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We have heard the learned in matters relating to art, express the opinion that these United States are destined to form a new style of architecture. Remembering that a vast population, rich in material and guided by the experience, the precepts, and the models of the old world, is about to erect durable structures for every function of civilized, life, we also cherished the hope that such a combination would speedily be formed.

We forgot that though the country was young, yet the people were old, that as Americans we have no childhood, no half fabulous, legendary wealth, no misty, cloud-enveloped background. We forgot that we had not unity of religious belief, nor unity of origin; that our territory, extending from the white bear to the alligator, made our occupations dissimilar, our character and tastes various. We forgot that the Republic had leaped full grown and armed to the teeth from the brain of her parent, and that a hammer had been the instrument of delivery. We forgot that reason had been the dry nurse of the giant offspring, and had fed her from the beginning with the stout bread and meat of fact; that every wry face the bantling ever made had been daguerreotyped, and all her words and deeds printed and labelled away in the pigeon-holes of official bureaux.

Reason can dissect, but cannot originate; she can adopt, but cannot create; she can modify, but cannot find. Give her but a cockboat, and she will elaborate a line of battle ship; give her but a beam with its wooden tooth, and she soon turns out the patent plough. She is not young, and when her friends insist upon the phenomena of youth, then is she least attractive. She can imitate the flush of the young cheek, but where is the flash of the young eye? She buys the teeth,-alas! she cannot buy the breath of childhood. The puny cathedral of Broadway, like an elephant dwindled to the size of a dog, measures her yearning for Gothic sublimity, while the roar of the Astor-house, and

the mammoth vase of the great reservoir, show how she works when she feels at home, and is in earnest.

The mind of this country has never been seriously applied to the subject of building. Intently engaged in matters of more pressing importance, we have been content to receive our notions of architecture as we have received the fashion of our garments, and the form of our entertainments, from Europe. In our eagerness to appropriate we have neglected to adapt, to distinguish,-nay, to understand. We have built small Gothic temples of wood, and have omitted all ornament for economy, unmindful that size, material, and ornament are the elements of effect in that style of building. Captivated by the classic symmetry of the Athenian models, we have sought to bring the Parthenon into our streets, to make the temple of Theseus work in our towns. We have shorn them of their lateral colonnades, let them down from their dignified platform, pierced their walls for light, and, instead of the storied relief and the eloquent statue which enriched the frieze, and graced the pediment, we have made our chimney tops to peer over the broken profile, aud tell by their rising smoke of the traffic and desecration of the interior. Still the model may be recognized, some of the architectural features are entire; like the captive king stripped alike of arms and purple, and drudging amid the Helots of a capital, the Greek temple as seen among us claims pity for its degraded majesty, and attests the barbarian force which has abused its nature, and been blind to its qualities.

If we trace Architecture from its perfection, in the days of Pericles, to its manifest decay in the reign of Constantine, we shall find that one of the surest symptoms of decline was the adoption of admired forms and models for purposes not contemplated in their invention. The forum became a temple, the tribunal became a temple, the theatre was turned into a church; nay,

the column, that organized member, that subordinate part, set up for itself, usurped unity, and was a monument! The great principles of Architecture being once abandoned, correctness gave way to novelty, economy and vainglory associated produced meanness and pretension. Sculpture, too, had waned. The degenerate workmen could no longer match the fragments they sought to mingle, nor copy the originals they only hoped to repeat. The mouldering remains of better days frowned contempt upon such impotent efforts, till, in the gradual coming of darkness, ignorance became content, and insensibility ceased to compare.

