FRONTISPIECE. AN ESSAY ON ARCHITECTURE; IN WHICH Its TRUE PRINCIPLES are explained, AND INVARIABLE RU L E S propofed, FOR Directing the JuoGMENT and Forming the TASTE of the GENTLEMAN and the ARCHITECT, With regard to the Different Kinds of B u I L DING s, the .. EMBELLISHMENT of C1T1Es, And the PLANNING of GARDENS. Adorned with A FRONTISPIECE, defigned by Mr. WAL.., and curi9ufly engraven. LONDON, PREFACE. E have various tratfos of Architecture, which -explain with fufficient exaclenefs the meafures and proportons which enter into the detail of the different orders, and which furniih models for all kind of buildings. We have not as, yet any work, .which efiabliilies in a folid manner the principles of it, which manifefis the true fpirit of· it, or which· propofes rules proper to direct the talent and to fix the tafte. It appears to me that in thofe arts that are not purely mechanical, it is not f ufficient to know how to work only; we ought to learn ; how to think upon then. -An art {fi: ought to give a reafon foreevery thing he does. For thiseend he has occa:G.on for-fixteprjnciples to determine his judgement and juftify his choice:_efo that he n1ay tell if a thing beegood or bad, not purely by infiincl:, but by reafoning, and _asea rnan inftructed in the fine paths.e -Obfervations have been carried to a great, extent in all the liberal arts: abundance of people of talents have applied then17 · felves to 1nake us fenfible of the delicacies of them. They have Wrote ·very learnedly of poetry, painting ahd ·1nufic. The my teries· of there ingenious arts have been fo n·icely examined, that there remains very few difcoveries to be n1ade in theni.. There are fuch judicious critics and reReB:ed precepts of then; that determine their real beautie... Imagination has put them on the way, and ferved as reii1s to refirain them in their proper lin1its. The }1fi rate is fixed upon the n1erit of their fallies and the diforders of their wandrings; If we want good poets, good p..foters or· good muficians, it could not be for wan..t of.theory, it \-vould be the defetl: of their Talents. Architecture alone has hither to been abandoned to the ca price of Architecb, which have given-us precepts of it without difcernment. They have deter mined its rules at hazard upon ..he bare inf pection , of ancient buildings. Th:ey have copied their defects with th.. fame fcru-· ples as their beauties; wanting principles to difl:inguifh their difference, they have impofed on themfel ves the obligation of confounding them: ':i-le imita-· tars, all that has been -authorifed by examples has-been declared legitimate: limiting all their inquiries -by conf ulting the fact, th..y hav,e wrongfully concluded the right, and th..ir leffon. Vitruvius has only learnt tis what.was ptaclifed in his•time; and ·altho' .fome lights -efcape from hi1n, that fhews a genius capable. of pe..etrating into , the true fecrets of his art, he does not· confine hi1nf elf to the tearing of the veil that covers th..m, and avoiding always the abyffe's or theory, he leads us thro' the Jordemoi excepted : this author more profound than the great part of others, hath difcovered t_he truth, 'Yhicli was hid to them. · His treatife· of Architecl:ure is extr..mely .fhort, but he· has_econ1prehended therein excellent principles and vi..ws extremely refkd:ed. _ He was capable ir:i .unravelling a little more, to ha.ve drawn from thence t_bnfequenccs wliich \Vould have fpread a light upon the obfcurities of his art, and banHhed the :fhameful" uncetfainity which renders the rules thereof arbitrary. -It is then to be ..vifhed. thatefame great architect ·111ay undertake take to protect Architecl:ure from the caprice of opinions, in di[:.. cov..ring to us.the :fixt and determined. laws thereof. Every ·art, all fcierices have a determined _ object: ..o arrive at this object, al.. the paths.-cannot be equally good, there is but one that leads directly to the end, road ·only that we ought to be -acquainted with. 'In all thingsethere is but one manner of doingwell. What then is this art ?ebut that efl:ablifhed manner upone , evident prin"ciples, and applied to the object by invariable principles. In expectation that-f ome one much more able than my self, may may undertake to clear up this chaos of the rules of Architecture, · that:none of them n1ay remairr hereafter, but for which a foliq· reafon 'may. be given. · I am endeavouring to produce an incol}fiderable ray of light for that ena. In corifidering with attention,our great and fine sedifices, my foul hath experienced various impreffions. Sometimes _ethe charm-was fo fl:rong. that it produced in me a pleaf un: mixed with tianf port and e·nthll;_; fiafm: at other times without being fo lively drawn awae/ y, Ifound my felf employed...:in an agreeable manner; it_was indeed a, lefs plea[ ui-e, hut p.everthelefs a true pleafure. Often 1 remained mained altogether infe..fible.! often alfo I wasfurfeited,· Ihocked, and rnut..nied. !:reflected a long time µpan all thefe,differeht effects. . I_re'peated :my obferva tions untilrI..was affured that the fame: objecl:s :alway.. made1 the fame· im'.preffibns-i·upon me. I have_conf ulted the tafl:e of oi:hers.. and puttirig ·the in toe-' ·the fame proof; I {ound ·in.4 them all :my fenfi.bilities more' or. lefs ,ffvely, according ..s their fquls had1·re.l ceived from natu,re a · lefs or greater· degree of heat. Ftom thence. I concluded firfl: that there were in· Architecture eifential beauties independent of the habitude of.the fenfes, or of the agreement of them.the compofition of a piece of Ar,., chitechire was as all the opera:-.. tions of the mind, fufceptiblc of coldnefs·or vivacity, of exaa:.:. nefs and diforder. 