avoided in all buildings, and especially in positive and unmanageable tints.  It is difficult to imagine whence the custom of putting stone ornaments into brick buildings could have arisen; unless it be an imitation of the Italian custom of mixing marble with stucco, which affords it no sanction, as the marble is only distinguishable from the general material by the sharpness of the carved edges.  The Dutch seem to have been the originators of the custom; and, by the by, if we remember right, in one of the very finest pieces of coloring now extant, a landscape by Rubens (in the gallery at Munich, we think), the artist seems to have sanctioned the barbarism, by introducing a brick edifice, with white stone quoining.  But the truth is that he selected the subject, partly under the influence of domestic feelings, the place being, as it is thought, his own habitation, and partly as a piece of practice, presenting such excessive difficulties of color, as he, the lord of color, who alone could overcome them, would peculiarly delight in overcoming; and the harmony with which he has combined tints of the most daring force, and sharpest apparent contrast, in the edgy building, and opposed them to an uninteresting distance of excessive azure (simple blue country, observe), is one of the chief wonders of the painting:  so that this masterpiece can no more furnish an apology for the continuance of a practice which, though it gives some liveliness of character to the warehouses of Amsterdam, is fit only for a place whose foundations are mud, and whose inhabitants are partially animated cheeses,—­than Caravaggio’s custom of painting blackguards should introduce an ambition among mankind in general of becoming fit subjects for his pencil.  We shall have occasion again to allude to this subject, in speaking of Dutch street effects.

194.  Fourthly.  It will generally be found to agree best with the business-like air of the blue country, if the house be excessively simple, and apparently altogether the minister of utility; but, where it is to be extensive, or tall, a few decorations about the upper windows are desirable.  These should be quiet and severe in their lines, and cut boldly in the brick itself.  Some of the minor streets in the King of Sardinia’s capital are altogether of brick, very richly charged with carving, with excellent effect, and furnish a very good model.  Of course no delicate ornament can be obtained, and no classical lines can be allowed; for we should be horrified by seeing that in brick which we have been accustomed to see in marble.  The architect must be left to his own taste for laying on, sparingly and carefully, a few dispositions of well proportioned line, which are all that can ever be required.

195.  These broad principles are all that need be attended to in simple blue country:  anything will look well in it which is not affected; and the architect, who keeps comfort and utility steadily in view, and runs off into no expatiations of fancy, need never be afraid here of falling into error.