ESSAYS.

On Gothic Architecture.

So much has been written lately on Gothic Architecture, that I am tempted to depart from the conciseness I have hitherto obferved, and to convert what was intended as a note (see page 67) into an effay on a fubject of which I may be supposed to have spoken too slightly.

The Saxon Architecture may be clearly traced from the Roman, from which it differs no more than the Italian language from the Latin, fo that it may be confidered only as a barbarous corruption of the old Orders. But the Architecture

ufually

ufually termed Gothic, having its principles totally distinct from the Roman, must be derived from another fource. Its origin has not been fatisfactorily traced, but its rules, as far as they have a foundation in art, may be afcertained. This fubject has been treated of by writers more converfant with it than myself-my intention is not to go over their ground farther than a few remarks make neceffary, which may not be found in their works.

To the circle, or portions of it, and to the right-angle, may be referred the general forms in the Roman and Saxon Architecture.

From acute arches, or acute angles, may be derived the general forms of Gothic Architecture-but caprice and whim mrastalent as principle.

Warburton

Warburton (in a note upon Pope) conceives that the firft idea of Gothic Architecture arose from observing the effect of branches croffing each other in an alley of trees.* The resemblance is undoubtedly very great, and had before been obferved by Stukely; if admitted, it only gives a principle for the pillars and roof, and of the infide only.

A late writer derives this order from the pyramid, which is the most general principle,

* A Theatre at Paris is conftructed to represent a bower of trees: the interlacing of the branches form the cieling. As it is used for summer amufements the thought is judicious, and the effect pleafing.

"Gothic Architecture (as it is called) for a gallery, library, or the like, is the best manner of building, because the idea of it is taken from a walk of trees, whose branching heads are curioufly imitated by the roof."

STUKELY'S ITINERARY.

H

principle, and applies equally to the outfide, which Warburton's does not.

To both these principles it seems neceffary to add (as above-mentioned) the caprice of the builder; fometimes dictated by good-fense, more frequently by the barbarifms of the times, but never by real taste, because in the state of society in which thefe edifices were erected, Taste did not exist.*

In those buildings erected by the Greeks and Romans, a general fixed principle may be easily traced, and from which they feldom deviated, unless in the fubordinate parts. The Gothic architects were quite at liberty to do with their pyramidical principle what seemed good in their eyes-their arches and pinnacles were more or lefs acute every poffible angle, if less than a right-angle,

* See Letter 23-in the Thirty Letters.

has

has been used-every proportion of length to breadth, fo that there are scarcely any two churches that bear more than a general resemblance to each other-nor would there be even this, but from a conceived obligation to preserve the form of a cross; to have the altar at the eastend, and other fixed religious points which neceffarily produced fome coincidences.

The Gothic architects feem perfectly ignorant of the effect of aliquot parts, and the neceffity of fatisfying the eye by having the maffy parts below, and the flighter ones above. The weft-front of Salisbury Cathedral is a collection of minutiæ, perfectly without principle, in which the architect gave full fcope to his caprice. The effect of grouping some parts together, and of giving repose to the eye by the absence of all ornaments, was unpractifed, perhaps unknown to these architects, although an illustrious H 2 exception