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principles, is degraded to what is little better than mere decoration and scene painting, when, (apprehensive of falling into contradiction and want of harmony, unless it retains all the individual particulars of extant examples,) it timidly strives to imitate the dialect of a single province. How short a time, however, must the impression produced by such mummery last! and how long the impression of a work of architecture is destined to remain! It is because we are ashamed of, or mistrust the results of our own study and conviction, that we venture to exhibit ourselves to posterity, merely as the copyists of examples; the repute of which is already established, and which may be learnt and repeated by rote? At various periods men have shewn themselves either barbarous or puerile in their notions on art; yet never till now such slavish copyists, such mere plagirists, such mocking-birds in style. You may judge by this sally in what an ill humour I am, at finding that you would shut me up in a cage and there make me sing. If you examine your Elizabethan architecture with some little critical attention, you will hardly fail to perceive that, with all its richness of expression, the elementary sounds are no more harmonious than the crowing of a cock, or the braying of an ass.
All this concerns merely the style, as style; for in other respects we often meet with much that deserves praise; convenient arrangement, and contrivance, striking effect, and much cleverness of construction and execution, although so far from being pure or refined, the taste displayed may be decidedly vulgar and coarse. I freely confess that the merits I have just mentioned, were retained in the architecture of the north of Europe during the sixteenth and seventeeth centuries: I say retained, because the Gothic style that was then abandoned, had been treated with masterly and skill, and shewed disciplined artificers in all that belongs to mechanical execution; consequently, the ability thus produced had only to employ itself upon a fresh task. At the end of the last century, on the contrary, so completely had every thing like a school of the art disappeared, that at the University of Gottingen, architecture was taught as supplementary to the elementary course of mathematics. Is it then to be wondered at that we should have been filled with stupid wonder at the sublime works then newly brought to light, or that we should have set about copying them for the nonce, out of the affectation of classical purity, but without bestowing any study on the peculiar motives to be detected in them, or on the necessary alterations to be made in consequence of new exigences?
If we allow that as far as it proceeded, Grecian architecture is stamped by perfect beauty, it is of little moment to our argument whether it was so
