206 Sloans Architectural Review and Builders' Journal. [Sept., of nature have an all-powerful and a very necessary influence over the style. Without question, buildings ought to agree, in every part and particular, to and with, the intents and purposes for which they are designed ; and should likewise never deviate in the slightest ; for such a deviation from its original intent — detracting from the utility of the building, even though it should ap- proach the ornamental — would give an incongruous character, displeasing to the eye. Every edifice designed solely for use can be regarded in no other light than as to whether its finished state justi- fies the means for the attainment of that particular purpose. Hence it follows that the most important end to be at- tained, in the erection of an edifice, is : to discover in what manner it can best be brought to the highest standard of perfection. Even though possessed of beauty of detail and a pleasing general effect, when these essentially conflict, not only with main utility, but with the special purpose for which it is de- signed, the glaring impropriety and inconsistency, could not be overlooked. -In delineating, however, the plans or designs, for those three different kinds of architectural structures, which we have just named — whether intend- ed for ornamental display, absolute utility, or a happy combination of both — there is an ample field for the genius of an architect to exhibit his inclina- tions, feeling, and attainments, or the prevailing fashion of the age in which he lives. For even architecture does not escape from the influence of Fash- ion. Then much attention is to be paid to the topographical features of the in- tended site. There is abroad an impression, that architectural beauty, and attention to the demands of utility, are opposed^ to one another, and cannot be reconciled ; in fact, that it is a hopeless task to en- deavor to combine these two qualities. This, however, is a very erroneous idea. Scientific and constructive skill must proceed, hand in hand, boldly, truthful- ly, and uninfluenced by such an opinion. Beauty of the right kind, consistent with the aspect of nature, will grow up, out of utility. In the works of nature, we always find the greatest beauty con- joined with the greatest wisdom, com- pleteness and strength ; and this same principle, if made the groundwork for every design, will hold good in architec- ture. It is too common a habit, with many architects, to develop form and beauty, first ; and then to take into consider- ation, the utility of the edifice in ques- tion. This only leads to mannerism. Indeed it must be admitted, that every architect is a mannerist, more or less ; and that, in the majority of instances, we have only to examine the detail, and general leading principle of his works, to ascertain his personality. Exactly as any connoisseur has only to inspect a picture, to be able, at once, to pro- nounce, as to the studio whence it emanated. The foregoing remark may be readily justified, and most forcibly illustrated, by an examination of the edifices designed by the different archi- tects of the past, and our own times, when it will instantly be perceived, that each one has a peculiar and distinct style of his own. We may, in this con- nection, mention the following celebra- ted architects, an inspection of whose designs will bear out the truth of our remarks : Ictinus and Callicrates were the archi- tects, to whose grand conceptions, and lofty aspirations, we owe the Par- thenon — with all its stern and noble serenity, and severe and sublime pro- portions — the cause of the envy and the murmurs of Greece, the glory of Ath- ens, and the admiration of the world. The Parthenon, dedicated to Minerva, was erected in the palmy days of Greek art, and the statuary — to whose skill and art is due those magnificent sculp- tures, executed in high relief, colossal
