If 6 ARCHITECTURE. BOOK I. 



tion of masses and towers of different forms and sizes, and plac- 

 ing them at different distances from each other : in the parts, by 

 introducing similar varieties and contrasts, as projecting, cir- 

 cular, or bay-windows, among common or simple forms ; chim- 

 ney tops of different heights and shapes, &c. In the cornices, 

 it is effected by introducing sharp or angular, among round 

 mouldings, as in those in the Grecian style. The great art in 

 harmony is, to avoid discord and incongruity ; the former is 

 produced by the introduction of too violent oppositions, the 

 latter by repeating lesser oppositions too frequently. The irre- 

 gular Gothic style is much more capable of harmony than the 

 Grecian, which is chiefly adapted for uniformity and variety. 

 The greatest excellence in an architect is to have a delicate per- 

 ception and accurate knowledge of harmony; to be able to 

 distinguish it from variety ; and to know when the one should 

 give way to the other. In most buildings in the low styles, 

 harmony should never be attempted, variety is sufficient ; har- 

 mony destroys simplicity, which in this class of buildings ought 

 always to be the characteristic. Nevertheless, we see this ex- 

 quisite beauty attempted and prostituted in cottages, stables, 

 and almost every other low building. The general excuse is, 

 that the proprietor wished something uncommon; but this 

 is no reason for deviating from simplicity. It is, in fact, the 

 incapacity of the architect. There is a wide difference between 