3dly; That there iliould be for this art as for all others a talent which is not acquired, · a meafure of ·genius t..at is given by nature, and that this talent, this genius, ought neverthelefs to .be ·f ubj....ed and ionfined by laws. In ·med{tating a\ways rriore upqn the various impreffions. that the diffe ... rent ·compofitions of Architec-­ t..re made :upon me, I_ was de--, firous of fearching into the caufe of their effect. ' I ·have called upon felf for an account of my own feritiments. · I was willing to know why .f uch a· thing ra..:. vilhed me, another only pleafed · me; .this was without .agreements tliat were to n1e inf up portable : This_inquiry at firft prefented to me nothing bu.. darknefs and uncerta1nt1es. I was not· difcouraged, I have fathomed the abyfs, until I believed I ha.. di( ... covered the bottom. I have not til it had :tendered me a fatisfac..etory anf wer. All at once it has given to my eyes ·a great light.: I ·have beheld diftinct objects,' where before. I-c9-ulq not fee any thing but mifis and clouds : I have feifed· thefe objects ·with ardour, . and. in' making ufe of their· light I have difcovered by little and little my doubts to dif ..ppeai:_, my difficulties to vani.lh, and I am at laft able to den1onflrate to n1y felf, by principles *nd confequences, the neceffityeof -all the eff ecl:s ; the caufes ·ofewhich I \Vas ignorant. _Such isethe road I have followed to fatisfy my felf. It has alfo_ appearedeto me that it would not be unufeful t'o in1part the f uccefs of my endeavours to the public. A!tho'_I should only engage ,my reader .to examine if I have not contr,adiB:ed my felf; to criticife ·with feverity my deci:fions, eveneto try them to penetrate farthereinto the fame abyfs, Architecturee'Yould thereby be' infinitely benefited. I can fay with truth,ethate that my prjµcipat aim ·i to: putt4.. p1.1blic, rand" efpecially r-ar-:; iifl:s in :a way to doubt, to conjecture.. and to coritenf thein-. _ f..lyes with. aifficulty : too happy .I if I can lead them.to make in.. quid..s that. might. difcover . my ...efecl:s,, c6..recl: my inaccuracies,eand to excel 1ny own reafonirigs.> This is only an Effay, wherein­I do but properly hint the things, al].d -pave the \Vay, leaving to ot}:1.ers the care of giving to my principles·· all their extent and all th..ir applicatiop; ,with. an intelligence and fagacity which I fhould not be capable of. I fhall fay enough .herein to furnifh architects with fixt rules for workip.g working, and with infallible. means· of perfection. I have end..avoured to render my felf as intelligible as poffible. I have not been able to avoid very often tern1s of art; they are well enough known: At. leaft -their explanation 1n..y be found in dictionaries which gives the true f..nfe of them. As my principal defign is to form the taffe of the architects, I avoid all tqe details found elfewhere.. and I find it, · u_nnece:ffary to ·load· this little work with figure.. which mighr trouble and diftafte the re.ader. JNTRODUCTION CHAPTER I. Of the general principles of Architeclure, page 9 ARTICLE I. 'Ihe Column, · . Is ARTICLE 11. 'Ihe Entab/ature, 30 ARTICLE III. 'i'he Pediment, 36 ARTICLE IV. 'Ihe differentflories of ArchiteElure ARTICLE V. 'Ihe windows and doors, 52 CHAPTER II. Of the different oraers ofArcbitet1ure, 64 AR TIC LE I. '!'hat all the orders ofArchiteElure have in common, 69. ARJ'ICLE II. 'Ike Doric order · 77 Ait TICLE III. '!'he Ionic order, 87 ARTICLE IV. The Corinthian order, 92 ARTICLE V. 'Ihe of the Compojite, 104 ARTICLE VI. The manner of._enriching the different orders ef Architeclure, 111 AR T I c L E VII, Of BuildingJ where they don't employ any order of Architeclure, ,. I I 8 CHAPTER III. Conjideration upon the art ofbuilding, I 28 ARTICLE. I. Of the Jolidity. of. buildings, 129 ARTICLE JI. The conwniency_or fituation of buildings. . _ 153 ARTICLE III. The Decorum to be obferved in buildings, I 77 CHAPTER· IV, The manner of building churches, 195 CHA-PT ER V. 'Ihe ornaments of citys 242 ARTICLE I. 7'heentr..nce tocitys , 245 ARTICLE II. D_ifpofitirm ef/lreets, 258 ARTICLE III: The decoration of builiding, · . 26 5 CHAPTER VI. The embelijhing of gardens. 272 A'N Es s A y UPON ARCHITECTURE. INTRODUCTION. ARCHITECTURE of Aeall the ufeful arti is that which-requires the mofi: diftinguifhed taJents, as well as the . !Ilofi: extenfive kno»7Iedge. Perhaps as much genius, fpirit and tafi:e is required therein as for the forming a Painter or a Poet of the firfi: rank. It is a great mifi:ake to think that me.. chanifm only is required ; that all is confined to laying foundations, and building walls, all according to rules; the practice· of which fuppofes eyes accufiomed to: judge of a line, and ·ehands to manage_the trowel. When we fpeak of the art of building, of the confufed heaps of troublefome rubbifh, of heaps of iliapelefs materials, dangerous fcaffolds, a frightful game of machines, a multitude of. ragged labourers ; this is all that prefents itfelf to the imagination of the vulgar, it is the rind; the leafr agreeable of any art, the ingenious myfieries of which are undedl:ooc.l by few, and excite the admiration ·of all who difcern them. Therein ateedif covered intentions, the boldnefs of which intimates an extenfive an1 mofi: fruitful genius. Proportions, the ufe of which declares , a fevere and fyfiematic precifion. Or-. naments, the elegance of which dif..-. clofes a moil: excellent and _ delicate thought. Whoever is capable of difcerning fuch',a variety of beauties, far from confounding architecture with the leffer arts, will be tempted to place .it in the rank of the mofl: profound fciences. The fight of an edifice.. built with all the perfeB:ion of art, creates. a pleafore and enchantment, which becomes irrefiftible. This view raifes in the foul noble and moft aff..B:ing · ideas. We experience there1n that fweet emotion , and that agre€able tranfport that fu..h works excite; which bear the impreffion of true fuperiority of genius., A fine building fpeaks mofl: eloquently for its architect. Monf. Perrault in his writings only appears a knowing man ; the colon_ade of the Louvre determines him the great one. Architecture owes all that is perfetl: in it to the Greeks, a f..ee 1;atiori, to which it was referved not to be ignorant of any thing i.. the arts and fciences. ·The Romans, worthy of ad-'· miring, ..nd capable o'f copying the mofl: excellent• models that the G?eeks helpedethem to, · were defirous there to join their