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.
2dly. 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.
These three points of contrast will be quite enough: there is no other external influence from which we can free the building, and the pervading energy must be communicated to it, or it will not harmonize with our feelings; therefore, before proceeding, we had better determine how this contrast is to be carried out in detail. Our lines are to be horizontal; then the roof must be as flat as possible. We need not think of snow, because, however much we
