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Ep. IV. Then clap four slices of Pilaster on't, That, lac'd with bits of rustic, makes a Front.

NOTES distance of Architecture would intersection with one another? permit; at once indulging their Or could the Columns be otherold prejudices, and providing wise than spilt into diftinct for their present conveniencies, shafts, when they were to reby a cool receptable in a sultry present the Stems of a group of climate. And with what art Trees? On the same principle and success they executed the was formed the spreading ramiproject appears from hence, fication of the stone-work in That no attentive observer ever the windows, and the stained viewed a regular Avenue of glass in the interftices; the one well grown trees intermixing being to represent the branches, their branches over head, but it and the other the leaves of an presently put him in mind of opening Grove; and both COAthe long Visto thro' a Gothic curring to preserve that gloomy Cathedral, or ever entered one light inspiring religious horror. of the larger and more elegant Lastly, we see the reason of Edifices of this kind, but it their studied averfion to apparepresented to his imagination rent solidity in these ftupenan Avenue of trees. And this dous masses,

dous masses, deemed fo abalone is that which can be truly surd by men accustomed to called the Gothic style of the apparent as well as real Building.

strength of Grecian ArchitecUnder this idea of so extra ture. Had it been only a wanordinary a species of Architec ton exercise of the Artist's ture, all the irregular tranf- | skill, to fhew he could give gressions against art, all the real strength without the apmonstrous offences against na pearance of any, we might inture, disappear; every thing deed admire his superiorscience, has its reason, every thing is but we must needs condemn his in order, and an harmonious ill judgment.

But when one Whole arises from the studious confiders, that this surprizing application of means proper and lightness was necessary to comproportioned to the end. For plete the execution of his idea could the Arches be otherwise of a rural place of worship, one than pointed when the Work cannot sufficiently admire the man was to imitate that curve | ingenuity of the contrivance. which branches make by their This too will account for

Shall call the winds thro' long arcades to roar, 35
Proud to catch cold at a Venetian door ;
Conscious they act a true Palladian part,
And if they starve, they starve by rules of art.

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the contrary qualities in what Such then was Gothic I call the Saxon Architecture. ARCHITECTURE. And it These artists copied, as has would be no discredit to the been faid, from the churches warmest admirers of Jones and in the holy Land, which were Palladio to acknowledge it has built on the models of Grecian its merit. They must at least architecture; but corrupted by confess it had a nobler birth, prevailing barbarism ; and still tho'an humbler fortune, than further depraved by a religious the Greek and Roman ARidea. The first places of Chri CHITECTURE. ftian worship were Sepulchres Ver. 30. Turns Arcs of and subterraneous caverns, triumph to a Garden-gate ;] places, of necessity, low and This absurdity seems to have heavy. When Christianity be- arisen from an injudicious imicame the Religion of the tation of what these Builders State, and fumptuous Temples might have heard of, at the began to be erected, they yet, entrance of the antient Garin regard to the first pious dens of Rome : But they don't ages, preserved the massive confider, that those were pubStyle : which was made ftill lic Gardens, given to the peomore venerable by the Church ple by some great man after a of the holy Sepulchre : This, triumph; to which, therefore,

a double account being Arcs of this kind were very more than ordinary heavy, suitable ornaments. was for its superior fanctity VER. 36. Proud to catch cold generally imitated.

at a Venetian door ; ] In the VOL. III.

on

Oft have

you
hinted to

your

brother Peer, A certain truth, which many buy too dear : 40 Something there is more needful than Expence, And something previous ev'n to Taste—'tis Sense:

COMMENTARY.
VER. 39. Oft have you hinted to your brother Peer,

Å certain truth,-)
and in this artful manner begins the body of the Epistle.

1. The first part of it (from y 38 to 99) delivers rules for artaining to the MAGNIFICENT in just expence; which is the fame in Building and Planting, that the SUBLIME is in Painting and Poetry; and, consequently, the qualities necessary for the attainment of both must have the same relation.

