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 WITH DESCRIPTIONS, A^B AN ESSAY ON THE PRINCIPLES 
 
 OF DESIGN 
 
 BY M. FIELD. 
 
 " The Architecture of a people is the external and enduring form of their public life ; 
 it is an index of the state of knowledge and social progress." — Penny Cyclopadia. 
 
 NEW YORK: 
 G. P. PUTNAM & COMPANY, 10 PARK I>LACE. 
 
 1853. 
 
Entered, according to Act of Concress, in the year 1853, 
 BY G. P. PUTNAM & CO.. 
 In the Clerk's Office of the District Court of the United States for the Southern 
 Pistrict of New Yorls. 
 
 R.Craigubad, Printer, 
 oSVeaev Street. 
 
I^xtfntt. 
 
 To assist the development of the taste for ornamental building, no'w 
 prevalent in this large and increasing metropolis, as well as in the other 
 important cities of the Union, by offering to the Architect, Builder, and 
 Capitalist, a variety of novel designs and adaptations of the street-archi- 
 tecture of Rome, Florence, and Venice — is the object of the present -work. 
 
 The Italian, now the fashionable style for city edifices, was the peculiar 
 taste of the author, derived from a professional tour on the continent of 
 Europe, long before it had superseded the pure Greek style ; which, how- 
 ever beautiful in itselij has been proved by experience to be unproductive 
 of any original combinations, and ill adapted to modem uses and require- 
 ments. 
 
 Small, but correct, outline Mevati&ns have been adopted, as best display- 
 ing the forms and proportions of the Design : and Plans only of the out- 
 line of the Fagade have been thought necessary, as the arrangement of a 
 Plan depends entirely on the given locality. In the description of the 
 plates, sufficient will be found to give a complete notion of each subject : 
 and, in the introductory essay, the author has endeavored to investigate 
 and establish some general ideas on the principles of Architectural design, 
 in a maimer he has never before seen done ; together with some critical 
 remarks on the present state of the Art in this city. 
 
 This work is not intended to supersede the assistance of the Architect, 
 in supplying the details necessary to the execution of the Designs ; but 
 rather to furnish examples, hints, and ideas, available for various purposes ; 
 and to show, how pleasing and tasteful effects may be produced with the 
 minimum of ornament and expense, by a judicious selection and combina- 
 tion of forms and proportions. 
 
 New York, 1853. 
 
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 FOR STORES, 
 
 DWELLING-HOUSES, . 
 
 BANK, OR PrBLIC OFFICE? 
 
 HOrSE, AND STORE, . 
 
 RETAIL STORE, OR SALOON, 
 
 BANK, OR Pt'BLIC BUILDING, . 
 
 AN HOTEL, .... 
 
 PUBLIC LIBRARY, OR INSTITUTION, 
 
 AN HOTEL, .... 
 
 A DETACHSD MANSION, 
 
 A DISTRICT SCHOOL, OR ACADEilT, 
 
 A DETACHED MANSION, 
 
 A THEATRE, .... 
 
 CLUB-HOUSE, OR PRIVATE MANSION, 
 
 A MARKET, .... 
 
 FERRT-HOUSES, 
 
 AN ENGINX HOI'SE, . 
 
 RAILROAD TERMINUS, 
 
 A CHURCH, .... 
 
 42 
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 Architecture, compared witli the rest of the Fine Arts, 
 will be found to occupy a peculiar place. Unlike Painting, 
 Sculpture, and Poetry, it has no standard in nature : the 
 imitation of nature is not its object. The resemblance of 
 columns and arches to trees and branches is merely casual 
 and fanciful ; and not their origin, nor the cause of their 
 beauty. In architectural ornaments, indeed, there is an 
 imitation of foliage and tendrils, but not a close imitation, 
 and only in subordinate parts ; and such ornaments may 
 rather be denominated Sculpture called in to the aid of 
 Architecture, as in the case of statues and bas-reliefs on 
 the exterior of buildings. 
 
 The Fine Art, which, in its ultimate principles, bears 
 the closest parallel with Architecture, is Music ; which, 
 also, is not founded upon the imitation of natural objects, 
 but (as Adam Smith remarks in a posthumous Essay on the 
 Fine Arts) contains its subject, or theme, within itself; 
 namely, the air, or motivo, which is the ground-work of 
 the composition. There is often, indeed, an apparent imi- 
 tation of natural sounds and motions in the accompani- 
 ments to vocal and operatic Music ; but this is only inci- 
 dental and trivial, and not the cause of the beauty of 
 Music. Music, without words, cannot express any definite 
 
8 AN ESSAY ON THE PRINCIPLES OF 
 
 meaning ; it can only excite a feeling and frame of mind, 
 corresponding to the ideas it is associated with. As Mu- 
 sic, then, affects the mind through the ear by measured 
 spaces of time, and intervals of tone, single or combined 
 in harmony, so Architecture affects the eye, by measured 
 spaces of lines and forms, in harmonious contrasts and 
 proportions. The mode of producing these effects varies, 
 of course, with the different nature of the sense excited. 
 In Music, the perception of measures and harmonies pro- 
 ceeds continuously, as they flow upon the ear : in Architec- 
 ture, regularity and proportion are perceived at once by a 
 single coup d'csil, though the eye is subsequently entertained 
 by going over the surface before it successively, and from 
 different points of view, and renewing its pleasure by fresh 
 observation. Without drawing this parallel further into 
 needless detail, it will be clearly seen, that regularity and 
 proportion are the essential elements of both these fine 
 arts, and in so far the rationale of their effect upon the 
 mind is the same, though addressing different senses ; 
 while in Poetry, regularity obtains only in the outward 
 rhythmical structure ; and in Painting and Sculpture, 
 though they have proportions and harmonics of their 
 own, yet architectural regularity would appear /or??ia/ and 
 unnatural. 
 
 The object of Architecture, then, is to please the eye by 
 regularity, variety, and harmony of forms and proportions. 
 As Music is founded upon mathematics, in the intervals of 
 the scale, and in the harmonies of chords, so Architecture 
 is founded upon, is the relative Fine Art of, Geometry. 
 Geometry defines right angles, straight lines, and curves : 
 Architecture adopts them as " things of beauty;" and by 
 
DESIGN IX ARCHITECTURE. 
 
 their varied arrangement creates a new sense of pleasure, 
 and lias the power of affecting the mind with ideas and 
 images of airy grace, or severe sublimity. 
 
 But Architecture has another peculiarity to distinguish 
 it from the other Fine Arts ; it is a useful Art as well. 
 It owes its origin and intention, the nature and primary 
 form . of its leading features to Utility ; it can never 
 desert an apparent or possible utility, at least ; its very 
 beauty consists in the union of utility and beauty. In this 
 respect Architecture may be compared to costume. Dress 
 and shelter are natural necessities. Fit and agreeable 
 forms and ornaments applied to these necessities raise 
 them into the rank of refined Arts. The arrangement of 
 drapery is a part, and no small one, of Painting and 
 Sculpture. As Architecture, therefore, is founded upon 
 utility, Utility should prescribe what is wanted, and 
 Beauty should supply that want in the most appropriate 
 
 manner. 
 
 Without entering upon the question of the origin of our 
 notion of the Beautiful, it will be generally agreed, that 
 there is an eye for visible beauty, as there is an car for 
 music, without the natural possession and cultivation of 
 which, in some degree, it is impossible to entertain or 
 communicate any intelligible ideas upon the subject. 
 Genius and taste may be improved, but can hardly be 
 infused into minds naturally deficient in organic sensi- 
 bility towards their objects. We believe, that forms and 
 colors give a positive pleasure sui generis to the eye. 
 Color first pleases children. Form the more experienced 
 and cultivated mind. It is through the perception of 
 color, light and shade at least, that we originally learn 
 
10 AN ESSAY ON THE PRINCIPLES OF 
 
 to distinguish forms ; and the brightest colors will natu- 
 rally be most attractive to the infant eye. But the first 
 efforts of the childish pencil will generally be found 
 to be houses and ships, and geometrical elevations, 
 and profiles of these, and straight lines rather than the 
 flowing curves of natural objects ; and if trees are 
 attempted by a child they will be made perfectly upright 
 and symmetrical, which indeed is the vulgar ideal of the 
 beauty of a tree among adults, ignorant of the principles 
 of the picturesque. All this tends to prove that regular 
 and symmetrical forms, even those of the common geome- 
 trical superficies, have a natural charm for the eye, in- 
 creased, of course, by the intellectual perception of their 
 truth and exactness. As experience advances, certain 
 forms and arrangements will be found to please more than 
 others. What then are the causes of this pleasure, or in 
 other words, what are the elements of architectural 
 beauty ? 
 
 On an attentive analysis, we would enumerate them as 
 follows : 
 
 1. Symmetry, or an equal arrangement of parts on each 
 side of a centre line. This principle prevails, and is 
 equally the source of beauty, in the organization of all 
 the higher classes of animated beings ; and, united with 
 variety and beauty of outline, pre-eminently in the human 
 form, which was the favorite type of a column, among 
 the old writers on architecture. 
 
 Symmetry, in architecture, necessarily includes 
 
 2. Perpendicularity of supports, and 
 
 3. HoRizoNTALiTY of entablatures, or the parts support- 
 ed. The inclined lines of a pyramid, a Yitruvian door, 
 
DESIGN IN ARCHITECTURE. 11 
 
 or a Gothic buttress, are only occasional exceptions to 
 this rule. 
 
 4. Proportion of the parts to the whole, and of the 
 subordinate parts to the principal ones, in their several 
 widths and heights. 
 
 5. Variety, contrasting with and heightening the 
 effect of uniformity. Under variety we may class curved 
 lines, whether on the plan or elevation, and perhaps orna- 
 ment in general, the chief use of which is to vary a plain 
 surface. 
 
 6. Utility, and apparent durability, to satisfy the rea- 
 son as well as the imagination. Straight lines, and right 
 angles, equally belong to utility and beauty. A building, 
 composed of curved lines only, would appear unfit for 
 stone-work ; in wood- work we admire the curved lines of 
 chairs, and other furniture. 
 
 7. Association, either with the particular forms we have 
 most seen and habitually admired, or with reminiscences 
 of the classical or romantic ages, or of the revivals of 
 learning and civilization. For this reason, Egyptian, 
 Persian, Hindoo and Chinese architecture have no beauty 
 of association with us, though the two former have great 
 intrinsic beauty, and were the precursors of the Grecian 
 orders. 
 
 As the three first of these principles are fixed element- 
 ary essentials, and the two last easily observed by ordi- 
 nary attention, it is in the proportion of the parts, and the 
 variety of their arrangement, that the practical principles 
 of design will be found to consist. In proportion, we 
 believe, will be discovered the magic charm of the most 
 exquisite and celebrated models of the art. To test this : 
 
13 AN ESSAY OIT THE PRINCIPLES OF 
 
 make tlicm wider or higher, iu the whole or in tlie parts, 
 or displace a single important feature, and they will be 
 spoiled. But change the style and ornaments, or strip 
 all ornaments away, and the beauty of the design, the 
 beauty of proportion will still be left. On the other hand, 
 we may often notice buildings, otherwise unobjectionable 
 in form, which injudicious parsimony of expense, the 
 self-will of the employer, or the incompetence of the 
 architect, have " curtailed of their fair proportions," and 
 consequently of their beauty. 
 
