ed monument to Sir Walter Scott at
Edinburgh, are not included in this volume, as they do not form any part
of the series on the Poetry of Architecture.

The text is carefully reprinted from the _Architectural Magazine_. A few
additional notes are distinguished by square brackets.

A few of the old cuts, necessary to the text, are reproduced, and some
are replaced by engravings from sketches by the Author. Possessors of
the _Architectural Magazine_, vol. V., will be interested in comparing
the wood-cut of the cottage in Val d'Aosta (p. 104 of that volume) with
the photogravure from the original pencil drawing, which faces p. 21 of
this work. It is much to be regretted that the original of the Coniston
Hall (fig. 8; p. 50 of this work) has disappeared, and that the Author's
youthful record of a scene so familiar to him in later years should be
represented only by the harsh lines of Mr. Loudon's engraver.

THE EDITOR.

INTRODUCTION.

1. The Science of Architecture, followed out to its full extent, is one
of the noblest of those which have reference only to the creations of
human minds. It is not merely a science of the rule and compass, it does
not consist only in the observation of just rule, or of fair proportion:
it is, or ought to be, a science of feeling more than of rule, a
ministry to the mind, more than to the eye. If we consider how much less
the beauty and majesty of a building depend upon its pleasing certain
prejudices of the eye, than upon its rousing certain trains of
meditation in the mind, it will show in a moment how many intricate
questions of feeling are involved in the raising of an edifice; it will
convince us of the truth of a proposition, which might at first have
appeared startling, that no man can be an architect, who is not a
metaphysician.

2. To the illustration of the department of this noble science which may
be designated the Poetry of Architecture, this and some future articles
will be dedicated. It is this peculiarity of the art which constitutes
its nationality; and it will be found as interesting as it is useful, to
trace in the distinctive characters of the architecture of nations, not
only its adaptation to the situation and climate in which it has arisen,
but its strong similarity to, and connection with, the prevailing turn
of mind by which the nation who first employed it is distinguished.

3. I consider the task I have imposed upon myself the more necessary,
because