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purpose. The ascent to it is by a flight of stone steps, through a handsome gateway of red stone. The doors of this gateway are covered throughout with plates of wrought brass. The terrace, on which the mosque is situated, is a square of about 1100 yards of red stone; in the center is a fountain lined with marble for the purpose of performing the necessary ablutions previous to prayer. An arched colonade of red stone surrounds the whole of the terrace, which is adorned with octagon pavilions, at convenient distances, for sitting in. The mosque is of an oblong form, 261 feet in length, surmounted with three magnificent domes of white marble, intersected with black stripes, and flanked by two minarets of white marble and red stone, alternately rising to the height of 130 feet. Each of these minarets has three projecting galleries of white marble, and their summits are crowned with light octagon pavilions of the same. The whole front of the Jummah Musjed is faced with large slabs of beautiful white marble; and under the cornice are ten compartments, which are inlaid with inscriptions in black marble in the Nuski character, and are said to contain great part, if not the whole, of the Koran. The inside of the mosque, is paved with large flags of white marble, decorated with a black border, and is wonderfully beautiful and delicate. The walls and roof are lined with plain white marble, and near the kibla is a handsome niche, adorned with a profusion of frieze work. The domes are crowned with culises richly gilt, and present a glittering appearance from a distance. This mosque was built by Shah Jehan about 1650, at the expence of ten lacks of rupees."

The Mausoleums are uniformly buildings on an equilateral plan; they generally consist of several terraces and stories

rising on diminished bases, which gives the whole pile a pyramidal effect, and terminated with a dome. The mausoleum of Amir Khusero is remarkable for simplicity of form; and that of the Ranee, wife of the emperor Jehangire, for richness and beauty. The terraces of these buildings are generally ballustraded with marble lattice-work, many examples of which are very magnificent.

We observe several beautiful speci mens of palaces and domestic architecture, particularly the Chalees Satoon, or forty pillars, and the palace built by Ackbar, which are in the mixed style of Hin doo colonades with Mahometan minars and cupolas. The palaces and mosques are surrounded with high walls, and the lofty gateways, which give entrance to them, are a remarkable feature in Mahometan architecture: these are piles of building of considerable size and magnificence; they are commonly equilateral in plan, with a very large arched gate. way in the middle, which sometimes reaches nearly to the roof, though more frequently has an apartment over it for music. The square front of these edifices, with the enormous central arch, and upper and side balconied windows, the terraced roof, with cupolas at the corners, and the whole enriched with an exuberance of ornament, produce an effect of grandeur which scarcely any other entrance can parallel.

The exercise of the rite of ablution practised by the Hindoos has lined the banks of the Ganges with gauts or flights of steps, many of which have a striking effect: it has also produced the baolees or public baths, of which there is a fine example at Ramnagur. This is a square of buildings inclosing arcades and flights of steps, descending to a square bath in the middle.

ART. II. An Essay on Rural Architecture, illustrated with original and economical Designs; being an Attempt also to refute by Analogy the Principles of Mr. James Malton's Essay on British Cottage Architecture, supported by several Designs. To which are added, rural Retreats and Villas in the Gothic Castle, Roman and Grecian Styles of Architecture, with Ideas for Park Entrances, a Mausoleum, and a Design for the Naval Pillar to immortalize British Naval Heroism: the whole comprising 30 Plates in Aquatinta, designed by RICHARD ELSAM, Architect. 4to. pp. 52.

THIS is one of the many books of designs that have of late years been offered to the public, which deserve attention, rather as shewing the state of public taste in architecture, than from their intrinsic merit. Collectively speaking,

they possess convenience, economy, elegance; but they frequently exhibit servile imitation and unreasonable novelty, simplicity carried to meanness, and tawdry ornament, while the rules of good architecture are ignorantly neglected, or ab

surdly despised. The rage for the picturesque is a mark of the prevailing taste, which has obtained the full command of ornamental gardening, and has deeply influenced the architecture of this kingdom: the avenue, the parterre, and fountain, havel ong yielded to the wood, the lawn, and the lake; and the house, no longer of primary and exclusive importance, no longer a center diffusing art and ornament over the subordinate garden, is dwindled to an object in the fandscape, and made to partake of the picturesque character of the scenery. To this end the Gothic style is admirably calculated; but the monuments of this taste, striking and magnificent as they are, offer no proper models for a modern house: it is this want of definite models that has led the imitators of the Gothic style to the numberless absurdities which have justly drawn contempt and ridicule upon modern Gothic; and it will continue to be the stumbling-block of imitators, till they penetrate its elements of form, contained in its principles of construction, and cease to be the copyists of individual monuments; then we may have villas and mansions in a rational style of Gothic architecture, but not disguised into castles and monasteries.

