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beauty of distinctness of forms, lights, shades, and colours, by putting you in mind of the reverse effects in all them together.

Observe the well-composed nosegay how it loses all its distinctness when it dies; each leaf and flower then shrivels and loses its distinct shape; and the firm colours fade into a kind of sameness: so that the whole gradually becomes a confused heap.

If the general parts of objects are preserved large at first, they will always admit of farther enrichments of a small kind, but then they must be so small as not to confound the general masses or quantities. Thus you see variety is a check upon itself when overdone, which of course begets what is called a petit taste and a confusion to the eye.

It will not be amiss next to shew what effects an object or two will have that are put together without, or contrary to these rules of composing variety. Figure * is taken from one of those branches fixt to the sides of common old-fashioned stove-grates by way of ornament, wherein you see how the parts have been varied by fancy only, and yet pretty well: close to which † is another, with about the like number of parts; but as the shapes neither are enough varied as to their contents, nor in their sitúations with each other, but one shape follows its exact likeness it is therefore a disagreeable and tasteless figure, and for the same reason the candlestick, fig. ‡ is still worse, as there is less variety in it. Nay, it

*Fig. 38. L. p. 1.

↑ Fig. 39. L. p. 1. Fig. 40. T. p. 1.

would be better to be quite plain, as figure *, than with such poor attempts at ornament.

These few examples, well understood, will, I imagine, be sufficient to put what was said at the beginning of this chapter out of all doubt, viz. that the art of composing well is no more than the art of varying well; and to shew, that the method which has been here explained must consequently produce a pleasing proportion amongst the parts; as well as that all deviations from it will produce the contrary. Yet to strengthen this latter assertion, let the following figures, taken from the life, be examined by the above rules for composing, and it will be found that the indian-fig or torch-thistle, figure †, as well as all that tribe of uncouth shaped exotics, have the same reasons for being ugly, as the candlestick, fig. 40; as also that the beauties of the Lily and the calcidonian Iris § proceeds from their being composed with great variety, and that the loss of variety, to a certain degree, in the imitations of those flowers underneath them (fig. 45 and 46) is the cause of the meanness of their shapes, though they retain enough to be called by the same

names.

Hitherto, with regard to composition, little else P. 45 but forms made up of straight and curved lines have been spoken of, and though these lines have but little variety in themselves, yet by reason of the great diversifications that they are capable of in being joined with one another, great variety of beauty of the more useful sort is produced by them, as in neces

*Fig. 41. T. p. 1.

+ Fig. 42. T. p. 1.
Fig. 44. T. p. 1.

Fig. 43. T. p. 1.

D

sary utensils and building: but in my opinion, buildings as I before hinted, might be much more varied than they are, for after fitness hath been strictly and mechanically complied with, any additional ornamental members, or parts, may, by the foregoing rules, be varied with equal elegance; nor can I help thinking, but that churches, palaces, hospitals, prisons, common houses and summer houses, might be built more in distinct characters than they are, by contriving orders suitable to each; whereas were a modern architect to build a palace in Lapland, or the West Indies, Paladio must be his guide, nor would he dare to stir a step without his book.

Have not many gothic buildings a great deal of consistent beauty in them? perhaps acquired by a series of improvements made from time to time by the natural persuasion of the eye, which often very near answers the end of working by principles; and sometimes begets them. There is at present such a thirst after variety, that even paltry imitations of Chinese buildings have a kind of vogue, chiefly on account of their novelty: but not only these, but any other new-invented characters of building might P.46 be regulated by proper principles. The mere ornaments of building, to be sure, at least might be allowed a greater latitude than they are at present; as capitals, frizes, &c. in order to increase the beauty of variety.

Nature, in shells and flowers, &c. affords an infinite choice of elegant hints for this purpose; as the original of the Corinthian capital was taken from nothing more, as is said, than some dock-leaves growing

up against a basket. Even a capital composed of the awkward and confined forms of hats and periwigs, as fig.* in a skilful hand might be made to have some beauty.

However, though the moderns have not made many additions to the art of building, with respect to mere beauty or ornament, yet it must be confessed, they have carried simplicity, convenience, and neatness of workmanship, to a very great degree of perfection, particularly in England; where plain good sense hath preferred these more necessary parts of beauty, which every body can understand, to that richness of taste which is so much to be seen in other countries, and so often substituted in their room.

St. Paul's cathedral is one of the noblest instances that can be produced of the most judicious application of every principle that has been spoken of. There you may see the utmost variety without confusion, simplicity without nakedness, richness without taudriness, distinctness without hardness, and quantity without excess. Whence the eye is entertained throughout P.47 with the charming variety of all its parts together; the noble projecting quantity of a certain number of them, which presents bold and distinct parts at a distance, when the lesser parts within them disappear; and the grand few, but remarkably well-varied parts that continue to please the eye as long as the object is discernible, are evident proofs of the superior skill of Sir Christopher Wren, so justly esteemed the prince of architects.

*Fig. 48. P. 1.

It will scarcely admit of a dispute, that the outside of this building is much more perfect than that of St. Peter's at Rome: but the inside, though as fine and noble as the space it stands on, and our religion will allow of, must give way to the splendour, shew, and magnificence of that of St. Peter's, on account of the sculptures and paintings, as well as the greater magnitude of the whole, which makes it excel as to quantity.

There are many other churches of great beauty, the work of the same architect, which are hid in the heart of the city, whose steeples and spires are raised higher than ordinary, that they may be seen at a distance above the other buildings; and the great number of them dispersed about the whole city, adorn the prospect of it, and give it an air of opulency and magnificence: on which account their shapes will be found to be particularly beautiful. Of these, and perhaps of any in Europe, St. Mary-le-bow is the most elegantly varied. St. Bride's in Fleet-street diminishes P. 48 sweetly by elegant degrees, but its variations, though very curious when you are near them, not being quite so bold, and distinct, as those of Bow, it too soon loses variety at a distance. Some gothic spires are finely and artfully varied, particularly the famous

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steeple of Strasburg.

Westminster-Abbey is a good contrast to St. Paul's, with regard to simplicity and distinctness, the great number of its filligrean ornaments, and small divided and subdivided parts appear confused when nigh, and are totally lost at a moderate distance; yet there is .nevertheless such a consistency of parts altogether in

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