The Country House. Alexis de Châteauneuf

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СКАЧАТЬ the north coast of Africa till it reaches Spain: or to a reflection in the water, whose wavy surface occasions some little difference of appearance; and in fact we behold both styles united together in the amphibious city of Venice." ​This simile would be more literally appropriate had the uses to which the two styles were applied been more nearly alike.

      With respect to modern architecture, it may be said that it has quite rejected the services of the other two arts, and, as I fear, greatly to its own detriment; while these latter arts, notwithstanding the eminence they have attained apart from architecture, are not so solidly united as they otherwise would be, nor capable of so completely developing their powers, had the union of the three been complete.

      It is well known that, owing to the fetters imposed upon them in Egypt by the religion of the people and its priesthood, it was only in Europe that sculpture and painting could at different epochs attain to maturity. But it is not perhaps so generally known or considered, that it is one characteristic mark of European architecture, that it has at all times, whether those of its progress and advancement, or its decline, availed itself of natural forms, both vegetable and animal, for purposes of decoration; while the Asiatic styles were confined to geometrical figures for the ornaments.

      The above cursory glance at the history of the art, may at least serve to shew how incumbent it is upon the architect of the present day to make himself acquainted with the creative power and processes of his art, by studying them as they actually manifest themselves at different epochs, and according to the different views and purposes to which the art was applied. By so doing, however, he is in some danger of being worked upon by conflicting impressions, occasioned by the diversity of styles and the opposite tastes they exhibit. Yet, unless I am greatly mistaken, the whole system of the art, as developed in the different styles, must henceforth have considerable influence upon our modern architecture.

      Limiting our views for the present to those architectural productions in which a union with the other arts is more directly attainable, we find Grecian or early Italian architecture the predominating style. The last grafted on the former, may be said to be more or less complete in the greater or less proportion in which it derives its nourishment from the parent stem. If we look, for example, to the progress or course of painting in Italy, that art flourished there in proportion to the nourishment it derived from the antique. The works of Mantegna, M. Angelo, Lionardo da Vinci, and Raphael bear testimony to this; and those great men would probably have attained to a higher degree of excellence, had they been as well acquainted with the sculptures of the Parthenon, and the Greek bronzes, as they were with the works of the Romans. Most assuredly a knowledge of the architecture of the time of ​Pericles, or of that of Pompey, would not have been without its influence upon such men as Bramante, San Gallo, and Baldassore Peruzzi, nor have failed of being turned to account by them: observe, however, that this remark is not intended to depreciate what they actually accomplished, nor to disparage the style which they formed. These explorers had unquestionably discovered new veins in the rich mine which had been opened by the Greeks; as the Romans, who were the immediate imitators of the Greeks, had already extended the one first of all worked. In all subsequent operations, as in what the French term the Renaissance style, nothing more was done than to go on excavating, seldom, however, with sufficient pains or caution, so as to separate completely the gold from the dross. When, therefore, I propose to make a design in the "Greek style," I wish you to observe that I understand by this term a striving after the purity of this canon, but at the same time with a reserved right to the free use of those modes and motives with which later European architecture supplies us. If a determinate name must be given to the style, I propose I should call it, "the Renaissance style of the nineteenth century."

      But many may say, "How conveniently he contrives to get rid of the Gothic architecture!" while others will exclaim, "According to such principles, a very pretty sort of medley is likely to be produced." In answer to the first set of objections I reply: "If you can introduce modern sculpture and painting into Gothic architecture without prejudice to them or it, I will say that you have attained a great end." To the others I should reply: "You misunderstand or pervert my meaning. I have not spoken of a merely mixing up of different styles, but of compounding them together; between which two processes there is, I conceive, a wide difference, the ingredients being merely put together in the one case, without losing their respective qualities; while in the other they amalgamate with each other, and produce an entirely new combination: and it is in accomplishing combinations of this kind that the power of genuine art manifests itself; and the distinction may be likened to the difference between a mechanical and a chemical combination. Nor are some compound styles of architecture less beautiful than others which are quite unmixed."

      I know not whether these remarks will prove of much service to you, but I trust they will at least enable you, after seeing what are my views generally on the subject, to make your own suggestions in return for my further guidance.

      I am, &c. ⁠

       A. C. ⁠

      1 ↑ As regards Arabian architecture, the parent art may be said to have been entirely childless, depending entirely on its own resources, discarding all representation of annual life, whether in painting or sculpture.

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