 We have not included Composition, or Harmony, as 
 analytical elements of architectural beauty. Composition 
 in Architecture, except as including originality in the 
 arrangement of lines and forms, is nearly the same as the 
 proportioning of the parts to the whole ; and Harmony is 
 the result and general effect of Composition and Propor- 
 tion combined. 
 
 Thus it would appear, if the above analysis be correct, 
 that Proportion is the chief element of Beauty, and, iu 
 common language, nearly synonymous with it, in Archi- 
 tecture as well as in Sculpture : in both of which arts 
 Quantity and Outline of Form are the means of producing 
 effect. But what is Proportion ? is it anything absolute 
 and definite, or mere arbitrary fancy, or association ? 
 
 It is the general idea of unprofessional persons, that the 
 proportions of architectural compositions, the orders, <fcc., 
 are settled and perfect ; rules which the professor has only 
 to follow implicitly, to produce a certain good effect. 
 This idea is totally incorrect. Some general proportions 
 of the orders were, indeed, observed by the ancients, in 
 making the Doric low, the Coriuthian lofty, and the Ionic 
 
DESIGN IN AnCHITECTURE. 
 
 13 
 
 order a medium between the two ; they had also general 
 rules, or practices, in arranging the distances between the 
 columns. But when we come to particular and absolute 
 proportions of the several parts, no two instances of any 
 one order, we believe, can be found exactly alike ; and 
 great variation of ornaments and mouldings was indulged 
 in according to the taste and invention of the architect, 
 and to the size, plan, and site of his building, whether 
 temple, forum, amphitheatre, or domestic residence. Ab- 
 solute proportions, therefore, were not the cause of the 
 beauty of the ancient classical remains. But neither is 
 proportion a mere matter of whim and caprice ; but, like 
 good taste, according to the definition of Burke, the result 
 of feeling and judgment in the mind of the artist. Even 
 the etymology of the word implies the idea of fitness and 
 relation to something out of itself : what is good propor- 
 tion for one thing, is bad for another : a colonnade requires 
 length, a spire the greater height : the proportions of a 
 child, a man, a woman, of a Venus, a Hercules, a Juno — 
 all differ, yet are all beautiful in their place. 
 
 The nature and beauty of proportion may be here 
 illustrated by a few simple diagrams in a familiar man- 
 ner. In the first 
 plajce we may re- 
 mark that an exact 
 square (1) is not so 
 agreeable a shape 
 for a picture, tablet, 
 pedestaL,<fec.,asthe 
 upright or oblong 
 parallelograms (2) 
 and (3), becaus*^ 
 
 11 
 
 
 
 
 111 
 
 
 
 
 
14 
 
 AN ESSAY ON THE TRINCIl'LES OF 
 
 wanting the variety and contrast of proportion of tlie 
 latter. If vre now proceed to add a base and capital 
 to the above figures, we shall perceive that the addition of 
 another square or cube, or another oblong parallelogram 
 over and under tiie figures 2 and 3 respectively, will 
 produce no beauty whatever ; but that our capitals and 
 bases must be adopted of a difierent height from that of 
 our pedestal, and as they are subsidiary features, they 
 must be less in height. But if we try equal heights 
 for both, the effect will not be pleasing, consequently one 
 must be less in height than the other, and to obtain 
 solidity of structure the base ought to be the highest, 
 
 as in figures a and b. 
 Here we have a pleas- 
 ing and well propor- 
 tioned outline (a) for 
 a pedestal to a statue, 
 lamp, &c., or, a little 
 heightened, for a gate- 
 post, chimney, (fee, and 
 in (b) for a reclining 
 or equestrian statue, 
 or for a tribune, or 
 tomb. If the cornice should be subdivided into mouldings 
 and the base into plinths, similar divisions into unequal 
 heights and projections are usually made, and are found 
 the most pleasing. This same principle applies equally to 
 proportions of width in the elevation of a building with a 
 centre and wings, where main divisions into equal parts 
 must be avoided. But windows, columns, and smaller sub- 
 divisions of width, as in the modillions and dentils of 
 
 
 1 
 
 
 
 
 r 
 
 
 
 I 
 
 
 
 
 1 
 
 A 
 
 B 
 
DESIGN IX ARCHITECTURE. 15 
 
 cornices, &c., must be placed at equal distances, or no 
 conformity of design will be obtained. Our first principle 
 requires equal distances on. each side of a centre line. And 
 here a curious question occurs to us, which we have never 
 seen noticed before : Why are not equal heights, as well 
 as equal widths, required to please the eye ? Why are 
 not 5 equal and similar stories in height required to please, 
 as well as 5 equal windows, at equal widths apart ? That 
 equality of heights is not pleasing, we have just seen 
 exhibited in our diagrams : on the contrary, variety in 
 heights would appear just as agreeable as uniformity in 
 widths ; it is perhaps the contrast between the two that 
 produces the most complete satisfaction. The reason of 
 this may depend upon our single vision with two eyes, 
 which are in a horizontal, not a perpendicular line, so that 
 we see to a greater extent m width than in heisfht, and 
 can more readily appreciate equal widths than we can equal 
 heights. Utility, also, may have something to do with the 
 question, since equal widths, on a plan, are the most con- 
 venient, while equal heights are indifferent. Or it may be 
 some secret sense of analogy between the object contem- 
 plated and our own frame, since, as we before pointed out, 
 man and all the higher animals are symmetrically formed 
 on each side of a centre line in width, but not in height ; 
 the parts from below, upwards, are exceedingly varied in 
 form and proportion. If these ideas are well founded, it 
 may be deduced as a corollary, that the more equal our 
 divisions are on the plan, and the more varied on the 
 elevation, the greater will be the variety of proportion 
 and the beauty produced. Equal widths and heights pro- 
 duce only squares, which have no variety ; like unisons in 
 
IC AN ESSAY O.V THE PRINCIPLES OF 
 
 mu?ic, wliicii, liowever multiplied, produce no harmony. 
 Harmony arises from the junction and simultaneous percep- 
 tion of intervals variously proportioned to each other. 
 
 If wc now examine the proportions of the orders, we 
 shall see that the capital, though sometimes higher 
 than the base, is seldom, if ever, of exactly the same 
 height. Divide an order, with pedestals to it, into pedes- 
 tal, column, and entablature, and we shall have very 
 nearly the same divisions as in our example (a). Proceed- 
 ing to the front of a house of three stories, the first or 
 ground story will look best when lower than the second ; 
 the second should have the greatest height, while the third 
 or upper story should be lower than the first. The heights 
 of the windows, of course, will be similarly proportioned 
 to the several stories. In a house of four stories, we have 
 the choice of keeping the second story the highest as 
 before, and introducing an extra story, the same, or a little 
 less, in height than the ground story, keeping the upper, 
 or attic, the smallest, as before. Or we may make the 
 first story the highest, and the two next progressively 
 smaller, and by the help of cornices or string courses 
 separate the upper and lower stories from the two middle 
 ones, so as to give the latter the effect of one compart- 
 ment, which will again produce the three-fold division of 
 our diagram. This shows us the beauty and utility of. 
 string courses, and cornices, in creating harmonious pro- 
 portions in the elevations of city buildings, which, from 
 economy of ground plot, are necessarily too narrow for a 
 good proportion, and would appear likely to fall unless 
 propped up by their neighbours. If a fifth story is re- 
 quired, we must add an additional string course, dado, or 
 
DESIGN IN ARCHITECTURE. l7 
 
 cornice between the second and third, or the third and 
 fourth stories, in order to preserve an agreeable propor- 
 tion. In a house of six stories, semicircular window 
 heads and ornamented dressings must be had recourse to 
 on one or other of the lower stories, to counteract the 
 monotony of the repetition of so many square-headed 
 apertures. Beyond six stories above the ground, a build- 
 ing of the ordinary width of a single house may be raised 
 for purposes of utility, but not as a piece of architecture. 
 The too great number of stories, crowded windows, and 
 want of string courses, are^the prevailing faults of the 
 City Architecture of New York. 
 
 The wall of a house is composed of piers and windows, 
 or, as they are technically called, solids and voids ; and 
 to produce real as well as apparent solidity, the solid 
 parts should preponderate ; the piers should be wider near 
 the windows. In important edifices, with ample space on 
 the ground plan, this old and excellent rule is generally 
 observed ; but in dwelling-houses and stores it is as gene- 
 rally violated. In Italy this indispensable proportion is 
 observed in the meanest building. New York is in the 
 same latitude as Naples : why should more light be re- 
 quired in one place than the other ? Why should our 
 apertures be as wide as those used in the murky atmo- 
 sphere of London ? That it is merely a habit, and not a 
 need, we are convinced, from the general practice of stop- 
 ping out at least half of the light by blinds and curtains. 
 In the smaller class of plain brick dwellings recently 
 erected in this city, we have been pleased to see narrower 
 windows used ; but in first and second class stone-fronted 
 dwellings the width and height of the apertures are far too 
 
 o 
 
18 
 
 AN ESSAT OK THE PRINCIPLES OF 
 
 great for the solid part of the wall. Architraves, too, 
 are generally made wider than necessary ; and architraves 
 seem to belong to the window, and subtract from the 
 width of the pier. 
 
 To enforce the truth of the above remarks by a visible 
 example, we add the annexed diagrams, representing good 
 and bad proportions, which we think will be sufficiently 
 self-evident without our distinguishing them. 
 
 In very deep stores, where large apertures for light are 
 absolutely indispensable, we would recommend the general 
 adoption of arched heads, lately introduced. A series 
 of arches looks best when the piers are narrower than the 
 apertures ; arches give greater real and apparent strength 
 of construction, and greater solid space above them, than 
 square apertures of the same height. The invention of 
 the arch we regard as the crowning glory of architectural 
 beauty and construction — the discovery of a new world 
 of domes and vaulted ceilings. The beauty of arches we 
 believe to arise from their partaking of as much of the 
 line of beauty, the serpentine line, as will continuously 
 
DESIGN IN ARCHITECTURE. 19 
 
 flow out of, and reunite with, perpendicular lines. The 
 beauty of the arch owes something also to the principle 
 of utility and ingenuity, la difficulte vaincue. ' The natural 
 arch of a rock conveys a sense of danger, as well as of 
 sublimity : but in art it affords unalloyed pleasure ; its 
 keystone having become the proverbial emblem of stability. 
 As the circle is the most perfect geometrical form, the 
 semicircular is the most perfect and beautiful of arches ; 
 the elliptical, the oblique section of the circular cylinder, 
 the next. The pointed arch is pleasing, but void of con- 
 tinuity and strength. Segmental arches are good only 
 in basement stories, bridges, &c. If to the Greeks we owe 
 the orders, or a triple system of well-proportioned perpen- 
 dicular supports and horizontal entablatures, to the Romans 
 we owe the use, if not the invention of the pier and arch ; 
 as well as the junction of the two in the arcade, with half 
 columns between the piers. The judicious intermixture of 
 straight and circular-headed windows, with horizontal 
 cornices, and occasional supporting columns and pilasters 
 in the piers, will be found the means of producing the 
 richest and most effective embellishment of street and city 
 architecture. 
 
