This is a science most beneficial to humanity. It is very evident that it must have an extremely ancient origin. The origin of this art is presumed to have been imitated by man, from those natural caves and recesses, which are discovered in various parts of the earth. For in those, it is reported, the first men took shelter from the inclemency of elemental strife, and to avoid the piercing contingencies of ultimate and precarious uncertainty. The oldest buildings in the world are accordingly said to be beneath the surface of the earth; among which are reckoned the famous temple of Elephanta, in the Delta of the Ganges; the Catacombs, in Egypt; and upon the surface of the earth, the tower of Belus, at Babylon; the Egyptian Mausoleum, and the Druidical Temples in Gaul and Britain.

Architecture may well be denominated one of those arts which accommodate, delight, and give consequence to the human species; while at the same time it is calculated to flatter pride, and gratify vanity. If viewed in its full extent, it may be truly said to possess a very considerable portion, not only of the comforts, but the conveniences, the positive utilities, and many of the luxuries of life. The advantages derived from houses only are very great, being the first step towards civilization, having great influence both on the body and mind of man. Secluded from each other in woods, caves, and wretched huts, the inhabitants of such recesses are generally found to be men, indolent, dull, inactive, and abject; their faculties benumbed, their views limited to the gratification of their individual and most pressing wants. But when societies are formed, and commodious dwellings provided, where well sheltered, they may breathe a temperate air, amid summer’s scorching heat, and winter’s biting cold; sleep, when Nature requires, in ease and security; study unmolested; converse and taste the sweets of social enjoyments;—they are spirited, active, ingenious, and enterprising, vigorous in body, and active in mind. If benefits like these previously enumerated result from any art, then will that of the architect claim a decided pre-eminence. When we reflect on the almost infinity of useful purposes to which this art is conducive;—that it erects us temples for the worship of our Creator, the benevolent dispenser of all good things, that it provides us with habitations, where ease and simplicity are agreeably combined;—that it is conducive to our safety, comfort, and convenience, in uniting different districts of the country by the facility of bridges, roads, &c., is contributive to the gratification of our natural wants, and to our safety.

As inhabitants of a great commercial country, the benefits we derive from naval architecture are unspeakably great; when we reflect that it operates as a medium of communication between us, an insulated people, and the whole earth, in its remotest colonies; that it serves to convey between our people and the most distant nations the native produce of the respective countries, with the effects of mutual industry; that it clothes, feeds, and furnishes employment to thousands of our fellow-countrymen; and, in a national point of view, our wooden bulwarks have been the wonder of the world, and continues to afford us protection from our enemies, should all other hopes fail. What can surpass its utility in the latter point of view? what can exceed the assistance derived from it? By the criterions formerly mentioned let us determine. We shall find, that of all the arts the world has ever boasted, there are but few, if any, that can claim a superiority.

There are no other designs, whether necessary or superfluous, so certainly productive of their desired object, so beneficial in consequences, or so permanent in their effects, as is the art of the architect. Most other inventions which afford pleasure and satisfaction soon decay; their fashion fluctuates—their value is lost; but the productions of architecture command general attention, and are lasting monuments, beyond the reach of ephemeral modes: they proclaim to distant ages the consequence, genius, virtues, achievements, and munificence of those they commemorate to the latest posterity. The most obvious and immediate advantages of building are, the employment of numerous ingenious artificers, industrious workmen, and labourers of all kinds; converting materials of small value into the most noble productions, beautifying countries, multiplying the comforts and conveniences of life.

But not the least desirable effects of the architect’s art, perhaps, remain yet to be noticed, in affording to the numerous train of arts and manufactures, concerned to furnish and adorn the works of architecture, which employ thousands, constituting many valuable branches of commerce. Also from that certain concourse of strangers to every country celebrated for stately structures, who extend your fame into other countries, where otherwise, it would never have been heard of; adopt your fashions, give reputation, and create a demand for your productions in foreign parts; these are circumstances which certainly should not be too lightly valued, and these circumstances result from architecture.

At this day, the ruins of ancient Rome support the splendour of the modern city, by inviting travellers, who flock, from all nations, to witness those majestic remains of former grandeur. The same may be said of many other countries famous for architectural remains. Thus architecture, by supplying men with commodious habitations, procures that health of body and energy of mind, which facilitates the invention of arts: when by the exertion of their skill and industry, productions multiply beyond domestic demand, she furnishes the means of transporting them to foreign markets: whenever by commerce they acquire wealth, she points the way to employ their riches rationally, nobly, and benevolently, in methods honourable and useful to themselves, and beneficial to posterity, which add splendour to the state, and yield benefit to their descendants. She further teaches them to defend her possessions, to secure their liberties and lives from attempts of lawless violence or unrestrained ambition. So variously conducive to human happiness is this art, to the wealth and safety of nations,—so, naturally, does it demand that protection and encouragement which has ever been yielded it in all well governed states.

The perfection of virtuous other arts we have beheld to be a consequence of this; for when building is encouraged, painting, sculpture, and every species of decorative art will flourish of course. It should not, however, be imagined that the heaping of stone upon stone can be of consequence, or reflect honour on individuals or nations. The practice of architecture infers actual art to be an essential preliminary; without this, and having some laudable end in view, it is apt to raise disgust. This art is generally classed under three distinct heads, viz., Civil, Military, and Naval Architecture.

