and the
influence of destruction, of distortion, of torture, to speak strongly,
must be evident in their every line. We free the building from this
influence, and give it repose, gracefulness, and ease; and we have a
contrast of feeling as well as of line, by which the desirable
attributes are rendered evident in both objects, while the _duration_ of
neither energy being allowed, there can be no disagreeable effect upon
the spectator, who will not shrink from the terror of the crags, nor
feel a want of excitement in the gentleness of the building.

242. Secondly, Solitude is powerful and evident in its effect on the
distant hills; therefore the effect of the villa should be joyous and
life-like (not flippant, however, but serene); and, by rendering it so,
we shall enhance the sublimity of the distance, as we showed in speaking
of the Westmoreland cottage; and, therefore, we may introduce a number
of windows with good effect, provided that they are kept in horizontal
lines, and do not disturb the repose which we have shown to be
necessary.

These three points of contrast will be quite enough: there is no other
external influence from which we can free the building, and the
pervading energy must be communicated to it, or it will not harmonize
with our feelings; therefore, before proceeding, we had better determine
how this contrast is to be carried out in detail.

243. Our lines are to be horizontal; then the roof must be as flat as
possible. We need not think of snow, because, however much we may slope
the roof, it will not slip off from the material, which, here, is the
only proper one; and the roof of the cottage is always very flat, which
it would not be if there were any inconvenience attending such a form.
But, for the sake of the second contrast, we are to have gracefulness
and ease, as well as horizontality. Then we must break the line of the
roof into different elevations, yet not making the difference great, or
we shall have visible verticals. And this must not be done at random.

[Illustration: Fig. 14. Leading lines of Villa-composition.]

244. Take a flat line of beauty, _a d_, fig. 14, for the length of the
edifice. Strike _a b_ horizontally from _a_, _c d_ from _d_; let fall
the verticals, make _c f_ equal _m n_, the maximum; and draw _h f_. The
curve should be so far continued as that _h f_ shall be to _c d_ as _c
d_ to _a b_. Then we are sure of a beautifully proportioned form. Much
variety may be i