 To return to the point we digressed from. Some writers 
 (Mr. Gwilt, the author of the Encyclopaedia of Architec- 
 ture, among the number) have advocated strict arithmetical 
 or harmonic proportion in the widths, breadths, and heights 
 of the main divisions of the plan, or elevation, of rooms, 
 doors, windows, &c. That is, that a room, door, or window, 
 should be exactly as 1 to I2, 1 to 2, 3 to 4, <fec. This is 
 often a very convenient arrangement to form subdivisions 
 of windows and piers, ceilings, pannels, &c., and an approxi- 
 
20 AN ESSAV OX THE PRINCIPLES OF 
 
 mation to such proportion is often worth adopting. But 
 the proof that strict harmonic proportion is not the source 
 of beauty is this : that the eye is incapable of perceiving it ; 
 it could only be proved by the compasses or measuring rod. 
 In music the divisions and proportions of time and tone 
 must be all but mathematically perfect and true, in order 
 to satisfy a correct ear ; but the eye, from its limited point 
 of view, could not detect a default or excess of several 
 inches or feet from strict harmonic proportion. A safer 
 rule to follow is the old universal golden maxim, " Avoid 
 extremes.^' A building which is obviously too tall or too 
 low as a whole, or in any essential parts, can seldom redeem 
 such an objection by extraneous beauty. The medium of 
 form is a cause of beauty in painting and sculpture, accord- 
 ing to Reynolds. 
 
 Architecture has many other general principles in com- 
 mon with her sister arts, especially that of painting ; such 
 as contrast, light and shade, richness and repose, a balance 
 of parts, triangular and pyramidal grouping, bringing for- 
 ward some parts of the composition and keeping others 
 back, &c., and more than all others, as being a useful art, 
 is it subject to the jurisdiction of common sense, which, ac- 
 cording to Dr. Johnson, is not to be set at naught even in 
 the works of imagination. This last principle was ably 
 advocated by our friend, the late Mr. Loudon, throughout 
 all his excellent architectural works. Columns, with 
 nothing of sufficient importance to support, sham pediments 
 in the centre of long ranges of building roofed the contrary 
 way, steeples riding astride upon the apex of roofs, — are 
 all instances of the violation of this important principle. 
 
 Having proved that certain proportions are more 
 
DESIGN IN ARCHITECTXJRE. 21 
 
 pleasing than others, we come next to the question, 
 whether any particular forms are per se essentially more 
 agreeable? This we cannot answer in the affirmative, 
 except in the arts of painting and sculpture, where nature 
 is the standard. In nature there are superior races of 
 animals, and superior individual types of each race, and 
 it is universally agreed, that the horse is the most elegant 
 in shape of hoofed quadrupeds, the greyhound of dogs, 
 the swan of birds, the rose and honeysuckle of flowers. 
 The circumstance of all these examples, and the human 
 form the most, partaking most eminently of the line of 
 beauty, is to us a proof that that line is the most agreeable 
 to the eye ; whether, as possessing more variety and 
 appearance of motion, or because exciting its physical 
 sensibility in a more agreeable manner. For we must not 
 forget that seeing and hearing are physical senses, and 
 that their relative Fine Arts are sensual pleasures, though 
 of the purest kind, and however refined by the intellect 
 and the imagination. But the original adoption of par 
 ticular straight or curved lines in architecture, when not 
 suggested by the nature of the materials, was probably 
 arbitrary and accidental ; and we think it would be 
 impossible to prove the intrinsic superiority of the forms 
 of any one style of architecture over another. In this 
 point, we believe the principal cause of our preference is 
 association and habit. It would be as difficult to maintain 
 the superiority of one style of music over another, the 
 German or the Italian, for example : the controversy on 
 which subject was justly decided by Rousseau, in saying 
 that each was the best to its own nation. The style of 
 the most cultivated nations, and those which have the 
 
22 AN ESSAY ON THE PRINCIPLES OF 
 
 most national taste for any particular art, may, however, 
 d priori, be presumed to be the best ; which inference, as it 
 gives the palm to Italy and Germany in music, would 
 yield the superiority in architecture to ancient Greece 
 and modern Italy. 
 
 The principles of proportion and symmetrical compo- 
 sition are common to every style ; but each particular 
 style has its own modes of eifccting its purposes and 
 principles of development, which have become rules for 
 that style. We must in the main follow the leading 
 characteristics of any style we adopt, and its particular 
 mode of ornament in its details. Styles of unkindred 
 origin must not be confounded togetlier. " It is essential to 
 an architectural structure," says a writer in the Penny Cy- 
 clopaedia, " that the general arrangement, and the ornaments 
 should have a unity of character, and be referable to some 
 one model." It would be as great a solecism in literature 
 to compose a sentence, half in one language and half in 
 another, as it is to mix up in one composition two differ- 
 ent styles of architecture. If we compare the Grecian 
 and the Gothic styles, we shall immediately perceive the 
 striking contrasts of their aims and effect, The Grecian 
 consists of a few simple parts, and broad divisions ; tlie 
 Gothic is complicated in plan, and infinitely subdivided 
 into minute parts. In the one, horizontal lines, window- 
 heads, and entablatures prevail ; in the other, perpendicular 
 lines, pointed arches, and pinnacles. The Grecian admits 
 of none but right angles, save one very obtuse angle in 
 tlie pediment ; the Gothic avoids right angles, as much 
 as possible, even on its plan, and destroys tlie appearance 
 of ihcm on the elevation, by the preponderance of acute 
 
DESIGN IN ARCHITECTURE. 23 
 
 angled pediments and pannel-heads : Grecian ornament 
 is upright and formal, or in regular scrolls ; Gothic totally 
 irregular, and creeping, like a vine : the pure Grecian 
 admits of only flat square-pannelled ceilings ; the Gothic 
 spreads out its vaulted-arches, and fan-like tracery, 
 " scooped into ten thousand cells," of every imaginable 
 shape, derived from the intricate geometry of its plan. 
 Nothing, then, but an attentive study of these different 
 styles, can prevent the artist from running into a jumble 
 of their principles and modes, (such as the mixture of 
 Gothic label-mouldings and Grecian consoles,) which can 
 never have a good effect, independently of their inconsist- 
 ency ; while, to the connoisseur, it will always appear 
 the result of ignorance and incompetence. 
 
 In the progress of the primitive races, architecture 
 necessarily assumed a national character, originating from 
 the peculiar climate, the materials furnished, and the 
 relative degree of refinement and imagination of each 
 nation. But in modern times, after the lapse of ages of 
 civilization, and intermediate barbarism, and the conse- 
 quent corruptions, revivals, and imitations of styles, the 
 production of an original and national a,rchitecture is no 
 longer possible. Even if forms of elegance superior to 
 Greece and Rome, and the purest styles of the middle ages, 
 could be invented, they would not be thought so, wanting 
 the old classical or romantic associations. But indeed no 
 really original system of forms, columns and entablatures, 
 piers and arches, could now be invented ; it would inevi- 
 tably have more of borrowed than of original in it. The 
 variety of lines and forms is very soon exhausted. Straight 
 and semicircular, or elliptical, are all that sound construe- 
 
24 AN ESSAY ON THE PRINCIPLES OF 
 
 tion and beauty admit. The serpentine line, the line of 
 "beauty in sculpture and painting, is only admissible in 
 ornaments and the profile of mouldings (except, we may 
 say, in Gothic and corrupt Italian pediments). Even -where 
 unbounded scope would seem to be given to produce 
 variety of lines and forms, in the patterns of paper hang- 
 ings, drapery, and female dresses, original invention is 
 extremely limited, and every possible variety may be 
 classed under three species : spotted, striped, or running 
 patterns, or combinations of these. But even a regular 
 arrangement of spots, stars, or rosettes, must run in 
 straight lines, and suggest straight lines to the imagination ; 
 and even running patterns on repetition appear to occupy 
 rectangular spaces ; so that all formal design is ultimately 
 reduced to straight and curved lines, as its simple elements. 
 The utmost, therefore, that the architect or designer 
 can do in the present advanced age of art, is to select 
 some appropriate and pure style, and recombine and 
 imitate its best elements and features. Though archi- 
 tecture thus appears to be the least capable of originality 
 of all the Fine Arts, yet even in selecting and combining 
 there is ample scope for taste and genius. It was surely 
 original genius in Michael Angelo, to conceive the idea of 
 raising the dome of the Pantheon above the Basilica of St. 
 Peter's. Whatever site may be selected for an edifice will 
 most probably present some peculiarity which must be con- 
 sulted, and may often be taken advantage of in suggesting 
 some novel and characteristic disposition. Requirements, 
 limits, and obstructions of various kinds, may lead to 
 invention and beauty, in seeking to overcome them. If 
 we must imitate, there is no necessity for direct plagiarism. 
 
DESIGN IN ARCHITECTURE. 25 
 
 Whatever style or main idea we adopt, we must suit the 
 accessories to it ; we must fit even a borrowed design to 
 its place and dimensions ; and this will be better done in 
 the end by a thorough remodelling of the idea into a 
 perfect and consistent whole. It requires judgment to 
 choose the best from what is before us, — taste to make a 
 cento of elegant extracts from the thoughts of others. 
 
 In the application of the orders to street architecture 
 we would advocate great freedom, especially with half or 
 three-quarter columns, or pilasters engaged in a wall. 
 Here we should not scruple to omit an architrave, frieze, 
 or cornice, and to regulate the entire proportions, as may 
 best suit the part of the design in which they are intro- 
 duced. In small columns, a fancy capital of few and 
 simple parts, in a taste corresponding with the general 
 design, is far preferable to a miniature reduction of some 
 classical authority. 
 
 The present age is distinguished, in our opinion, by too 
 cosmopolitan a taste for variety of styles, with a view to 
 the production of novelty and picturesqueness. Buildings 
 of totally opposite styles, when in close proximity, destroy 
 each other's effect, and where styles are much varied, give 
 the appearance of a city in masquerade. For our own 
 taste, we should eschew all impure, mixed, and transition 
 styles, and for city architecture should adopt the Italian, 
 and for rural the Italian or Gothic, according to the kind 
 and situation of the building. The Gothic, as our friend 
 E. B. Lamb observes, in his " Studies of English Domestic 
 Architecture," is the truly national English style, origin- 
 ating from our Norman, if not from our Anglo-Saxon an- 
 cestors, and, as such, has the strongest claim to be adopted 
 
26 AN ESSAY ON THE PRINCIPLES OF 
 
 by the cis-atlautic descendants of the mother country. 
 For churches and colleges, or schools, country mansions 
 and cottages, nothing can be more eligible, either in point 
 of convenience or beauty ; but for general street architec- 
 ture and miscellaneous public buildings, it will be found 
 irreconcilable with modern requirements, nor could cha- 
 racteristic models of such an application of the style be 
 derived from antiquity, the towii buildings of the middle 
 ages being generally constructed of wood. The few 
 attempts for private dwellings and stores in this style re- 
 cently made in this city, have, in our opinion, completely 
 failed, not to mention their incorrectness of detail ; while 
 they have unfortunately afforded examples of window- 
 dressings, &c., for the uninstructed to copy from, and mix 
 up incongruously with other styles. 
 
