Delphi Complete Works of William Wordsworth

by William Wordsworth

  But, in truth, no one can now travel through the more frequented tracts, without being offended, at almost every turn, by an introduction of discordant objects, disturbing that peaceful harmony of form and colour, which had been through a long lapse of ages most happily preserved.

  All gross transgressions of this kind originate, doubtless, in a feeling natural and honourable to the human mind, viz. the pleasure which it receives from distinct ideas, and from the perception of order, regularity, and contrivance. Now, unpractised minds receive these impressions only from objects that are divided from each other by strong lines of demarcation; hence the delight with which such minds are smitten by formality and harsh contrast. But I would beg of those who are eager to create the means of such gratification, first carefully to study what already exists; and they will find, in a country so lavishly gifted by Nature, an abundant variety of forms marked out with a precision that will satisfy their desires. Moreover, a new habit of pleasure will be formed opposite to this, arising out of the perception of the fine gradations by which in Nature one thing passes away into another, and the boundaries that constitute individuality disappear in one instance only to be revived elsewhere under a more alluring form. The bill of Dunmallet, at the foot of Ulswater, was once divided into different portions, by avenues of fir-trees, with a green and almost perpendicular lane descending down the steep hill through each avenue; — contrast this quaint appearance with the image of the same hill overgrown with self-planted wood, — each tree springing up in the situation best suited to its kind, and with that shape which the situation constrained or suffered it to take. What endless melting and playing into each other of forms and colours does the one offer to a mind at once attentive and active; and how insipid and lifeless, compared with it, appear those parts of the former exhibition with which a child, a peasant perhaps, or a citizen unfamiliar with natural imagery, would have been most delighted!

  The disfigurement which this country has undergone, has not, however, proceeded wholly from the common feelings of human nature which have been referred to as the primary sources of bad taste in rural imagery; another cause must be added, that has chiefly shown itself in its effect upon buildings. I mean a warping of the natural mind occasioned by a consciousness that, this country being an object of general admiration, every new house would be looked at and commented upon either for approbation or censure. Hence all the deformity and ungracefulness that ever pursue the steps of constraint or affectation. Persons, who in Leicestershire or Northamptonshire would probably have built a modest dwelling like those of their sensible neighbours, have been turned out of their course; and, acting a part, no wonder if, having had little experience, they act it ill. The craving for prospect, also, which is immoderate, particularly in new settlers, has rendered it impossible that buildings, whatever might have been their architecture, should in most instances be ornamental to the landscape: rising as they do from the summits of naked hills in staring contrast to the snugness and privacy of the ancient houses.

  No man is to be condemned for a desire to decorate his residence and possessions; feeling a disposition to applaud such an endeavour, I would show how the end may be best attained. The rule is simple; with respect to grounds — work, where you can, in the spirit of Nature, with an invisible hand of art. Planting, and a removal of wood, may thus, and thus only, be carried on with good effect; and the like may be said of building, if Antiquity, who may be styled the co-partner and sister of Nature, be not denied the respect to which she is entitled. I have already spoken of the beautiful forms of the ancient mansions of this country, and of the happy manner in which they harmonise with the forms of Nature. Why cannot such be taken as a model, and modern internal convenience be confined within their external grace and dignity. Expense to be avoided, or difficulties to be overcome, may prevent a close adherence to this model; still, however, it might be followed to a certain degree in the style of architecture and in the choice of situation, if the thirst for prospect were mitigated by those considerations of comfort, shelter, and convenience, which used to be chiefly sought after. But should an aversion to old fashions unfortunately exist, accompanied with a desire to transplant into the cold and stormy North, the elegancies of a villa formed upon a model taken from countries with a milder climate, I will adduce a passage from an English poet, the divine Spenser, which will show in what manner such a plan may be realised without injury to the native beauty of these scenes.

  Into that forest farre they thence him led, Where was their dwelling in a pleasant glade With MOUNTAINS round about environed, And MIGHTY WOODS which did the valley shade, And like a stately theatre it made, Spreading itself into a spacious plaine; And in the midst a little river plaide Emongst the puny stones which seem’d to ‘plaine With gentle murmure that his course they did restraine.

  Beside the same a dainty place there lay, Planted with mirtle trees and laurels green, In which the birds sang many a lovely lay Of God’s high praise, and of their sweet loves teene, As it an earthly paradise had beene; In whose enclosed shadow there was pight A fair pavillion, scarcely to be seen, The which was all within most richly dight, That greatest princes living it mote well delight.

