Page:An Encyclopædia of Cottage, Farm, and Villa Architecture and Furniture.djvu/92

 G8 COTTAGE, FARM, AND VILLA ARCHITECTURE. walla from the platform to the roof, give a certain expression of dignity to the exterior of this dwelling which every one must feel. But this ex- pression is sadly counteracted by the mean, crouching appearance of the thatched roof, which, both as regards the material of which it is made, and the form in which it is disposed, is altogether unsuitable for the walls. In general, the truncated gable ends, such as are seen over the entrance- door, and at both ends of this cottage, convey the idea of imperfection of form, of restricted resources, and of meanness and lameness of character. If we suppose the pediment of the gable ends completed, even though the building continued H" to be covered with thatch, the effect (fig. 112) will be superior, and will leave much less to be wished for. But still the expression of a thatched cottage, as such cottages are gene- rally seen and formed in Britain, is not complete ; the walls continue to be too high, and the roof too low in the pitch, or not sufficiently steep on the sides ; that is, the proportion be- tween the walls and roof to which we are accustomed is violated. Lower the walls, and increase the surface of the roof, as in fig. 113, and the proportion is restored, the eye satisfied, and the ex- pression of a thatched cottage jj^ comparatively complete. Let it not be supposed, however, that we prefer these proportions to those given in fig. 112 with a view to the principle of use; but for the sake of maintaining the beauty of style, we would, with windows of these proportions, introduce the Italian or Grecian roof of low pitch, similar to that of Design XV, Cottages with truncated gable ends, and with roofs, sometimes thatched and. sometimes of slates, seem to be much approved of by many British architects ; and many of them have not only been built, but several Designs in this manner have been pub- 115 lisbed. We have no doubt they pleased at the time of their first introduction, from the no- velty of the form, and they still please some ; but we doubt much if the pleasure they communicate will stand the test of time. There is scarcely any architectural land- scape painter who, if he were left to his free choice, would introduce Design XVI. into his composition in preference to fig. 113; at the same time we