RURAL ARCHITECTURE. 
349 
and the landscape painter are seldom combined in the same 
person, or are seldom consulted together. It is for this 
reason that we so rarely see a country residence, or cottage and 
its grounds, making such a composition as a landscape 
painter would choose for his pencil. But it does not seem 
difficult, with a slight recurrence to the leading principle 
of unity of expression, to suggest a mode of immediately 
deciding which style of building is best adapted to harmonize 
with a certain kind of scenery. 
The reader is, we trust, already familiar with our division 
of landscapes into two natural classes, — the Graceful, and the 
Picturesque, — and the two accordant systems of improvement 
in Landscape Gardening which we have based upon these 
distinct characters. Now, in order to render our buildings 
perfectly harmonious, we conceive it only to be necessary 
to arrange (as we may very properly do) all the styles of 
domestic architecture in corresponding divisions. 
Some ingenious writer has already developed this idea, 
and, following a hint taken from the two leading schools of 
literature and art, has divided all architecture into the Clas- 
sical and the Romantic schools of design. The Classical 
comprises the Grecian style, and all its near and direct off- 
spring, as the Roman, and Italian modes ; the Romantic 
school, the Gothic style, with its numberless variations of 
Tudor, Elizabethan, Flemish, and old English modes. 
It is easy to see, at a glance, how well these divisions 
correspond with our Graceful and Picturesque schools of 
Landscape Gardening, so that indeed we might call the 
Grecian, or Classical style the Graceful, and the Gothic ? 
or Romantic style, the Picturesque schools in architecture. 
In classical buildings, as in graceful landscape, we are 
led to admire simplicity of forms and outlines, purity of 
