in you. + Tell what the Duty of a BUILDER is, + Point out what's _Right_ in Practice; what's amiss. + Shew _where_, and _how_ to decorate with Skill, + What _Ornaments_ are just, and what are ill. + Shew how the _Judgment_, should conduct the Art, + And where _Judiciousness_, directs the Part; + Where proper _Situation_ claims our Care; + Where RULES should guide; and where most _useful_ are. + + The ARCHITECT, all Ranks of Men should know, + And when, and where, to bid his Genius flow + To swell the _Rules_, for MAJESTY, and State, + To equal all the Grandeur of the Great; + To serve the Use of SENATORS, or KINGS, + And be the Source, from whence all _Science_ springs. + + Sometimes in _old_ Designs, you _Grandeur_ view, + And even in _Negligence_, find something new. + But modern Youth are taught to _sing_, and _dance_, + And learn the FOLLIES, and the _Modes_ of _France_; + Neglecting _Method_, _Order_, _Time_, or _Sense_, + With all their JARGON, and their _Modes_ dispense. + They make the _Dorick_, and _Corinthian_ mix; + And with th' _Ionian_, the _Composite_ fix. + The _Grave_ and _Gay_, in one long Range extend; + And with the _Solemn_, the _Profusive_ blend. + Can Structures, built by such a _Builder_, live? + Will _A--f--y_, think you; _C--p--n_ survive? + Will _O--k--y_, _B----s_, and some whom I could name? + Whose Works already; DAMN them into Fame. + Will they, or _not_, all Rules, all Modes deface. + Invert all ORDER, and the Art _disgrace_? + Will _B--f--w_; _M--d--n_; FOOLS by Nature made + Will they encrease, or will they ruin Trade? + + 'Tis you, MY LORD, who know your Judgment's Height, + Your Precepts, and Instructions, are of Weight; + Clear, and succinct, the _lower Class_ to teach, + And oft, above the _towring_ Artists Reach; + Where the gay Ornament you please to place, + And where it gives a _Majesty_ and Grace. + These are the _Rules_, will live in _future_ Days, + The Youth's Director, and the _Poet's Lays_, + 'Tis these will shine when in Oblivion lay'd: + The GOTHS forgotten, and the MODERNS dead. + + The skillful Archer, may his Aim mistake; + And the best Hand in Musick, Jarring make: + So that, the Frailty of our Nature will, + Excuse as Accident, nor construe ill. + But if the Impertinent, their _Faults_ are told, + And _still_ persist; and _still_, their Follies hold: + Let them _abandon'd_, _senseless_, _stupid_ be, + And, past reclaiming, still be DULL for me. + + In some great Structures, _Lowness_ is exprest; + And SLEEP even sometimes, HOMER lull'd to Rest; + _Building_, like _Painting_, proper Point of Sight, + Requires to view it, in its clearest Light; + And some tho' aim'd at _Grandeur_; or at Ease, + Even please but _once_, and some will EVER please. + + But yet, _my Lord_, this _one_ important Truth, + This Law of _Science_, which we teach our Youth, + Even THIS, no Mediocrity admit, + _Rules_, _Nature_, _Reason_, all must jointly fit: + A _Painter_ may RAPHAEL's Judgment want, + And yet, we some Abilities will grant: + He may, perhaps, a skillful Painter be, + Tho' not so great, yet great in some Degree. + In BUILDING, there's no _Laws_ of human Kind, + Admit a _Medium_; to the Artist's Mind, + _All_ must be perfect, or 'tis understood, + Excessive _Ill_,--or else sublimely _Good_. + In Things where Reason, seems but to subside, + Men learn to stem, the Torrent of the _Tide_; + They _dance_, or _fence_, or vainly wish to _fly_, + But if they fail, contented cease to try. + But all in BUILDING, universal run, + Undoing others, and themselves undone. + + Oh B----LE! or S--N--PE, P--M-KE; any Name, + That