on Greek and Roman models are admissible here. Still, as in all blue country there is much activity of life, the principle of utility should be kept in view, and the building should have as much simplicity as can be united with perfect gracefulness of line. It appears from the principles of composition alluded to in speaking of the Italian villa, that in undulating country the forms should be square and massy; and, where the segments of curves are small, the buildings should be low and flat, while they may be prevented from appearing cumbrous by some well-managed irregularity of design, which will be agreeable to the inhabitant as well as to the spectator; enabling him to change the aspect and size of his chamber, as temperature or employment may render such change desirable, without being foiled in his design, by finding the apartments of one wing matched foot to foot, by those of the other. For the colour, it has been shown that white or pale tints are agreeable in all blue country: but there must be warmth in it, and a great deal too, grey being comfortless and useless with a cold distance; but it must not be raw nor glaring. [1] The roof and chimneys should be kept out of sight
- ↑ The epithet "raw," by the by, is vague, and needs definition. Every tint is raw which is perfectly opaque, and has not all the three primitive colours in its composition. Thus, black is always raw, because it has no colour; white never, because it has all colours. No tint can be raw which is not opaque: and opacity may be taken away, either by actual depth and transparency, as in the sky; by lustre and texture, as in the case of silk and velvet, or by variety of shade, as in forest verdure. Two instances will be sufficient to prove the truth of this. Brick, when first fired, is always raw; but, when it has been a little weathered,
