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THE POETRY OF ARCHITECTURE.

had: but we bring forward that form, as an example of the agreeable result of the principles on which we should always work, but whose result should be the same in no two cases. A modification of that form, however, will frequently be found useful; for, under the depression h f, we may have a hall of entrance and of exercise, which is a requisite of extreme importance in hill districts, where it rains three hours out of four all the year round; and under c d we may have the kitchen, servants' rooms, and coach-house, leaving the large division quiet and comfortable.

Then, as in the curved country there is no such distortion as that before noticed, no such evidence of violent agency, we need not be so careful about the appearance of perfect peace, we may be a little more dignified and a little more classical. The windows may be symmetrically arranged; and, if there be a blue and undulating distance, the upper tier may even have cornices; narrower architraves are to be used; the garrets may be taken from the roof, and their inmates may be accommodated in the other side of the house; but we must take care, in doing this, not to become Greek. The material, as we shall see presently, will assist us in keeping unclassical; and not a vestige of column or capital must appear in any part of the edifice. All should be pure, but all should be English; and there should be here, as elsewhere, much of the utilitarian about the whole, suited to the cultivated country in which it is placed.