  Houses or mansions suited to a mountainous region, should be ‘not obvious, not obtrusive, but retired;’ and the reasons for this rule, though they have been little adverted to, are evident. Mountainous countries, more frequently and forcibly than others, remind us of the power of the elements, as manifested in winds, snows, and torrents, and accordingly make the notion of exposure very unpleasing; while shelter and comfort are in proportion necessary and acceptable. Far-winding vallies difficult of access, and the feelings of simplicity habitually connected with mountain retirements, prompt us to turn from ostentation as a thing there eminently unnatural and out of place. A mansion, amid such scenes, can never have sufficient dignity or interest to become principal in the landscape, and to render the mountains, lakes, or torrents, by which it may be surrounded, a subordinate part of the view. It is, I grant, easy to conceive, that an ancient castellated building, hanging over a precipice or raised upon an island, or the peninsula of a lake, like that of Kilchurn Castle, upon Loch Awe, may not want, whether deserted or inhabited, sufficient majesty to preside for a moment in the spectator’s thoughts over the high mountains among which it is embosomed; but its titles are from antiquity — a power readily submitted to upon occasion as the vicegerent of Nature: it is respected, as having owed its existence to the necessities of things, as a monument of security in times of disturbance and danger long passed away, — as a record of the pomp and violence of passion, and a symbol of the wisdom of law; it bears a countenance of authority, which is not impaired by decay.

  Child of loud-throated War, the mountain stream Roars in thy hearing; but thy hour of rest Is come, and thou art silent in thy age!

  To such honours a modern edifice can lay no claim; and the puny efforts of elegance appear contemptible, when, in such situations, they are obtruded in rivalship with the sublimities of Nature. But, towards the verge of a district like this of which we are treating, where the mountains subside into hills of moderate elevation, or in an undulating or flat country, a gentleman’s mansion may, with propriety, become a principal feature in the landscape; and, itself being a work of art, works and traces of artificial ornament may, without censure, be extended around it, as they will be referred to the common centre, the house; the right of which to impress within certain limits a character of obvious ornament will not be denied, where no commanding forms of Nature dispute it, or set it aside. Now, to a want of the perception of this difference, and to the causes before assigned, may chiefly be attributed the disfigurement which the Country of the Lakes has undergone, from persons who may have built, demolished, and planted, with full confidence, that every change and addition was or would become an improvement.

  The principle that ought to determine the position, apparent size, and architecture of a house, viz. that it should be so const
ructed, and (if large) so much of it hidden, as to admit of its being gently incorporated into the scenery of Nature — should also determine its colour. Sir Joshua Reynolds used to say, ‘If you would fix upon the best colour for your house, turn up a stone, or pluck up a handful of grass by the roots, and see what is the colour of the soil where the house is to stand, and let that be your choice.’ Of course, this precept given in conversation, could not have been meant to be taken literally. For example, in Low Furness, where the soil, from its strong impregnation with iron, is universally of a deep red, if this rule were strictly followed, the house also must be of a glaring red; in other places it must be of a sullen black; which would only be adding annoyance to annoyance. The rule, however, as a general guide, is good; and, in agricultural districts, where large tracts of soil are laid bare by the plough, particularly if (the face of the country being undulating) they are held up to view, this rule, though not to be implicitly adhered to, should never be lost sight of; — the colour of the house ought, if possible, to have a cast or shade of the colour of the soil. The principle is, that the house must harmonise with the surrounding landscape: accordingly, in mountainous countries, with still more confidence may it be said, ‘look at the rocks and those parts of the mountains where the soil is visible, and they will furnish a safe direction.’ Nevertheless, it will often happen that the rocks may bear so large a proportion to the rest of the landscape, and may be of such a tone of colour, that the rule may not admit, even here, of being implicitly followed. For instance, the chief defect in the colouring of the Country of the Lakes (which is most strongly felt in the summer season) is an over-prevalence of a bluish tint, which the green of the herbage, the fern, and the woods, does not sufficiently counteract. If a house, therefore, should stand where this defect prevails, I have no hesitation in saying, that the colour of the neighbouring rocks would not be the best that could be chosen. A tint ought to be introduced approaching nearer to those which, in the technical language of painters, are called warm: this, if happily selected, would not disturb, but would animate the landscape. How often do we see this exemplified upon a small scale by the native cottages, in cases where the glare of white-wash has been subdued by time and enriched by weather-stains! No harshness is then seen; but one of these cottages, thus coloured, will often form a central point to a landscape by which the whole shall be connected, and an influence of pleasure diffused over all the objects that compose the picture. But where the cold blue tint of the rocks is enriched by the iron tinge, the colour cannot be too closely imitated; and it will be produced of itself by the stones hewn from the adjoining quarry, and by the mortar, which may be tempered with the most gravelly part of the soil. The pure blue gravel, from the bed of the river, is, however, more suitable to the mason’s purpose, who will probably insist also that the house must be covered with rough-cast, otherwise it cannot be kept dry; if this advice be taken, the builder of taste will set about contriving such means as may enable him to come the nearest to the effect aimed at.

