By mixed figures, the architect is to understand those which are partly circular and partly angular. We have rejected the circular plan for a dwelling-house as a whole, in the note below: but the objection made against it in that respect, it must be considered, does not extend so far as to pronounce it useless when used in parts under a proper management. It is certain, that, in parts as well as in whole buildings, it is liable to the same objection of less room in the curving of the walls; but when the circle or semicircle makes any part of a building, this may be admitted with great effect. The light falls into the rooms but inconveniently from a circle; but there is really the same objection to the angular figures. Those stated in this respect being nearly equal, the architect should therefore consider the aspects, and these he will sometimes find in favour of the circular form. In the projecting parts of a house, such as the bay and bow-windows, if we examine them within, it is to be acknowledged the difference is in favour of the angular as to light, though on the outside the round projection has infinitely the advantage as to beauty: however, no one will acknowledge but that the round is the most graceful within. There is something pleasing in the angles of these projections in a building, but as they are generally parts of some polygonal figures, there is confusion; whereas in the round there is grace and beauty, and an idea of capacity as well as an appearance of solidity and strength: upon these principles, and in this limited use, the architect is to understand that mixed figures may be employed advantageously. The complete circles, or whole ellipses, are not fit for an entire building; but parts and segments of them may be introduced with great advantage, as for a bow-window in the centre of the front of a house, or a polygonal angular one at each end of the front. Hence we see mixed figures may be combined, and that parts of hexagons, octagons, decagons, and the like polygons may be introduced. Mixed figures in a plan being advantageously composed together, with caution and taste in their adoption, will certainly contribute to the beauty of the outline and to the whole building; but then caution is needful, or all will run into error. It is certain that variety is the source of great pleasure to the eye, yet conformity and harmony must be preserved in all buildings. If this were not to be observed as a strict rule, those mixed figures would produce confusion. Allowing for convenience on the plan, the architect is not bound to be so exact in the observance of every minor buildings, in preference to all others; but the objections against it are not to be surmounted. The rotund is the most capacious of all figures, the strongest of all, and of all, the most varied in its parts; this recommends it for holding much and enduring for ages, as we perceive by the Norman or feudal castles; as well as for uniformity, of which we must acknowledge no figure is more beautiful; therefore, if a greater capacity upon the smallest piece of ground, a prospect of decoration, as regularity and beauty, were all required in a house, this figure would be preferable to all others. The circular form as to a room, though destructive of regularity in the other rooms, in a private house to which it adjoins-as a public building it saves ground, prevents confusion, and cuts off useless corners. Beautiful in itself, it needs less decoration than plain surfaces—such are the amphitheatres and round temples; it is more capacious than angular forms of equal perimeter, and more commodious for an assembly, whether meant for private amusement or public worship. The rotund is the most expansive form, and of all figures, that which, though most space is contained within the area, must have much less room when divided into apartments for a dwelling-house; the curvature of the walls implies the necessity of this; and it is of all figures the very worst for a proper distribution of light, though it is the most beautiful as to form, in consequence of the eye not being checked. The ancients knew this objection as to light, and they guarded themselves accordingly; they nevertheless knew the capacity and beauty of a round figure, therefore far from rejecting it, they employed it sometimes for noble purposes. They knew the proper light for a circular figure must come from the top, and therefore they employed it for their Pantheon of heathen deities at Rome, which is a noble instance; but they also knew it was not a proper figure for a dwelling-house. This definition let the architect remember, and he will banish the rotund as a whole from convenient and regular dwelling-houses, and leave the entire scope of it to temples and other entire edifices of beauty; such, I mean, as those for gardens and parks. This also, let it be remembered, a rotund figure is fit only for such buildings as are to have no inner divisions. Having thus freely discussed the use of the circle we come to that of the ellipsis; this has been recommended also for unity, but it is liable to the same objections which stand against the circular figure. Of whatever extent the ellipsis may be, there will be the same want of propriety, for this is nothing more than an elongated globe with its sides flattened.