ARTS, or VIRTUE; raises into Fame, + Be to my _Muse_ a Friend; assist my Cause; + Be Friend to _Science_, fix'd on _Nature_'s Laws. + On that alone, on _Nature_'s perfect Plan, + I form my SYSTEM, as I FIRST began. + By YOU inspir'd, I boldly lay the Line, + And ev'n am vain to call the Subject mine. + So ORPHEUS, once by more than human Sway, + Tam'd _savage Beasts_, or Men as wild as they; + And when AMPHION, built the THEBAN WALL, + The Stones, by Magick Power, obey'd his Call. + So _Ancient_, even in EGYPT's pristine State, + Recorded ARCHITECTURE, has its Date. + + Since thus, my Lord; what GODS and KINGS inspire, + _What_ bids my Bosom glow with _arduous_ Fire; + This _Noble Art_, disdain not to protect; + If not the Art, at least the ARCHITECT. + If _Art_, or _Nature_, form'd me what I am; + If one or both, assisted in the Plan, + It is beyond, my utmost Power to say: + Whether I _Art_, or _Nature_'s Laws obey. + Without each other, we in vain should strive; + To BUILD, or keep the SCIENCES alive; + _Each_ mutually assist, and _each_ will need, + The other's Help, as NATURE has decreed. + + He that intends an _Architect_ to be, + Must seriously deliberate, like me; + Must see the _Situation_, _Mode_ and _Form_, + Of every _Structure_, which they would adorn: + All Parts _External_, and _Internal_, view; + Before they aim to raise, a something new. + + Ask _G----s_, or _F--tc--t_, to correct your Plan, + They'll freely, where you err, instruct the Man, + In what's amiss, with Judgment, and with Care, + Where needful _add_; and where profusive; _spare_. + But if you selfish; foolishly defend; + Your glaring Faults, and will not strive to mend, + To his own Folly----leave the Wretch alone, + And without Rival, let him BLUNDER on. + + Those Things which seem of little Consequence, + And slight and trivial; know; you some time hence, + When you are made ridiculous; will find, + They are important, and instruct the Mind: + If in a _Building Fit_, a FRANTIC Man: + Should _wildly_ scheme, a bad, or monstrous Plan, + Not minding _where_, or _how_, or _what_, to lay, + For a Foundation, or his _Workmen_ pay: + If he should find, a Prison for his Pains, + (Misfortune justly suited to his Brains) + No one would _pity_, or _condole_ his Fate, + But think he merited, the _Bedlam-State_. + + EMPEDOCLES, with Madness sought the Flame, + And thought by that; to gain immortal _Fame_. + Let ARCHITECTS, and BUILDERS, _mad_ as they, + In Folly; run, and make themselves away; + Why should it be a _Sin_, such Men to kill, + More than to keep alive, against their Will? + It was not _Chance_, but _Choice_, the Poet made, + To seek _Divinity_, in LETHE's Shade; + For if he was, from PLUTO's _Sable Plain_, + Return'd to _Earth_,----He'd AETNA seek again. + + 'Tis hard to say, whether the _Gloomy Clime_, + Or _Murder_, _Incest_, or some heinous Crime, + Sends _Building-Fiends_, into the _Madding World_, + Govern'd by _Frenzy_; by Confusion _hurl'd_, + Seize all they meet; and----like the baited BEAR, + Without Distinction, _Range_, and _Rend_, and _Tear_: + No one escapes them: from Lord O--R--D: down, + To _B----s_, and every errant Fool in Town: + They _build_, or teach; are leading, or are led; + And never cease, till they're in Jail, or dead. + + +_FINIS._ + +[Illustration] + + * * * * * + + + + +WILLIAM ANDREWS CLARK MEMORIAL LIBRARY + +UNIVERSITY OF CALIFORNIA, LOS ANGELES + +[Illustration] + +The Augustan Reprint Society + +PUBLICATIONS IN PRINT + + + + +The Augustan Reprint Society + +PUBLICATIONS IN PRINT + +[Illustration] + + +1948-1949 + +16. Henry Nevil