We say that the mind of this country has never been seriously applied to architecture. True it is, that the commonwealth, with that desire of public magnificence which has ever been a leading feature of democracy, has called from the vasty deep of the past the spirits of the Greek, the Roman, and the Gothic styles; but they would not come when she did call to them! The vast cathedral with its ever open portals, towering high above the courts of kings, inviting all men to its cool and fragrant twilight, where the voice of the organ stirs the blood, and the dim-seen visions of saints and martyrs bleed and die upon the canvass amid the echoes of hymning voices and the clouds of frankincense, this architectural embodying of the divine and blessed words "come to me, ye who labor and are heavy laden, and I will give you rest!" demands a sacrifice of what we hold dearest. Its corner-stone must be laid upon the right to judge the claims of the church. The style of Greek architecture as seen in the Greek temple, demands the aid of sculpture, insists upon every feature of its original organization, loses its harmony if a note be dropped in the execution, and when so modified as to serve for a customhouse or a bank, departs from its original beauty and propriety as widely as the crippled gelding of a hackney coach differs from the bounding and neighing wild horse of the desert. Even where, in the fervor of our faith in shapes, we have sternly adhered to the dictum of another age, and have actually succeeded in securing the entire exterior which echoes the forms of Athens, the pile stands a stranger among us! and receives a respect akin to what we

should feel for a fellow-citizen clothed in the garb of Greece. It is a makebelieve! It is not the real thing! We see the marble capitals; we trace the acanthus leaves of a celebrated modelincredulus odi! It is not a temple.

The number and variety of our experiments in building show the dissatisfaction of the public taste with what has been hitherto achieved; the expense at which they have been made proves how strong is the yearning after excellence; the talents and acquirements of the artists whose services have been engaged in them are such as to convince us that the fault lies in the system, not in the men. Is it possible that out of this chaos order can arise? that of these conflicting dialects and jargons a language can be born? When shall we have done with experiments? What refuge is there from the absurdities that have successively usurped the name and functions of architecture? Is it not better to go on with consistency and uniformity in imitation of an admired model than incur the disgrace of other failures? In answering these questions let us remember with humility that all salutary changes are the work of many and of time; but let us encourage experiment at the risk of license, rather than submit to an iron rule that begins by sacrificing reason, dignity and comfort. Let us consult nature, and in the assurance that she will disclose a mine, richer than was ever dreamed of by the Greeks, in art as well as in philosophy. Let us regard as ingratitude to the author of nature the despondent idleness that sits down while one want is unprovided for, one worthy object unattained.

If, as the first step in our search after the great principles of construction, we but observe the skeletons and skins of animals, through all the varieties of beast and bird, of fish and insect, are we not as forcibly struck by their variety as by their beauty? There is no arbitrary law of proportion, no unbending model of form. There is scarce a part of the animal organization which we do not find elongated or shortened, increased, diminished or suppressed, as the wants of the genus or species dictate, as their exposure or their work may require. The neck of the swan and that of the eagle, however different in character and proportion, equally charm the eye and satisfy

the reason.
We approve the length of
the same member in grazing animals,
its shortness in beasts of prey. The
horse's shanks are thin, and we admire
them; the greyhound's chest is deep, and
we cry, beautiful! It is neither the
presence nor the absence of this or that
part or shape or color that wins our
eye in natural objects; it is the consist-
ency and harmony of the parts juxta-
posed, the subordination of details to
masses, and of masses to the whole.

The law of adaptation is the fundamental law of nature in all structure. So unflinchingly does she modify a type in accordance with a new position, that some philosophers have declared a variety of appearance to be the object aimed at; so entirely does she limit the modification to the demands of necessity, that adherence to one original plan seems, to limited intelligence, to be carried to the very verge of caprice. The domination of arbitrary rules of taste has produced the very counterpart of the wisdom thus displayed in every object around us; we tie up the camel leopard to the rack; we shave the lion, and call him a dog; we strive to bind the unicorn with his band in the furrow, and to make him harrow the valleys after us!

When the savage of the South Sea islands shapes his war club, his first thought is of its use. His first efforts pare the long shaft, and mould the convenient handle; then the heavier end takes gradually the edge that cuts, while it retains the weight that stuns. His idler hour divides its surface by lines and curves, or embosses it with figures that have pleased his eye, or are linked with his superstition. We admire its effective shape, its Etruscanlike quaintness, its graceful form and subtle outline, yet we neglect the lesson it might teach. If we compare the form of a newly invented machine with the perfected type of the same instrument, we observe, as we trace it through the phases of improvement, how weight is shaken off where strength is less needed, how functions are made to approach without impeding each other, how the straight becomes curved, and the curve is straightened, till the straggling and cumbersome machine becomes the compact, effective and beautiful engine.