In the first attempts of architecture it was extremely rude, as might naturally be expected. It has, however, from time to time, as improvements have advanced, been raised to relative importance, as the education of the people progressed; and it certainly gives the best record of the mental progress of every people which can be collected. It has always been found to flourish best in free states, and when the rulers have possessed genius, virtue, and good taste. The most eminent era of Grecian architecture was when the Athenian republic was under the direction of Pericles; at this period, also, existed the first of statuaries, Praxiteles. Where that eminent artist and their admirable architects were employed, in the words of Pausanius, “they rendered the whole of Acropolis as an entire ornament.” There are various characteristic distinctions to be made in the several orders of architecture which distinguish the Grecian people. The Doric is eminent for primeval simplicity; the Tuscan embraces more ornament; the Ionic unites simplicity and elegance; but the sum of all excellence appears to be united in the Corinthian. The Composite is also a most elegant order, but appears to have added but little to the Corinthian elegance and majesty. Various nations have a great diversity of architecture; as the Egyptian, Persian (distinguished by human figures supporting entablatures), Hindostanee, Arabasque or Marisquo, which are very peculiar, generally having the walls to project most at the top, which is indicative of the natural jealousy of all oriental people; they all regarding their women as their chief treasure, it appears meant for their especial protection.

A greater simplicity does not appear anywhere than in the architecture of the Druids, consisting of most extensive circles of immense stones, chiefly raised perpendicularly, with occasionally a larger stone placed upon the apex of two others horizontally.—There are in Great Britain numerous remains of these constructions: the chief are Stonehenge, near Salisbury; at Avebury, also in Wiltshire; Pomonca, in the Orkneys; Rollright, in Oxfordshire. But the most eminent spot for Druid temples was Mona, in Anglesea, in Wales. The reason for such apparently unmeaning erections will be found in their peculiar belief, in the religion they professed.

The Saxon is a very heavy order of architecture. It was used in this kingdom much in the erection of religious edifices, and is frequently found mixed with the Norman in such structures. The grand and most obvious distinction is a semi-circular arch, with massy columns, variously ornamented, and most frequently the columns which support the same arch are diversely sculptured. The chief sculptures of this kind in Britain, are Gloucester Cathedral; Malmesbury Abbey, Wilts; Sedbury Church, Herefordshire; several churches in Rutland, Lincoln, Somerset, Devon, and other counties.

There appears to us to be no order of architecture better calculated for the purpose to which it is generally adopted, than the chaste and pure Norman style, barbarously denominated Gothic. It affords a great variety of light, airy beauty, and tasteful grandeur.

In this country, the Norman order succeeded the Saxon, and we lost nothing by the exchange; for even now, that we have the entire benefit of a choice of the purest Grecian (since its revival by Inigo Jones), it is a matter of taste to be certain; but in our estimation, the chaste Norman is to be preferred to the purest Grecian, for the purposes for which it is intended; and if the means answer the ultimate end, we submit this to be the proper criterion for preference. We find it usually employed in religious edifices; it is pure, light, airy, and cheerful: and we are of opinion that the service of gratitude and thanks to the Creator demands a disposition of mind which these feelings are best calculated to inspire.

Domestic architecture is various, and chiefly regulated by the various purposes for which it is designed. Its characteristic is utility.

(See Frontispiece.)

It appears, from a description of bridges of suspension, communicated by R. Stephenson, civil engineer, some time ago, to the “Philosophical Journal,” that the first chain-bridge constructed in this country is believed to be one over the Tees, forming a communication between the counties of Durham and York. It is supposed, on good authority, to have been erected about 1741, and is described in the “Antiquities of Durham” as “a bridge suspended on iron chains, stretched from rock to rock, over a chasm nearly sixty feet deep, for the passage of travellers, particularly miners. This bridge is seventy feet in length, and little more than two feet broad, with a hand-rail on one side, and planked in such a manner that the traveller experiences all the tremulous motion of the chain, and sees himself suspended over a roaring gulf, on an agitated and restless gangway, to which few strangers dare trust themselves.” In 1816–17, two or three bridges of iron were constructed; the first, by Mr. Lees, an extensive woollen manufacturer, at Galashiels, in Scotland. This experiment, although made with slender wire, and necessarily imperfect in its construction, deserves to be noticed, as affording a practical example of the tenacity of iron so applied.—These wire bridges were suspended not upon the catemarian principle so successfully adopted in the larger works subsequently undertaken, but by means of diagonal braces, radiating from their points of suspension on either side towards the centre of the roadway. The unfortunate fabric next mentioned was constructed on this defective principle. Among the earliest practical exhibitions of this novel architecture in the United Kingdom, may be mentioned the uncommonly elegant and light chain-bridge which was thrown over the Tweed at Dryburgh, in 1817, by the Earl of Buchan, for the accommodation of foot passengers. Its length, between the points of suspension, was two hundred and sixty-one feet, being considered the greatest span of any bridge in the kingdom. This useful structure, the theme of such just applause, and which harmonised so finely with the far-famed scenery of Dryburgh Abbey, was entirely destroyed by a tremendous gale of wind, at the beginning of the year following its erection.—This bridge was subsequently restored upon a more secure system.