 Street architecture, the more direct object of this work, 
 has peculiar features and requisites, which it is worth while 
 to dwell upon for a moment. A street building presents most 
 often a mere front, and this front can only be viewed 
 directly from the limited distance of the opposite side of the 
 street, or obliquely as we pass along. A more distant 
 direct view of a street building in which the opposite 
 houses are supposed by the draughtsman to be removed 
 away, gives no idea of its real effect. Such views can never 
 do justice to the architect, for surely a flat mass of building, 
 which a street front must necessarily be, was never 
 intended to stand isolated in an open square, as it is re- 
 presented. But truth and nature are never deserted with 
 advantage ; views of street buildings should always be 
 taken obliquely, and show the neighbouring houses as well, 
 because they in fact assist to support them, and form part of 
 
DESIGN IN ARCHITECTURE. 27 
 
 the general effect ; and if well designed, their heights and 
 projections were regulated so as to look best from an 
 oblique point of view. Windows are the main features of 
 street architecture, and on the forms, grouping, and deco- 
 ration of these, the originality and beauty of the design 
 principally depend. Where there are three windows in 
 width, a wider and more ornamented centre window may 
 be introduced with advantage. But this should be a Vene- 
 tian window with two narrowed side lights : double win- 
 dows, confusing their architraves together, are very objec- 
 tionable, as placing a muUion or solid part in the centre 
 line of the elevation. But, indeed, all mullions or divisions 
 in windows are Gothic in their principle, and discordant 
 with Grecian or Italian design ; as are also semicircular- 
 headed windows divided into two smaller semicircles by 
 the sash-frame, although examples, not worthy of adoption, 
 of these may be seen in Florence and Venice. Where 
 there are five or more windows in width, we would not 
 recommend a richer centre window ; but would preserve 
 them all of equal heights. It is better to extend the outer 
 windows as near as possible to the party walls than to 
 squeeze them too close together ; except in a corner house, 
 where a wide pier at the angle is required both for strength 
 and appearance ; although this rule is sadly violated in this 
 city. Architraves seem to add to the width of the win- 
 dows, and detract from that of the piers ; therefore they 
 should not be, as they too frequently are, wider than ne- 
 cessary. We may here insert our objection to heavy dress- 
 ings and decorations of all kinds. We attribute the pre- 
 valence of them to a remnant of Grecian taste ; but Roman 
 and Italian decorations and dressings should be far lighter, 
 
28 AN ESSAT OK THE PRINCIPLES OP 
 
 to correspond to the taller and more elegant orders to 
 which they are attached. 
 
 The next important feature of street architecture is the 
 cornice — and, under this head, we wish to impress upon 
 the public and the profession the beauty and value of 
 string-courses and horizontal lines in every building. In 
 point of utility, they serve as an external real and apparent 
 bond to the wall, like the internal bond-timber and plates 
 for the floors, while they divide the stories of the house 
 into whatever heights may best suit the composition, and 
 counteract the excessive height of numerous stories ; and 
 also assist the perspective effect, when viewed sideways, 
 in carrying the eye in easy and agreeable gradations to 
 the point of sight; instead of presenting a single acute 
 triangular form from the foundation to the summit of the 
 building. It is true, the window heads and sills make this 
 division in some degree, but in broken projections, and not 
 continuously. In general, where window sills meet each 
 other very nearly, it is far better to join them entirely by 
 a continued fascia, or similar mouldings of the sill, recessed 
 back an inch or less. It is difficult to imagine how such 
 a simple and effective feature as a continued window-sill 
 or string-course should have never been in general use in 
 this city. The commonest houses in Europe of three or 
 more stories will always have one, or some horizontal 
 band of a similar nature ; in Italy there is often one to 
 every story, and never more than three stories without one. 
 
 "We are glad to see projecting porticoes to dwelling- 
 houses superseded by the very elegant and convenient 
 recessed porches, now prevalent. TVe can suggest no- 
 thing more tasteful than the Italian arched entrance, with 
 
DESIGN IN- AuCniTECTCRE, £9 
 
 enriclied bracket and cornice, of which the modern por- 
 tion of the city exhibits various unexceptionable examples. 
 If projecting porticoes are ever used, we should prefer 
 the closed to the open ones, and only to single mansions, 
 where they may have some peculiar characteristic inten- 
 tion, in connexion with the general design, in obtaining 
 a distingue effect. In a long row of houses a series of 
 similar projecting porticoes has an effect approaching to 
 the ridiculous. 
 
 It is a pity that, owing to the sale of land in separate 
 lots, built upon according to the individual taste of the 
 owner, New York will perhaps never be able to boast of 
 a handsome Square. In streets, a row of similar houses 
 when long becomes monotonous ; the more variety, the 
 greater the picturesqueness. But squares require unifor- 
 mity of architecture to complete the effect of the regular 
 plot of ground they enclose. In this situation houses 
 better or worse than each other, one up and one down, 
 have the effect of a ragged regiment of recruits, compared 
 with a well-drilled line. In squares, the corner houses of 
 the block may be higher and more decorated than the 
 rest ; but a more decorated centre compartment is im- 
 proper, as implying the false idea of a single building, 
 with an entrance in the centre. 
 
 Within the last few years the city of New York has 
 made great advances in architectural taste and display, 
 both in public and private edifices. Fifteen years ago the 
 cities of Philadelphia and Baltimore might perhaps have 
 justly claimed superiority in this respect. But the greater 
 comparative increase of population, commerce, and wealth 
 of the " Empire " city have since then manifested them- 
 
30 AX feSSAY ON THE PRINCIPLES OF 
 
 selves externally in the splendor of the stores and resi- 
 dences of its most eminent merchants, which are now- 
 setting the example of similar magnificence in the other 
 principal cities of the Union. At the distance of time 
 just mentioned, it happened to be the task of the present 
 writer to publish a short " Critical View of the Archi- 
 tecture of New York," in " Loudon's Architectural Ma- 
 gazine," since merged in the " Engineer's and Architect's 
 Journal." At that time the new Custom-house and Ex- 
 change were unfinished, the mean-looking old Trinity 
 Church still standing, and the City Hall, and the Centre 
 Street Prison, the most striking objects of commendation. 
 Of private buildings, only the interiors of a few stores 
 had any pretensions to taste ; while a few plain brick and 
 stone mansions about Bond Street, and Washington 
 Square, and the marble row in Lafayette Place, were the 
 best specimens of private residences. Although the Ex- 
 change and Custom-house have not obtained praise except 
 for size and substantiality (the interior of the latter, how- 
 ever, is only too rich and elegant for its purpose), the 
 erection of the splendid new Trinity Church has formed 
 an era, as well as a model, in ecclesiastical architecture, 
 the need of which was pointed out in the criticism above 
 mentioned. The only fault we can find in this beautiful 
 work (most probably not the architect's) is, that the spire 
 should have been a little higher and more tapering. 
 
 But it is in its hotels, stores, and private residences, that 
 this city has advanced, as some questionably assert, to a 
 degree of extravagance. Among them, we would specify 
 and commend as most to our individual taste : — Delmoui- 
 co's, near the Bowling Green, the earliest introduction. 
 
DESIGN IN" ARCHITECTURE. 31 
 
 "we believe, of Italian street architecture ; the Metropoli- 
 tau, which we consider the chastest and best-proportioned 
 Hotel-front yet erected ; Stewart's store, the chastest and 
 best-proportioned of stores, except its injudicious division 
 into five nearly equal portions in width ; the very meri- 
 torious Trinity-building, and its neighbouring block ; the 
 Harmony-building ; the Insurance-building in Wall 
 street, perhaps the most beautiful Italian structure in the 
 city, as well as a smaller neighbouring one to the west ; 
 the Seamen's Saving Bank ; the Seventh Ward Bank in 
 Pearl street ; the Ocean Bank in Greenwich street, 
 though too much cut up by perpendicular projections and 
 recesses, and almost spoilt by a sham pediment out of 
 place ; and the Bowery Savings Bank. Among the new 
 private houses and mansions, we most admire the two 
 earliest precursors in the Italian style, one at the S. E. 
 corner of 15th street and 5th avenue, and the other in 
 16th street west of 5th avenue, with the fountain in the 
 fore-court ; the mansion at the N. E. corner of 5th ave- 
 nue and West 21st street ; a dwelling-house at the N. W. 
 corner of Madison square, the third house from the 5th 
 avenue, with a belvedere on the roof, the most tasteful, 
 in our opinion, of that size yet built ; two houses with 
 projecting Roman Doric porches, at the N. E. corner of 
 18th street and 5th avenue ; a large mansion at the S. E. 
 corner of 16th street and 5th avenue ; the second house 
 from the N. W. corner of 14th street and 5th avenue, 
 with circular-headed windows in the Florentine style ; 
 and, perhaps the purest specimen of the Italian palazzo in 
 the whole city, a mansion near the south end of the east 
 side of University Place. 
 
32' AN ESSAY OX THE PRINCIPLES OF 
 
 The above-mentioned buildings we believe will secure 
 tlie lasting approbation of the best judges, and we would 
 confidently recommend them as the best mode for imita- 
 tion yet furnished in this country, as well as appeal to 
 them ourselves as exemplifications of the principles we 
 have laid down in this essay, particularly in the propor- 
 tioning of the solid to the void parts of the front, and in 
 the introduction of sufficient horizontal lines into the com- 
 position ; and we hope that the candour with which we 
 have commended the productions of fellow artists, all 
 personally, and almost all nominally unknown to us, will 
 free us from the imputation of invidiousness, in passing 
 over without notice many other works of equal pretension, 
 which from their over-crowded windows, want of string 
 courses, incorrectness or confusion of styles, contradict 
 all the principles of design we have been advocating in 
 this volume. 
 