So instinctive is the perception of organic beauty in the human eye, that

we cannot withhold our admiration even from the organs of destruction. There is majesty in the royal paw of the lion, music in the motion of the brinded tiger; we accord our praise to the sword and the dagger, and shudder our approval of the frightful aptitude of the ghastly guillotine.

Conceiving destruction to be a normal element of the system of nature equally with production, we have used the word beauty in connection with it. We have no objection to exchange it for the word character, as indicating the mere adaptation of forms to functions, and would gladly substitute the actual pretensions of our architecture to the former, could we hope to secure the latter.

Let us now turn to a structure of our own, one which from its nature and uses commands us to reject authority, and we shall find the result of the manly use of plain good sense so like that of taste and genius too, as scarce require a distinctive title. ship at sea!


Observe a

Mark the majestic form of her hull as she rushes through the water, observe the graceful bend of her body, the gentle transition from round to flat, the grasp of her keel, the leap of her bows, the symmetry and rich tracery of her spars and rigging, and those grand wind muscles, her sails! Behold an organization second only to that of an animal, obedient as the horse, swift as the stag, and bearing the burthen of a thousand camels from pole to pole! What Academy of Design, what research of connoisseurship, what imitation of the Greeks produced this marvel of construction? Here is the result of the study of man upon the great deep, where Nature spake of the laws of building, not in the feather and in the flower, but in winds and waves, and he bent all his mind to hear and to obey. Could we carry into our civil architecture the responsibilities that weigh upon our ship-building, we should ere long have edifices as superior to the Parthenon for the purposes that we require, as the Constitution or the Pennsylvania is to the galley of the Argonauts. Could our blunders on terrafirma be put to the same dread test that those of ship-builders are, little would be now left to say on this subject.

Instead of forcing the functions of every sort of building into one general

form, adopting an outward shape for the sake of the eye or of association, without reference to the inner distribution, let us begin from the heart as a nucleus and work outward. The most convenient size and arrangement of the rooms that are to constitute the building being fixed, the access of the light that may, of the air that must, be wanted, being provided for, we have the skeleton of our building. Nay, we have all excepting the dress. The connexion and order of parts, juxtaposed for convenience, cannot fail to speak of their relation and uses. As a group of idlers on the quay, if they grasp a rope to haul a vessel to the pier, are united in harmonious action by the cord they seize, as the slowly yielding mass forms a thorough-bass to their livelier movement, so the unflinching adaptation of a building to its position and use gives, as a sure product of that adaptation, character and expression.

What a field of study would be opened by the adoption in civil architecture of those laws of apportionment, distribution and connexion, which we have thus hinted at? No longer could the mere tyro huddle together a crowd of ill arranged, ill lighted and stifled rooms, and masking the chaos with the sneaking copy of a Greek façade, usurp the name of architect. If this anatomic connexion and proportion has been attained in ships, in machines, and, in spite of false principles, in such buildings as make a departure from it fatal, as in bridges and in scaffolding, why should we fear its immediate use in all construction? As its first result, the bank would have the physiognomy of a bank, the church would be recognized as such, nor would the billiard room and the chapel wear the same uniform of columns and pediment. The African king standing in mock majesty with his legs and feet bare, and his body clothed in a cast coat of the Prince Regent, is an object whose ridiculous effect defies all power of face. Is not the Greek temple jammed in between the brick shops of Wall street or Cornhill, covered with lettered signs, and finished by groups of money changers and apple women, a parallel even for his African majesty?

We have before us a letter in which Mr. Jefferson recommends the model of the Maison Carrée for the State House at Richmond. Was he aware VOL. XIII.NO. LXII.


that the Maison Carrée is but a fragment, and that too of a Roman temple? He was. It is beautiful!-is the answer. An English society erected in Hyde Park a cast in bronze of the colossal Achilles of the Quirinal, and changing the head, transformed it into a monument to Wellington. But where is the distinction between the personal prowess, the invulnerable body, the heavenshielded safety of the hero of the Iliad, and the complex of qualities which makes the modern general? The statue is beautiful!—is the answer. If such reasoning is to hold, why not translate one of Pindar's odes in memory of Washington, or set up in Carolina a colossal Osiris in honor of General Greene?

