circumstance that has influence to add dignity to things in themselves abundantly trivial. Triumphal arches, pyramids, obelisks, are beautiful forms; but the nobleness of their original destination has greatly enhanced the pleasure we take in them. Long robes appear noble, not singly for their flowing lines, but for their being the habit of magistrates. These examples may be thought sufficient for a specimen a diligent inquiry into human nature will discover other influencing principles; and hence it is, that of all subjects, ornaments admit the greatest variety in point of taste. 635. And this leads to ornaments having relation to use. Ornaments of that kind are governed by a different principle, which is, that they ought to be of a form suited to their real or apparent destination. This rule is applicable as well to ornaments that make a component part of the subject, as to ornaments that are only accessory. An eagle's paw is an ornament improper for the foot of a chair or table because it gives it the appearance of weakness, inconsistent with its destination of bearing weight. Blind windows are sometimes introduced to preserve the appearance of regularity: in which case the deceit ought carefully to be concealed: if visible, it marks the irregularity in the clearest manner, signifying, that real windows ought to have been there, could they have been made consistent with the internal structure. A pilaster is another example of the same sort of ornament; and the greatest error against its seeming destination of a support, is to sink it so far into the wall as to make it lose that seeming. A composition representing leaves and branches, with birds perching upon them, has been long in fashion for a candlestick; but none of these particulars is in any degree suited to that destination. A large marble basin supported by fishes, is a conceit much relished in fountains. This is an example of accessory ornaments in a bad taste for fishes here are unsuitable to their apparent destination. No less so are the supports of a coach, carved in the figure of Dolphins or Tritons; for what have these marine beings to do on dry land? and what support can they be to a coach? 636. With respect now to the parts of a column, a bare uniform cylinder without a capital appears naked; and without a base, appears too ticklishly placed to stand firm;* it ought therefore to have some finishing at the top and at the bottom. Hence the three chief parts of a column, the shaft, the base, and the capital. Nature * A column without a base is disagreeable, because it seems in a tottering condition; yet a tree without a base is agreeable; and the reason is, that we know it to be firmly rooted. This observation shows how much taste is influenced by reflection. 634. Things ornamental that have little or no beauty.-Reverence for the ancients, a source of ornaments. Illustratiors. 635. Ornaments for use. Rule for their form. Violations of good taste in this par ticular. undoubtedly requires proportion among these parts, br it admits variety of proportion. We find three orders of columns among the Greeks, the Doric, the Ionic, and the Corinthian, distinguished from each other by their destination as well as by their ornaments. It has been warmly disputed, whether any new order can be added to these; some hold the affirmative, and give for instances the Tuscan and Composite; others deny, and maintain that these properly are not distinct orders, but only the original orders with some slight variations. Among writers who do not agree upon any standard for distinguishing the different orders from each other, the dispute can never have an end. What occurs to me on this subject is what follows. 637. The only circumstances that can serve to distinguish one order from another, are the form of the column, and its destination. To make the first a distinguishing mark, without regard to the other, would multiply these orders without end; for a color is not more susceptible of different shades, than a column is of different forms. Destination is more limited, as it leads to distinguish columns into three kinds or orders: one plain and strong, for the purpose of supporting plain and massy buildings; one delicate and graceful, for supporting buildings of that character; and between these, one for supporting buildings of a middle character. To illustrate this doctrine, I make the following observation. If we regard destination only, the Tuscan is of the same order with the Doric, and the Composite with the Corinthian; but if we regard form merely, they are of different orders. 638. The ornaments of these three orders ought to be so contrived as to make them look like what they are intended for. Plain and rustic ornaments would be not a little discordant with the elegance of the Corinthian order; and ornaments sweet and delicate no less so with the strength of the Doric. The Corinthian order has been the favorite of two thousand years, and yet I cannot force myself to relish its capital. The invention of this florid capital is ascribed to the sculptor Callimachus, who took a hint from the plant Acanthus, growing round a basket placed accidentally upon it; and in fact the capital under consideration represents pretty accurately a basket so ornamented. This object, or its imitation in stone, placed upon a pillar, may look well; but to make it the capital of a pillar intended to support a building, must give the pillar an appearance inconsistent with its destination. 639. With respect to buildings of every sort, one rule, dictated by utility, is, that they be firm and stable. Another rule, dictated by beauty, is, that they also appear so; for what appears tottering and in hazard of tumbling, produceth in the spectator the painful emo 686. Chief parts of a column.-Three orders of columns. tion of fear, instead of the pleasant emotion of beauty; and, accordingly, it is the great care of the artist, that every part of his edifice appear to be well supported. Procopius, describing the church of St. Sophia, in Constantinople, one of the wonders of the world, mentions with applause a part of the fabric placed above the east front in form of a half-moon, so contrived as to inspire both fear and admiration; for though, says he, it is perfectly well supported, yet it is suspended in such a manner as if it were to tumble down the next moment. This conceit is a sort of false wit in architecture, which men were fond of in the infancy of the fine arts. A turret jutting out from an angle in the uppermost story of a Gothic tower, is a witticism of the same kind. 640. To succeed in allegorical or emblematical ornaments is no slight effort of genius; for it is extremely difficult to dispose them so in a building as to produce any good effect. The mixing them with realities, makes a miserable jumble of truth and fiction. (See chap. xx. sect. v.) But this is not all, nor the chief point; every emblem ought to be rejected that is not clearly expressive of its meaning; for if it be in any degree obscure, it puzzles, and doth not please. The statue of Moses striking a rock from which water actually issues, is in a false taste; for it is mixing reality with representation. Moses himself may bring water out of the rock, but this miracle is too much for his statue. The same objection lies against the cascade where the statue of a water-god pours out of his urn real water. 