Page:The Poetry of Architecture.djvu/161

Rh of petty exultation, which, from its very nature, will give liberty to the light fancy, rather than the deep feeling, of the mind. It is not thought necessary to bestow labour of thought, and periods of deliberation, on one of the toys of life; still less to undergo the vexation of thwarting wishes, and leaving favourite imaginations, relating to minor points, unfulfilled, for the sake of general effect.

This feeling, then, is the first to which we would direct attention, as the villa architect's chief enemy: he will find it perpetually and provokingly in his way. He is requested, perhaps, by a man of great wealth, nay, of established taste in some points, to make a design for a villa in a lovely situation. The future proprietor carries him upstairs to his study, to give him what he calls his "ideas and materials," and, in all probability, begins somewhat thus:—"This, sir, is a slight note: I made it on the spot: approach to Villa Keale, near Pozzuoli. Dancing nymphs, you perceive; cypresses, shell fountain. I think I should like something like this for the approach: classical, you perceive, sir; elegant, graceful. Then, sir, this is a sketch, made by an American friend of mine: Whee-whaw-Kantamaraw's wigwam, king of the—Cannibal Islands, I think he said, sir. Log, you observe; scalps, and boa constrictor skins: curious. Something like this, sir, would look neat, I think, for the front door; don't you? Then, the lower windows, I've not quite decided upon; but what would you say to Egyptian, sir? I think I should like ray windows Egyptian, with hieroglyphics,