own, and did-no lefs then !11ew the whole univerfe, that when perfection is arrived at, there only remains to imitate or decay. Th.. barbarity of fucceeding ages having buried the li..eral arts' under the ruins of that empire, w..ic.. al.one retained its tafte anq principles, created a new fyfiem of Arch..tecture, wherein unfkilful proportions , or riaments ridiculoufly connected and heaped together, prefe..ted fiones as paper work, unformed, ri_diculous, and fup..rfluous. This mode..n architeB:ure bath been but too Jong the delight of all Europe. Mofi· of oure great churches are unfortunately ..efiined to-preferve the traces ..f _it to the remoteft pofterity. To fay the truth; ..ith numberh:;fs blemifhes, this architec):ure hath had fame beauties, and altl,o' there governs in its moil: magnificent produB:ions ,a heavy and grofse fpirit of invention, we may yet admire the 'bold traces, the delicacy · of the chifel , the majefiic and difengaged air that one beholds in certain pieces, which through all tl;ieir ways have fome.. thing forlorn and inimitable. But at length more happy genius's difcovered from the ancient monuments proofs of the 'Univerfal wandrings, and alfo refoµrces to return from them; made to tafie the wond:ers that had in vain been expofed to every eye for fo many ag..s. They m_editated on the reports of them, they imitated thei.. fkiH, and by the force of inquiry, examination.. and trial, they again revived the fiudy of good rules, and re-dl:abli!hed Archi'.tecl:ure in all its rights. They abandoned the ridiculous geugaws of the Goths _ and Arabians, and fobfiituted in theireroom manly and elegant ap pearances of the boric, Ionic and Corinthian. The French fluw of invention, but quick to improve happy imaginations , en..ied •Italy -the glory of reviving the magnificent crea.tions of Greece'. Every place is .f uh now of·monuments that attefl: the ardour, that eftabiilhed the fuccefs of our fathers emulation. We have had -our Bratii,mti, our Michael A..gelos,aour Vigniolis. The paft age, an ageawhere in regard to talents, natureaamongft us, bath difplayed, and per ..han..e exhaufted, all its fruitful..efs.aThe paft age has produced in feats ofaArchitecture performers worthy of theaheft times. But at the_ moment thatawe arrive at perfection, as if barbarityahad no.t loft all its rights_ with us, 'o/eaare fallen again into the ba.fe and defective : every thing feems to• threatenaat !ail: an entire downfall.a This danger that approaches every day nearer, which may yet be pr..vented, engages 1rie to propofe herein inodefrly my reflections upon an art for which I have always had the ·greateft lov;e. In the' defign I propofe, I a.. ..ot moved by the paffion of ce!)fore ; .a paffion I deteft ; ..or by the defire of telling new things, a defire _I think at leaft frivolous. Full of eftee.tn for our artifts , many of whom .are of known abilities : I ,confine ·myfelf to communicate to th..m my. ide..s and· my doubts, of which I defire them to make a ferious examination. If I bring to mind real abufes, -as certain ufages univ1erfally received atnongft them, I doriotepretend that they ilioulde refer themfelves to n;iy opiniqn only, which I fubmit frankly to their critical judgment. I only reqm:f!, they illdiveft themfelves of_ certain prejudicesetoo comtl}on,_ and always h,4,rtful to the progrefs of the arts. Don't let the.. ,fay that not being· of their pr..feffion .I cannot fpeak of it with fuffi..ient knowledge: it is affured , ly the mo!t vain of difficulties. We daily judge of tragedies without having ever made verfes. The knowiedge of rules.is not prohibited to any body, altho' the execution is givei:i, but to fom.... Let them not oppofe me with ref peetable ·authorities, · witho?t ·being infal'lible. It would undo all only to judge of what ought to be by what is. The greateft have fo..etimes _erred. It is not therefore a fure means of avoiding error to take always their example for a rule. -Don't let them interrupt me by pretended impoffibiiities: idlenefi. finds many of them, when reafon fees none. I am perfuaded that thofe of our architects that have a true zeal for the perfection of their art, will accept of my good-will. They will find; ·perchance in this writing, reflectionsethat had efcaped them. If they make aefolid judgement of them they will notedifdain to make ufe of them : this iseall I aik of them.eCHAP CH A p TE R I... General principles of 'ArchiteElure. is with Architeclure as with all otherearts; its principles are founded upon fimple nature, and in the p..oceedings; of this are clearly £hewn, the nil.... of that. Let us confider man in his firft .. origin without anyother help, without other guide, than the natural inftincl: of his want... He' wants an abiding place. Near to a gentle fi;ream he per ceives a green turf, the growing verdure of which pleafes his eye, its tender down invites him, he approaches, and foftly extended upon this enameled carpet,he thinks of nothing but toe"' enjoy in peace the gifts of nature: nothing he wants, he delires 'nothing; but pre fently the Sun's heat which fcorches him, obliges him to feek a !bade. He per'An Effay on Architeclure:· perceives a neighbouring wood, which offers to him the coolnefs of its !hades: he runs to hide himfelf in its thickets and behoid him there content. In the ..ean time a thoufand vapours raifed by chance meet one another, and ga'... ther themfelves together;; thick clouds obfcure the air, a frightful rain throws• itfelf down as a torrent upon this delicious foreft. The man badly covered by the ihade of thefe leaves, knows not how to defel)d himfelf from this invading moifture that penetrates on every part. A q,.ve prefents itfelf to his. view, he {lides into it, and finding himfelf dry applauds his difcovery. But new. defecl:s make him diflike his abode, he fees himfelf in darknefs, he breathes an unhealthful air; he goes out of it refolved · to fupply by his indufl:ry the inattentions and neg lecl:s of nature. The man is willing to make_ himfelf an abode which co vers but not buries him. Some bran ches puts four others acrofs, and upon thefe he raifes fome that incline from both fides. This kind of roof is co vered w;ith le.e'fo that aves put together, neither the fun nor the rain can .pe/ netrate therein ; and now the man is lodged. Indeed cold and heat wille •make him fenfible of their inconveni. ences·in·his houfe, open on every part;e but -then ..e will fill ·up between theefpace of ..he pillars, and will then findehimfelf fecure. Such is the ftep o,fefimple nature: It is• to the imitation· ofeher,proc·eedings, to which art owes. itsebirth. The little ruftic cabin that Iehave juft d..fcrib..d, is the m5>del uponewhich aH the magnificences of architecture have been imagined, it is inecoming near in the execution of thee fi_mplicity "Iz An E.lfaJ on Architec!u..e. 