Page:An Encyclopædia of Cottage, Farm, and Villa Architecture and Furniture.djvu/1148

 112h COTTAGK, FARM, AND VILLA ARCHITECTURE. in a soft rock ; the coved ceilings and the arches to the doors and other openings being finished in imitation of the Grecian ogee inoulding. It is clear also from Mr. Trot- maiVs essay, and the work of Mr. Rickman, that the Gothic style originated in an imitation of the Roman. The reader who wishes to study the different varieties of Gothic, or Pointed, Architecture inay turn back to Mr. Trotinan's essay, or have recourse to Mr. Rickman's succinct, and, at the same time, comprehensive, work on that subject. 2230. The Elizabethan, or Old English, Style, or rather manner, of building, is to the Gothic, what the Modern Italian is to the Roman : it is a mongrel style (inore so, indeed, than the Italian), composed of Roman and Gothic details. From its extensive use in the mansions of this country, at a time when some of the largest were built, it has come to be considered as peculiarly appropriate to country residences. Perhaps, as a British domestic style, it has more interesting associations connected with it than any other ; and there is nothing in its forms and details but what may readily be adapted to every modem convenience and luxury. 2231. There are various other subordinate Styles or Manners of building, to which the student may have recourse, in order to store his mind with ideas, and enable him to produce novelty in connection with excellence. There is the Egyptian style, character- ised by its colossal forms and massive grandeur ; from which, however, but few ideas can be derived applicable to domestic purposes ; and the Chinese style, the tyi}e of which is a tent, but which, as far as it is known in this country, seems by no means a complete system in itself. There appear to be two styles or manners in India ; one, the Hindoo Arcliitecture, analogous to the Egyptian, the type of both being an excavation in the fi'ont of a rock, or on the side of a hill ; and the other, bearing some resemblance to the European pointed style, and which has been called the Indian Gothic. This style is also sometimes called Arabian, Saracenic, or Moorish Architecture ; and is an interesting and fanciful style, which owes its birth to the Mahometan religion. All these styles and varieties of styles will be found described in Letters on the Principles of Design in Architecture, and in the History and Analysis of all the Principal Styles of Architecture ; both small and cheap books, easily to be procured. See also the very excellent Treatise on Arcliitecture and Building, by William Hosking, Esq. 2232. On the Subject of Style in Architecture much more might here be said; but we conceive it of far greater importance that the reader should understand the general principles of composition, than that he should become learned in the details of any par- ticular style. Hitherto Architecture has been too generally considered as consisting of an accurate display of the features and details of the best precedents of some particular style, without reference to abstract principles of composition ; but we think that the student who would excel in this art should, in the first instance, have recourse to the study of general composition ; and should consider the study of the Grecian and Roman orders, and of their various proportions and mouldings, as altogether subordinate. We are persuaded that the leading causes why Architecture has made such little progress in this country are, the general neglect by Architects of imiversal principles, and the almost exclusive attention paid by them to precedents and to established rules. Were we to direct the studies of a youth intended for the profession of an Architect, the very last part of the course of instruction which we should prescribe to him would be the study of the five orders. We consider them about as necessary to good sense, and good taste, in Domestic Architecture, as the study of the Greek and Latin languages is to the knowledge of what is good sense and good taste in the general conduct of life. Before, however, we recommended any youth to study Architecture as a profession, we would endeavour to ascertain, upon phrenological principles, or from general observation, whe- ther his organisation was favourable for that pursuit. One of the grand causes of the slow advancement of all the arts of taste, and of the great prevalence of mediocrity among artists, is, the utter neglect of this preliminary measure on the part of their parents or advisers. Young men are articled to Architects, or sent to study painting or sculpture in academies, on the same priiicijile as they are brought up to the common trades of life ; and the result is, that, instead of men of native genius being, by cultivation, rendered skilful artists, the same degree of instruction, bestowed on men not possessing any natural talent, only produces mechanical artisans, or servile imitators of what has been done by their predecessors.