History does not relate for the sake of relating; it does not paint for the sake of painting; it relates and paints the past that it may be the living lesson of the future. It proposes to instruct new generations by the experience of those who have gone before them, by exhibiting to them a faithful picture of great and important events, with their causes and their effects, with general designs and particular passions, with the faults, virtues, and crimes that are found mingled together in human things. It teaches the excellence of prudence, courage, and great thoughts profoundly meditated, constantly pursued, and executed with moderation and force. It shows the vanity of immoderate pretensions, the power of wisdom and virtue, the impotence of folly and crime. Thucydides, Polybius, and Tacitus undertake any thing else than procuring new emotions for an idle curiosity or a worn-out imagination; they doubtless desire to interest and attract, but more to instruct; they are the avowed masters of statesmen and the preceptors of mankind. The sole object of art is the beautiful. Art abandons itself as soon as it shuns this. It is often constrained to make concessions to circumstances, to external conditions that are imposed upon it; but it must always retain a just liberty. Architecture and the art of gardening are the least free of arts; they are subjected to unavoidable obstacles; it belongs to the genius of the artist to govern these obstacles, and even to draw from them happy effects, as the poet turns the slavery of metre and rhyme into a source of unexpected beauties. Extreme liberty may carry art to a caprice which degrades it, as chains too heavy crush it. It is the death of architecture to subject it to convenience, to _comfort_. Is the architect obliged to subordinate general effect and the proportions of the edifice to such or such a particular end that is prescribed to him? He takes refuge in details, in pediments, in friezes, in all the parts that have not utility for a special object, and in them he becomes a true artist. Sculpture and painting, especially music and poetry, are freer than architecture and the art of gardening. One can also shackle them, but they disengage themselves more easily.