nent. To unite the different kinds of beauty, also to dignify ornamental forms by use, and convert merely useful forms into beauty, is the greatest object of ambition among every class of artists and architects.* FINISHED ELEVATIONS. - ELEMENTS OF DESIGN, THIRD PRINCIPLE. "In all designs there is more or less uniformity and regularity: whenever in any form, we observe this quality, we immediately infer Design. In every other form, on the contrary, where we discover actual want of this quality, we are disposed to consider it as the production of chance, or of some power which has operated without thought or invention. Hence regularity expresses design, and art, for nothing regular was ever the work of chance."-GILPIN on Picturesque Beauty. The figures which the architect has to regard in forming a plan or elevation are of two kinds, angular and circular. Under each of these heads there is a great and infinite variety, that may be admitted into all public buildings of a noble and ornamental character; but then only in a limited number in those which are intended for the reception of a family. Though these are to be judiciously combined, yet it is certain we observe a sameness in many residences, which detract from their merit. Now before the architect attempts the several modes by which buildings may be varied, let him understand those useful parts of the edifice, which cannot fail from recommending all the geometrical figures to his notice. We have shown, as to polygonal plans, that, where they are to be simply adopted as an entire dwelling-house, they are most improper, not having ascertained this upon mere dates of opinion, but by giving the plainest reasons for their rejection.† * As all architectural objects are circumscribed by lines, we shall in this place state the nature of the effect which these lines produce in different positions, as well as that of curves of contrary flexure, both on the plan and in the elevation. This, I believe, will lead us to some decided principle in designing, so as to produce the required character of expression in every edifice. Horizontal lines produce grandeur, as we see by the Greek temples; and when they are extended to any great length— vastness; this appears in the parapet walls of level bridges across wide rivers. Vertical lines, as we see in the uninterrupted angles of high houses, give an idea of strength and stability, and when carried up to any great altitude, as in church towers--a solemnity. Inclined lines produce a picturesque effect, such as gables, pediments, pyramids, spires, and inclined towers, pinnacles, &c. Angular lines produce painfulness to the eye, and the more so according to their acuteness; this objection lies against the pentagon, and a cornice with many breaks. Circular lines give gracefulness and elegance, as may be seen in domes, bow-windows, rotundas, vaulted ceilings, arches, bridges, &c. Undulating or waving lines, as we see them in the Stuart gables, are picturesque, but neither beautiful nor elegant when so applied. Serpentine lines in florid architectural decorations, such as the vine and the ivy, are beautiful, and convey an idea of motion, delicacy, and tenderness. Hence the actual beauty of lines will be found to correspond to one or other of those associations, and those are, in fact, the most beautiful which have the most pleasing or affecting expression. Considering therefore lines in their abstracted view, and independent of the nature of the bodies which they distinguish, it seems very natural to conclude that those forms will be the most beautiful which are circumscribed by the most pleasing lines; but what is in itself beautiful may not appear so to every beholder, which arises from a want of judgment or taste, that innate feeling of the faculty of the human mind, by which we perceive and enjoy whatever is beautiful, romantic, or sublime in the works of nature or in art. The sublimest of all the mechanical arts, as well as the noblest, is certainly that of architecture, and it is more or less so from magnitude or association. The forms of temples, for instance, although very different in form, have in all ages been accounted as sublime; even the most common forms employed in religious service derive a character of this kind from the qualities with which they are connected. The Gothic, for instance, from its broken variety, is picturesque. The Grecian, from its massy unbroken forms is sublime, and the Roman is, from its gorgeousness, noble and grand.-(Alison on Taste.) With respect to circular figures, they have their advantages and their defects; but, unhappily for the science of building, their advantages cannot in general be obtained without loss of room in the interior, and their defects are always obvious and injurious. The advantages of a compact or entire circle are many, and might seem to recommend it for some |