462 The Architectural Review and American Builders' Journal [Jan., machus, his architect, he concludes in- structions concerning his palace with observing, that the personal distinction, which he shall confer upon his architect is. that, in all processions and meetings he shall stand next to his royal person, in the centre of a numerous cortege ; bearing a wand of gold in his hand ; and enjoy other privileges, which should announce the high confidence, with winch the King was pleased to honor the architect, to whom he intrusted the building of his royal palace. It is useless to refer to the ages long since past away, for the origin of the builder's art. The inconveniences of the seasons, the severity of the climate, demanding shelter or shade, compelled men to erect huts with branches ot trees and skins of animals. The Indi- an's hut and the Laplander's cave, of the present day show well enough, from what mean originals it rapidly sprang up to Grecian perfection, without our searching back to the ante-diluvian world, for the origin of its primitive elements. As necessity was its first parent, so was convenience its first object. Deco- ration t and magnificence were the re- sults of refinement. Convenience should be the primary view of the architect. Every building is erected, to answer some particular purpose ; and the most obvious and simple means are always the best adapted to obtain the end re- quired. After a plan, with all its requis- ites and purposes, is obtained, the archi- tect is at liberty to add suitable decora- tion, elegance and grandeur of stjde, to convenience, strength and propriety ; and to finish the whole, with full-blown splendor and grace, which are never to be obtained but by the union of pro- priety with what is merely ornamental. By this division of the elements of archi- tecture, into utility and beauty, it is ob- vious, that it is both an art and a science ; and that the architect should be both an artist and a philosopher. In- asmuch as it is a useful and a fine art, the first or scientific part of architecture is mechanical, and may be acquired ; the latter, or art, is the result of what is called genius, which, like poetry, is partly innate and difficult to acquire, although, by study and close observa- tion, it may be brought to some degree of perfection. The one requires the aid of imagination and fancy ; the other is guided by fixed rules. To form a complete architect, both must be united ; for the necessities of a plan are often misunderstood ; and a glaring pile of useless beauty mocks the possessor with a dream of grandeur which he cannot enjoy. Without science architecture is an effeminate and useless pastime ; and without the higher feelings of art, a mere construction of huts and cabins. The true foundation of the architect is Mathematics. Arithmetic is the ground- work of his future operations in Mensu- ration, either as to extent or solidity. Geometry — which lays down the first principles in construction, adjusts bear- ings and proportions ; and measures, points, angles and solids — is of the last importance. Masonry in brick and stone, carpentry and the inferior me- chanical arts must be understood by him with accuracy, and be practised with readiness, as being the executive depart- ment of his art. Surveying, leveling, hydrostatics, and other of the mixed and applied sciences are likewise of primary importance to the architect ; and must be cultivated, both theoreti- cally and practically. Mechanics is also another indispensable science to the architect, together with sketching and drawing. These various studies are all requisite in forming a complete mechanical architect. But in one, whose duties and high station require him to design, direct and manage great works, to organize and rule numerous bands of workmen and laborers, additional faculties of a very high mental class are requisite. Convenience, strength and beauty are the principal points to be studied in
