variety of effect. It forms one of a range of four, turning an angle, whose mouldings join each other, their double breadth being the whole separation of the apertures, which are something more than double squares. Now, by alteration of the decoration, and depth of shadow, we have Figs. 39 and 40. These three windows differ entirely in their feeling and manner, and are broad examples of such distinctions of style as might be adopted severally in the habitations of the man of imagination, the
Fig. 39. Fig. 40.
man of intellect, and the man of feeling. If our alterations have been properly made, there will be no difficulty in distinguishing between their expressions, which we shall therefore leave to conjecture. The character of Fig. 38 depends upon the softness with which the light is caught
