A great deal of the confusion of ideas existing on the subject of Architecture arises from the fact that writers have been in tlie habit of speaking of Painting, Sculpture, and Architecture as three similar fine arts, practised on the same principles. This error arose in the 16th century, when in a fatal hour painters and sculptors undertook also the practice of architecture, and builders ceased to be architects. This confusion of ideas has been perpetuated to the present hour, and much of the degraded position of the art at this day is owing to the mistake then made. It cannot therefore be too strongly insisted upon that there is no essential connection between painting and sculpture on the one hand and architecture on the other.
The two former rank amonoj what are called Plionetic arts. Their business is to express by color or form ideas that could be—generally have been—expressed bywords. With the Egyptians their hieroglyphical paintings were their only means of recording their ideas. With us, such series of pictures as Hogarth's "Mariage à la Mode" or "The Rake's Progress" are novels written with the brush; and many of our Mediæval cathedrals possess whole Bibles carved in stone. Poetry, Painting, and Sculpture are three branches of one form of art, refined from Prose, Color, and Carving, and form a group apart, interchanging ideas and modes of expression, but always dealing with the same class of images and appealing to the same class of feelings.
Distinct and separate from these Phonetic arts is another group, generally known as the Technic arts, comprising all those which minister to the primary wants of mankind under such various heads as food, clothing, and shelter. Between these two groups is a third called the Æsthetic arts, forming, as it were, a flux between the Technic and Phonetic arts, fusing the whole into one homogeneous mass. They take their rise from the fact that to every want which the technic arts are designed to supply, Nature has attached a gratification which is capable of refining all the useful arts into fine arts. Thus the Technic art of agriculture is capable of supplying food in its simple form; but by the refinements of cookery and of wine-making, simple meats and drinks are capable of affording endless gratification to the senses. Simple clothing to keep out the cold requires little art, but embroidery, dyeing, lace-making, and fifty other arts employ the hands of millions, and the gratification afforded by their use, the thoughts of as many more. Shelter, too, is easily provided, but ornamental and ornamented shelter, or in other words architecture, is one of the most prominent of the fine arts. Music, though hardly known as a useful art, is the most typical of the Æsthetic arts, and, "married to immortal verse," steps upwards into the region of the Phonetic arts, just as building, when used for ornament, is raised out of the domain of the Technic arts.
Like music, color and form may be so arranged as to afford
