t glance out here and
there among the trunks of near trees, just enough to show where it
flows; then break into an open swell of water, just where it is widest,
or where the shore is prettiest. Have we mountains? their peaks must
appear over foliage or through it, the highest and boldest catching the
eye conspicuously, yet not seen from base to summit, as if we wanted to
measure them. Such a prospect as this is always compatible with as much
concealment as we choose. In all these pieces of management, the
architect's chief enemy is the vanity of his employer, who will always
want to see more than he ought to see, and than he will have pleasure in
seeing, without reflecting how the spectators pay for his peeping.

229. So much, then, for position. We have now only to settle the
questions of form and color, and we shall then have closed the most
tiresome investigation which we shall be called upon to enter into;
inasmuch as the principles which we may arrive at in considering the
architecture of defense,[51] though we hope they may be useful in the
abstract, will demand no application to native landscape, in which,
happily, no defense is now required; and those relating to sacred
edifices will, we also hope, be susceptible of more interest than can
possibly be excited by the most degraded branch of the whole art of
architecture, one hardly worthy of being included under the name--that,
namely, with which we have lately been occupied, whose ostensible object
is the mere provision of shelter and comfort for the despicable shell
within whose darkness and corruption that purity of perception to which
all high art is addressed is, during its immaturity, confined.

[Footnote 51: [Referring again to the intended sequel.]]

230. There are two modes in which any mental or material effect may be
increased--by contrast, or by assimilation. Supposing that we have a
certain number of features or existences under a given influence; then,
by subjecting another feature to the same influence, we increase the
universality, and therefore the effect, of that influence; but by
introducing another feature, _not_ under the same influence, we render
the subjection of the other features more palpable, and therefore more
effective. For example, let the influence be one of shade, to which a
certain number of objects are subjected. We add another feature,
subjected to the same influence, and we increase the _general
impression_ of shade; we add th