nce. For in this
they must differ from the site of the cottage, that the peasant may seek
for protection under some low rock or in some narrow dell, but the villa
must have a domain to itself, at once conspicuous, beautiful, and calm.

[Footnote 15: There are two kinds of winter avalanches; the one, sheets
of frozen snow sliding on the surface of others. The swiftness of these,
as the clavendier of the Convent of St. Bernard told me, he could
compare to nothing but that of a cannon ball of equal size. The other is
a rolling mass of snow, accumulating in its descent. This, grazing the
bare hill-side, tears up its surface like dust, bringing away soil,
rock, and vegetation, as a grazing ball tears flesh; and leaving its
withered path distinct on the green hill-side, as if the mountain had
been branded with red-hot iron. They generally keep to the same paths;
but when the snow accumulates, and sends one down the wrong way, it has
been known to cut down a pine forest, as a scythe mows grass. The tale
of its work is well told by the seared and branded marks on the hill
summits and sides.]

105. As regards the form of the cottage, we have seen how the
Westmoreland cottage harmonized with the ease of outline so conspicuous
in hill scenery, by the irregularity of its details; but, here, no such
irregularity is allowable or consistent, and is not even desirable. For
the cottage enhances the wildness of the surrounding scene, by
sympathizing with it; the villa must do the same thing, by contrasting
with it. The eye feels, in a far greater degree, the terror of the
distant and desolate peaks, when it passes down their ravined sides to
sloping and verdant hills, and is guided from these to the rich glow of
vegetable life in the low zones, and through this glow to the tall front
of some noble edifice, peaceful even in its pride. But this contrast
must not be sudden, or it will be startling and harsh; and therefore, as
we saw above, the villa must be placed where all the severe features of
the scene, though not concealed, are distant, and where there is a
graduation, so to speak, of impressions, from terror to loveliness, the
one softened by distance, the other elevated in its style: and the form
of the villa must not be fantastic or angular, but must be full of
variety, so tempered by simplicity as to obtain ease of outline united
with elevation of character; the first being necessary for reasons
before advanced, and the second, th