mum of the great curve, to restore the balance), join r q, s b, and we have another modification of the same beautiful form. This may be done in either side of the building, but not in both. Then, if the flat roof be still found monotonous, it may be interrupted by garret windows, which must not be gabled, but turned with the curve a b, whatever that may be. This will give instant humility to the building, and take away any vestiges of Italian character which might hang about it, and which would be wholly out of place. The windows may have tolerably broad architraves, but no cornices; an ornament both haughty and classical in its effect, and, on both accounts, improper here. They should be in level lines, but grouped at unequal distances, or they will have a formal and artificial air, unsuited to the irregularity and freedom around them. Some few of them may be arched, however, with the curve a b, the mingling of the curve and the square being very graceful. There should not be more than two tiers and the garrets, or the building will be too high.
So much for the general outline of the villa, in which we are to work by contrast. Let us pass over to that in which we are to work by assimilation, before speaking of the material and color which should be common to both.
The grand outline must be designed on exactly the same principles; for the curvilinear proportions, which were opposition before, will now be assimilation. Of course, we do not mean to say that every villa in a hill country should have the form a b c d; we should be tired to death if they
