combination. This is a question, however, relating more nearly to Gothic architecture, and, therefore, we shall not enter into it at present.
Thirdly. The gables must, on no account, be jagged into a succession of right angles, as if people were to be perpetually engaged in trotting up one side and down the other. This custom, though sanctioned by authority, has very little apology to offer for itself, based on any principle of composition. In street effect, indeed, it is occasionally useful; and, where the verticals below are unbroken by ornament, may be used even in the detached Elizabethan, but not when decoration has been permitted below. They should then be carried up in curved lines, alternating with two angles, or three at the most, without pinnacles or hip-knobs. A hollow parapet is far better than a battlement, in the intermediate spaces; the latter, indeed, is never allowable, except when the building has some appearance of being intended for defence, and, therefore, is generally barbarous in the villa, while the parapet admits of great variety of effect.
Lastly. Though the grotesque of Elizabethan architecture is adapted for wood country, the grotesque of the clipped garden, which frequently accompanies it, is not. The custom of clipping trees into fantastic forms is always to be reprehended: first, because it never can produce the true grotesque, for the material is not passive, and, therefore, a perpetual sense of restraint is induced, while the great principle of the grotesque is action; again,
