necessary. Hence, also, the perfect modes--the true combinations of the art--are few; the error in departing from them great. These refined perceptions do not indeed pertain to the period now contemplated; but the facility with which they can be connected with the first practice of the art, evinces how deeply rooted are the real and substantial precepts of architectural design. The leading views, also, in regard to the influence of material upon form, proportion, and distribution of parts, are supported by early history. In Egypt, a country destitute of wood, the most ancient erections were in imitation of the natural caves in which the rude inhabitants had sought a wretched shelter. In a later age, yet one which far transcends the authentic researches of history, were reared those mysterious edifices, still standing as landmarks between known and unknown time. In the ponderous members of these solemn piles, the narrowness of the intervals, the crowded pillars, the massive base, and the lessened perpendicular, is found every principle previously assumed as characteristic of that architecture, which would be governed by necessity before the sensation of beauty had been felt, or at least methodized. Here, also, appears the first species of architectural design. Again, in that region of Asia, already noticed as the scene of the earliest recorded labours of the art, wood was abundant. From the descriptions of Holy Writ we accordingly find, that this material was much employed even in their most sacred and important buildings. Thus, though few details capable of giving any just architectural notions, are preserved of Solomon's Temple, it is yet plain, that cedar wood was the chief material both for roofs and columns, that is, both for supported and supporting members. Hence, the temples of Palestine, and of Syria generally, by which we understand the Asia of the Old Testament, already described, were more spacious, but less durable than those of Egypt, and with fewer upright supports. Of this, a singularly striking proof occurs in the catastrophe of the House of Dagon, when Samson, by overturning only two columns, brought down the whole fabric. As with the force of winds and waters pent, When mountains tremble, those two massy pillars, With horrible convulsion, to and fro He tugg'd, he shook, till down they came, and drew The whole roof after them, with bursts of thunder: The vulgar only 'scaped who stood without.