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THE POETRY OF ARCHITECTURE.
dency in the hills, while the grand lines of the buildings are horizontal, and the composition is good. But, if the
Fig. 44.
prevailing lines of the near hills be curved (and they will be either curved or vertical), we must not interrupt their character, for the energy is then pervading, not individual; and, therefore, our edifice must be rectangular. In both cases, therefore, the grand outline of the villa is the same; but in the one we have it set off by contrast, in the other by assimilation; and we must work out in the architecture of each edifice the principle on which we have begun. Commencing with that in which we are to work by contrast: the vertical crags must be the
