proportion to the same species of detail in scenery of the second class, that the large features of the first bear to the large features of the second. Every mineralogist knows that the quartz of the St. Gothard is as much larger in its crystal than the quartz of Snowdon, as the peak of the one mountain overtops the peak of the other; and that the crystals of the Andes are larger than either.[1] Every artist knows that the boulders of an Alpine foreground, and the leaps of an Alpine stream, are as much larger than the boulders, and as much bolder than the leaps, of a Cumberland foreground and torrent, as the Jungfrau is higher than Skiddaw. Therefore, if we take care of the near effect in any country, we need never be afraid of the distant. For these reasons, the cottage villa, rather than the mansion, is to be preferred among our hills: it has been preferred in many instances, and in too many, with an unfortunate result; for the cottage villa is precisely that which affords the greatest scope for practical absurdity. Symmetry, proportion, and some degree of simplicity are usually kept in view in the large building; but, in the smaller, the architect considers himself licensed to try all sorts of experiments, and jumbles together pieces of imitation, taken at random from his note-book,
- ↑ This is rather a bold assertion; and we should be sorry to maintain the fact as universal; but the crystals of almost all the rarer minerals are larger in the larger mountain; and that altogether independently of the period of elevation, which, in the case of Mont Blanc, is later than that of our own Mendips.