641. It is observed above of gardening, that it contributes to rectitude of manners, by inspiring gayety and benevolence. I add another observation, That both gardening and architecture contribute to the same end, by inspiring a taste for neatness and elegance. In Scotland, the regularity and polish even of a turnpike-road has some influence of this kind upon the low people in the neighborhood. They become fond of regularity and neatness; which is displayed, first upon their yards and little inclosures, and next within-doors. A taste for regularity and neatness, thus acquired, is extended by degrees to dress, and even to behavior and manners. In concluding this chapter, another brief extract will be given from Downing's Rural Essays.-Ed. "Two grand errors are the fertile causes of all the failures in the rural improvements of the United States at the present moment. The first error lies in supposing that good taste is a natural gift which springs heaven-born into perfect existence, needing no cultivation or improvement. The second is in supposing that taste alone is sufficient to the production of extensive or complete works in architecture or landscape-gardening. Now, although that delicacy of organization, usually called taste, is a natural gift, which can no more be acquired than hearing can 639. Rules for buildings of every sort.-The church of St. Sophia. 640. Allegorical or emblematic ornaments. be by a deaf man, yet, in most persons, this sensibil ty to the Beautiful may be cultivated and ripened into good taste by the study and comparison of beautiful productions in nature and art. 66 This is precisely what we wish to insist upon, to all persons about to commence rural establishments, who have not a cultivated or just taste; but only sensibility, or what they would call a natural taste. The study of the best productions in the fine arts is not more necessary to the success of the young painter and sculptor than that of buildings and grounds to the amateur or professional improver who desires to improve a country residence well and tastefully. In both cases comparison, discrimination, the use of the reasoning faculty, educate the natural delicacy of perception into taste, more or less just and perfect, and enable it not only to arrive at Beauty, but to select the most beautiful for the end in view. "There are at the present moment, without going abroad, opportunities of cultivating a taste in landscape gardening, quite sufficient to enable any one of natural sensibility to the Beautiful, combined with good reasoning powers, to arrive at that point which may be considered good taste. . . The study of books on taste is by no means to be neglected by the novice in rural embellishment; but the practical illustrations of different styles and principles, to be found in the best cottage and villa residences, are far more convincing and instructive to most minds, than lessons taught in any other mode whatever. "We think, also, there can scarcely be a question that an examination of the best examples of taste in rural improvement at home, is far more instructive to an American, than an inspection of the finest country places in Europe; and this, chiefly, because a really successful example at home is based upon republican modes of life enjoyment and expenditure, which are almost the reverse of those of an aristocratic government. . . . No more should be attempted than can be done well, and in perfect harmony with our habits, mode of life, and domestic institutions."—Rural Essays, iii.] CHAPTER XXVI. STANDARD OF TASTE. [The following chapter is taken from one of Dr. Blair's Lectures, being far superior to the one of Lord Kames, here omitted.] 642. Ir must be acknowledged, that no principle of the human mind is, in its operations, more fluctuating and capricious than 641. 1ow gardening and architecture contribute to rectitude of manners.-Scotland.-Two errors.--How taste may be improved.-Opportunities offered. taste. Its variations have been so great and frequent, as to create a suspicion with some of its being merely arbitrary; grounded on no foundation, ascertainable by no standard, but wholly dependent on changing fancy; the consequence of which would be, that all studies or regular inquiries concerning the objects of taste were vain. In architecture, the Grecian models were long esteemed the most perfect. In succeeding ages, the Gothic architecture alone prevailed, and afterwards the Grecian taste revived in all its vigor, and engrossed the public admiration. In eloquence and poetry, the Asiatics at no time relished any thing but what was full of ornament, and splendid in a degree that we should denominate gaudy; whilst the Greeks admired only chaste and simple beauties, and despised the Asiatic ostentation. In our own country, how many writings that were greatly extolled two or three centuries ago, are now fallen into entire disrepute and oblivion! Without going back to remote instances, how very different is the taste of poetry which prevails in Great Britain now, from what prevailed there no longer ago than the reign of King Charles II., which the authors too of that time deemed an Augustan age: when nothing was in vogue but an affected brilliancy of wit; when the simple majesty of Milton was overlooked, and Paradise Lost almost entirely unknown; when Cowley's labored and unnatural conceits were admired as the very quintessence of genius; Waller's gay sprightliness was mistaken for the tender spirit of love poetry; and such writers as Suckling and Etheridge were held in esteem for dramatic composition? The question is, what conclusion we are to form from such instances as these? Is there any thing that can be called a standard of taste, by appealing to which we may distinguish between a good and a bad taste? Or, is there in truth no such distinction? and are we to hold that, according to the proverb, there is no disputing of tastes; but that whatever pleases is right, for the reason that it does please? This is the question, and a very nice and subtle one it is, which we are now to discuss. 643. I begin by observing, that if there be no such thing as any standard of taste, this consequence must immediately follow, that all tastes are equally good; a position, which, though it may pass unnoticed in slight matters, and when we speak of the lesser differences among the tastes of men, yet when we apply it to the extremes, presently shows its absurdity. For is there any one who will seriously maintain that the taste of a Hottentot or a Laplander is as delicate and as correct as that of a Longinus or an Addison? or, that he can be charged with no defect or incapacity who thinks a common news-writer as excellent an historian as Tacitus? As it would be held downright extravagance to talk in this manner, we are led 642. Fluctuations of taste. Inference thence drawn by some.-Taste in architecture. In eloquence and poetry.-Questions suggested by fluctuations in taste. |