A house extended in length may be objectionable in many situations, but when built on the side of a hill, if the ground rises boldly behind it, the objection to it, as a single house, is removed. Where a house, like that at GARNONS, by its situation and southern aspect, will constantly be a marked feature from the surrounding country, presenting only one front embosomed in wood, that front should be so extended as to distinguish the site of the mansion with adequate importance. In such a situation, it would be difficult to produce the same greatness of character by a regular Grecian edifice, that will be effected by the irregularity of outline in the proposed house, offices, and stables; and, in defence of this picturesque style, I shall take the liberty to transcribe, in a note, ** the following very judicious remarks of R. L. Girardin Viscomte d'Ermenonville.
**["C'est par une suite de cet usage de voir et d'entendre par les yeux et les oreilles de l'habitude, sans se rendre raison de rien, que s'est etablie cette maniere de couper sur le meme patron la droite et la gauche d'un batiment. On appelle cela de la symetrie; Le Notre l'a introduite dans les jardins, et Mansard dans les batiments, et cequil y a de curieux, c'est que lorsqu'on demande a quoi bon? aucun expert Jure, ne peut le dire; car cette sacree symetrie ne contribue en rien a la solidite, ni a la commodite des batiments, et loin qu'elle contribue a leur agrement, il n'y a si habile peintre, qui puisse rendre supportable dans un tableau un batiment tout plattement symetrique. Or, il est plus que vraisemblable que si la copie est ressemblante et mauvaise, l'original ne vaut gueres mieux, d'autant qu'en general tous les desseins de fabriques font plus d'effet en peinture qu'en nature." "C'est done l'effet pittoresque qu'il faut principalement chercher, pour donner aux batiments le charme par lequel ils peuvent seduire et fixer les yeux. Pour y parvenir, il faut d'abord choisir le meilleur point de vue pour developper les objets; et tacher, autant qu'il est possible, d'en presenter plusieurs faces." "C'est a donner de la saillie, et du relief a toutes les formes, par l'opposition des renfoncemens, et par un beau contraste d'ombre et de lumiere, c'est dans un juste rapport des proportions, et de la convenance avec tous les objets environnans, qui doivent se presenter sous le meme coup d'ﾜil; c'est a bien disposer tous les objets sur differens plans, de maniere que l'effet de la perspective semble donner du movement aux differentes parties dont les une paroissent eclairees, les autres dans l'ombre; dont les unes paroissent venir en avant, tandis que les autres semblent fuir; enfin c'est a la composer de belles masses dont les ornements et les details ne combattent jamais l'effet principal, que doit s'attacher essentiellement l'architecture. "Les anciens l'avoient si bien senti, qu'ils ne se sont jamais occupees dans leur constructions, que de la grande masse, de maniere que les plus precieux ornements sembloient se confondre dans l'effet general, et ne contrarioient jamais l'objet principal de l'ensemble, qui annoncoit toujours au premier coup d'ﾜil, par son genre et ses proportions, le caractere et la destination de leur edifices.
["It is in consequence of this habit, of seeing and hearing with the eyes and ears of custom and prejudice, without considering the reason of anything, that the practice of designing the right and left of a building to the same pattern has arisen. This is called symmetry; Le Notre introduced it in gardens, and Mansard in buildings; and what is singular is, that if any one asks to what purpose is it so? no adept in the art can tell; for this detestable symmetry contributes, in no degree, either to the solidity or convenience of the buildings: and so far is it from contributing to their beauty, that there is no painter, however skilful he may be, who can render a building, insipidly symmetrical, tolerable in a picture. Now, it is more than probable, that if the copy, though a good likeness, be bad, the original is no better,- inasmuch as, in general, all drawings of buildings have more effect in a painting than in nature. It is picturesque effect that must principally be sought for, in order to give to buildings the charm necessary to attract and rivet the eye. For this purpose a point of view should be chosen, which appears the best for shewing all the objects; and the building should be so contrived as to present as many sides as possible at once. It is in giving prominence and relief to the principal forms, by the opposition afforded by the others, and by a fine contrast of shade and light; it is in an accurate adjustment of the proportions of the buildings to those of the surrounding objects, which will be seen in the same coup d'ﾜil; it is in placing the objects on different levels, so that the effect of the perspective may seem almost to give movement to the different parts, of which some will appear in strong light, and others in the shade, some will be brought prominently forward, and others seem as though retiring; in short, it is in composing beautiful masses, of which the ornaments and details never interfere with the principal effect, that the great art of architecture consists. The ancients understood this so well, that, in their buildings, the general mass only was taken into consideration, so that the most costly ornaments seemed to be absorbed in the general effect, and were never at variance with the principal object of the whole, which always announced, at first sight, by its style and proportions, the character and destination of their edifices."]]
