made, there will be no difficulty in distinguishing between their expressions, which we shall therefore leave to conjecture.  The character of A depends upon the softness with which the light is caught upon its ornaments, which should not have a single hard line in them; and on the gradual, unequal, but intense, depth of its shadows.  B should have all its forms undefined, and passing into one another, the touches of the chisel light, a grotesque face or feature occurring in parts, the shadows pale, but broad[36]; and the boldest part of the carving kept in shadow rather than light.  The third should be hard in its lines, strong in its shades, and quiet in its ornament.

[Footnote 35:  [Though not in this order.  C is the intellectual window; B, the imaginative one.]]

[Footnote 36:  It is too much the custom to consider a design as composed of a certain number of hard lines, instead of a certain number of shadows of various depth and dimension.  Though these shadows change their position in the course of the day, they are relatively always the same.  They have most variety under a strong light without sun, most expression with the sun.  A little observation of the infinite variety of shade which the sun is capable of casting, as it touches projections of different curve and character, will enable the designer to be certain of his effects.  We shall have occasion to allude to this subject again. [See Seven Lamps of Architecture, III. 13, 23.]]

[Illustration:  Fig. 13.  Windows.]

181.  These hints will be sufficient to explain our meaning, and we have not space to do more, as the object of these papers is rather to observe than to advise.  Besides, in questions of expression so intricate, it is almost impossible to advance fixed principles; every mind will have perceptions of its own, which will guide its speculations, every hand, and eye, and peculiar feeling, varying even from year to year.  We have only started the subject of correspondence with individual character, because we think that imaginative minds might take up the idea with some success, as furnishing them with a guide in the variation of their designs, more certain than mere experiment on unmeaning forms, or than ringing indiscriminate changes on component parts of established beauty.  To the reverie, rather than the investigation, to the dream, rather than the deliberation, of the architect, we recommend it, as a branch of art in which instinct will do more than precept, and inspiration than technicality.  The correspondence of our villa architecture with our natural scenery may be determined with far greater accuracy, and will require careful investigation.

We had hoped to have concluded the Villa in this paper; but the importance of domestic architecture at the present day, when people want houses more than fortresses, safes more than keeps, and sculleries more than dungeons, is sufficient apology for delay.

OXFORD, August, 1838.