The union of architecture, sculpture, and painting; exemplified by a series of illustrations, with descriptive accounts of the house and galleries of John Soane / By John Britton.

  • John Britton
Date:
1827
Catalogue details

Licence: Public Domain Mark

Credit: The union of architecture, sculpture, and painting; exemplified by a series of illustrations, with descriptive accounts of the house and galleries of John Soane / By John Britton. Source: Wellcome Collection.

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    imported fragments of, and casts from, some of the finest works of art in that classic capital. The collection, once commenced, soon augmented, and has now attained an extent and value, perhaps unrivalled by any private gallery in the universe. Though of a miscellaneous nature, and embracing specimens from nearly all the civilized nations of Europe, the whole has an immediate reference, either to archi- tecture or to some other branch of the fine arts. From Egypt, Greece, and Italy,— from France, Germany, Russia, and Great Britain, selections have been made, and we shall here find evidences of the arts or literature belonging to, or characteristic of, each of those nations. Many years’ intimacy with Mr. Soane, and more years’ partiality for architecture in particular, and for the fine arts generally, may be adduced as motives for under- taking the Essay which is at length submitted to public candour and criticism. Aware of the difficulty and delicacy of commenting on the professional designs of a living artist, and a friend—of the seeming impracticability of being strictly impar- tial, and unreservedly candid, I have often questioned my own judgment, scrutinised my own feelings and opinions, and have therefore sought the approving sanction of those confidential friends, in whose kindness and candour I could confide. In this class is Mr. W. H. Leeps, whose lucubrations form a large portion of the ensying pages; and who has bestowed much attention on the subject of architecture, by studying it with a devotedness not very common in an amateur, nor, unfortunately so general as could be wished, in the members of the profession. The mind is commonly prejudiced in favour of those forms and features of design with which it has acquired familiarity. Hence have arisen schools, systems, styles, or peculiarities which distinguish the scholars of certain masters, and the artists of a particular age or place. These prejudices occasion continual differences of opinion on all the productions of fancy. An article, or form, unequivocally approved, and even highly praised by one person, will be censured by another. There is no criterion of taste. Inigo Jones, Wren, Vanbrugh, and even Batty Langley, have had their panegyrists and their censors: the works of each have been as harshly condemned by some as they have been indiscriminately praised by others. Varied and conflicting criticism will ever follow novelty in art and literature; and in pro- portion as an artist or author manifests originality and independence of thinking and invention, will he be assailed with critical animadversion and even satire. Although all eagerly seek for novelty, and the want of it is harshly condemned, yet when produced, it is generally assailed as innovation, or as arrogance. The public, b
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