it is very right that you should have some idea of the latter, and a
good taste of the former; and you may very soon learn as much as you need
know of either. If you read about one-third of Palladio's book of
architecture with some skillful person, and then, with that person,
examine the best buildings by those rules, you will know the different
proportions of the different orders; the several diameters of their
columns; their intercolumniations, their several uses, etc. The
Corinthian Order is chiefly used in magnificent buildings, where ornament
and decoration are the principal objects; the Doric is calculated for
strength, and the Ionic partakes of the Doric strength, and of the
Corinthian ornaments. The Composite and the Tuscan orders are more
modern, and were unknown to the Greeks; the one is too light, the other
too clumsy. You may soon be acquainted with the considerable parts of
civil architecture; and for the minute and mechanical parts of it, leave
them to masons, bricklayers, and Lord Burlington, who has, to a certain
extent, lessened himself by knowing them too well. Observe the same
method as to military architecture; understand the terms, know the
general rules, and then see them in execution with some skillful person.
Go with some engineer or old officer, and view with care the real
fortifications of some strong place; and you will get a clearer idea of
bastions, half-moons, horn-works, ravelins, glacis, etc., than all the
masters in the world could give you upon paper. And thus much I would, by
all means, have you know of both civil and military architecture.

I would also have you acquire a liberal taste of the two liberal arts of
painting and sculpture; but without descending into those minutia, which
our modern virtuosi most affectedly dwell upon. Observe the great parts
attentively; see if nature be truly represented; if the passions are
strongly expressed; if the characters are preserved; and leave the
trifling parts, with their little jargon, to affected puppies. I would
advise you also, to read the history of the painters and sculptors, and I
know none better than Felibien's. There are many in Italian; you will
inform yourself which are the best. It is a part of history very
entertaining, curious enough, and not quite useless. All these sort of
things I would have you know, to a certain degree; but remember, that
they must only be the amusements, and not the business of a man of parts.

Since wri