4 COTTAGE, FARM, AND VILLA ARCHITECTURE. thought to consist in knowing a few c:ibalistic words derived from the Greek, and a few mechanical rules for the proportioning of columns ; while, for those who would wish to acquire such a knowledge of Architecture, as would enable them to appreciate its beauties as they do those of its sister arts, there is hardly a single elementary work, that is not eithei too superficial, or merely technical. Instead of anything like generalization of principles, or originality of views, we meet with insulated rules, and the dull quackery of monotonous routine : while peurile trifling, or anile superstition, is suffered, in many cases, to exclude even a glimpse of common sense. In almost every other branch of knowledge, the student is able to provide himself with theoretical and critical, as well as practical, works ; but here, he ought to be endued with more than ordinary ardour and perseverance, if he would collect for himself the insulated scraps of criticism, and the few really useful, original remarks that, ' few and far between,' are scattered over a wide expanse of almost unvaried sameness." — Foreign QuarU'rhj Review, April, 1831. But a knowledge of the rules of Grecian Architecture, can no more be considered the principles of the science, than the art of mixing colours can be called the principles of paint- ing. " The great object of an Architect," says Wood, " is to detei-mine in what manner, with means always in some degree limited, either by the nature of the material to be employed, the customs of the country, the expense, or the taste or no taste of the employer, he can combine beauty with utility. The connexion of beauty, as an effect, with the composition of the parts of buildings, as the cause of that effect, is the great end and object of the Architect." — Letters of an Architect, Preface. After studying with care all the various opinions delivered by differetit architectural writers on the subject of the principles of their art, and divesting ourselves, as much as possible, of all accidental associations and temporary prejudices, we have arrived at the fol- lowing conclusion : — that the leading principle of Architecture, as a useful art, is fitness for the end in view ; as an art of design, expression of the end in view ; and, as an art of taste, expression of some particular Architectural style. Those beauties or effects which are the result of the first and second principles, are in their nature permanent ; those which are the result of the third principle, are in their nature temporary and accidental. All the various principles which come into operation, in the design and construction of buildings, easily range themselves under these three fundamental principles. The fitness of a design for the end in view, comprehends, not only the fitness of the size, shape, number, relative position, and other particulars of the interior divisions of a building, for the uses for which they are intended; but the fitness of the materials and construction, with reference to the strength and durability which may be required ; and the fitness of the expenditure for the means at the command of the builder. In like manner, the principle of the expression of the purpose, or end in view, applies not only to unity of expression in a building as a whole, but to the separate expression of all the different parts of a building for the purposes for which they are intended. So also the expression of architectural style applies, not only to the building taken as a whole, which must be in the same style throughout, but to all its component parts, which, even to the most minute details, must belong to that style, and exhibit its characteristics. Thus, as there are various uses to which buildings are devoted, so are there various kinds of beauty of which they can be rendered expressive. But, as all the uses to which buildings can be applied, all the arrangements which are requisite for convenience or hixury, and all mechanical or chemical processes which enter into their construction, are referable to the principle of fitness; so all the different kinds of beauty of which they are susceptible, are referable either to the expression of purpose, or to the expression of style. A cottage or a barn, which are recognized to be such at the first glance, are so far perfect, as to the expression of purpose ; but they may also be specimens of Grecian or Gothic Architecture, in which case, to the expression of purpose is added the expression of style. As fitness and the expression of purpose are principles applicable to all buildings whatever; so fitness, the expression of purpose, and the expression of architectural style, comprehend all the beauties of which buildings are susceptible. The principle of expression of purpose, is of universal application in Architecture ; and whatever building will bear the test of examination according to it, cannot but prove satisfactory to every unprejudiced mind, though it may not possess any of the beauties of architectural style. The minds of all men, however, are more or less subject to the prejudices of the age and country in which they live; and the prejudices of European Architects and their employers, seem long to have been in favour of the expression of architectural style in building, rather than of the expression of iise or purpose. This circumstance lias influenced the general taste ; and hence it is, that the critical observer,