 A word or two as to the materials used in this city, and 
 their relative claims for preference. Of these the Con- 
 necticut or Jersey sandstone looks best in a Gothic build- 
 ing, though the darkness of its hue prevents the projec- 
 tions and carvings from exhibiting their due light and 
 shade. For this reason, in all other buildings but Gothic 
 churches we prefer it mixed with red brick, as it harmo- 
 nizes so well when thus united, and appears lighter itself 
 by the contrast. We also strongly recommend it for the 
 Elizabethan style, in schools, colleges, suburban and rural 
 villas ; in which last subjects we are surprised that no 
 travelled gentleman of taste, who has seen its good effect 
 in the old country, should yet have adopted it. The 
 Quincy granite, being incapable of minute carving, is 
 
DESIGN IN ARCHITECTURE. 33 
 
 unavailable for any but massive and plain works. But 
 
 we should rejoice to see the white marble, though more 
 
 expensive than the sandstone, yet the most beautiful of 
 
 all materials (except that it will not harmonize with 
 
 red brick), more generally adopted ; and hope that the 
 
 example of Stewart's, and Bowen's and McNamee's stores, 
 
 and the St. Nicholas Hotel, &c., will be followed in all 
 
 other first-class edifices. Neat and chaste as the brown 
 
 sandstone appears, the testimony of experience, and the 
 
 evidence of our own eyes in the older buildings of that 
 
 material, proves its liability to crumble and decay from 
 
 the effects of the atmosphere in a short period of years, 
 
 as well as, we fancy, to turn aarker by time ; whereas 
 
 marble furnishes an almost imperishable material, which 
 
 can be cleaned or refaced when discoloured, as it has 
 
 lately been done at the City Hall. 
 
 Cast iron has lately been extensively used in columns, 
 pilasters,. and beams of stone fronts, and sometimes in 
 entire fronts. It requires time to demonstrate the relative 
 value and eligibility of this material in the end. Besides 
 the objection to all imitations of superior substances, there 
 is a necessary flatness and stiffness in all cast, compared 
 with carved, foliage and ornament. But as it bids fair to 
 be extensively used, it may be as well to point out the 
 most advantageous forms it should adopt ; which, we con- 
 ceive, should be a medium between the solidity of stone 
 and a mere framing to glass, which was first attempted. 
 The designs in this book which could be best converted to 
 the purpose are No. 2, Plato 1, and Plate 2, and the store 
 on Plate 5 ; and, in addition, we would recommend an imi- 
 tation of that side of the Piazza of St. Mark's at Venice. 
 
34 AX ESSAY OX THE PRINCIPLES OF 
 
 which is composed of several stories of small pillars and 
 arches, with deep entablatures between. Entire circular 
 windows would look well on the uppermost story, and 
 have already beoti adopted in such designs. 
 
 We have just noticed the absence of horizontal and the 
 unnecessary insertion of perpendicular lines as the preva- 
 lent fault of street architecture. Another still more objec- 
 tionable practice has arisen, from the effort to disguise 
 numerous stories of windows, in the recent Grecian style, 
 namely, of making the windows a mere blank space be- 
 tween wide pilasters, and the space between the heads of 
 the lower and the sills of the upper windows, a sort of 
 sunk frieze, with nothing to support it. Another equal or 
 worse anomaly is, the Procrustean stretching out of a single 
 window architrave, so as to make it serve for two win- 
 dows, one above another. All these expedients are merely 
 the pursuit of novelty, at the expense of beauty, propriety, 
 good construction, and common sense. 
 
 In the descriptions accompanying our designs, we have 
 made other particular observations of this kind, wherever 
 instances occurred to suggest them ; but, before we con- 
 clude this short and imperfect essay, we would recur to 
 our starting point, where we defined Proportion, the chief 
 part of the Art of Design, as depending upon taste and 
 judgment, and a sense of harmony in a cultivated eye ; as 
 a taste in music arises from a cultivated ear. With this 
 view, we would strongly inculcate the necessity of culti- 
 vating an eye for proportion, and, as the best mode of so 
 doing, we would recommend the practice of designing and 
 sketching by the eye alone, and from memory, without 
 ruler or compasses : never forgetting the perspective efl'cct 
 
DESIGN IN ARCHITECTURE. 36 
 
 in execution. Nothing but the practice of drawing by the 
 eye alone, forces the eye to notice proportion and form. 
 The nearer, also, we bring our designs to relative correct- 
 ness in the first sketch, the easier it can be drawn out to 
 correct admeasurement. The Grecian and Italian 
 architects were often painters and sculptors as well ; 
 painters are, in general, the best judges of architecture ; 
 and the more an architect feels as an artist, and the greater 
 general knowledge of the fine arts he possesses, the greater 
 evidence will his designs present of invention, judgment, 
 and taste. It is the general advancement of architectural 
 taste that has been the principal aim of this little work : 
 and we shall be less pleased to see our own designs 
 servilely copied, than we shall be to see original and 
 better designs constructed on the principles which we 
 have advocated, and believe to be founded on truth. 
 
 The author cannot better conclude, than by quoting the 
 last sentence of his former criticism, written in 1838, in 
 which he ventured upon the prophecy, already half fulfill- 
 ed : " that the recent evidences of improving taste and 
 public spirit of the citizens, afl"ord the most certain 
 promise, that, at some future day, New York will equal 
 in splendour, as well as in prosperity, the proudest cities 
 of the old world." 
 
frsrrijition nf ik ^Intfs. 
 
DESCRirilON OF THE PLATES, 
 
 GENERAL OBSERVATIONS. 
 
 The designs are drawn of dimensions suited to first 
 class buildings of their kind, and the heights of stories 
 proportioned to the width of the front, so that, if re- 
 quired to be reduced in size, lit'tle or no alteration in 
 proportion will be necessary. The basement stories are 
 kept lower than usual above the ground, in order not to 
 injure the effect of the geometrical elevations : in execu- 
 tion they might be raised higher without detriment. In 
 forming a judgment of the designs, it must be borne in 
 mind, that the effect of a single street house can never be 
 so good as when apparently supported by and contrasted 
 with, an adjoining building on one or both sides. The 
 appearance of too great height, which it presents when 
 alone, is completely removed, when forming part of a long 
 range of buildings. For this reason, an additional story 
 might be added (beneath the attic) to most of the street 
 elevations, without injuring their effect in execution. 
 Outline ground plans are given, where required, to show 
 the projections of the elevations, and shadowing in fine 
 lines is occasionally added, to distinguish columns and 
 other circular parts from pilasters and flat surfaces. 
 Chimneys have often been omitted, as standing too far 
 
40 DESCniPTION OF THE PLATES. 
 
 back to be visible iu the front view. The returns of all 
 cornices and string courses have been drawn, for the sake 
 of showing their profiles, and completing the symmetry 
 of the designs. In execution, where this cannot be done, 
 we think it preferable, in general, to cut them off perpen- 
 dicularly on the line of the party-wall, rather than to 
 make the cornice return within itself, as it were, against 
 a plain fascia. But it would greatly increase the beauty 
 of street architecture, if neighbours would mutually agree 
 to suffer the upper cornice, at least, to return over each 
 other's premises, or against the adjoining front wall : it 
 might be subsequently' cut off, if found objectionable. 
 Perhaps this is the best place to remark upon the prac- 
 tice, justly objected to by a critic in " Putnam's Maga- 
 zine," of disfiguring the fronts of stores and public 
 buildings, by enormous, tasteless, and superfluous sign- 
 boards. It is utterly throwing money away on architec- 
 tural decoration, if every feature is to be disguised and 
 obliterated from notice by masses of black board and 
 gold letter. The plain parts of the wall which they 
 occupy are absolutely necessary to give relief to the 
 dressings and ornaments. Nothing but the name of a 
 firm is really indispensable : the business may be denoted 
 best by a sample of goods in the window, or the glass 
 door. But to make our streets nothing but a newspaper 
 column of advertisements, is not only the worst of taste, 
 but quackery and puffing, which, when universally adopted, 
 defeats itself, and has no effect upon the passengers but 
 annoyance and distraction. The only proper place for 
 inscriptions is the frieze over the store-front, or a tablet 
 between the windows of the second and third stories, and 
 
DESCRIPTION OF THE PLATES. 41 
 
 these should be painted in stone colour to match the 
 building, as if sunk in the stone ; or, if in raised letters, 
 coloured bronze. In public buildings, and suites of offices, 
 the tenants should only be allowed to affix their names 
 and designation on the blinds of their windows, where 
 they will be most indicative of their situation, and least 
 destructive of architectural effect. An act of the Corpo- 
 ration is absolutely required to repress the nuisance of 
 signs and street obstructions. After all, a conspicuous 
 architectural front like Stewart's without even a name 
 upon it, is the best mode of distinction, and the most 
 striking advertisement of itself. 
 
42 DESCRIPTION OF THE PLATES. 
 
 PLATE I. 
 
 DESIGN I. — WHOLESALE STORE. 
 
 This design is an exemplification of the superiority of 
 arches to square-headed windows, in affording more light, 
 and admitting of being closer together, without producing 
 a bad effect. Till recently, in a few examples, arched 
 windows have been scarcely ever used in this city. The 
 arrangement of arches, in the present example, will be 
 seen to be different from any yet erected. On observation, 
 the central and the two exterior windows of all the upper 
 stories will be perceived to be perpendicular over the 
 centre of the three larger arches below, while tlie inter- 
 mediate piers are made into additional windows on the 
 second and third stories. For the sake of variety, we 
 have dropped the intermediate arches on the third story, 
 a strong stone or iron lintel taking their place. The two 
 upper stories requiring less space for light, three slightly 
 narrower windows give a fresh variety to this part. We 
 would recommend this narrowing of upper windows as a 
 good general principle. By making the string-course 
 under the fourth story windows of inferior projection, and 
 stopping against the external quoins of the building, an 
 agreeable variety is given to the composition. The 
 pannels over the arches of the store-front are introduced 
 for the purpose of connecting and harmonizing the divi- 
 
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DESCRIPTION OF THE PLATES. 43 
 
 sions of three and five apertures ; as also are the rustic 
 pilasters on the attic story, which serve as well to recal 
 the idea we started from below. This design would look 
 best in red brick and brown stone : the topmost arches are 
 intended to be of brick. A row of three or four ware- 
 houses of this design would look better than one alone. 
 
 DESIGN II. — STORE. 
 
 This elevation, as well as the preceding one, is Venetian 
 in its character, displaying a still richer arrangement of 
 circular-headed windows, mixed with a few square ones, 
 to give relief and variety. A gradation in the height of 
 the stories is observed, which has always a good effect. 
 The first, or the second story from the ground, should be 
 made the highest or principal story. In the present case, 
 the basement that appears above the ground, seems to 
 belong to the lowest story, and inevitably gives it the 
 greatest importance, otherwise we should have given the 
 greatest height to the second story, as the best general 
 rule. Coupled circular-headed windows are not uncom- 
 mon in Italy, but we do not think they have a good effect : 
 coupled square-headed windows are against all rule and 
 practice in Italian architecture ; all mullions between 
 windows are Gothic in principle. The three lower orders 
 will be seen by the shading to be intended for three-quarter 
 columns ; the two upper ones for square pilasters, project- 
 ing about a third of their diameter. This design would 
 look best in white marble, or some light-coloured stone. 
 
44 DESCRimOX OF THE PLATES 
 
 PLATE II. 
 
 A STORE. 
 
