ourse we are not thinking of interior
convenience: the architect must establish his mode of beauty first, and
then approach it as nearly as he can.) This angle will generally be very
obtuse; and this is one reason why the Swiss cottage is always beautiful
when it is set among walnut or chestnut trees. Its obtuse roof is just
about the true angle. With pines or larches, the angle should not be
regulated by the form of the tree, but by the slope of the branches. The
building itself should be low and long, so that, if possible, it may not
be seen all at once, but may be partially concealed by trunks or leafage
at various distances.

90. For the color, that of wood is always beautiful. If the wood of the
near trees be used, so much the better; but the timbers should be
rough-hewn, and allowed to get weather-stained. Cold colors will not
suit with green; and, therefore, slated roofs are disagreeable, unless,
as in the Westmoreland cottage, the gray roof is warmed with lichenous
vegetation, when it will do well with anything; but thatch is better. If
the building be not of wood, the walls may be built of anything which
will give them a quiet and unobtruding warmth of tone. White, if in
shade, is sometimes allowable; but, if visible at any point more than
200 yards off, it will spoil the whole landscape. In general, as we saw
before, the building will bear some fantastic finishing, that is, if it
be entangled in forest; but, if among massive groups of trees, separated
by smooth sward, it must be kept simple.

91. II. The Cultivated, or blue, Country. This is the rich champaign
land, in which large trees are more sparingly scattered, and which is
chiefly devoted to the purposes of agriculture. In this we are
perpetually getting blue distances from the slightest elevation, which
are rendered more decidedly so by their contrast with warm corn or
plowed fields in the foreground. Such is the greater part of England.
The view from the hills of Malvern is a good example. In districts of
this kind, all is change; one year's crop has no memory of its
predecessor; all is activity, prosperity, and usefulness: nothing is
left to the imagination; there is no obscurity, no poetry, no nonsense:
the colors of the landscape are bright and varied; it is thickly
populated, and glowing with animal life. Here, then, the character of
the cottage must be cheerfulness; its colors may be vivid: white is
always beautiful; even red tiles are allowable,