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In both cases, therefore, the grand outline of the villa is the same;
but in one we have it set off by contrast, in the other by assimilation;
and we must work out in the architecture of each edifice the principle
on which we have begun. Commencing with that in which we are to work by
contrast: the vertical crags must be the result of violence, and the
influence of destruction, of distortion, of torture, to speak strongly,
must be evident in their every line. We free the building from this
influence, and give it repose, gracefulness, and ease; and we have a
contrast of feeling as well as of line, by which the desirable
attributes are rendered evident in both objects, while the _duration_ of
neither energy being allowed, there can be no disagreeable effect upon
the spectator, who will not shrink from the terror of the crags, nor
feel a want of excitement in the gentleness of the building.
242. Secondly, Solitude is powerful and evident in its effect on the
distant hills; therefore the effect of the villa should be joyous and
life-like (not flippant, however, but serene); and, by rendering it so,
we shall enhance the sublimity of the distance, as we showed in speaking
of the Westmoreland cottage; and, therefore, we may introduce a number
of windows with good effect, provided that they are kept in horizontal
lines, and do not disturb the repose which we have shown to be
necessary.
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