1. The first and fundamental, he shews (from x 38 to 47) to be SENSE:

Good Sense, which only is the gift of Heav'n,

And, tho' no Science, fairly worth the seven. And for that reason; not only as it is the foundation and parent of them all, and the conftant regulator and director of their operations, or, as the poet better expresses it,- of every art of the foul; but likewise as it alone can, in case of need, very often supply the offices of every one of them.

NOTES. foregoing instances, the poet redressed, as men will be sooner exposes the absurd imitation of brought to feel for themselves foreign and discordant Man- than to see for the public. ners in public buildings; here VER: 39. Oft have you hinthe turns to the still greater ab- ed, & c. Something there is more furdity of taking their models needful than Expence,] To confrom a discordant Climate, in vince a great man of so strange their private ; which folly, he a Paradox, that Taste cannot supposes, may be more easily be bought, even after it is well

Good Sense, which only is the gift of Heav'n,
And tho' no Science, fairly worth the seven:
A Light, which in yourself you must perceive ; 45
Jones and Le Nôtre have it not to give.

To build, to plant, whatever you intend,
To rear the Column, or the Arch to bend,

COMMENTARY. Ver. 47. To build; to plant, &c.] 2. The next quality; for dignity and use, is Taste, and but the next : Fors as the poet truly observes, there is something previous ev'n to Taste--'tis Sense; and this, in the order of things : For Sense is a taste and true conception of Nature ; and Taste is a sense or true conception of beautiful Nature; but we must first know the Essences of things, before we can judge truly of their Qualities. The bufiness of Taste, therefore, in the pursuit of Magnificence, is, as the poet

thews us (from ø 46 to 65) 1. (to x 51) To catch or lay hold on Nature, where the appears most in her charms. 2. (to x 57) To adorn her, when taken, as best suits her dignity and quality ; that is, to dress her in the light and modest habit of a virgin, not load her with the gaudy ornaments of a prostitute. This rule observed, will prevent a tranfgression in the following, which is, not to let all its beauties, be seen at once, but in succession; for that advantage is inseparable from a graceful and well-dressed person. 3. (to $65) To take care that

NOTES. paid for, will need a

very

broad followed by another as strange hint indeed ;: especially when that there is

- something previous ev'n to Taste "tis Senfe. Yet as severe a subject of hu- their profiting by the following miliation as all this is to the instructions, Rich, it was but necessary to VER. 46. Inigo Jones the inculcate it, in order to work celebrated Architect, and M. in them, if possible, that teach Le Nôtre, the designer of the ableness of mind necessary for best Gardens of France. P.

To swell the Terras, or to sink the Grot;
In all, let Nature never be forgot.

50
But treat the Goddess like a modest fair,
Nor over-dress, nor leave her wholly bare;
Let not each beauty ev'ry where be spy'd,
Where half the skill is decently to hide.
He gains all points, who pleasingly confounds,
Surprizes, varies, and conceals the Bounds.

55

COMMENTARY. the ornaments be well suited to that part, which it is your purpose to adorn; and, as in dressing out a modeft Fair (which is the poet's own comparison) the colours are proportioned to her complexion; the stuff, to the enbonpoint of her person ; and the fashion, to her air and shape; so in ornamenting a villa, the rise or fall of waters should correspond to its acclivities or declivities; the artificial hills or vales to its cover or exposure; and the manner of calling in the country, to the disposition of its afpect. But again, as in the illustration, whatever be the variety in colour, stuff, or fashion, they must still be so suited with refpect to one another, as to produce an agreement and harmony in their assemblage; so woods, waters, mountains, vales, and vistas muft, amidst all their diversity, be so disposed with a relation to each other, as to create a perfect symmetry resulting from the whole ; and this, the Genius of the place, when reli

NOTES. VER. 53. Let not each beau- gin to hate and nauseate her as ty ev'ry where be spy'd,] For a prostitute. when the same beauty obtrudes VER. 54. Where half the itself upon you over and over; skill is decently to hide. If the when it meets you

full at what- poet was right in comparing ever place you stop, or to the true dress of Nature to that whatever point you turn,

then of a modest fair, it is a plain Nature loses her proper charms consequence, that one half of of a modeft fair; and you be the designer's art must be, de

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