[13] We need
not then find fault with _fantastic_ chimneys, provided they are kept in
unison with the rest of the building, and do not draw too much
attention.
[Footnote 13: Elevation of character, as was seen in the Italian
cottage, depends upon simplicity of form.]
74. Fig. _h_, according to this rule, is a very good chimney. It is
graceful without pretending, and its grotesqueness will suit the
buildings round it--we wish we could give them: they are at Cordova.
Figs. _k_ and _l_ ought to be seen, as they would be in reality, rising
brightly up against the deep blue heaven of the south, the azure
gleaming through their hollows; unless perchance a slight breath of
refined, pure, pale vapor finds its way from time to time out of them
into the light air; their tiled caps casting deep shadows on their
white surfaces, and their _tout ensemble_ causing no interruption to
the feelings excited by the Moresco arches and grotesque dwelling houses
with which they would be surrounded; they are sadly spoiled by being cut
off at their bases.
75. Figs. _g_, _n_, _o_ are Italian. Fig. _g_ has only been given,
because it is constantly met with among the more modern buildings of
Italy. Figs. _n_ and _o_ are almost the only two varieties of chimneys
which are to be found on the old Venetian palaces (whose style is to be
traced partly to the Turk, and partly to the Moor).
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