7thly. We must be very careful in ascertaining whether any given contrast is obtained by freedom from external, or absence of internal, energy, for it is often a difficult point to decide. Thus, the peace of the Alpine valley might, at first, seem to be a contrast caused by the want of the character of strength and sublimity manifested in the hills; but it is really caused by the freedom from the general and external influence of violence and desolation.
These, then, are principles applicable to all arts, without a single exception, and of particular importance in painting and architecture. It will sometimes be found that one rule comes in the way of another; in which case, the most important is, of course, to be obeyed; but, in general, they will afford us an easy means of arriving at certain results, when, before, our conjectures must have been vague and unsatisfactory. We may now proceed to determine the most proper form for the mountain villa of England.
We must first observe the prevailing lines of the near hills: if they are vertical, there will most assuredly be monotony, for the vertical lines of crag are never grouped, and accordingly, by our fourth rule, the prevailing lines of our edifice must be horizontal. In Fig. 44, which is a village half-way up the Lake of Thun, the tendency of the hills is vertical; this tendency is repeated by the buildings, and the composition becomes thoroughly bad: but, at p. 92, Fig. 27, we have the same vertical ten-
