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THE POETRY OF ARCHITECTURE.

he manifests a nature common to every individual of his race. A Turk, for instance, and an English farmer, smoking their evening pipes, differ only in so much as the one has a mouth-piece of amber, and the other one of sealing-wax; the one has a turban on his head, and the other a night-cap; they are the same in feeling, and to all intents and purposes the same men. But a Turkish janissary and an English grenadier differ widely in all their modes of thinking, feeling, and acting; they are strictly national. So again, a Tyrolese evening dance, though the costume, and the step, and the music may be different, is the same in feeling as that of the Parisian guinguette; but follow the Tyrolese into their temples, and their deep devotion and beautiful though superstitious reverence will be found very different from any feeling exhibited during a mass in Notre-Dame. This being the case, it is a directconsequence, that we shall find much nationality in the Church or the Fortress, or in any building devoted to the purposes of active life, but very little in that which is dedicated exclusively to relaxation, the Villa. We shall be compelled to seek out nations of very strong feeling and imaginative disposition, or we shall find no correspondence whatever between their character, and that of their buildings devoted to pleasure. In our own country, for instance, there is not the slightest. Beginning at the head of Windermere, and running down its border for about six miles, there are six important gentlemen's seats, villas they may be called, the first of which is a square white mass, de-