Theory and Practice 213 



habitation. But an architect will aim at something 

 higher; he will add to the internal convenience, not 

 merely external beauty but external propriety and char- 

 acter ; he will aim not only to make a design perfect in 

 itself but perfect in its application. 



Where the lawn, the woods, the water, the whole 

 place, and the general face of the surrounding country 

 are on so extensive a scale the only means of preserv- 

 ing the same character is by extending the plan of the 

 house also. How can this be eifected unless we adopt 

 the Gothic style of architecture ? In Grecian or modern 

 buildings it has been considered an essential part of 

 the plan to conceal all the subordinate appendages of 

 the mansion, such as the stables, the offices, the garden- 

 walls, etc.; and why? Because they neither do nor can 

 partake of the character of the house; and the only 

 method by which this extension of site is usually ac- 

 quired in a Grecian building is by adding wings to the 

 house. Thus the same mistaken principle obtains and 

 is considered material, for it is a part of the duty of 

 these wings to conceal the offices. But if continuity be 

 an essential cause of the sublime, if extension be an 

 essential cause of magnificence, whatever destroys con- 

 tinuity weakens the sublime, and whatever destroys 

 extension lessens magnificence; therefore, as the offices 

 and courtyards attached to a house are generally five 

 times more extensive than the house itself, where 

 magnificence is the object, why neglect the most effect- 

 ual means of creating it ? viz. continuity and extension, 

 blended with unity of design and character; or, in other 

 words, when it is desirable to take advantage of every 

 part of the buildings, why conceal five parts in six of 

 them? 



If the truth of this principle be allowed, I trust the 



