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the front of a regular building; because, 

 Avhere that displays correspondent parts, 

 if the lines in contact do not also corre- 

 spond, the house itself will appear twisted 

 and awry. Yet this degree of symmetry 

 ought to go no farther than a small dis- 

 tance from the house, and should be con- 

 fined to such objects as arc confessedly 

 the works of art, for the use of man ;' such 



< " In forming plans for embellishing a field, an 

 '^ artist without taste employs straight lines, circles, 

 " and squares, because these look best upon paper. 

 " He perceives not, that to humour and adorn nature 

 " is the perfection of his art, and that nature, neglect- 

 " ing regvalarity, distributes her objects in great variety 

 " with a bold hand. (Some old gardens were disposed 

 " like the human frame, dleys like legs, and arms 

 " answering each other, the great walk in the middle 

 " representing the trunk of the body.) Nature indeed, 

 " in organized bodies comprehended under one view, 

 " studies regularity, which, for the same reason, ought 

 " to be studied in architecture. But in large objects, 

 " which cannot be surveyed but in parts and by suc- 

 " cession, regularity and uniformity would be useless 

 " properties, because they cannot be discovered by the 

 " eye. Nature therefore, in her large works, neglects 

 " these properties, and in copying nature the artist 

 " ought to neglect them." 



Lord Ka'ims Elements of Criticism. 



