y Fig. 13 A, which is
that of a window found in a domestic building of mixed and corrupt
architecture, at Munich (which we give now, because we shall have
occasion to allude to it hereafter). Its absurd breadth of molding, so
disproportionate to its cornice, renders it excessively ugly, but
capable of great variety of effect. It forms one of a range of four,
turning an angle, whose moldings join each other, their double breadth
being the whole separation of the apertures, which are something more
than double squares. Now by alteration of the decoration, and depth of
shadow, we have B and C. These three windows differ entirely in their
feeling and manner, and are broad examples of such distinctions of style
as might be adopted severally in the habitations of the man of
imagination, the man of intellect and the man of feeling.[35] If our
alterations have been properly made, there will be no difficulty in
distinguishing between their expressions, which we shall therefore leave
to conjecture. The character of A depends upon the softness with which
the light is caught upon its ornaments, which should not have a single
hard line in them; and on the gradual, unequal, but intense, depth of
its shadows. B should have all its forms undefined, and passing into one
another, the touches of the chisel light, a grotesque face or feature
occurring in parts, the shadows pale, but broad[36]; and the boldest
part of the carving kept in shadow rather than light. The third should
be hard in its lines, strong in its shades, and quiet in its ornament.

[Footnote 35: [Though not in this order. C is the intellectual window;
B, the imaginative one.]]

[Footnote 36: It is too much the custom to consider a design as composed
of a certain number of hard lines, instead of a certain number of
shadows of various depth and dimension. Though these shadows change
their position in the course of the day, they are relatively always the
same. They have most variety under a strong light without sun, most
expression with the sun. A little observation of the infinite variety of
shade which the sun is capable of casting, as it touches projections of
different curve and character, will enable the designer to be certain of
his effects. We shall have occasion to allude to this subject again.
[See _Seven Lamps of Architecture_, III. 13, 23.]]

[Illustration: Fig. 13. Windows.]

181. These hints will be sufficient to explain our meaning, and we have
not space to