which rests upon them, enhanced, as it is, by the swift, but beautifully uniform motion of the gondola. Now, there is no motion more uniform, silent, or beautiful, than that of smoke; and, therefore, when we wish the peace or stillness of a scene to be impressive, it is highly useful to draw the attention to it.
In the cottage, therefore, a building peculiarly adapted for scenes of peace, the chimney, as conducting the eye to what is agreeable, may be considered an important, and, if well managed, a beautiful accompaniment. But in buildings of a higher class, smoke ceases to be interesting. Owing to their general greater elevation, it is relieved against the sky, instead of against a dark back-ground, thereby losing the fine silvery blue which, among trees, or rising out of distant country, is so exquisitely beautiful, and assuming a dingy yellowish black: its motion becomes useless; for the idea of stillness is no longer desirable, or, at least, no longer attainable, being interrupted by the nature of the building itself: and, finally, the associations it arouses are not dignified; we may think of a comfortable fireside, perhaps, but are quite as likely to dream of kitchens, and spits, and shoulders of mutton. None of these imaginations are in their place, if the character of the building be elevated; they are barely tolerable in the dwelling-house and the street. Now, when smoke is objectionable, it is certainly improper to direct attention to the chimney; and, therefore, for two weighty reasons, decorated chimneys, of any sort or size whatsoever, are inexcusable barbarisms;
