li'2U COTTAGE, FARM, AND VILLA ARCHITECTURE. and doors, are omitted. It must be clear to our readers that this is in the very worst taste : as bad as it would lie in a lady to wear a peail necklace and diamond tiara with ihe costume of a kitchen-maid. A number of the Designs in this volume, when tested by this principle, will be found sadly deficient. Let the reader turn to them, and exercise his critical skill ; he will gain far more in doing so, than if we had presented him with a series of faultless objects ; for we are convinced, with Wood, that the young Architect will learn much more by the discovery of faults, and their causes, than by the mere admiration of beauties. As afFordmg much valuable instruction on this subject, we would strongly recommend the young Architect to consult Quatremere de Quin- cy's Essai sur l' Imitation, and the Preface to Percier and Fontaine's Decorations Interieures. 2219. Character, in Architecture, as in physiognomy, is produced by the prevalence of certain distinctive features, by which a countenance, or a building, is at once distinguished from every other of the same kind. Hence, numbers of buildings, like numbers of human beings, may exist without exhibiting any marked character. On the other hand, there may be edifices, which, from their general proportions being exalted, and from all their parts being justly distributed, exhibit what is analogous to nobleness of character : edifices having, as a conspicuous feature, a form not common in Architectiu'e, will assume a character of singularity ; others, having a common form placed in an un- common position (such as a large window in a spire, or, as is the case in some of Sir John Vanbrugh's buildings, and in the offices of one of the houses at the north-west corner of Belgrave Square, a doorway introduced in the parapet to a roof), will appeiir to possess a character of extravagance or caprice. In general, whatever is productive of character in a building must be conspicuous and distinctive ; and it should rather consist of one than of many features. 2220. Novelty. In all arts, novelty is a source of pleasure ; because every new object that is presented to the mind excites it to action ; and the mind of man, to be kept in a healthy state, requires exercise as well as his body. The effect of novelty can be felt by the most ignorant and also by the most learned observer ; and, though it has been customary for critics to rail at it under the denominations of fasliion and innovation, yet nothing can be more certain than that this quality is what all artists are in pursuit of, in connec- tion with other kinds of excellence. It is equally certain that this incessant desire for novelty has been the cause of great departures from pi'opriety of design in all the arts ; and, therefore, though the artist ought to be unceasing in liis endeavours to attain it, he ought never to indulge in novelties which are in opposition to what are considered established principles. Precepts and rules, however, are subordinate to principles ; and a precept or a custom may be departed from for the sake of novelty, provided that in so doing no infringement be made on such principles as those of fitness, utility, or propriety. For example, it would be a novelty, in the elevation of a house, to have the windows broader at bottom than at top, or circular at bottom as well as at top ; but, the unfitness of these forms for the application of window-shutters, and other ordinary purposes, would occasion the innovation to be instantly condemned, when examined by the principle of fitness. It would be a novelty, in this country, to connect the different apartments of a house by means of outside stairs and balconies, as in Switzerland ; or to have the kitchen in the attics, as in Italy ; but these innovations would be objected to in Britain, on the principle of unsuitablencss for use. A window used as a door, and a door used as a window, are also objectionable, from the obvious want of propriety in their application. The attempts at novelty, which have ended in absurdities, have been much more numerous in the interior and furnishing of houses, than those which have been made in exterior elevations : the chief reason is, that the interior finishing and furniture of a liouse are mucli more frequently changed and remodelled than the house itself j less care and skill are bestowed upon them, and less exertions are made to procure the opinion of Architects of taste (as we have before recommended), on every change, however small. As examples of bad taste, resulting from a desire of novelty without regard to con- sistency, we may mention, that of graining wood with blue veins, blue being a colour never found in nature in the interior of timber ; and that of reversing the positions of the vase and the sarcophagus when placed under sideboards as wine-coolers, thus converting some of the most beautiful forms of antiquity into the clumsiest and most inexpressive shapes. Yet, we have seen both these examples of bad taste perpetrated in the houses of wealthy Londoners. The great aim of the artist ought to be to create, and that of the critic to search for, the union of novelty with other beauties, without any greater innovation of established rules than is consistent with fundamental principles. For example, let the artist introduce a new style of Architecture and furniture, if he can ; but, in doing so, let him never violate tlic principles of unity and harmony. Let him introduce a new description of porch or chimney top ; but let the one always be a protection to a door, and the other afford a favourable outlet to smoke. One of the