 This design is of similar character, but less elaborate 
 and costly than the preceding one. The upper balconies 
 would be of iron, the lower either of iron or stone. The 
 upper windows are purposely kept plain, to increase the 
 effect of the lower, which meet the eye the soonest and 
 oftenest. Though it is the general practice in this city, 
 to place the main cornice of the building over the attic 
 story, yet in a building of as many as five stories, it will 
 generally be found more effective, to place it, as here, below 
 the attic ; thus giving the attic story its natural and 
 original place over the regular orders of architecture. 
 The cornice itself is thus brought nearer the eye, and seen 
 to greater advantage ; and the otherwise disproportioned 
 height of a building apparently diminished. In point of 
 construction, too, it is preferable ; since the weight of the 
 attic wall above counterbalances the heavy projection of 
 the cornice, if of stone, which it necessarily appears to be. 
 
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DESCRIPTION OF TIIK PLATK8. 43 
 
 PLATE III. 
 
 DWELLING-HOUSES. 
 
 In these three designs we have given arrangements of 
 windows and string-courses, that we have not seen pre- 
 viously adopted in this city ; but amid the great number 
 of houses now in process of erection, or built since these 
 designs were drawn, many casual instances of similarity 
 may have escaped our notice. Here, as throughout this 
 work, it will be apparent that the simpler Italian is our 
 favorite taste ; leaving to those who choose to adopt 
 them, the less pure, though more florid examples of the 
 later Italian, the French of Louis XIV. and XY., or the 
 English of the age of Wren. But as onr object is not 
 detail, but general design, any variation of the style and 
 ornament could easily be applied to the proportions de- 
 fined, and as far as proportion extends, would have an 
 equally good effect. 
 
 No. 1. — The leading feature of this is the stone balcony 
 over the first story, which in a row of houses forms a 
 striking bond of connexion, as well as a shade and shel- 
 ter to the windows and door, without requiring any break 
 or projection for a portico, which in a series of houses of 
 the same design we would never recommend. 
 
 No. 2. — The connected pediment window-heads, and the 
 oval attic windows, are from Venetian examples. The 
 vertical supports under the pediments, and those below 
 
46 DESCRFPTION OF THE PLATES. 
 
 inclosing tlie panucls, arc intended to be inverted ogee 
 brackets. The pilasters and arched dressings to the first 
 story windows and door might be either plain, or with a 
 hollow quadrant edge, projecting one or one and a half 
 inch from the face of the wall. 
 
 No. 3. — In the first story windows and door of this 
 example, there is a second recessed arch, with a bed- 
 moulding, under the main architrave, supported by a quad- 
 rant column, and a small capital, the mouldings of which 
 die away against the reveals of the window. The rustic 
 quoins are made wider at the external angle to the right 
 hand, those on the left being intended to be like a half- 
 pilaster, which, of course, would be continued to double 
 the width in a row of similar houses. 
 
 As the design of a dwelling-house is nothing but an 
 agreeable arrangement of windows and door, a judicious 
 selection from the doors and windows of our other designs 
 without confusing those of diflercnt styles, will add to the 
 variety of examples here furnished. 
 

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DZSCRIPTIOX OF THE PLATES. , 47 
 
 PLATE IV. 
 
 BANK, OR PUBLIC OFFICES. 
 
 The grooved quoins, at the angles of this elevation, are 
 common in Italian buildings, and are not only useful for 
 strength of construction, but form a visible perpendicular 
 support for the main frieze and cornice of the building, 
 and a demarcation of the whole composition, whether con- 
 sidered in itself, or in connexion with the adjoining 
 buildings. The Italian mode of making circular corners 
 at the external angle of a block of building, is here in- 
 troduced ; a similar elevation of five or more windows in 
 width being meant to be continued on the returning side. 
 Circular corners, in general, however, are rather carpen- 
 ters' and cabinet-makers' contrivances for wood-work, 
 than legitimate modes of construction in stone. With a 
 wide sweep, and with doors and windows in them, we do 
 not think them eligible, either in construction or effect. 
 They tend to weaken the angle, which should be the most 
 solid part of the building, and by placing the central 
 object of the composition at the intersection of the per- 
 spective lines of the two sides, attract the eye too much 
 to that most unpleasing point. The outline plan displays 
 the three-quarter columns and pediment heads to the first- 
 story windows, which would have a dignified and massive 
 effect, standing out from the shadow of the arched recess 
 in which they arc placed. The sill, on which the columns 
 
48 DESCRIPTION OF THE PLATES. 
 
 rest, is supported by upright inverted-ogee cantilevers. 
 The architrave of the door, projecting forwards, ^eaves 
 about a quarter column on each side, similar to the win- 
 dow dressings. The quadrant hollow at the angles of the 
 arches and piers has a good effect in execution ; but the 
 caps of the piers are intended to be square-angled. The 
 ui)pcr windows are intentionally made plainer, and sub 
 servient to the principal story. 
 
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DESCRIPTION OF THE PLATES. 49 
 
 PLATE T. 
 
 DWELLING-HOUSE. 
 
 Here we have endeavored to show what may be done 
 by simple outline, without ornament. We do not say that 
 architectural is like female beauty, " when unadorned, 
 adorned the most ;" but, unless the simple outline is 
 good, all ornament only strives to hide the absence of 
 form and proportion. We should not advise so many 
 stories of circular-headed windows, unless varied by 
 square cornices, as in the present instance. 
 
 STOEE. 
 
 Where much light is required, this is an eligible mode 
 of grouping together three wide windows into a central 
 composition, relieved by a wide space of plain wall on 
 each side. We should not approve of this arrangement, 
 however, in a composition wider than a single street 
 building. The two upper ranges of columns and the 
 pediment might be omitted, and the piers and arches only 
 retained, and the effect would be nearly as good. In that 
 case, pannels might be required to take off the heaviness 
 of the piers, and ornaments might be introduced into the 
 spandrils of the arches ; and, as we have elsewhere stated, 
 it would be well suited to cast-iron work. 
 
60 
 
 DESCKIPTION OF THE PLATES. 
 
 PLATE VI. 
 
 RETAIL STORE, OR ICE-CREAM SALOON. 
 
 We have here aimed at an external richness of decora- 
 tion, suitable to the lavish magnificence which is now 
 bestowed on the interiors of these favorite resorts. This 
 design should be executed in white marble. Open inter- 
 columniations here form 07ie grand central window ; which 
 case is an exception to our general objection against a 
 series of such windows. The solid perpendicular bearing 
 of the external pilasters of the second and third story 
 over the middle columns of the first, counteracts the merely 
 apparent weakness of the upper columns resting within 
 the springing line of the main arch ; while the two side 
 arches, and the niches above them, tend to give breadth 
 and support to the composition below. The horizontal 
 lines of the entablatures of the several orders are neces- 
 sarily carried across the building, to preserve solidity and 
 connexion between the solid and void parts of the front, 
 and also to counteract the otherwise too prevalent perpen- 
 dicular lines, formed by the columns and pilasters. The 
 style of this design may be called Greco-Roman ; some 
 of the details having been suggested by the later Roman- 
 ized remains at Athens. 
 
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DESCRIPTION OF THE PLATES. 
 
 PLATE VII. 
 
 BANK, OR PUBLIC BUILDING. 
 
 The Palladian style has been here adopted, which, 
 though little used, has left behind it some of the finest 
 monuments of art in Italy and England, and been followed 
 by architects of the greatest genius, from Inigo Jones, 
 "Wren, and Kent, to Chambers, Wood of Bath, and 
 Gwilt. Simplicity and purity are the characteristics of 
 this style. This building would look well in red-brick 
 and sandstone, or in white marble and yellow Bufi'alo 
 brick 5 a mixture we have not yet seen adopted, but ven- 
 ture to say, would have a good effect. The Venetian win- 
 dow is intended to be in a slight recess, with a bed-mould- 
 ing under the arch. A string-course is generally advisa- 
 ble over arched windows, as it gives a demarcation and 
 definite form to the space above them, and increases the 
 effect of the arch itself. In this case, the keystone forms 
 a connecting link between the arch and the string-course 
 above it. The pediment to the centre window of the 
 third story is intended to form a triangular pyramidal 
 group with the lower pediments. Windows might be 
 placed in the panuels of the attic story, if desired. 
 
62' ■ DESCRIPTION OF THE PLATES. 
 
 PLATE YIII. 
 
 HOTEL. 
 
 No one that has rambled through the streets of Rome 
 can have failed to observe the grand and beautiful eflFect 
 produced by a long range of large and well-proportioned 
 windows, placed at equal distances on an otherwise plain 
 wall, without a break. The cause of this is attributed by 
 Burke, in his Essay on the Sublime and Beautiful, to a 
 principle he calls the " artificial infinite :" that is to say, 
 the deceptive idea of unlimited succession produced on 
 the eye by a continued vista of columns, trees, &c., at 
 equal distances, that, if sufficiently long, seems to vanish 
 into the point of sight. In the same way a bell regularly 
 tolled, or a constant pouring of rain, seems as if it never 
 would leave off. But if the series is once interrupted by 
 a break, the illusion is dispelled. This should teach the 
 architect the injudiciousness of making vertical projections 
 and compartments in street fronts, which are chiefly seen 
 in an oblique view, as they destroy the continuity and 
 apparent extent and grandeur of the building. In a build- 
 ing of moderate extent, apertures are best placed at equal 
 distances, without grouping. In the present design a 
 portico or door in the centre is absolutely necessary ; but 
 a wider central window in the upper stories would only 
 break the composition into two pieces, and destroy all the 
 beauty otherwise obtained. To be convinced of this, the 
 

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BE8CRIPTION OF THE PLATES. 53 
 
 reader lias only to hold the engraving up sideways to his 
 eye, and imagine the effect of the supposed alteration. 
 
 The balcony is intended to project two or three feet along 
 the building, except where it meets the parapet of the 
 portico ; which should project about five feet, with steps on 
 the returns. By placing the principal cornice under the 
 attic windows, the excessive height of a building is appa- 
 rently reduced, and a better proportion of the general 
 front obtained. The sills of the lower windows are sup- 
 ported by inverted ogee brackets, rising from the plinth. 
 As stores on the ground story of a hotel materially detract 
 from its beauty, it would be far preferable to place the 
 narrow end of such buildings on the principal street, with 
 an entrance there in addition, and let the longest front be 
 situated in a private street, as contemplated in the present 
 design. 
 
54 DESCRIPTION OF THE PUITES. 
 
 PLATE IX. 
 
 PUBLIC LIBRARY, OR INSTITUTION. 
 
 This fagade, as the connoisseur will perceive, is imitated 
 from the Colosseum, one of the few examples of order 
 above order left us by the ancients ; and which, from its 
 uniting the orders with piers and arches, may be said to 
 be the model of the modern Italian style. We believe 
 Palladio was the first who made a direct study from that 
 edifice, in his uncompleted Academy of the Fine Arts at 
 Yenice. The celebrated Wood of England put forth a 
 subsequent adaptation of it in his Circus at Bath, which 
 the testy Mr. Bramble, in " Humphrey Clinker," unable 
 to find any other fault with, stigmatizes as " only the 
 Colosseum, turned inside out." 
 