The monuments of Egypt and of Greece are sublime as expressions of their power and their feeling. The modern nation that appropriates them displays only wealth in so doing. The possession of means, not accompanied by the sense of propriety or feeling for the true, can do no more for a nation than it can do for an individual. The want of an illustrious ancestry may be compensated, fully compensated; but the purloining of the coat of arms of a defunct family is intolerable. That such a monument as we have described should have been erected in London while Chantry flourished, when Flaxman's fame was cherished by the few, and Bailey and Behnes were already known, is an instructive fact. That the illustrator of the Greek poets, and of the Lord's Prayer, should in the meanwhile have been preparing designs for George the Fourth's silversmiths, is not less so.

The edifices, in whose construction the principles of architecture are developed, may be classed as organic, formed to meet the wants of their occupants, or monumental, addressed to the sympathies, the faith or the taste of a people. These two great classes of buildings, embracing almost every variety of structure, though occasionally joined and mixed in the same edifice, have their separate rules, as they have a distinct abstract nature. In the former class, the laws of structure and apportionment, depending on definite wants, obey a demonstrable rule. They may be called machines, each individual of which must be formed with reference to the abstract type of its species. The

individuals of the latter class, bound by no other laws than those of the sentiment which inspires them, and, the sympathies to which they are addressed, occupy the positions and assume the forms best calculated to render their parent feeling. No limits can be put to their variety; their size and richness have always been proportioned to the means of the people who have erected them.

If from what has been thus far said it shall have appeared that we regard the Greek masters as aught less than the true apostles of correct taste in building, we have been misunderstood. We believe firmly and fully that they can teach us; but let us learn principles, not copy shapes; let us imitate them like men, and not ape them like monkeys. Remembering what a school of art it was that perfected their system of ornament, let us rather adhere to that system in enriching what we invent than substitute novelty for propriety. After observing the innovations of the ancient Romans, and of the modern Italian masters in this department, we cannot but recur to the Horatian precept

"exemplaria Græca Nocturnâ versate manu, versate diurnâ!"

To conclude. The fundamental laws of building found at the basis of every style of architecture, must be the basis of ours. The adaptation of the forms and magnitude of structures to the climate they are exposed to, and the offices for which they are intended, teaches us to study our own varied wants in these respects. The harmony of their ornaments with the nature that they embellished and the institutions from which they sprang, calls on us to do the like justice to our country, our government, and our faith. As a Christian preacher may give weight to truth, and add persuasion to proof, by studying the models of pagan writers, so the American builder, by a truly

philosophic investigation of ancient art, will learn of the Greeks to be American.

The system of building we have hinted at cannot be formed in a day. It requires all the science of any country to ascertain and fix the proportions and arrangement of the members of a great building, to plant it safely on the soil, to defend it from the elements, to add the grace and poetry of ornament to its frame. Each of these requisites to a good building requires a special study and a life-time. Whether we are destined soon to see so noble a fruit, may be doubted; but we can, at least, break the ground and throw in the seed.

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We are fully aware that many regard all matters of taste as matters of pure caprice and fashion. We are aware that many think our architecture already perfect; but we have chosen, during this sultry weather, to exercise a truly American right-the right of talking. This privilege, thank God! is unquestioned,—from Miller, who, robbing Béranger, translates into fanatical prose, Finissons en! le monde est assez vieux!" to Brisbane, who declares that the same world has yet to begin, and waits a subscription of two hundred thousand dollars in order to start. Each man is free to present his notions on any subject. We have also talked, firm in the belief that the development of a nation's taste in art depends on a thousand deep-seated influences beyond the ken of the ignorant present; firm in the belief that freedom and knowledge will bear the fruit of refinement and beauty, we have yet dared to utter a few words of discontent, a few crude thoughts of what might be, and we feel the better for it. We promised ourselves nothing more than that satisfaction which Major Downing attributes to every man "who has had his say, and then cleared out," and we already perceive pleasingly what he felt, and what he meant by it.

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