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the sublime, and whatever destroys extension lessens magni-
ficence; therefore as the offices and court-yards attached to a
house, are generally five times more extensive than the house
itself: where magnificence is the object, why neglect the most
effectual means of creating it? viz. continuity and extension,
blended with unity of design and character: or, in other words,
when it is desirable to take advantage 'of every part of the build-
ings, why conceal five parts in six of them?
If the truth of this principle be allowed, I trust the propriety
of its application will be obvious, and for its effect I appeal to
the following sketch, where both the actual size of the house,
and its comparative proportion to the surrounding scenery, are
correctly ascertained.
However pleasing these representations may appear, I should
consider myself as having planned a " castle in the air," unless
it should be proved that this design is not only practicable, but
that it actually contains no more building than is absolutely
necessary for the purposes of modern habitation. By the plan
it appears to contain,
1. A Gothic hall, for the sake of ancient grandeur, but
leading through a passage lower than the rooms, for the sake
of not depressing their comparative height. The hall and pas-
sages should be rather dimly lighted by painted glass, to impress
a degree of gloom   essential to grandeur, and to render the
entrance into the rooms more brilliant and cheerful.
This, it may be objected, is in character with those houses
which GRAY describes as having
"Windows that exclude the light,
"And passages that lead to nothing."
2E