The book before us, which contains several designs in the pretended Gothic style, abounds with the faults alluded to: "a villa in the style of an abbey ;""a villa in the castle style;" "a small house in the style of a chateau."-Away with these absurd desceptions, why should a British villa resemble a castle or an Abbey? We will, however, acquit Mr.

Elsam, contrary to his own confession; for these designs are in a fantastic stye of his own, and innocent of any likenes to abbeys and castles. "Two small houses in the Gothic style, with a Saca gateway in the center." Can Mr. Elsam point out any use or advantage in this Saxon arch? We all know that ancient buildings, erected and repaired at diffe rent periods, frequently exhibit a medly of Saxon and Gothic forms; but is this to be copied? as well might we tran scribe their dilapidations and water stains. Our author is fond of displaying his skill in various styles, but with singular ill success: the "mausoleum designed to the memory of the late Sir William Chambers, in the Grecian style of archi tecture," is both in plan and elevation, as unlike any thing Grecian as a Chinese pagoda. In short, we cannot compi ment Mr. Elsam on the general merit of his labours: many of the plans are marked with whimsical singularity, and the elevations are subdivided to an excess inconsistent with simplicity and beauty. Some of the designs, however, are worthy of better company; among these we par ticularly remark plate 19, the plan and elevation of a villa to be erected in the county of Suffolk.

Accustomed as we are to very humble expectations of literary merit from works of this nature, we were yet rather surprised that any writer should disgrace himself with the faults of grammar and orthography which abound in this book. The plates are tolerably drawn, and well engraved in aquatinta.

ART. III. Observations on the Theory and Practice of Landscape Gardening; including some Remarks on Grecian and Gothic Architecture, collected from various Manuscripts in the Possession of the different Noblemen and Gentlemen, for whose Use they were originally writ ten; the Whole tending to establish fixed Principles in the respective Arts. By H. REPTON, Esq. 4to. p. 222.

THIS very expensive, (five guineas) very fine, and very pompous book demands our particular attention: more indeed for its tendency and probable effects on the public taste, than for its intrinsic merits. We shall, therefore, lay before our readers an analysis of its principal con tents, with such extracts as will enable them to appreciate its true character, and the justice of our remarks. The work is inscribed to the king, after which follows an advertisement, succeeded by a preface: after that is a list of places referred to as examples, and next follows an introduction.

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This is a kind of paradox which we must leave our author to resolve. For it seems rather strange, that he should be unable to establish fixed principles," when "much experience" has confirm ed them. However, he apologizes for this inconsistency in the next sentence, by observing, that "after various attempts to arrange systematically the matter of this volume, I found the difficulties increase with the number of the subjects." This statement Mr. Repton completely contradicts in a subsequent part of his work, where he observes that "the WHOLE" (of it)" has been written in a carriage, during his professional journies from one place to another." He further informs us that " being seldom more than three days together in the same place, the difficulty of producing this volume, such as it is, can hardly be conceived by those who enjoy the blessings of stationary retirement, or a permanent

bome."

What can we infer from these jumbled opinions, but that the author does not enjoy a "permanent home," that he is troubled with too much business, that he was under some obligation to produce a book, and that he wrote it, "such as it is," in "a carriage," or during his three days stay at the same place." Dr. Johnson remarks, that "whoever is engaged in a multiplicity of business, must transact much by substitutes, and leave something to hazard" Thus it is with Mr. Repton; after he has given a few directions about planting, digging, levelling, &c. some gardeners and labourers are left to execute the whole: and the

present volume, we presume, was "laid out" in a similar manner; for we seek in vain for system, arrangement, or plan. It appears to consist of a series of unconnected extracts from his red books. This indeed he acknowledges in the following

passage:

"When called upon for my opinion," he observes," concerning the improvement of a place, I have generally delivered it in writing, bound in a smali book, containing maps and sketches to explain the alterations proposed: this is called the Red Book of the place; and

thus my opinions have been diffused over the kingdom in nearly two hundred such mannscript volumes. From many of these, with the permission of their respective proprietors, this volume has been composed; sometimes ing the words of the Red Book." adopting the substance, and sometimes quot

In the latter end of the advertisement "H. Repton, Esq." recommends in very Repton," as an architect of pre-eminent warm terms his son," Mr. John Adey abilities, and gives a specimen of his designs, in a print, representing "a hall for a gothic mansion." This, like Mr. Repton's book, is very "pretty" to look at, but very expensive to execute, and though it might astonish the vulgar, it would offend the man of sense and taste, by being out of character for domestic architecture.