'fi..plicity 'of thi.. firft model, that we avoid .all effential defeB:s, that we lay hold on true perfection. _Pieces of wood raifed perpendicularly, give us the idea of columns. "The hori-. fontal pieces that are laid upon them, afford us the idea of entablatures. In fine ..he il}clining pieces which form the roof give us the Idea of the pediment. See then what all the mafters of-art have confeffed.: B_ut then we ought here. to 1?.e very much on our guard.. Never principle was more fruitful in confequences. It is eafy _ from henc.. to diftingui{h the part that enters e!f..nti..lly into the co_mpofition of an or9e.. of archi..ecl:ure, from thofe which are in..roduced only by neceffity, . or which have not been added thereto but by caprice. It is _in the effential parts that all the beauties · confifl: ; in the part , added thereto by caprice, confift_ all the defe3:s : this requires explaining. Do not let us lofe fight of our. little ;ufi:ic ca..in. • I can fee nothing therein, but columns, a floor or entablature ; . a pointed roof whofe two ex-_ tremities each of ..hem forms what we ..all·a.,p.ediment. ·. As yet there is ;.. arch, fi!}Llefs of an arcade,-no pedefiaI, no att..que, no door, even nor window. I con..lud.. then with faying, in all the order of architecture, there is only the column, the entablature, and t_he pediment that can effentially enter into this compofition. If· each of thefe_ethree parts are found placed in the fittiation and with the form which is neceffary for it, there will be nothing to add ; for the work is pe1fectly done. There is remaining with· us in France a very fine monument of the ancients, it is what they call at Nifmes the 'fquare houfe, connoiffeurs orenot connoiffeurs, every body admi;es-..hfs "beautiful building : What is the ·reafon ? becaufe all therein is agreeable to the true principles of architecture. A long fquare, wperein thirty columns fuppoi:t an entablature, and a roof terminated at the two extremities by a pediment, this is all it contained ; this collection bath fuch a fimplicity and grandeur tb:at {hikes every eye. Let us enter then into a detai\ of the effential parts of an order of architecture. ARTICLE I .. The Column. Ifi,ACOLUMN ought to be exactly perpendicular; becaufe beingadefigned to fupport all the weight, it is the perfeci: line that gives it its ftrengt:h. -2dly, The column ought to be de tached, to exprefs more naturally its origin and defign. 3dly, The columnalhould be round, as nature forms no-.athingfquare. 4thly,The columnfuouldahave its diminution from the bottomato the top, as imitating nature, whichagives this fort of dimunition to allaplants. 5thly, A column iliould bearaimmediately upon the pavement, as theapillars of the ruftic cabin bear imme -diately upon the ground.. All thefearules are found:juftified in our m..del.aWe £hould the,refore look on everyathing as defecl:ive, ..hich de11i51tesafrom thence wit..out a real n_,eceffity.'a1ft · DEFECT is when in:ll:ead ofedetaching the columns, they hold them engaged in the wall. ,Mo:ll: cer-· tainly the colum.. lofes infinitely of its grace, if the lea:ll: ob:ll:acle takes from it, or takes from its circumfe.,. rence, we would live in covered places and not in open halls: Then there is a neceffity to fill up the fpaces between · the columns, and by confequence the colpmm are engaged. In this cafe this engagement of the coh.i mn would not be looked upon as a defeet, it will be a licence authorifed by neceqity : But it is always to be remembred, that every licence declares an imperfection; that we mu:ll: ufe them difcreetly, and in an impoffi ..ility,only of doing better. When we.are obliged to engage 'the columns, we lhould engage them as little as poffible, a fourth part at mofi: and frill' lefs, fo that even in their ufe they • may ·always retain fomething •of -that air .An. P:,.ffay on .Architecure air of fre<:dom. and difengag'ement, which· gives them fo • mu'ch grace. We fuoiild ahyays ·avoid the !hame-: fol neceffity , of ufing engaged colgmns. The befl way would be •to r-eferve columns for po..ticos,l 'where othey may be perfectly ·difengaged, andoalways to fupprJfs theip\ wherei': we are cgnftrained by nte....ffity t<;> fix ..hem_againft a wall : In !hort-w h..never we1are1(ubjc..ed to tliis corivenieqce; whichr prevents· s}ifengaging -the colur ..m, to let it be enffrefy, fJi!n. Can we belie'-:e that t..e portal of St. Gervaiswould · not oe more perfect, if the " .columns of the Doric' order.were 'detached· as thofe· arc~rofthe: fu"pero0 io.."ortkrs .rWas: there· any thii1g .irripoffi- quire the ..ight of not fparing any o.ther, without wounding the fondnets· of every one that·it may affect. You will fee then I {hall fpeak without reierve.: After what I have been faying one will not be fo furprifed, that con-· noiffeurs fe.. fo little a value upon the portal of the Jefuits' church in St. An:­ tony's-ftreet. Without reckoning the, other faults, which are there to be. found in great numbers, the three or-· ders of columns engaged make a irioft· difagre..able effect. If is not there, as Mr Cordemoi has ingenuoufly confef efed, that an architecture in baffo relievo wherein the cle'are!l,: fight will notepleafe its felf. I have often groaned atethe madnefs of fame architects for' theeattached columns, but I lhould neverehave thought that it could enter into'ethe_ mind of man to engage· columnse one in another ; there is . not a moree monftrous apd · infupportable defect.eNo..ices themfelve.. in the ar..do agree·em 'in this; neverthelefs this fault is found repeated upon all the fronts of the inward court of-the Louvre. So giofs a blunder in fo great a work may be placed in the rank of -the humiliations of the human mind. .. 