Payne, _The Fatal Jealousie_ (_1673_). + +18. Anonymous, "Of Genius," in _The Occasional Paper_, Vol. III, No. 10 + (1719), and Aaron Hill, _Preface to The Creation_ (1720). + + +1949-1950 + +19. Susanna Centlivre, _The Busie Body_ (1709). + +20. Lewis Theobald, _Preface to the Works of Shakespeare_ (1734). + +22. Samuel Johnson, _The Vanity of Human Wishes_ (1749), and two + _Rambler_ papers (1750). + +23. John Dryden, _His Majesties Declaration Defended_ (1681). + + +1950-1951 + +26. Charles Macklin, _The Man of the World_ (1792). + + +1951-1952 + +31. Thomas Gray, _An Elegy Wrote in a Country Churchyard_ (1751), and + _The Eton College Manuscript_. + + +1952-1953 + +41. Bernard Mandeville, _A Letter to Dion_ (1732). + + +1963-1964 + +104. Thomas D'Urfey, _Wonders in the Sun; or, The Kingdom of the Birds_ + (1706). + + +1964-1965 + +110. John Tutchin, _Selected Poems_ (1685-1700). + +111. Anonymous, _Political Justice_ (1736). + +112. Robert Dodsley, _An Essay on Fable_ (1764). + +113. T. R., _An Essay Concerning Critical and Curious Learning_ (1698). + +114. _Two Poems Against Pope_: Leonard Welsted, _One Epistle to Mr. A. + Pope_ (1730), and Anonymous, _The Blatant Beast_ (1742). + + +1965-1966 + +115. Daniel Defoe and others, _Accounts of the Apparition of Mrs. Veal_. + +116. Charles Macklin, _The Covent Garden Theatre_ (1752). + +117. Sir George L'Estrange, _Citt and Bumpkin_ (1680). + +118. Henry More, _Enthusiasmus Triumphatus_ (1662). + +119. Thomas Traherne, _Meditations on the Six Days of the Creation_ (1717). + +120. Bernard Mandeville, _Aesop Dress'd or a Collection of Fables_ (1704). + + +1966-1967 + +123. Edmond Malone, _Cursory Observations on the Poems Attributed to + Mr. Thomas Rowley_ (1782). + +124. Anonymous, _The Female Wits_ (1704). + +125. Anonymous, _The Scribleriad_ (1742). Lord Hervey, _The Difference + Between Verbal and Practical Virtue_ (1742). + + +1967-1968 + +129. Lawrence Echard, Prefaces to _Terence's Comedies_ (1694) and + _Plautus's Comedies_ (1694). + +130. Henry More, _Democritus Platonissans_ (1646). + +132. Walter Harte, _An Essay on Satire, Particularly on the Dunciad_ + (1730). + + +1968-1969 + +133. John Courtenay, _A Poetical Review of the Literary and Moral +Character of the Late Samuel Johnson_ (1786). + +134. John Downes, _Roscius Anglicanus_ (1708). + +135. Sir John Hill, _Hypochondriasis, a Practical Treatise_ (1766). + +136. Thomas Sheridan, _Discourse ... Being Introductory to His Course + of Lectures on Elocution and the English Language_ (1759). + +137. Arthur Murphy, _The Englishman From Paris_ (1736). + +138. 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Selections from Sir Roger L'Estrange's _Observator_ (1681-1687). + Introduction by Violet Jordain. + +142. Anthony Collins, _A Discourse concerning Ridicule and Irony in + writing_ (1729). Introduction by Edward A. Bloom and Lillian D. Bloom. + +143. _A Letter from a clergyman to his friend, with an account of the + travels of Captain Lemuel Gulliver_ (1726). Introduction by Martin + Kallich. + +144. _The Art of Architecture, a poem. In imitation of Horace's Art of +poetry_ (1742). Introduction by William A. Gibson. + + +SPECIAL PUBLICATION FOR 1969-1970 + +Gerard Langbaine, _An Account of the English Dramatick Poets_ (1691), +Introduction by John Loftis. 2 Volumes. Approximately 600 pages. Price +to members of the Society, $7.00 for the first copy (both volumes), +and $8.50 for additional copies. Price to non-members, $10.00. + + * * * * * + + +Already published in this series: + +1. 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