DOI Page / Citation link:
https://doi.org/10.11588/diglit.4263#0006
ADVERTISEMENT. 5
We have already spoken of the production of the two first volumes; a third was in progress
according to the original prospectus of the work, when the death of Mr. Newton, the respectable
architect of Greenwich, who had afforded to the widow Stuart, his generous assistance in forwarding the
completion of the second volume, presented new difficulties in the advance of the undertaking. Mr.
Willey Reveley was selected as editor of the third volume, and the style of its execution attests the
propriety of the choice. It appeared in 1794. This superior architect, who had himself travelled
during three years in Greece, was shortly after, in 1796, prematurely by death severed from the Arts;
not however before he had displayed in practice his talents and tastea.
Of the fourth volume, which was produced in 1816, we are desirous of making known some of
our reasons for altering the arrangement. It was brought out by parties strangers to the original au-
thors, and almost so to their connections. It appears to have assumed a form, and objects of anti-
quity are introduced, not consistent with the design of a work devoted to Grecian and Athenian Archi-
tecture. The Antiquities of Pola, fine as monuments of Roman magnificence, have no association
with Attic taste. They were raised under and during the declension of the empire". Our travellers
measured them, waiting for shipping to the Levant; and no doubt that species of study, must have
facilitated their subsequent operations at Athens. These antiquities, valuable in themselves, form the
greater part of Vol. IV. but by no means class with the Antiquities of Athens; and we entertain no
doubt but that Stuart, had he lived, would on mature reflection have made them a detached work of
Istrian Antiquity. In thus commenting on volume the fourth, we by no means desire to detract from
the merit of the Editor, who, since the publication, has travelled in Greece, and who appears to have
arranged the materials before him with discretion and taste. Our system, however, will be different,
and no subjects will be introduced but of real Grecian Architecture (selected from the portfolios of
several architectural travellers, who have kindly favoured us with their countenance) united to Greek
marbles and fragments0 noticed by Stuart and Revett.
The fact is worthy of remark, that it is to our countrymen the world is indebted for the best
illustrations of the edifices of antiquity, and that the fountains of a pure taste, should be first developed
by Englishmen. At a time when the Italians shone pre-eminent in the cultivation of architecture, it
never appears to have occurred to them that Greece, the parent of the Fine Arts, whence Rome
traced her refinement, should still bear on her soil the prototypes from which Vitruvius derived his
Principles of Symmetry. During the period of the Restoration of the Arts, when the fleets and
armies of Venice the rich, and Genoa the magnificent, were contending for the classic shores of
Greece, their palaces arose, splendid monuments of disproportion, and at a later period Brunelleschi,
Bramante, Vignola, Palladio, raised not their contemplation to the standards whence their corrupted
Roman models were derived.
In the advance of improvement, Architecture seems to have been destined to retrace the steps
of her degradation. But the imperceptible chain of moral harmony is always in force : it resulted
that a modern people, whose institutions surpass the systems of antiquity, should be the most ardent
to explore, and anxious to practise the principles of the Sciences and Arts of the most refined and
intellectual of ancient nations. However it is to be regretted that some professors, ascendant in re-
putation but trammelled in the rules of Palladio and Vignola, should have united to decry the impressive
and elegant Architecture of Athens. But the barrier they endeavoured to oppose to the dissemina-
tion of the real Greek style, has been removed by the concurrent opinion of a succeeding age. The
harmony of Greek Architecture is found not to clash with the elements of Roman design, or the
proportions of Palladio; each illustrates the other, and the man of taste must lament that that great
master was unacquainted with the Attic models, whence would have resulted in his works increased
purity of form, and grandeur of effect.
The production of a work influential on the principles of taste was reserved for the epoch of
the reign of George the Third, a period fertile in great talents and great exploits.
a All Saints' Church, Southampton, &c.
b The Arch of the Sergii, and the Amphitheatre, hear evidence
by the characteristic features of their style of art, of their execu-
tion under Roman architects, between the ages of Scverus, and
Dioclesian.
c Particularly the remaining part of the sculpture of theParthe-
non, not given by Stuart (introduced also in Vol. IV.), which may
now with more accuracy be delineated in the British Museum.
Fac-similcs of the designs of the relievos of the pediments, made
before their destruction previous to the time of Stuart, are also
now in our National Collection.