2d D E F E c T. This is in the , pla..e of round pillars to employ fquare pila!l:ers. Pilafiers ar.. but a bad reprefentation of cplumns. Their angles declare the narrownefs of the art) and deviate fenfibly from _the fimplicity of, nature. There is in them lively and· incommodious !tops that ob!l:ruB: the view. T'heir furfaces without · th.. roundings give a flat air to the whole' order. They are not' fufceptible of that dimimit..on-that makes one of the, greate!l: harmonies of the column. Wherever they are made · ufe of th• columns would be ufed with as much , advanrage. V( e ought then to look upon them as a low innovation, which are they not found? Neverthelefs to get rid of this tafte, one need only reflect" upon the grand effect, that the columns always produce, an effect., which is entirely defiroyed by pilafires. . Change the joint columns of the pqrtico of the Louvre, and you will iob it of all its beauty. Compare the tw9 fides of this magnificent portico with the pavilions in the front that t..npiQates . it, what a difference.ois th...re.!. there is not a valet or any fervaot -who does not enqui!e why the. pavilions were not fini(hed as· the reft of the work. This regret is infpired hy'the tafie of what is truly beautiful, a· natural tafi:e of· all the world. It is the fame order of architecture which governs_.upon all. the fronts: but the. portico expofe.. columns, the pavi that a more uniform collettion would have occafioned. In entering into the· fpaces of the -chapel of Verfailles, every one is ftruck with the beauty of the columns, with the fmartnefs of the intercolumnation; but as foon ns· one -arrives at the f pring of the round point,athere is no body who may not fee withachagrin that fine train of columns interrupted by a flovenly pilaftcr. Weamuft therefore conclude that the ufeaof pilafters is one of the greateft "a-abufes -that has been introduced intoaarchiteB:ure; and as one abufe neveracomes alone, they have ·given us fold- ed pilafters in the angles, pilaftersaar..hed in the circular _plans, hiddenapilafters confounding one in the other.a ever a more ridic, ulouslumn ? Indeed I ·know, nothing of fon for it, Is there any fenfe in unit ing two things fo incompatible r Theacolumn has its diminution, the pila fter cannot have any; from whence ita happens that this· will appear eitheratoo fi:rait at bottom, or too large at top.aIs there ..ny fpace to fill up? It is filled up with a pilafi:er. Is there anyadefect to hide, -any place to enrich ?aThen.. is•a half'or a quarter of a pilafi:er cut. The ancients were •nota more fcrupulous than the, ll}odernsa u_pon th:s article: They even haveafometimi:s {hewn lefsadelicacy thanathefe: for tht ey have made porticosaalternatively mixed with columnsaand pilafi:et:s. In a word the pilafi:erais a thing I qnnot pe..r with. Thisa aver.lion was born with me : The more I have ftudied architecture, the more I have found in it true principles wherewith to_ juftify in myfelf this averfion. Th..y make ufe of pilafiers; tb'all one fay to avoid the expence of columns? I anfwer if we are governed. only by the confideration of expenfe, there remains the part only of fuppr(!ffing every order of architecture. One may ..ithout this help form build-. ings which fhall have beauty. But 'if we would make ufe of the great orders of archi..ecl:ure, I {hall never pardon the retrenching the column, which is their moft e!fe?tial part. 3d DEFECT. This is infiead of the ordinary diminution of the columns to give them a f welling about the thi..d ofe the heigh.. of their !hank. I do not believe nature ever produced any thing to juftify·this [welling. Let us do jufice to our artifts. It is a long ti'me fince -24 -An Ejfay on :Arcbitel111re. tliat the flu'ted pil1ars ·have ·beenprnc tifed, there are none to be found in our lateil: works. The ruftic columns are •1io lefs vicious ;than the fluted.' Phillibert of Orm us, .who was. a g· eat admirer, of the·m and who has filled the palace of the Tu'iUeries with them, had not fo pure ;i. talle 1that his 'authority ought to eftabli{h..their admittance. This great man deferved difl:ireguifhed , praifes. · A1·chiteet:Ut'e will always• reckon him amongft the number of the mofi: excellent mailers. It is to him we owe the revival·of this fine art amongft us, but his works frill tafte of the depravity rof foriner ages. The rufric columns are but a.­capricious. imagination. ·It is riot an entire colum11 that one fees; they are different cut pieces of columns, heaped one upon a!lo.ther in an unequal mo del, the effect of which has fomething pitiful and .extremely harfh. The fine 1palace ·e·e' of Luxemburg is. not in differently An Ejfoy on .Architeflu..'t!. ..25 .if he had had ta.fie and judgmeiit,a t moft certain he woild not have takeha.,. fo much pains to execute fo r..diculotisa,an imagination. The 'twified :co­lumns are in truth in architeclure,awhat ,in human bodies is called ;a ,legabroken in wrefiling, but the fingula:rity of it has at firfi given pkafure •toafome who were enemies to the natural tail:e. They ·have thought theawork fine, becaufe it '.was difficult. Othe..s' frill of a -lower ta.fie ·have given us pieces of columns firaight, upoh wbich they have miferably enchafell the two thirds of a column twifted. Others in iliort ·enfnared b-y -the fame· tail:e; but ovci'come -by th'e difficulty ·of the execution, have been defirOL.isato fatisfy themfelves in -t-wifiing-thea chan ,I been eftec:ted in · repairs of . altars. I _admire the canopies of St._ Peter's at Rome, of the Val de Grace and. the invalids, :but I !hall never forgive the = great. men that have given the defigneof thei:n, for having made ufe of the twified columns. Do not let us run in..o the counterfeit brillant;· it only proves the w..nt of genius; let us con. fine ourfelves to the .fimple and riatu . ral, it is theeonly path of beauty .e . . , 4th D E F E c T. This is in the room of making the columns t:(?ft ;m _ mediately upon the pavement,, to hoiftethem upon pedefials. The columns being, if I may fay fo, the legs of the edifice, it is abfurd to give them other legs. The pedefials of which I fpeak have been invented through want. vVhen they have' had columns. that were too. iliort,· they have taken the .. ·· methode ' An E.ffay on ArchitefJure. z7 folds to fopply their want of elevation. .. The fame inconvenience has· made· them have recourfe to double pedeftals. when . one o!