| XXX | (346-(Architecture)) | XXX |
ARC ( 346 ) ARC thers {ay, that he was firft called dean of the arches, niffs, means the world as it exifled in the idea of God, becaufe the official to the archbiffiop, the dean of the before the vifible creation. arches, was his fubfKttite in his court; and by that ARCHEUS, among chemiffs, a term ufed to denote the means the names became confounded. The jurifdk- predominating principle of things, whereby their petion of this judge is ordinary, and extends through the culiar qualities are fixed and determined. whole province of Canterbury; fo that, upon any ap- ARCHILOCHIAN, a term in poetry, applied to a fort peal, he forthwith, and without any further examina- of verfes, of which Archilochus was the inventor, tion of the caufe, fends out his citation to the party confiftingof feven feet, the four firft whereof are orappealed, and his inhibition to the judge from whom dinarily dadyls, though fometimes fpondees, the three the appeal is made. laft trochees; as in Horace, Solvitur acrir hyems, gratd via verts <& Favoni. Arches, in geography, a name ufed among navigators for the Archipelago. ARCHIPELAGO, in geography, a general term for a ARCHETYPE, the firft model of a work, which is co- fea interrupted with iflands; but more efpecially depied after to make another like it. Among minters, it noting that between Greece and Afia. is ufed for the ftandard weight by which the others ARCHITECT, a perfon fkilled in architedure. are adjufted. The archetypal world, among Plato-
A R C H I T E C T U R E. A RCHITECTURE, or the art of building, ought JiA to be confidered in a twofold light, as an object of tafle, and as a mechanical art. An examination of its principles improves our tafle; the practical part contains
fuch inffrudions as are neceffary for the mechanic. Many books have been compofed upon the mechanical part, but few authors have attempted to unfold the philofophical principles of the art.
SEC OF ARCHITECTURE AS T^/TAny ages muff have elapfed before architenure ^ -*• came to be confidered as a fine ait. Utility was its original deflination, and nill continues to be its principal end. Experience, however, has taught us, that tirchitedure is capable of exciting a variety of agreeable feelings. Of thefe, utility, grandeur, regularity, order, and proportion, are the chief. Architedure being anufeful as well as a fine art, leads V.s to diflinguifh buildings, 'and parts of buildings, into three kinds,, viz. what arp intended for ufe folely, what for ornament folely, and what for both. Buildings intended for utility folely, ought in every part to correfpond precifely to that intention: The leafl deviation from ufe, though contributing to ornament, will be difagreeable; for every work of ufe being confidered as a mean to an end, its perfedion as a mean is the capital circumffance, and every other beauty in oppofition is negledtd as improper. On the other hand, in fuch things as a:e intended folely for ornament, as columns, obe,Idles, triumphal arches, <&c. beauty alone ought to be regarded. The principal difficulty in architedure lies in combining ufe and ornament. In order to accomplifh thefe ends, different and even oppofite means muff be employed; which is the reafon why they are fo feldom united
T. I. AN OBJECT OF TASTE. in perfedion; and hence, in buildings of this kind, the only pradicable method is, to prefer utility to ornament according to the charader of the building: In palaces, and fuch buildings as admit of a variety of ufeful contrivance, regularity ought to be preferred; but in dwelling-houfes that are too fmalLfor variety of contrivance, utility ought to prevail, negleding regularity as far as it Hands in oppofition to convenience. In confidering attentively the beauty of vifible objeds, we difeover two kinds. The firft may be termed intrinjic beauty, becaufe it is difeovered in a Angle objed, without relation to any other. The fecond may be termed relative beauty, being founded on a combination of relative objeds. Architedure admits of both kinds. We ftvall •firft give a few examples of relative beauty. The proportions of a door are determined by the ufe to which it is deftined. The door of a dwelling-houfe, which ought to correfpond to the human fize, is confined to feven or eight feet in height, and three or four in breadth. The proportions proper for a ftable or coachhoufe are different. The door of a church ought to be wide, in order to afford an eafy paffage for a multitude; and its height muft be regulated by its widenefs, that the proportion may pleafe the eye. The fize of the dows win-
