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THE POETRY OF ARCHITECTURE.

by the slope of the branches. The building itself should be low and long, so that, if possible, it may not be seen all at once, but may be partially concealed by trunks or leafage at various distances.

For the colour, that of wood, is always beautiful. If the wood of the near trees be used, so much the better; but the timber should be rough-hewn, and allowed to get weather-stained. Cold colours will not suit with green; and, therefore, slated roofs are disagreeable, unless, as in the Westmoreland cottage, the gray roof is warmed with lichenous vegetation, when it will do well with anything; but thatch is better. If the building be not of wood, the walls may be built of anything which will give them a quiet and unobtruding warmth of tone. White, if in shade, is sometimes allowable; but, if visible at any point more than 200 yards off, it will spoil the whole landscape. In general, as we saw before, the building will bear some fantastic finishing, that is, if it be entangled in forest; but if among massive groups of trees, separated by smooth sward, it must be kept simple.

2. The Cultivated, or blue, Country. This is the rich champaign land, in which large trees are more sparingly scattered, and which is chiefly devoted to the purposes of agriculture. In this we are perpetually getting blue distances from the slightest elevation, which are rendered more decidedly so by their contrast with warm corn or ploughed fields in the foreground. Such is the greater part of England. The view from the hills of Malvern is