}ly was not fuffici&nt., Nothing can give to arc..itell:ure a more heavy and -ridiculous air than. thefe enormous and angulai:; maifeys, that they ?lake ufe of as a forqafe to the column. The portico of the palace of Soubife is intolerable, . be _o(::aufe of the frightful ped_eftals': and if the columns touched the bottom, it would be a charming work. The . <;:olumns may 9ear upon a continued maify wall, that is to fay upon the foot of a pedeftal without a bafe, with _o out corniili, and of a middle heig..t; and this always when we build a por1 tico whofe interior pavement is higher than the pavement of the place that, the portico fu..rounds. Far from . blaming this practice; I am perfo::ided ihat it will hflve gn..at · fuccefs. The column.. -. ·-28 ·,4n Effay on Architeclure. -columns may alfo fotnetimes bearoeach of them upon a little feparateo ' bafe, when the fpaces between the columns are filled up by a fupported -ballufirade, as-the fpate cf the chapel .o•of · verfailles:, and 'in the portico ofothe Louvre. This 1econd trfanner is 'o1efs p'erfecl:: it would even be deficient,oif invas:not e:xtufed through thene cef-fity of placing a fopported balluftrade·o -to a portico which is found raifed toothe firh: fiory. Bu.. ·when ·upon a -levelothey place .pedefi:als under the columns,oit -is a fault n"l '1 .. '1 , , 0 1l..; idea that rn..ny people,nnv..l jn thiags 1a!: of tafie o..nly;, th'at a feyere lo!;ic. is not neceffary, it-is the mofi fatal of all prejudices.a C,2 ARTI . .a. 3 6 An Ejfay on Architeclure. AJ\TICLE III ... ... Upon the Pediment: T T HE pediment is tl,ie laft pieceeo_f the edifice,_ it rcprefents the ri..g.. of the' roof; i.. ther..for.. cannote .e ... be but upon the breadth 'of the bmld, ing. . Its form is elfentially triangular, il ought always to be _plac..4 above the erei tablature. 'Let us'.' tI1en i·efolve l to1 ayoi<' the fqllo..i..g defecl:s. -.. .. rl t l.J • J ·eFirft DE FE c T. This is to makee a· oediment upon the length of the the' reprefe..t..tion'of the ridge of the ro"or:· it' ought to be placed. conformc1ble to the object it reprcfc·ots".'·-Npw the' tidgc of the i:o6f is always taken tl , '-•.. ' ' . ,)..,.. •·if :f ue·q11 th,e Iargenefs" or br<;e..dth,. Jnd ',e.- ..eve; r from the -rengt..' of·tBe b..ilding.. .. which is little_ upon· .this 'reafoning, I • ,, • ) '" fim .. An. E/fay on A_rchitet7l}re. 37 . ' , fimp!icity itfelf, and it. will ·never hippen to them to place in the midil: of long frontifpieces prepofterous impedim_ ents which .fignify nothing. They think of giving r,-iore agreerrent in thus interrupting. the uniformity; but let them know· that ii1 all arts it is to offend againft the rules of it, only t _ different parts will then, really compofe an .entire one. T_!ie projecl:ion of the'. corniilies bath in ilf..lf great· inconveniencies :. The water refis thereupon, and in procefs of time makes the greatefi deftru{iion. The confequen..e: of this is a heavinefs, which renders 44 An E.lfay on .Arthtteclure. St. Sulpicius proves but to-> evidently the truth of whJt 1 advanc.e. The· fidl: doric entabl..1ture, the cornifu of · which. has an enorm::ms projection, is found fubjected t:J all the incony.enienencies I have mentioned. The tours which have to every fiory a complete entablature, rt:femble nothing fo little as tours : the two cornifhes interrupt, feparate, and disfig1ne the '!".hole. So thJt though pr.;.ctice be almofi: univer .e fally contrary ..t could be wifhed, that when they wo..ld pla::e ord..r upon order, ·to terminat:: all the _inferior_ orders,. by one fimple architrav.e,e _ewhich being the reprefentation _ of a floor il,1 ews very natura.lly trie di-· vi..on of t_he hories. At mo!l:-wou!d it be admitted to add thereto f;me m_..mbers of cornith:s, as a ·quarter of a round, a filet, a..1d an ogee; in order to draw nearer a little lefs the bafes of the fup..rior columns and the· c_apitals of the inferior ones. Second, An F,_/fa] on Architeclure. 45 . Second, \VE !hould always· have the _ecaution t(? place Jhe, heayieft orderJat ..ottom and th.. lighte(t at top. I.. is nature that dictates this rule, and ,practi..e isegen..r.;lly confo..mable there.-:: ,e to. . One may then, ..ccording to ne _eceffity, make comp9fitions, from two _eto. three, four tq· five qrders of archi-· · tecl:ure. But at laft when we faall be a..ived to·th.. laft, ..whid1: alone·_we ought to h..veits entablature complete, _e.. I · cannot·Jee what can fignify the ordinary and fuperabmmdingof a half ftory under the name of Attic,..nothing is more ur1formed and• mo..e ·defe::: J .. _, .. • • tive _in its propor....ons than this-At..ic. It: ,!>rings to mind only t.... poor idea of fome loovrcs) that ha....-e been pierced ' 'e through th.. roof, b..cauf.. abnvc ..4ecorniili t..1er.. is only the .ro:f. T,.i1i.. Attice , then can only-disfigure·c:ntjrdy an edi fice, in crowning it.rin a pitiful tnd ignoble manner. The_ great front of ·ethe pllace of Verfaillcs tow..rds thee gar 46 :An E.ffay on Architeclu"re. gardens is· not to be born I'with; be C.ilife of the mif..rabie Attic whkh terminate it from one end to the other. They had only to diminifh it, and to · have placed the b:tlluftrade iinmedia:fely upon thecorni{h,theeye and taft; wouJd 1 have been fatisfied:·· If iteis obje.cl:ed that with out ah Attic fo long a front would not have had' foffident height: I anf wer thq need only'havc:"'added'. a fe-. cond ord'et above· the· fir.., and there .,. \vould have been a}1the i1e·ceifary height . • . • • lf • ' ·eThirdly, As·often as the're are' ftories · ,eto a building, there !hould !be as hfan.y orders of architecl:ure as there· ar.. fto.! · ries: be'caufe if one· order ?only!.inclofe many _il:ories, •then the ·-fforiesewould properly be only as little ro..ii1s _e or lodgmentse) bet:Veen the-tlcors, which is nioft miferable:) 'If is the arch_itecl:..ave o..ly. that gfves tne ·idi.. _eof a'•floor, then it would be·neceffary • I to have a new architrave for every ·efl.oor1 An Ejfay on Architeclure. 