 In the present elevation, the two' lower orders would 
 be three-quarter columns, and the upper one, pilasters pro- 
 jecting about a third or fourth of their diameter. The 
 face of the two upper orders may be set back a little pro- 
 gressively behind the lowest, and the wall diminished in 
 thickness at each story, though in the two aogular profiles 
 shown, the columns, of course, stand perpendicular over 
 each other's centre. The recess of the arches and window 
 reveals should be nine inches or a foot, according to the 
 scale on which the design may be executed. 
 
 If this elevation were applied to a library, the plan 
 might consist; of an entrance-hall and passage in the centre, 
 
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DESCRIPTION OF THE PLATES. 55 
 
 and a staircase built out in the middle of the back front, 
 and four reading and librarians' rooms on the first floor ; 
 while, above, the whole urea over the four rooms and 
 passage would be thrown into one handsome Library, of 
 two stories of windows in height, divided vertically by a 
 gallery, running round the whole room ; and as the front 
 windows would be sufficient for light, all the rest of the 
 walls might be covered with book-shelves ; while the 
 columns or pilasters projecting into the room to support 
 the gallery might be the termination of partitions, at 
 right angles to the walls, also covered with shelves on 
 each side. The ceiling should be an oval arch, or coved at 
 the angles. 
 
68 DESCRIPTION OF THE PLATES. 
 
 PLATE X. 
 
 HOTEL. 
 
 This is an attempt to raise six or seven stories, without 
 making the windows resemble a multiplication-table, or 
 the meshes of a piece of basket-work. We have elsewhere 
 pointed out, that the only way to avoid this, is to employ 
 strinjT-courses or cornices between some of the stories. 
 
 In the present case we have placed our main cornice 
 over the fourth story, effecting, by this means, a division 
 of our entire front up to this cornice, so far complete 
 and well-proportioned in itself. Our two upper sto- 
 ries would thus seem to be an after-thought or addition 
 over the lower ; but are prevented from appearing heavy 
 by the use of light semicircular half-columns and arches. 
 By adding one more story over the slightly projecting 
 ends of our building, which should be returned the whole 
 depth of the rear, the height of the intervening part of 
 the building is apparently reduced by contrast ; a triangu- 
 lar disposition of salient points is formed in conjunction 
 with the centre recessed portico ; and the whole composi- 
 tion relieved from the monotony it would otherwise pos- 
 sess. Deducting all above the main cornice, and diminish- 
 ing the height between the first and second story windows, 
 this design might be easily converted into a row of dwell- 
 ings, or the side of a square ; in which latter case, the 
 additional story in height, at the two end-houses of the 
 block, might be advantageously retained. 
 
F r o n t 
 
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 FZ.JI. 
 
DESCRIPTION OF THE PLATtS. 67 
 
 PLATE XI. 
 
 DETACHED MANSION. 
 
 This example is of the simplest Italian character, and 
 would equally suit a suburban, or a country villa, with the 
 addition of a colonnade on one side, surmounted by a 
 balustrade and rases over the piers, and a flat roof to 
 walk out upon from the second story window, which might 
 be made lower for that purpose. The recessed portico, 
 about one intercolumniation deep, should have a groined 
 ceiling, of square and diagonal lines on the plan, and semi- 
 circular on the section. The chimney flues could be con- 
 veniently gathered up into the corner piers of the bel- 
 vedere, and the shafts raised higher, if required. For a 
 countrv-house the basement mitrht be lower, or omitted, 
 except when required for cellarage ; or, if the basement 
 were kept, the attic story might be dispensed with. 
 
58 DESCniPTION* OF THE PLATES. 
 
 PLATE XII. 
 
 DISTRICT SCHOOL, OR ACADEMY. 
 
 The style of this design, the Gothic of Henry YIII. or 
 the earlier Elizabethan, is that which we think the most 
 appropriate for educational structures. It should be built 
 of red brick and brown sandstone ; the corner-stones and 
 mullions^Wt with the brick-work : pivjecting architraves 
 are contrary to the nature of Gothic architecture. There 
 is a small building of this style and material in the neigh- 
 borhood of Lexing;ton Avenue, which will give a notion 
 of the agreeable effect produced. The plan of the front 
 shows a cloister in the centre, for play and exercise during 
 the intermission of the classes, intended to extend the 
 whole depth of the building, and serving for a sheltered 
 entrance to the school-rooms on the first story, and the 
 stairs leading to the upper stories. Larger windows to 
 the first floor rooms migh.t be obtained on the back and 
 sides of the building. The second floor would afford three 
 or four large class-rooms ; the third story as many more. 
 Winding staircases in octagonal towers, are the most in 
 character with Gothic designs ; and, with two other simi- 
 lar ones on the back front, separate for boys and girls, 
 built of stone or cast-iron, the steps forming a pillar in 
 the centre, nothing could be more durable, or safe against 
 accident of any kind. 
 
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DESCRIPTION OF THE PLATES. 59 
 
 Witli the necessary modifications of plan and arrange- 
 ment, this design might easily be turned into a handsome 
 Tilla, with a recessed portico, where the centre cloister 
 now is ; and built of the same materials ; one of the stair- 
 cases, of course, omitted as unnecessary. Uniformity in 
 rural buildings is not so effective as an irregular and 
 picturesque disposition. 
 
60 DESCRIPTIOX OF THE PLATES^ 
 
 PLATE XIII. 
 
 DETACHED MANSION. 
 
 This is intended for the corner of a street, where access 
 could be obtained through the archway to the stable-yard, 
 shown in the side elevation. Jersey sandstone and red 
 brick would be suitable materials, but white marble would 
 be more elegant. The recessed portico on the side upper 
 story might be adorned with flowering shrubs in summer, 
 or enclosed as a greenhouse in winter. A plan, to suit 
 any particular requirements, could easily be made to cor- 
 respond with these elevations. If the attic should be 
 thought too low, a balustrade over the entablature, with 
 windows behind, and a flat roof, might be substituted for 
 the Italian villa roof here adopted ; the entablature, in 
 that case, being a little reduced in height. 
 
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DESCRIPTIOX OF THE PLATES. 61 
 
 PLATE XIV. 
 
 THEATRE. 
 
 In all compositions of the Fine Arts, it is good to have, 
 whether consciously or unconsciously, some leading idea, 
 from ^vhich all the subsidiary parts will naturally branch 
 out, and insure unity and consistency as the result. 
 
 The leading idea of this design was obviously to exhibit 
 the statues of the Nine Muses ; the motto referring to which, 
 if thought pedantic, might be omitted. The required 
 number of niches regulated the width of the building, the 
 intercolumniations of the order, and the proportions of the 
 whole design. The plan of the niches is meant to be 
 semicircular behind the' statues to the top of the impost, 
 but the recesses of the arches over the semicircular win- 
 dows to be rectangular. As these windows would be all 
 that are required to light the saloon by day, the space 
 above them has been devoted to a hasso or alto-relievo, re- 
 presenting the principal characters of Shakspeare, with a 
 balustrade, cornice, and comic and tragic masks as aero- 
 tcria, crowned by a statue of Shakspeare in the centre ; 
 in a sitting posture in order to harmonize with the wide 
 base furnished by the centre tablet. The three centre inter- 
 columniations would open upon a recessed portico, leading 
 to the several entrance doors. A handsome store might 
 occupy the remaining space on either side. The two centre 
 columns would be, of course, entire ; the remainder three- 
 
62 DESCRIPTION OF THE PLATES. 
 
 quarters, or entire columns, just clear of the window-frame. 
 The rich frieze between the capitals is intended for open 
 iron-work with glass behind. The names might be written 
 below the statues, beginning from the left in the followiug 
 order : Clio, Terpsichore, Calliope, Melpomene, Urania, 
 Thalia, Polymnia, Erato, Euterpe ; which have been de- 
 signed with characteristic emblems and attitudes. 
 
 This design, owing perhaps to the quantity of sculp- 
 ture, has turned out somewhat in the Parisian Greek taste. 
 
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DESCRIPTION OF THE PLATES. 6UJ. 
 
 PLATE XT. 
 
 CLUB-HOUSE, OR PRIVATE MANSION. 
 
 The central range of windows in this design is imitated 
 from the Pandolfini palace at Florence, attributed to the in- 
 vention of the " divine Raffaelle." This early Italian style, 
 for solidity, richness, and palatial dignity, we consider as 
 the ne plus ultra of Art. Several of the London Club- 
 houses, recently built after this manner, have attracted 
 great admiration ; as nothing of the kind had ever been 
 previously introduced. The lower windows, also Floren- 
 tine in form, have been kept smaller, on purpose to add to 
 the importance of the principal story. An attic might be 
 made, with windows concealed behind the balustrade, if 
 desired. The portico should not project over two or three 
 feet, enough to give room for a half-pilaster on the return, 
 set back from the angle of the portico at least as much as 
 the space from the angle to the half or three-quarter 
 column. The quoin-stones are chiselled out into flat sink- 
 ings and torus projections alternately round each stone. 
 The ends of the brackets level with the ornamented string- 
 course, under the principal windows, must project suffi- 
 ciently to bear the three-quarter columns of the window- 
 dressings above. Square windows, of equal height and 
 breadth, are, in general, the best that can be chosen for 
 the highest story under the principal cornice. 
 
64 DESCRIPTION OF THE PLATES. 
 
 PLATE XYI. 
 
 A MAEKET. 
 
 Tliis design is meant to be extended considerably wider 
 than the limits of the plate allowed, by increasing the 
 length of the colonnade between the wings and the centre 
 building. The entire plan would be a parallelogram, the 
 roofed part forming a double H, of which the front part, 
 shown in the plan, would be the longest side, the centre 
 and wings extending back to a similar elevation on the 
 opposite side ; and the interior and exterior ^ide-elevation 
 of the wings would have similar piers, arches, and windows, 
 to the part in fainter lines behind the colonnade, which 
 represents the cross-bar of the H connecting the wings 
 and centre. The stalls, which would have one window 
 each, are shown by dotted lines on the plan. The centre 
 would be the meat market, and the two wings, and the 
 ranges connecting them with the middle of the meat 
 market, might be for vegetables and country produce. 
 Other stalls might be placed under the colonnades, and 
 the four open courts they inclose. An additional story 
 might be raised over the meat market, if required. But 
 we must enter our strong protest against making many 
 upper stories over a market-house, as it has been lately 
 proposed at the Washington market ; it appearing to us 
 that living-rooms, or even coffee-houses and miscellaneous 
 stores, associated with accumulated stocks of provisions 
 
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DESCRIPTION OF THE PLATES. 65 
 
 liable to decay, must be inimical to the purity of atmo- 
 sphere, and cleanliness necessary to such distinct objects. 
 
 An India-rubber cloth awning might be contrived to 
 shelter the open courts from rain and sun in summer, and 
 from rain and snow in winter. Chimneys are drawn at 
 the ends of the wings for stoves, one for every two stalls. 
 
