2 A RT 1 1 T o ARCHITECTURE. 105 



strong contrasts to the works of nature. Thus, when the trees 

 are spiry, it is said that Grecian buildings, the masses of which 

 extend chiefly in breadth, ought to be adopted; and when 

 they are round, Gothic buildings, with towers and perpendicu- 

 lar lines, ought to be contrasted with them*. Upon similar 

 principles, in romantic scenery, fine edifices of exotic architec- 

 ture are introduced, with a view to contrast with the natural 

 irregularity and wildness of the scene. These ideas arise from, 

 a superficial view of nature, and from not distinguishing be- 

 tween contrasts and oppositions. A little farther inquiry will;- 

 convince us, that contrasts so sudden as these are not to be 

 found in general nature. Accidental contrasts in weather, for. 

 example, are sometimes striking, as in thunder and snow ; but 

 even then, they are preceded by prognostications which pre- 

 pare the mind for what is to follow. In ordinary weather,, the > 

 most powerful oppositions are united, but in a manner which - 

 never occasions the smallest tendency to discord. Thus light, 

 and darkness are opposites, which are united by nature in the 

 most harmonious manner, by the gradual appearance and de- 

 cline of the sun, and by the morning and evening twilight. 

 Strong contrasts, (either in forms or colours as in music), al- 

 ways produce discordant and disagreeable impressions on the 

 mind; while harmony, which is divided from it by thin parti- 

 tions, excites those grateful sensations of pleasure which are~ 



* See Repton's Observations on Landscape Gardening, &c~ 