47 ' floor, and confequently a neW'order ofoArchitecture.< They ha've followed·. literally this rule for the fronts of the3 interiC? r -courts of the Louvre, and for: that of the palace of the Tuilleries ;· but they have ridiculoufly ,deviated, from it in the pavilions added to this ancient palace, and in the buildfog in return, which forms _the great gal-· lery upon 'the river. It is very £..gular, that being willing to length . en the front of the Tuilleries by the help of thefe pavilions, \hey have af-• focted' to employ a f..rt of Archi-.. tetlure, which has no connection with· that of the ·ancient building ; there was wanting bu.. a. very lfrtle good, fenfe to avoid a contrafl: fo fingular .and fo contradicting. There· have. been architects, who not content to· put two fiories · und..r one or1er ..(. architecture, but have increafed their folly even to pl..ce a little ordei of architecture under a greater. If IS ' 48 '.tfn E.ffiiy on Archit..c1ure.. is as if they ,built one ho..fe within. another. The porch of St. Peter's church at Rome. furniOJes this example of bad ta{l:e ·; it is found again in the great lobby of St. Sulpicius, _ and m..ny other places befide... ' .. .. Fourthly,J N placing two·orders OI)eupo .. another, we fhould avoid the·. falfe bearings .which are" of all the vices the mofl: oppofite to nature; it is thei1 neceffary that the· axes of the fuperi..r and inferior columns anfwer to the ..ight line, and ·do not: make bpt one perpendicular line. One fees fometimes ·a thick column underneath, which· carries upon it two lefs above : This is one of the groffeft faults ; there fhould not be in the fuperior order neither more nor lefs columns than in the inferior order, Here I find myfelf confl:rained to oppofe µ1yfdf againfl: the· domes upon architecture, \Vith which fo many people ... ".A,t E.lfoy on .Arcbitecluri. _49 people are in..love. Let what will bo faia in their favour, it will al..ays be true, that it is a monftrous thing to fee an entire periftyle of columns, hbrii by four great arcades which , afford them but a falfe foundation, be:. -cau·fe it is fro111, a cave or hollow. All Architects agree that the void ought to b_e upon the void, and the full upon the full. Now donies with an order of Architeclure always put before· us the full upon the void. If they will h..ve domes made, let them execute them in another manner than they do. An architecl: will give'ari idea of his genius, if he invents a manner of building them, which preferves their agreement in avoiding the infupporttable · fault of falfe-bearings._ If the thing is not poffible they nac;i better not to make them. I ought yet to take notice-here, that V.hen we build domes, we ought as to the exterior {>art to fet no roof appear.. for it is uni- D verfally . .50 .A.n Effey on Arcbiteclure. verfally ridiculous to prefent to us a tower built upon the carpenters work of a roof-The dome of the Jefui..sch urch in St. Antony's-fireet, befides a thoufand · other defecl:s, offends in this point in the mofi obfiinate manner. In fpeaking of the falfe-bearings I lhould not forget to oppofe thofe pieces_ of Architecture which· bear· upon nothing. S.uch are the columns in the air fufiained by corbeb, by arches that are not fupported by any fquare pillars, and many other fuch boldneffes, which dazzle the fiupid only.., I was· {hewed one· day. a lobby, fixt upon three arches, fupport. ed in the ..ir. in form of a tail-piece: 'fhey told me, See here what a bold piece this is. That is true, faid I; but if your architect, in the place of thefe frig..tful tail pieces, had mad.. your lobby in plat-band all even, his piece would not haxe bee.. Ie[s .bold> and it \Vould ha,·.. Leen more naturale: ite _ would ,tfn_ E..fTay_ on Arc.. it,dlu_re. '. s .. w..uld have .had lefs aqmirers, but it ' would have ·nad inore ·honorable ones. Ina word all that is againft· nature may be pa;ticular, 'but will ne..er. be beau! iful. • In• a building there· is .. neceffity that all fh_oul.. bear fro.Ill the foundations. See then . a· rule· from ' , . w..ich it is never permitted fo devi..,te .. I .1) 2 ART_l CL.. JZ An Ejfay o.. 4rcbitec!t1r.. AR TIC L.. v. · Of window, and doors. AN ..difice. of detached colurnnse which bear an entablature has no want of doors and windows : •but . , . t alfo, being open in all parts it is not habitable, the neceffity of preferving one's felf from the injuries of the ..ir, and· many other motives fiill more intereftir.g, oblige us to fill up the. fpaces between the columns, and from thence doors and windows are nece(fary. Their form o..ght to be determined by conveniency, and it would be well to join thereto elegancy. Thc­fquare form is the moft fimple and commodious, becaufe then the folding doors open themfel ,·es with a perfect freedom, without being obligedeto conce.alep arclies; the labour of which feeli to9 mHch 'art and con firaint,. 