Proportion of rooms.

Different kinds of contrast.

simple

form.

top of the stairs at g and h, where you ascend a second and narrower flight.

82. The proportion of rooms in cases where the dimensions very much vary, is often attended with some difficulty; for if the larger rooms are made of a proper height, the smaller will be too high; this, however, is a practical consideration, which scarcely belongs to these essays.

83. In distribution of all kinds we should attend to the different kinds of contrast as much as we did in the mere diathesis of a style. In fig. c.* the contrast of position is only discoverable in the roof at a and b; it is much more observable in fig. CXVII., there occurring twice.

Contrast of 84. The contrast of general or simple form does not occur in the distribution of fig. cIII.* though it might easily be introduced by making the portico circular; this, however, might, in this particular case, be considered as deficient in dignity; it is at all events optional. Figures xcv. and XCVII. exhibit it perhaps more appropriately.

Contrast of ornamental form.

85. The contrast of ornamental form, strictly speaking, can hardly occur in a distribution; (see essay 4, sect. 66, and essay 6, sect. 38, &c. ;) for as distribution only regards whole styles, and not the parts of which they are composed, and as there is no style at present in use wholly composed of ornament, the contrast of ornamental form cannot exist in a distribution there is, however, something very like it in almost every complex distribution; for as ornament, as was observed in a former essay, is a concentrated

mode or system of concentrated modes of diathesis, every style which possesses more concentrated modes of diathesis than another, is more ornamental than, and will form a contrast with, such other style; and though this is allied to contrast of ornamental form, it might, perhaps, with more propriety, be called a contrast of complex form.

contrast.

86. Eurithmic contrast must frequently occur in Eurithmic distributions in fig. c.* it is in the ratio, or to use the Vitruvian phrase, in the analogy of one to four, or thereabouts; the eurithmic contrast of the portico is in the analogy of 3 to 4.

contrast.

87. Symmetric contrast has been treated of in sect. Symmetric 14; it will be seen, that in fig. CIII.*, some advantage is taken of the observations at the end of section 28, and 29, essay 5; it will be remarked also, that in this figure the extreme sections of the design are not squares; for their styles are so simple, that a further attention to simplicity was unnecessary.

of projec

88. The contrast of projection need not be pointed Contrast out, as the reader will at once fix on the portico as tion. exhibiting it in most of the designs existing.

89. As in former essays we have drawn some hints Nature. from the great guide of all artists, Nature, it may be necessary to remark, that in this essay it will in some measure fail us; for it is impossible in nature to draw any distinction between diathesis, and distributio; so that we must be content with the observations on nature made in the sixth essay.

of diathe

90. Distributio in Architecture, as was observed in Distributio sect. 6, not displaying its use, differs, as well from sis the

same in nature.

Superiority of na

ture.

Nature not similar in principle always to

art.

nature as from diathesis, which both eminently display it.

91. If in Architecture we would imitate nature, we must do away with complex distributions, we must adhere entirely to the old Grecian model, to the four-sided figure, in which alone we can insure parts, which entirely display their use: (vide section 7:) but perhaps it will not be denied, that, as Architecture cannot pretend to that endless and immeasurable variety of displayed usefulness, that belongs to nature, there may be some excuse for introducing a variety, which is not altogether so pure, and chaste, as it should be.

92. These considerations furnish additional proof, that Architecture in many instances, depends on principles either distinct from, or only partly derived from nature; and, though we cannot draw an analogy between them, nature may yet furnish useful hints. The most analogous thing to our present subject in nature, is the circumstance of all sorts of trees, houses, cattle, animals, scenery, occurring in the same landscape; and these, by the mere impossibility of their being arranged in mathematical order, furnish us with the idea, that the same discordant variety might be introduced into Architecture, if we only take care to have the contrasts as perfect, and complete, and separated by the same sufficiency of relief, and repose.

END OF THE SEVENTH ESSAY.