From The London Builder. - By H. S

Some are of opinion that the beauty of the human face consists entirely of expression; and in truth the charm of an agreeable countenance seems to arise from the capability of the features to reveal mental and moral beauty; and if expression be not the entire, it is at least the soul of beauty. Mere sensuous grace is perhaps as unimportant in architecture,, which is little else than a lifeless mass if genius infuse not this spirit into it; while if it breathe the idea of the designer we are enchained by its significance and forget the inferiority or the entire absence, as it may be, of abstract beauty. Volumes of thought and feeling flash from the eye, and the various affections of the mind exert an influence upon the permanent form of the countenance and impart to it their own peculiar characteristics: could we have a better illustration of the diversity of sentiment which should beam from different buildings according to the variety of their original and destined pur-poser

Certain it is, we can thus express ideas by form: different forms are suggestive by a natural association of different sentiments; and the architect must not so much aim at abstract beauty as at the conditions of the intended expression. If, for instance, the building be for a gay purpose, he must employ those forms and lines, and that style of composition that will express gaiety. If for a solemn purpose, such a character of design, and such proportions, as will yield a solemn aspect. And this gaiety and solemnity are qualities of the destined use or purpose of the work expressed by the features of the building, as qualities of the mind are expressed by the features of the face. Thus rough-hewn and boldly rusticated masonry, harsh angular lines, lofty and unpierced walls, will give the ideas of a prison; prison-like strength, combined with palatial sumptuousness of decoration, will characterise a bank; severity of outline and form, a character grave and solemn, of patriarchal simplicity, in which nothing is hidden, intricate, or but partially told, and the absence of all imaginativeness, will distinguish a justice court.

But architectural qualities must not be confounded with moral or metaphysical qualities. We speak of the "smiling aspect of a building," and "the frowning aspect of a building;" but these are figurative expressions: and when we say a building is grave or gay, or mirthful or solemn, we do it by a metaphor. The building has material qualities; the institution which it enshrines or serves, has moral or mental ones; but it is on the analogy between these two classes of qualities which are naturally associated in the mind, that architecture is dependant for its power of expression. Thus we cannot directly or literally express the mirth or pleasure of a ball-room, or its associated ideas of human beauty and grace; but we can express qualities analogous them. - naturally connected with them. - and will characterize such a building by elegance of form and proportion, graceful lines, softness of light and shadow, and minuteness and delicacy of ornament and detail. The ideas of royalty and power associated with a regal palace, we can only shadow forth by majestic proportions. - by boldness of composition, with which, together with power of light and shade, we secure that dignity which is said to be "the harness of power;" while the idea of earthly dominion finds expression in horizontal composition and wide-spreading dimensions.

And what the architect must observe is, that there be an analogical correspondence between the qualities developed by the design and composition of the building, and those emotions of the mind which arise from the contemplation, or belong to the ideas, of its use and destination.

This characterizing of edifices, according to their purpose, is among the highest effects of mind on inanimate matter, and is a more wonderful conversion of stone into "golden visions of thought and feeling," than in sculpture itself, as there is less imitation of nature. It is a source of pleasure, of interest, of edification, of refinement, and a gratification of the innate love of variety.*

The purpose of the entire building should not only be thus expressed, but each ornament should tend to illustrate the nature of the particular part to which it is applied and partake of its general character and relations. From the particular properties of that portion originate the motives of its design and combinations, while the ornaments must

* This love of variety in the human breast requires that dwelling-houses should differ in their character from each other; an arrangement further dictated by the analogy of nature in reference to their occupants. They should express "domestic," all of them, as nature expressed "man" in the form and face of the human subject; but they may do this without being all alike. If architects would free their minds from unnatural shackle and undue precedent, we should have as great variety of houses in our streels as of casts of countenance. - a great relief to our monotonous "town-imprisoned" life. This diversity of aspect, form, and character would not be without its moral effects. A man's love of home, which is the parent of many virtues, would be stronger when his house possessed a proper individuality, a distinct character. When it is different from all other houses and homes, it must make a greater, a stronger be in harmony with the order of architecture and the general expression of the building.

As in grammar, a word or phrase must correspond to the genius and received forms of the language; so in architecture, the parts must harmonize with the total. - the main idea of which must illume every part of it.

The subject of expression applies to the inside of a building as well as to the outside. External expression is insufficient; unless the whole be adapted to and indicate its use, within and without: unless the idea of its purpose pervade it, as it were, it is not a true work, and the fact will be sure to betray itself, just as with one who shall endeavor to make his face express what he does not feel. We soon, in any case, detect the look that is "put on." The grand secret of eloquence, it has been said, is to be in earnest; and our buildings will be eloquent if we are sincere and truthful in designing them. - while nothing will give satisfaction that is not thrilled with the genuine sentiment.