Expression Is Art.

nuisance , he believed we must resort to different coloured materials , for the sake of getting that expression , which we were debarred from obtaining through form , though such an application could not be made to excel structures dependent on form for their beauty , and he should consider it more in the light of a compensation , for one means of expression being denied to tho artist from accident , than a practice commendable from merely its own intrinsic value . Mr . Ponton then briefly reviewed the

princples of stability and uniformity , and went on to show that the two principles of unity ancl variety required in an architectural structure to be nicely balanced . He quoted Dr . Hutchinson with regard to mere formal beauty , "that where the uniformity is equal , the beauty of forms is in proportion to their variety ; and where their variety is equal , their beauty is in proportion to their

uniformity . " Or he believed we might thus express the proposition : — "Eor every new variety we introduce into a composition , we ought to introduce a new feature of uniformity . " He pointed out an example of variety as frequently seen in the tracery of Gothic windows , which differ in design . On this account he argued , the windows , in order to be pleasing , ought to be uniform in size , or uniform in the moulded section of the tracery , or to have some other point of resemblance introduced .

Harmony was established between different objects , by means of an analogy of size , of colour , of form , or by means of symmetrical position , or repetition of the same form , the same colour , or of the same or analogous objects . It was essential in architecture to give an unity of expression , and the means of doing so was the subordinating all the different parts of the structure , and the introduction of affinities between the forms of the structural and ornamental parts of a building . It was this principal which

stamped one style of ornament as most suited for Gothic structures , another style for Greek , and another for Italian . It would be a breach of harmony to introduce the Doric fret , or the Ionic anthemion , as ornaments in Gothic work , or to introduce a Gothic finial to crown the pediment of the Parthenon . Speaking of the principles of distinet view , Mr . Ponton said this principle was very necessary in architecture . It regulated the disposition of the parts in a composition ; so that all the portions intended to be exhibited , should present themselves without confusion ,

and in the simplest manner . Large masses should not he laboured in treatment ; and it was well to accentuate tbe boundaries of a building , so that the eye could readily discover the dimensions of the whole . This was done by making the angles important , as illustrated in King's College Chapel , Cambridge . A breach of the principles of distinct view was very apparent in the treatment of St . Peter's at Rome . From the Piazza , whence a distinct view was essential , the dome did not appear to

be well placed upon the building . The Greeks worked upon this principle when they introduced subtle curves , instead of straight lines , for the division of their compositions into vertical and horizontal masses ; curves , the sole object of which was to correct optical illusions produced oy the association of contrasted forms . Mr . Ponton said : If , as some suppose , architecture is a mere techuic artif its only aim is convenience and economythen it is no fine

, , art , and it is not dependent upon those principles which I have mentioned for its expression , but on mere accident . I must , however , combat this opinion . Of the three material arts , I believe architecture to be the greatest , whether we consider it as displaying power of thought or power of execution , whether we consider tbe influence it exerts on our fellows or on posterity . As its power of expression is the greatest among the materialsoin like manneris it the most difficult in which to

, , , excel . The painter and sculptor have to copy and translate but one phase of nature ; the architect has to copy nature's principles and translate a universe . Listen to what Quatremere de Qnincy says on this point : — " The architect imitates nature , not in a given object , but in transporting into his works the laws which nature follows in hers . He does not copy nor repeat any work ; he imitates the worker and is regulated by

Him . He imitates Him , not as the painter does his model , but as the pupil , who seizes the manner of his master ; not by copying that which is represented , but by doing lis nature does . " If we were to exclude this species of imitation , would it be possible for the genius of man to create a Parthenon ' i Could he , unaided , so far have developed his art , that even now we are lost in wonder at its perfection ? Certainly not . Though , from the analogy between the mind of man and that of his Creator , there would naturally be an analogy between the works of man and those of God , still , this must have been seen , this

must have been felt . The imitation of nature ' s principles must have been tbe aim , when such perfection was attained . Intuition ancl the aggregation of experiences were sufficient to ensure a development of the art , but I firmly believe that in time these would lead the Greek artists to perceive the strong analogy existing hetw ' een their own productions and those of nature , and that when such was discovered they would take every possible pains to heighten and increase it . The art would then be

on a sure ancl firm basis . A reason , founded on nature , could be given for every form introduced , and the theory of the art would elevate the practice , till the three Greek Orders , which are the most eclectic productions of architecture , were established . Mr . Ponton then pointed out the distinguishing expressions of the Doric and Corinthian ; the masculine strength and dignity of the Doric column produced by its plain capitalits angular flutingand the absence of a

, , base , or footing , and said that in the Doric and Corinthian orders there was such a wonderful harmony of the parts , produced by working upon the analogy of nature , that it would be as great a breach of good taste to place a Corinthian capital upon a Doric column , as it would be to place the head of a Venus upon the shoulders of a Hercules . The violation of the natural principles of harmony and proportion would be the same

in both cases . On reference to the " new styles" of architecture , Mr . Ponton expressed a hope that , in progress of time , we may attain to the eclectic in architecture . He believed that to reach this we must again subordinate the sister arts of sculpture and painting to architecture , and that we must change our process of study . If , as "Victor Hugo had remarked in his Notre Dame de Paris , architecture was the supreme , the universal art

; if architecture was the great book of human nature in which man conveyed his thoughts ancl ideas to his fellow men , from the earliest epoch up to the fifteenth century ; if it was the chief vehicle through which science , religion , and history were conveyed to posterity , we could not deny that much of this expressive force was owing to the sculpture and painting , to the hieroglyphics and incised tablets that adorned those edifices . We were unfortunately debarred from the use of these sister arts . It was heresy to introduce painting and sculpture into our religious edifices , notwithstanding the fact

that these might be made powerful instruments of conveying instruction to tbe uneducated . Again , in this country ^ we dared hardly introduce sculpture , because we were aware that instead of embellishing our works , the artizan who carved the figures could do no more than give us a caricature of nature . However brilliant might be our imagination , unless we have at our disposal the power to execute our conceptions , our art could not . It was therefore that we should

progress necessary have a class of artizans not only capable of carving the human form , but also possessing that artistic skill which would enable them to stamp expressions in their-sculpture , suitable and in unison with the expression of the aichitecture ; and it was also necessary that artizans with sufficient power to decorate our interiors , either by frescoes or mosaics , be again placed at our disposal . Though we had been robbed of much bthe

power y separation of the sister arts , yet we must change , as he said before , our course of study , to render ourselves capable of using those means of expressing rightly in our art . Mr . Atkinson said that the question before them was one of the most important , extensive , and difficult subjects which could have been introduced . He thought the word " expression" was primarily taken from the various phases of the human

countenance as developed by the muscles acting under the power of the passions . There were infinite expressions to be found in the face of man , in the numberless shades of auger , remorse , love , & c . In landscape , the expression was of a different kind . There was the massive building up of mountains and rocks , which resulted in majesty and grandeur , and then there were the rusticthe ruraland the sylvanwith the winding river

, , , , the waving forest , the shady valley , and ehe sunny hill—all expressing tranquillity , gentleness , content , and happiness . As landscape differed from the human , so architecture differed from both in its expression . In architecture there were no features indicative of the passionate , and little to bring it into the province of the naturalistic . Its expression was more technic and artificialand though capable of an infinite varietyhe

, , would confine himself to the two chief expressions , grandeur and beauty . Mr . Atkinson then pointed out the elements of grandeur , as strength , large masses , simplicity , breadth , dark broad shadows , and overhanging and impending summits . He regarded architectural beauty as the result of detail , grace of