The preface professes to contain some observations on taste as relating to the laying out of grounds Here the author, as in several other places, indirectly recommends himself. "Improvements," he observes," may be suggested by any one, but the professor only acquires a knowledge of effects before they are produced, and a facility in producing them by various methods, expedients and resources. the result of study, observation, and ex perience. He ought to know what to adopt, and what to reject." An artist possessing good taste matured by experience, would know these things immediately, and in the improvement of a place would not merely calculate on present effects, but would anticipate the change of seasons, and the progressive operations of nature. 'Tis not sufficient for the landscape gardener (a title Mr. R. has assumed) to plant and alter for the present times, but if he wishes to raise a monument to his own fame, he should dispose his materials in a manner, that their harmony and utility should "grow with their growth, and strengthen the "polite art" of landscape gardening with their strength." By such a system would properly keep place and assimilate with the other polite arts, which, in England, have within the last fifty years made a rapid progress towards excellence.

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When Mr. Repton is applied to for advice, or assistance in the embellishment of a place, he generally charges five guineas a day for travelling expenses, a certain sum per day whilst visiting he party, and afterwards forty, fifty, or sixty guineas for a "Red Book." This book contains his opinions and observations on the present, and improvable state of the ground and his recommended alterations are displayed in two drawings, one representing its prese state, and the other what it would be when completed, if seen in an advantageous light, and with the accidental grouping of cattle, deer, &c. in certain situations.

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Recurring to Mr. Repton's observations on taste, and after attentively reading his few cursory remarks, we were greatly disappointed; for we sought in vain for some new ideas, or a new illustration of those already published The author has however contrived a singular mode of giving his opinions, by a series of negative axioms; a plan which he adopts, he says, to avoid giving offence to those persons who may differ from him in opinion. At the same time," he remarks, "I am conscious my opinion may, in some cases, be deemed wrong.

The same motives which induce me to mention what I recommend, will also justify me in mentioning what I disapprove; a few observations are, therefore, subjoined to mark those errors or absurdities in modern gardening and architecture, to which I have never willingly subscribed, and from which it will easily be ascertained how much of what is called the improvement of any place in the list, may properly be attributed to my advice. It is rather upon my opinions in writing, than on the partial and imperfect manner, in which my plans have sometimes been executed, that I wish my fame to be established."

Mr. Repton's picturesque maxims are to be inferred from the ten following objections, as he terms them, though we cannot perceive the strict application of the term to some of the sentences.

OBJECTIONS.

No. 1.There is no error more prevalent in modern gardening, or more frequently carried to excess, than taking away hedges to unite many small fields into one extensive and naked lawn, before plantations are made to give it the appearance of a park, and where ground is subdivided by sunken fences, imaginary freedom is dearly bought at the expence of actual confinement.”

No 2. "The baldness and nakedness round a house is part of the same mistaken system, of concealing fences to gain extent. A palace, or even an elegant villa, in a grass held, appears to me incongruous; yet I have seldom had sufficient influence to correct this common error."

No. 3. An approach which does not evidently lead to the house, or which does not take the shortest course cannot be right."

No. 4. "A poor man's cottage, divided into what is called a pair of lodges, is a mistaken expedient to mark importance in the entrance to a park."

No. 5. "The entrance gate should not be visible from the mansion, unless it opens into a court yard."

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No. 5. The plantation surrounding place, called a Belt, I have never advised; nor

have I ever willingly markel a drive, er walk, completely round the verge of a park. except in small villas, where a dry pan round a person's own field is always more interesting to him than any other walk." rounded by a fence, are the best expedients to No. 7. Small plantations of trees surfort groups, because trees planted singly seldom grow well; neglect of thinning and removing the fence, has produced that ugy deformity called a clump.”

No. 8. "Water on an eminence, or ca the side of a hill, is among the most common errors of Mr. Brown's followers: in nume

rous instances I have been allowed to remrve such pieces of water from the hills to the valleys; but in many my advice has not prevailed."

No. 9. " Deception may be allowable in imitating the works of nature; thus artineinl rivers, lakes, and rock scenery, can only be great by deception, and the mind acquiesces in the fraud after it is detected: but in works

of art every trick ought to be avoided. Shan churches, sham ruins, sham bridges, and every thing which appears what it is not,

disgusts when the trick is discovered."

No. 10. In buildings of every kind the charac.er should be strictly observed. No incongruous mixture can be justified. To add Grecian to Gothic, or Gotnie to Grecian is equally absurd; and a sharp pointed aren to a garden gate, or a dairy window, however frequently it occurs, is not less offensive than

Grecian architecture, in which the standar! rules of relative proportions are neglected or violated.

