FRAGMENT VI. 



ON 



CASTLES. 



T 



een 



requently observed, that an Artist's fame must 

 depend on what he has written or designed, rather lhan on I he 

 imperfect manner in which his works have been executed. The 

 annexed sketch is a picturesque attempt to add a 



ous« 



and 



Garden to a romantic situation, near the head of a spring, which 



sp 



r 



ead 



s its waters through the whole course of a narrow but 



richly clothed valley. The old Mansion was so deeply placed 

 in the bottom, that the sun could never cheer it during 



winter montl 



prop 



ose 



i therefore, that a part of this old 

 building should remain as offices, and a new suite of rooms be 

 built on a higher level: and although it was deemed more ex- 

 pedient to add to the old house, 



this 



airy 



ca 



stle 



rose in 



my 



imagination; I will therefore avail myself of this imaginary 

 specimen to explain certain leading principles, for all of which 



bined I can refer to no 



b 



ular Gothic building 



uch 



as 



ruins; for although many attempts have recently 



othic Castles, yet the great 

 i effect of all Gothic edifices 



dern 



een made to produce mc 

 principle on which the picturesq 



* 



must depend, has too generally been overlooked: viz. irregii 

 larity of outline; first, at the top by towers, and pinnacles or 



himneys; secondly, in the outline of the faces or elevations, by 

 projections and recesses; thirdly, in the outline of the aperture" 

 by breaking the 



horizontal lines with win 



of different 



