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So prevalent is the taste for what is called Gothic, in the neighbourhood of great cities, that we see buildings of every description, from the villa to the pigsty, with little pointed arches, or battlements, to look like Gothic; and a Gothic dairy is now become as common an appendage to a place, as were formerly the hermitage, the grotto, or the Chinese pavilion. Why the dairy should be Gothic, when the house is not so, I cannot understand, unless it arises from that great source of bad taste, to introduce what is called a pretty thing, without any reference to its character, situation, or uses. Even in old Gothic cottages we never see the sharp-pointed arch, but often the flat arch of Henry VIII., and perhaps there is no form more picturesque for a cottage than buildings of that date, especially as their lofty perforated chimneys not only contribute to the beauty of the outline, but tend to remedy the curse of the poor man's fire-side, a smoky house [see fig. 90].

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[Fig. 91. Rustic thatched hovel, on the summit of a naked brow, commanding views in every direction.]

There are few situations in which any building, whether of rude materials or highly-finished architecture, can be properly introduced without some trees near it. Yet the summit of a naked brow, commanding views in every direction, may require a covered seat or pavilion; for such a situation, where an architectural building is proper, a circular temple with a dome, such as the temple of the Sybils, or that of Tivoli, is best calculated; but in rude scenery, as on a knoll or pro

montory in a forest, the same idea may be preserved in a thatched hovel supported by rude trunks of trees; yet, as the beauty of such an object will greatly depend on the vegetation, it should be planted with ivy, or vines; and other creeping plants should be encouraged to spread their foliage over the thatch [see fig. 91].

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[Fig. 92. Principal view from the house at Blaize Castle, which is considered too sombre for the character of a villa.]

The principal view from the house at BLAIZE CASTLE, is along that rich glen of wood through which the approach has been made, as already described: in this view, the castle, although perfectly in harmony with the solemn dignity of the surrounding woods, increases, rather than relieves, that apparent solitude which is too sombre for the character of a villa [see fig. 92].

Some object was wanting to enliven the scenery: a temple, or a pavilion, in this situation, would have reflected light, and formed a contrast with the dark woods; but such a building would not have appeared to be inhabited; this cottage [fig. 93], therefore, derives its chief beauty from that which cannot easily be expressed by painting-the ideas of motion, animation, and inhabitancy, contrasted with those of stillness and solitude. Its form is meant to be humble, without meanness; it is, and appears, the habitation of a labourer who has the care of the neighbouring woods; its simplicity is the effect of

art, not of neglect or accident; it seems to belong to the mansion, and to the more conspicuous tower, without affecting to imitate the character of either.

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[Fig. 93. View from the house at Blaize Castle, enlivened by a cottage in the distance.]

The propensity for imitation, especially where no great trouble or expense is incurred, has made treillage ornaments -so common, that some observations concerning them may be expected in this work, especially as I believe I may have contributed originally to their introduction; but I little thought how far this flimsy ornament might be misapplied.

The treillages of Versailles and Fontainbleau were of substantial carpentry, preserving architectural proportions, in which plants were confined and clipped to form a sort of vegetable and architectural berceau, or cabinet de verdure; these being made of strong wood, and painted, were more costly and more durable; and, as they only formed a frame for the plants, they might perish, without injuring the forms of these leafy buildings; but the English treillage is made of such slight materials, and so slightly put together, that they can hardly outlive the season for which they are erected; this, however, is no objection where they are used in flowergardens, or where they are merely to be considered as garden

To conceal a house near the entrance of a flower-garden at TAPLOW, I covered the whole with treillage many years ago.

sticks supporting plants; but, when added to architectural houses, and made the supporters of a heavy roof, or even a canvas awning, it looks as if the taste of the country were verging to its decline; since shade might be obtained by the same awning supported by iron, if architectural forms and projections are to be despised, or discarded.

I should therefore suppose that no treillage ought to be introduced, except in situations where creeping plants may be fastened to the framing, which should be stout in proportion to its height, or its intentions [see fig. 94]: it is a com

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[Fig 94. Greenhouse, with the piers covered externally with trellis-work.]

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mon mistake to suppose a thing will look light by being slender; if it be not equal to its office by its apparent substance, it will look weak, not light; but the lattice-work is supposed to support nothing, and may therefore be of any dimensions, and, being always painted, it will be invisible at a distance.

This observation is the result of having lately seen some houses containing rooms of admirable proportion, and well connected together, but which externally appear to be built of lath and paper, or canvas; perhaps the late frequency of living in camps, or at watering places, may have introduced this unsubstantial mode of building, which looks as if it were only intended for the present generation, or, rather, for the present year.

Architectural Ornaments and Decorations.

I could wish, in speaking of architecture, if the use of language would admit of such distinction, to make a difference between the words ornament and decoration. The former should include every enrichment bearing the semblance of utility; the latter is supposed to have no relation whatever to the uses or construction of the building; thus, for instance, a house may answer all the purposes of habitation without a column, a pilaster, an entablature, a pediment, a dome, an arcade, or a balustrade, which I call the external ornaments of Grecian architecture.*

I include under the word decorations-statues, vases, basso-relievos, sculpture, &c., which have no use, but as additional enrichments to the ornaments of architecture; on the contrary, where these decorations are applied to plain buildings without ornaments, they are marks of bad taste.†

The ornaments of architecture must be correct in design, since no degree of costliness in their materials or their workmanship can compensate for any defect in proportion, order, or disposition. The eye of good taste will be equally offended

That these ornaments, although not absolutely necessary, should appear to be useful, is evident, from the disgust we feel at seeing them improperly applied; as in a column without an entablature, or an arch supporting nothing, or a pediment without a roof; but I do not consider columns, or pilasters, as ornaments, when used, as we often see them, to the doors of houses; they may then more properly be called decorations in a bad taste. A column is the most sumptuous ornament of Grecian architecture, and should never be subordinate to any other part of the edifice; it should either belong to the entablature and cornice of the building, or it should be wholly omitted.

If the door requires a projecting covering, it is far better to support it by consoles, or cautlivres, or even small cast-iron pillars, without architectural pretensions, than by two diminutive columns, which bear no proportion to the buildings against which they are attached.

This observation, however, does not include those porticos to churches or public buildings, which form a colonnade on so extended a scale, that they become, in a manner, detached and principal; of this kind are the magnificent and useful colonnade at STOKE POGIES, and that added by the same architect to the garden front of FROGMORE.

+ Instances of this often occur in the neighbourhood of large cities and towns, where the taste of a carpenter, and not of an architect, puts balustrades to houses without any entablatures, or, perhaps, places them in a garret window, while the plain parapet wall is loaded with Mercuries, vases, pine-apples, eagles, acorns, and round balls.

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