4n EJ.flay p.. .A.r_chiteclun. --53 !raint, or to fixed branches 'Yhiche,re as little natural. One imagine..ethat in arching the doors and windowse ..b9ve:: it gives them more ·grace. Butethen what.happens? ·This arch leavese on one part and the other· upon thee bare wall an irregular figure, that ise to fay, a triangle right angle, the twoe - fides of which ar.e right lines, and the hypotheneufe ..s a curved-line. , Thefoe{ort .of irregular fpaces have always a tiaa dt<:_cl:in Archite·aure. They oblige you toplace therein low orn·aments_, for wliic;:h one can give no .other reafon,ethan that they· hµve l?e..n placedethere to cover a defect. It wouldehe. rliuch better· to avoid it. ··Door,eof a full arch ought to be referved foretriumplia:l..arches, to which ufe they •·ehav.e .been .confecrated.. ,Apy whereeelfe they are_ ridiculou,s. .At •prefentethere is J). fury gov..rns for -windowsefull.arc;:bed. I doubt:one might find examp! es thefeofio the, gobd moriument.se D .3 ef. 54 An ,Ej[ay 011 Arch/tec!ure. of antiquity, but .they are yef more·to...i. lerable than the arched windo..s with an arch extremely furbafed. Thefe fort of windows very co..mori at ,this time have almoil: all the_ incoriveniencies of the full arch, and de..iate much more from the ·natural by the greatirregularity" of their· form..· The·win.;. .. , • -t • ' . dows ought always ..to oe under the entablature.' • If they place them..-..T hove ·the cornilh, they' are. no more than· loovers. It is ·a· moil: aeplorable thing, in almoft ·au our·em.'odern chur.: ches, ·to find no light therein'; ·out , i thefe loovers pierced' after ..this marner into the arch. •Windows upon the fame right line lhould nave all· the fame for·m, and one cannot· fee.upon. what is founded.the meannefs of (ome nrcliitecl:s who have endeavoured to· vary them. Windows and tjoors en tring but accidentally· into the c'ompo-. -fitio·n of an order of architecfore, ouglitenot to intrerich µpon the ·effer:1tial p..rts-. -· H.. .An Ejfay on Arch..teclure. 55 He that curtailed the .architrave ..f the great collater..l pavilions of the palace of the Tuilleries in order to give more elevation to the windows ·did not know his·· bufinefs. lvlonf.e Perrault has yet unfortunately forgote himfelf, in his magnificent portico ofe the louvre, when he •placed below ae great art..ed door which cuts the fu perior bafe ·upon ..hi..h the colum11se are pla:..ed. He1 THE R r·o I have run through 'all the neceffary parts of -Architecl:ure, -and I have not met a nich in myeroad. ··What then in effelt is a nich·?eFor what ufe is it? In truth I knowenone._ I cannot believe that goodefenfe can be pleafed with looking onea fiatue placed in a window cut as aehollow tower. My antipat..y to ·nichese is invincible, and till they have f11ewnef me the principle and neceifity of it,e l qiall lay viqlent hands upon· all thofee D 4 who ' 56 .An ..J[aY on -1r..hit-eclurt,, who 01all prefent them. A fiatuc; is notonaturally and elegantly pla,ed · but upon a pedefial. · Why then to bury it in the hollow of the wall, , q.nd to hide -thereby the circurnfq. r..nce? I WQuld fain have -th..m e".­ pJ..iq wh;it fignifles thof.. fhoulder pieces which commonly 4ank the top 9[ th.. fronts qf oQr chtirches, Thefo corbels ea.. only rc;prefe_nt the fptirs, or fµpporters, a difagreeable object, which feels too much of pain and !abour to expo(e it to view. If oneocould hide all thefe fpurs.. where theyoare of in9ifpenfable neceffity, w..o ..hould r..nder to Ar<:hiteclµr.. a ftgnal fervice. I am very fenfible it-is dange ... rous to oppofe received cufioms, Our artifis · will owe me much refentment, if I come to trouble them in the ·pofl"effion, wherein they ar.., •oto permit l..berties which I condemn,oBut ,4n Ejfay on .Architeclure. >7 \ ... But I defire not .to facrifice to ideas of prevention or idlenefs princ..ples up-:­ on which depends the true perfec.:. tion of their· art. It will b.e 'a fojl to them indeed.to acknowledge that they are miftaken, but when one ii in a condition to do well as they·are, a like conceffion in humbling a little their felf-love only ferves to encou- rage emulation. It is not requiredethat herein we fhould fervilely obeye ..uftom, or blindly follow a praB:i_ce;eIt is requi_fite to exaO?ine if my ideaseare juft, if they have not ·a neceffaryeconneB:i_on with the principl..s inewhich all the world is agreed. i have expofed to them tqefe princi ..epies faithfully : I have endeavouredefrom thence to draw neceffary GOnfequences that I have eftablHhed aserules. I hav.. not exduded thofe ex:­ ceptions that real neceffity authorifes;eI have qdmitted them as licences-,ewhich. we make ufc of, proviqed it bee -j. · 58 An E;ffey on Architeclure . in a prudent and judicious manner; Iehave treated boldly a fault, all whichehaving no connecl:ion with the principles, is not elfewhere aµtborifed byeany neceffiry. See then my method.e{f it is bad, and that it can be provedefo, I iliall make it a duty in me toer..form it.e IT therefore follows, fay they, that our greateft architecl:s . have been ·eguilty of the gr2ffeft faults : there isenone of them who have not habitually fwerv..d from the feverity of your rules ; and if we are t.. believeeyou; what we admire as mafter-piecesewould be full of faults. I confefsethe objection is very ftrong. No oneeh..th lefs defire to tarni{h the reputa# on of the great mafiers of the ar...eI efi:eem their talents; I ref peel: theire .. memory; I have for f'hem all the.fincereft veneration. But after all itewould be a blind prejudice to· believee that ' An EJ/ay on ArchiteSure. 59 that all they have done is well, precifely becaufe they have done it. In fuppofing that they have been capable of ·com..itting faults, and that the;y have in effect committed them, I only acknowledge that they were men. If the feverity of rules which I have juft nO\.. been fpeaking of, gives room to· cenftire their' beft works, w..·at will ·happen from it ?t..e iliall go ..urther .t . than they have done. -The art iliall bet more perfect. We iliall imitate theirt beau ties, ; we ..all avoid their defecl:s..t _t Rules that will contribute to this difco very, -are too ufefiil for the.. to rejecl:..t 'I'HEY will ·am object to me, that . I reduce An;;hitecture almofl: to nothing, fince excepting ··columns,· en:. tablatures, pediments, d_oors and..witi!. dows, I retrench very. near all tlie - ' reft. True it is that I.. take from\ · Architecture a gr_eat deal of fuped1uity :­ ,that· I ftrip it of a ·great m..ny t_rifle-J,. which. R9 ,:dn Ejfay on Architcl1ure.. which makes its ordinary parades, ..hat I only leave it what is natural and ·p}ain. But do not let them"