We have already spoken of the production of the two first volumes; a third was in progress
according to the original prospectus of the work, when the death of Mr. Newton, the respectable
architect of Greenwich, who had afforded to the widow Stuart, his generous assistance in forwarding the
completion of the second volume, presented new difficulties in the advance of the undertaking. Mr.
Willey Reveley was selected as editor of the third volume, and the style of its execution attests the
propriety of the choice. It appeared in 1794. This superior architect, who had himself travelled
during three years in Greece, was shortly after, in 1796, prematurely by death severed from the Arts;
not however before he had displayed in practice his talents and tastea.
Of the fourth volume, which was produced in 1816, we are desirous of making known some of
our reasons for altering the arrangement. It was brought out by parties strangers to the original au-
thors, and almost so to their connections. It appears to have assumed a form, and objects of anti-
quity are introduced, not consistent with the design of a work devoted to Grecian and Athenian Archi-
tecture. The Antiquities of Pola, fine as monuments of Roman magnificence, have no association
with Attic taste. They were raised under and during the declension of the empire". Our travellers
measured them, waiting for shipping to the Levant; and no doubt that species of study, must have
facilitated their subsequent operations at Athens. These antiquities, valuable in themselves, form the
greater part of Vol. IV. but by no means class with the Antiquities of Athens; and we entertain no
doubt but that Stuart, had he lived, would on mature reflection have made them a detached work of
Istrian Antiquity. In thus commenting on volume the fourth, we by no means desire to detract from
the merit of the Editor, who, since the publication, has travelled in Greece, and who appears to have
arranged the materials before him with discretion and taste. Our system, however, will be different,
and no subjects will be introduced but of real Grecian Architecture (selected from the portfolios of
several architectural travellers, who have kindly favoured us with their countenance) united to Greek
marbles and fragments0 noticed by Stuart and Revett.
The fact is worthy of remark, that it is to our countrymen the world is indebted for the best
illustrations of the edifices of antiquity, and that the fountains of a pure taste, should be first developed
by Englishmen. At a time when the Italians shone pre-eminent in the cultivation of architecture, it
never appears to have occurred to them that Greece, the parent of the Fine Arts, whence Rome
traced her refinement, should still bear on her soil the prototypes from which Vitruvius derived his
Principles of Symmetry. During the period of the Restoration of the Arts, when the fleets and
armies of Venice the rich, and Genoa the magnificent, were contending for the classic shores of
Greece, their palaces arose, splendid monuments of disproportion, and at a later period Brunelleschi,
Bramante, Vignola, Palladio, raised not their contemplation to the standards whence their corrupted
Roman models were derived.
In the advance of improvement, Architecture seems to have been destined to retrace the steps
of her degradation. But the imperceptible chain of moral harmony is always in force : it resulted
that a modern people, whose institutions surpass the systems of antiquity, should be the most ardent
to explore, and anxious to practise the principles of the Sciences and Arts of the most refined and
intellectual of ancient nations. However it is to be regretted that some professors, ascendant in re-
putation but trammelled in the rules of Palladio and Vignola, should have united to decry the impressive
and elegant Architecture of Athens. But the barrier they endeavoured to oppose to the dissemina-
tion of the real Greek style, has been removed by the concurrent opinion of a succeeding age. The
harmony of Greek Architecture is found not to clash with the elements of Roman design, or the
proportions of Palladio; each illustrates the other, and the man of taste must lament that that great
master was unacquainted with the Attic models, whence would have resulted in his works increased
purity of form, and grandeur of effect.
The production of a work influential on the principles of taste was reserved for the epoch of
the reign of George the Third, a period fertile in great talents and great exploits.
a All Saints' Church, Southampton, &c.
b The Arch of the Sergii, and the Amphitheatre, hear evidence
by the characteristic features of their style of art, of their execu-
tion under Roman architects, between the ages of Scverus, and
Dioclesian.
c Particularly the remaining part of the sculpture of theParthe-
non, not given by Stuart (introduced also in Vol. IV.), which may
now with more accuracy be delineated in the British Museum.
Fac-similcs of the designs of the relievos of the pediments, made
before their destruction previous to the time of Stuart, are also
now in our National Collection.