 The present design is perhaps best suited for an up-town 
 market, though it might easily be enlarged. Several de- 
 signs for markets in the Italian style, lately executed in 
 London, may be consulted with advantage. Liverpool, 
 also, possesses the largest covered market under one roof 
 ever erected. 
 
66 DESCRIPTION OF THE PLATES. 
 
 PLATE XVII. 
 
 FERRY-HOUSES. 
 
 While the means of transit over our numerous ferries 
 have been brought to such a degree of perfection in this 
 city, that a bridge, if possible, would be less cheap and 
 convenient, -we may' be surprised that there should not be 
 a ferry-house yet erected of the smallest architectural 
 pretensions. Simple in their plan, of only one story or 
 order in height, few subjects present greater capabilities, 
 and scope for fancy ; at the same time that a variety of the 
 most appropriate models may be searched out among the 
 beautiful lodges and gates to English noblemen's Parks, or 
 the triumphal Arches and Propylsea of antiquity. 
 
 Design 1, is purposely made of the exact plan of the 
 one first made at Vanderbilt's landing, Staten Island : and 
 shows at what little extra expense two carpenters' sheds, 
 four square posts, and a flat roof, may be converted into a 
 piece of architecture. Although we object in general 
 against all sham imitations of stone in wood-work, yet a 
 ferry-house, not being a permanent structure, resting on 
 an artificial foundation, and liable to the constant jars of 
 the boat, may be excusably built of joiners' work. If a 
 double carriage-way were desired, this design might be 
 extended by inserting an additional loide intercolumnia- 
 tion, and a column in the centre might be cxceptionably 
 excused on the ground of utility. The back part of the 
 
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DESCRIPTION OF THE PLATES. 67 
 
 plan would be the counterpart of the front ; and the cen- 
 tre part is intended to be roofed over in both designs. 
 
 Design 2. A richer elevation, to a more extended plan. 
 This could also be modiiied so as to have two carriage- 
 ways, by substituting three arches of equal width, a little 
 loftier in proportion to the aperture ; one side arch serv- 
 ing exclusively for foot-passengers. 
 
 We may here hint at the importance of a maritime city, 
 with such an immense extent of water-front, paying some 
 attention to tlie handsome appearance of her warehouses, 
 and other buildings next the wharf : which form the near- 
 est objects in a distant view of the city, and give the all- 
 important first impression to foreign visitors ; while they 
 furnish the only opportunity of viewing in conjunction 
 the beauties of civil and naval architecture, or of realizing 
 the sea-port pictm-es of Claude and Vernet. 
 
68 DESCRll'TlON 01' THE PLATES. 
 
 PLATE XVIII. 
 
 ENGINE-HOUSE. 
 
 As the simplest structure is susceptible of pleasing and 
 characteristic embellislimeut, we have here selected for our 
 subject an engine-house, of which the general specimens are 
 little superior to stable-buildings ; and, by the addition of 
 Sculpture, which might be omitted till the occasion de- 
 manded, have endeavored to compose something like an 
 adequate architectural tribute to the meritorious Fire 
 Department. As windows would interfere with this object, 
 they must be supplied from the back or sides, or a skylight 
 in the upper story. The plan and elevation seem sufli- 
 ciently explicit,, except in denoting, that the entablature 
 between the columns, and the face of the wall between 
 the pilasters above, are intended to stand about half the 
 projection of the columns forwarder than the general line 
 of the front ; thus affording greater depth for the niches 
 and statues. The appropriateness of the flame at the top 
 of the pediment, the trophies of caps and trumpets, and 
 the oak-leaf crown, the Roman reward for saviuo- the life 
 of a citizen, will be readily appreciated. The lion's head, 
 in the keystone, was emblematical of water among the 
 ancients, and used for waterspouts on their temples ; their 
 most rainy period being when the sun was in the constella- 
 tion of Leo. The alto-relievo represents a fireman just 
 descended from the ladder, after having rescued an infant. 
 

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DESCRIPTION OF THE PLATES. 69 
 
 and restored it to its mother's arms. Should such a design 
 as this be erected, it would not be long before some similar 
 instance of heroism might demand and obtain a similar 
 monument ; justly bestowed on those 
 
 Qui sui memores alios fecere merendo. 
 Who by desert have won a glorious name. 
 
70 DESCRIPTION OF THE I'l.ATES 
 
 PLATE XIX. 
 
 KAILROAD TERMINUS. 
 
 A handsome structure of this description lias, we believe, 
 been recently erected at Baltimore, of which this city can 
 not yet boast. A design of this extent would only be 
 suitable for an up-town situation, which however is fast 
 becoming the most central and convenient for the purpose. 
 The plan exhibits a waiting-room and office, with living 
 rooms above, and a colonnade in front, on each side of a 
 centre archway, through which carriages might drive 
 into the interior courtyard. The depot for cars might 
 be placed centrally behind the arch, with a cast-iron roof, 
 forming one wide pediment over the two tracks ; thus 
 uniting the whole into one pyramidal composition. As 
 some piece of Sculpture appeared necessary, in lieu of the 
 triumphant hero, horses and chariot of the antique arches, 
 we conceived the idea of introducing the figure of Mercury 
 in a winged car, emblematical of Commerce, conveyed 
 over the world, without animal agency, with the rapidity 
 of the wind. 
 
 One of the side buildings detached, and extended to four 
 or five windows in width, and the colonnade, carried 
 round three sides, might be easily converted into a simple 
 Italian Villa, with the addition of vases over the piers of 
 the balustrade. The uppeji- windows will be observed to 
 have brackets and cornices, but without architraves on the 
 
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DESCRIPTION OF THE PLATES. 71 
 
 sides. We would strenuously advocate this mode of win. 
 dow decoration in all cases where the piers are not visibly 
 wider than the windows, as it has a good effect in itself, 
 as may be seen in the Metropolitan Hotel, and increases 
 the apparent width of the pier. Where cast-iron orna- 
 mented lintels are used, they should always have small 
 brackets, or blocks to support them, where they bear upon 
 the wall. 
 
72 DESCRIPTION OF THE PLATES. 
 
 PLATE XX. 
 
 A CHURCH. 
 
 Several very tasteful and picturesque Gothic Churches 
 have lately been built in the upper part of New York 
 City, but too closely pressed upon by houses, and of too 
 rural a style of Gothic, to obtain their full effect. Instead 
 of the affectation of planting ivy, the badge of antiquity, 
 on a new building, if two or three large trees could have 
 found space to separate them from the adjoining buildings, 
 they would be greatly improved. In seeking something 
 that would better harmonize with modern street architec- 
 ture, we were led to this design of an Italian Chapel of 
 moderate size. The columns between the arches are 
 merely ornamental additions, to give the degree of rich- 
 ness demanded by a city edifice : if they were omitted, 
 the design would be very suitable for a suburban, or vil- 
 lage church, and might be very economically built, of stone 
 or wood. The Italian Campanile, or bell-tower, rises 
 square for a considerable height, like most of Wren's best 
 steeples, and terminates with an open belfry, square, oc- 
 tagon, or circular on the plan. It offends symmetry, but 
 secures picturesqueness, to place a steeple or tower on one 
 side of the body of the church. The best steeples will 
 be found to be those that cut the sky with the boldest and 
 most striking profile. To test this effect, it has been re- 
 commended to the artist to cut them out in paper, doubled 
 

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DESCKIPTIOX OF THE PLATES. "73 
 
 up in the centre line, which, when opened, will exhibit the 
 outline of both sides. In steeples, sudden and rectangu- 
 lar breaks and diminutions best suit the Roman and 
 Italian styles, and gradual taperings the Gothic. 
 
 The side windows of this design should be circular- 
 headed, of smaller diameter than the arches of the por- 
 tico, but the arches on the same springing-line ; the impost 
 being continued level round the building. A semicircular 
 or elliptical recess for the altar, or pulpit, might be made at 
 the opposite end of the building, with a semi-dome above it, 
 the springing-line of this also level with that of the win- 
 dows. The ceiling might be an elliptical arch from side 
 to side, with projecting ribs over the piers of the windows, 
 and pannels between : or such a ceiling might be painted 
 in distemper. A staircase to the gallery, and a small 
 robing-room, might be obtained in the lower part of the 
 tower. 
 
 Though for the sake of novelty we have given our only 
 example of a Church in this style ; yet we have no hesita- 
 tion in stating our preference of the Gothic style for 
 churches, in most instances. But it should be remembered, 
 that costly ornament is more indispensable in the Gothic 
 style, than in any other. I^or our own part, we do not 
 approve of the revival of Norman, or Lombardy Gothic, 
 as too rude, and mock-antique. The early English is our 
 favorite style of Gothic, and requires least ornament of 
 any. But the misfortune of all modern Gothic churches 
 is the difficulty of arranging the interior so as to secure 
 the general sight and hearing of the preacher. Pillars, so 
 essential to beauty and utility, are thus found inconveni- 
 ent, and length must be equalized with breadth of build- 
 
74 DESCRIPTION' OF THE PLATES. 
 
 ing. Now the elements of beauty in a Gothic interior 
 are its length and height. Witliout height, there can be 
 no approach to sublimity of effect, and, without sufficient 
 length, height cannot be perceived in the perspective. 
 Modern Gothic churches are too square in tlie interior, and 
 squat on the outside ; while the beauty of the old Cathe- 
 drals and College Chapels is to be tall and extended ; 
 aspiring, and "pointing to the skies." Unless, therefore, 
 some degree of these real beauties is obtained, it is idle 
 and puerile to ornament doors and windows with quatre- 
 foils and crockets. But where economy is not an object, 
 and for a moderate size we should recommend a Church 
 of the early English, College Chapel form (without a 
 tower), from 150 feet by 50, to 100 by 33 ; in the latter 
 case with only an end gallery, in the former with side gal- 
 leries of only two piers in depth, supported by brackets. 
 The ceiling should be of simple Early English groining, 
 (of plaster to imitate stone,) supported by three-quarter 
 columns between the windows ; or if of wood, of two 
 slightly-inclined planes, divided into square pannels by 
 moulded beams, with bosses at the intersections, and with 
 quadrant-arched spandrils and pendants against the walls. 
 The windows, in the latter case, should be four-centred 
 arches with muUions and plain tracery ; in the former, 
 narrow lancet arches, without mullions. The height of 
 the building should be at least half as much again as the 
 width, if in the early English style, somewhat less in the 
 latter. Four narrow octagon turrets, at the angles of the 
 building, graduated buttresses between the windows, 
 an entrance door at the end, and a Avider window above 
 it, and a gable roof corresponding to the pitch of the 
 
BESCRIPTION OF THE PLATES. 75 
 
 ceiling, would complete a plain but effective exterior, in 
 either of the above styles. For a village church of this 
 form, and much smaller dimensions, squared coins, coping, 
 and mullioDS, and rough irregular stones between, would 
 look the best. If side galleries were omitted, by placing 
 the pulpit against the wall, about one third of the length 
 of the building from the altar-end, the preacher would be 
 the most central and opposite to his audience. 
 
 THE END.