—(R. B.) part, nevertheless he must not offend without reason. A cautious mixture of right and curved lines may here be allowed, they will be a source of pleasure and of feeling, and taste will dictate their adjustment; they will also allow the genius of the architect room to display itself, but the restraint of judgment must be exercised over it to prevent the excess which might otherwise possibly occur by this mixture of figures. Thus the architect by proper regulation may vary the plans without end or limitation, and yet preserve in every one of them a perfect regularity of parts; this will employ the extent of his mind, and he will always please best who shall be most able on every occasion to give in different designs for the same site, and every one of them under the recommendation of something new. The eye dislikes an extended sameness of building as much as it disapproves of other objects. It is therefore the business of the man of science and of taste to take off the tediousness of that universal similitude, by introducing from this large source those objects of variety which reason allows fancy to adopt. It is possible that the parts of an edifice, though different in themselves, may correspond well with one another; the only objection here would be the variation being made too great and the transition too sudden. This must be avoided, and under that limitation all will be agreeable, and he who shall be able to introduce this into his design, will find he has united these seeming contradictions: there will be variety in the parts, and yet fitness and uniformity in the whole building. The excess of extravagance of sudden variation is what the architect in this case is to avoid ; indeed, it is not the variation, but the great degree of variations, that is the fault in buildings. Here then is the latitude the architect is to observe; and in combining and arranging his figures, he will consider the cube not much to his purpose; on the other hand, he will find the oblong square of all others most favourable and perfect in respect of convenience; but from its too great simplicity he will be induced to vary the outline: this he is to do by the use of obtuse angles and curved figures, which, though when they are entire, are by no means fit for a dwelling-house, yet may be thus admitted and combined with advantage. Sir Henry Wotton, in his little Tract on Architecture, has made some objections to polygons, and mentions an instance of the pentagon being brought into practice by Baroccio in the palace of the Farnese at Capriola. In this there is a circle inscribed within the polygon, and that great architect has acquitted himself very happily in his contrivances for disposing of the light and saving vacuities; but that is a structure rather to be admired than recommended for imitation. Indeed, all that we can see there, is how a great architect may get over the inconveniences of such figures, and so far it may be of use to know, that, if a gentleman should have a mind to build on such a plan, the architect can manage it; this, however, is no more than making for a building the best of a bad figure; yet he must be very unwise who would wilfully place himself in such difficulties.* * The sections of the sphere cut in every possible way, should be studied by the young architect, for domes, over buildings, halls, vestibules, &c.—(Author.) 256 EXEMPLARS OF THE VARIOUS STYLES. PLATES IV.—V. A COTTAGE Ornée. "Far from the city I reside, And a thatch'd cottage all my pride, For foreign visits then begin, When the man feels a void within."-DR. COTTON. This English rustic ornate cottage is designed and appropriated for a small and retired family, of moderate income, and rural habits. Now, where the scenery is picturesque, and the cottage is embosomed in trees, (which it should be,) the house will require to be composed of irregular and diversified parts; the summits of the masses to be various, of unequal height, and playful and angular forms of different magnitudes and projections; some of which parts are to be seen entire, whilst others are partially hid by overhanging branches of trees, or enwrapped in ivy climbing over the roof, and up the chimney shafts, or otherwise hanging in festoons. Over the entrance porch, the dorma-windows and half-heaped gables of the cottage, Virginia creepers and honeysuckles may be intermixed and entwined to diversify the colours. Now, wherever there is a want of interest in the outline, or vacuity in the composition, some tree or rising hill in the background being essential to fill up the chasm, this deficiency may be contrasted either by dorma-windows in the roof, or by a cluster of chimney-shafts carried up, between each of which shafts a light should be made to pass through. The roof to a cottage ornée should be either wholly heaped at the ends, or partly so with half gables; in the front or back of the same may be dorma-windows, with pediments, and in the walls below polygonal bay-windows, and a projecting rustic porch, the roof being diversified in its outline against the sky by chimney-shafts carried up diagonal-wise. All these constitute a picturesque tout ensemble, and are the chief characteristics of a sylvan cottage ornée; and this picturesque effect should be observed in every essential point of view. The awning shown in the annexed plate is designed for a shady piazza, or shelter against the summer heat; here the occupant may take his exercise, read, and meditate quietly, or with his family sit on rustic seats and enjoy the beauties of nature which surround their dwelling. Such an appropriate appendage as the awning to the rustic cottage is most properly formed of trunks of unbarked trees, surmounted with a tasteful Chinese cornice above, (from which those objects had their origin,) scallopped and ornamented with raised points or small knobs, and below, at the eaves, with banner ornaments. The trunks or rough columns should have Virginia creepers with sweet Clematis, and China roses planted near them, to which they will climb and grow up; thus forming a most delightful, fragrant, and rural bower. The barge boards attached to the horizontal eaves and pediments are to be formed of oak; the racking ones scalloped in cuspwork, with pendents and pinnacles at the lowest end, and at the apex of each. Sometimes a round cylindrical branch ornament is introduced along the eaves, which has a beautiful effect when enriched in the concave parts with trefoil leaves. The cottage ornée should always be erected on a foundation of stone, rising above the ground to about three feet; the superstructure may be formed and framed with crooked oak, and lathed and plastered between the studs, and the |