"The perfection of landscape gardening consists in the fullest attention to these prin ciples, Utility, Proportion, and Unity or harniony of paris to the whole.”

We now come to the body of the work, the first chapter of which contains a few remarks on general principles, utility, and scale, with various examples of compara tive proportion. The use of perspective is shown, and several examples of removing earth are adduced. The two first sentences in this chapter we lay b fore our readers to exercise their sagacity, for we have vainly endeavoured to comprehend the author's meaning."The theory and practice of landscape-gardening have seldom fallen under the consideration of the same author, because those who have delivered ther opinions in writing on this art have had little practical experience, and few of its professors have been able to deduce their rules from theoretical principles. such persons (what persons?) had its practice been committed, that it required no common degree of fortitude and perseverance to elevate the art of landscape-gardening to its proper rank, and

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among those which distinguish the pleasures of civilized society from the pursuits of savage and barbarous nations." We would ask Mr. Repton, what is the reason that other professors besides himself, could not take advantage of theoretical principles? Some gentlemen we know, have not disdained to read and profit by the works of Whateley, Mason, G. Mason, Walpole, Delille, Price, Gil. pin, Knight, Sir William Chambers, &c. all of whom have displayed considerable taste and judgment in their observations on those scenes of nature, which are characterised by beauty, picturesqueness, or sublimity; and from some of whose works we derive more information on these subjects than from Mr. Repton's book. But our author seems too confident in his own taste and science to benefit by the advice of others; especially from some of these writers who, inculcating principles diametrically opposite to those espoused by him, we are not surprised at his disdaining their suggestions. Mr. R. wishes to make the scenery pretty, and wherever a rugged inequality presents itself, the axe and shovel are directed to the smoothing operations. In the first chapter many examples of this kind are produced from the grounds at the Fort near Bristol, from Wentworth House, and some other places. In the second chapter Mr. R. prints a letter, which, he says, is written by "one of the most able men of the age," upon the question, "At what distance does any object appear at its greatest height?" The third chapter descants on the situation and character of water, stating that," it may be too naked or too much clothed." It farther remarks that, "a river is easier to imitate than a lake and that a bubbling spring may be imi tated." The two following chapters. treat of planting, with the different and diversified effects that can be, and are

produced by clumps, combination of masses to produce great woods, and on the character and shape of ground which ought to be studied to produce the most beautiful effects. This will not be doubted by any man of observation, nor will he object to many other similar maxims. In this part of the work, is a minute detail of the drive, or park-road at Bulstrode, whose noble proprietor, the Duke of Portland, first patronized, and lifted our author into notice. In the subsequent pages are detailed a variety of plans, the execution of which is cal

culated, according to our author's opinion, to produce beauty, elegance, and utility in the mansions and grounds of opulent landholders. The roads, walks, drives, lawns, waters, plantations, build. ings, grounds, are all respectively con sidered; and in treating of each, the au thor endeavours to shew what is conformable, or in opposition to taste and beauty.

Even if we fully acknowledged the judgment of the author, and admitted his pretensions to sound taste, we should read his work with perpetual disgust, being constantly reminded, that any im provement and embellishment is only to be effected by himself. This is the con tinued theme, and we are repeatedly told, that no other person has combined theory with practice; consequently no other is competent to dress out nature in her most beautiful and captivating apparel. All his "Observations on Modern Gar dening" tend to this one point-that H. Repton, esq. of Hare-street, near Romford, Essex, is the only scientific "landscape gardener" in Great Britain, and, that gentlemen who wish to have their parks and gardens beautified, or even want elegant and appropriate mansions, for those parks, cannot display greater judgment than by applying to the man who has had "a very large portion of Eng lish scenery committed to his care for improvement."

In the preceding observations we have mostly dwelt on the defects of this vo lume; the pleasanter part of our duty remains behind. As a specimen of the best style and best taste of our author, we gladly extract the following passages which occur in his red-book at Corshamhouse, Wiltshire, the magnificent seat of Paul Cobb Methuen, Esq.

"The following extract," he observes, "may serve to exemplify the impropriety of improving the grounds without previous at tention to the style, character, and situation of the house.

"At the time Corsham-house was erected, instead of the modern houses now placed in the centre of parks, distant from every other habitation, it was the glory and pride of an English baron to live in or near the town or village which conferred its title on his palace, and often on himself. Nor was the proximity of the village attended with any inconveni it by ample court-yards, or massive gates; ence, so long as the house was disjoined from some of its fronts might look into a garden, lawn, or park, where the neighbours could not intrude. Yet, even these views, in some

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