  The supposed necessity of rough-cast to keep out rain in houses not built of hewn stone or brick, has tended greatly to injure English landscape, and the neighbourhood of these Lakes especially, by furnishing such apt occasion for whitening buildings. That white should be a favourite colour for rural residences is natural for many reasons. The mere aspect of cleanliness and neatness thus given, not only to an individual house, but, where the practice is general, to the whole face of the country, produces moral associations so powerful, that, in many minds, they take place of all others. But what has already been said upon the subject of cottages, must have convinced men of feeling and imagination, that a human dwelling of the humblest class may be rendered more deeply interesting to the affections, and far more pleasing to the eye, by other influences, than a sprightly tone of colour spread over its outside. I do not, however, mean to deny, that a small white building, embowered in trees, may, in some situations, be a delightful and animating object — in no way injurious to the landscape; but this only where it sparkles from the midst of a thick shade, and in rare and solitary instances; especially if the country be itself rich and pleasing, and abound with grand forms. On the sides of bleak and desolate moors, we are indeed thankful for the sight of white cottages and white houses plentifully scattered, where, without these, perhaps every thing would be cheerless: this is said, however, with hesitation, and with a wilful sacrifice of some higher enjoyments. But I have certainly seen such buildings glittering at sun-rise, and in wandering lights, with no common pleasure. The continental traveller also will remember, that the convents hanging from the rocks of the Rhine, the Rhone, the Danube, or among the Appenines, or the mountains of Spain, are not looked at with less complacency when, as is often the case, they happen to be of a brilliant white. But this is perhaps owing, in no small degree, to the contrast of that lively colour with the gloom of monastic life, and to the general want of rural residences of smiling and attractive appearance, in those countries.

  The objections to white, as a colour, in large spots or masses in landscape, especially in a mountainous country, are insurmountable. In Nature, pure white is scarcely ever found but in small objects, such as flowers: or in those which are transitory, as the clouds, foam of rivers, and snow. Mr. Gilpin, who notices this, has also recorded the just remark of Mr. Locke, of N — — , that white destroys the gradations of distance; and, therefore, an object of pure white can scarcely ever be managed with good effect in landscape-painting. Five or six white houses, scattered over a valley, by their obtrusiveness, dot the surface, and divide it into triangles, or other mathematical figures, haunting the eye, and disturbing that repose which might otherwise be perfect. I have seen a single white house materially impair the majesty of a mountain; cutting away, by a harsh separation, the whole of its base, below the point on which the house stood. Thus was the apparent size of the mountain reduced, not by the interposition of another object in a manner to call forth the imagination, which will give more than the eye loses; but what had been abstracted in this case was left visible; and the mountain appeared to take its beginning, or to rise, from the line of the house, instead of its own natural base. But, if I may express my own individual feeling, it is after sunset, at the coming on of twilight, that white objects are most to be complained of. The solemnity and quietness of Nature at that time are always marred, and often destroyed by them. When the ground is covered with snow, they are of course inoffensive; and in moonshine they are always pleasing — it is a tone of light with which they accord: and the dimness of the scene is enlivened by an object at once conspicuous and cheerful. I will conclude this subject with noticing, that the cold, slaty colour, which many persons, who have heard the white condemned, have adopted in its stead, must be disapproved of for the reason al ready given. The flaring yellow runs into the opposite extreme, and is still more censurable. Upon the whole, the safest colour, for general use, is something between a cream and a dust-colour, commonly called stone colour; — there are, among the Lakes, examples of this that need not be pointed out.

  The principle taken as our guide, viz. that the house should be so formed, and of such apparent size and colour, as to admit of its being gently incorporated with the works of Nature, should also be applied to the management of the grounds and plantations, and is here more urgently needed; for it is from abuses in this department, far more even than from the introduction of exotics in architecture (if the phrase may be used), that this country has suffered. Larch and fir plantations have been spread, not merely with a view to profit, but in many instances for the sake of ornament. To those who plant for profit, and are thrusting every other tree out of the way, to make room for their favourite, the larch, I would utter first a regret, that they should have selected these lovely vales for their vegetable manufactory, when there is so much barren and irreclaimable land in the neighbouring moors, and in other parts of the island, which might have been had for this purpose at a far cheaper rate. And I will also beg leave
to represent to them, that they ought not to be carried away by flattering promises from the speedy growth of this tree; because in rich soils and sheltered situations, the wood, though it thrives fast, is full of sap, and of little value; and is, likewise, very subject to ravage from the attacks of insects, and from blight. Accordingly, in Scotland, where planting is much better understood, and carried on upon an incomparably larger scale than among us, good soil and sheltered situations are appropriated to the oak, the ash, and other deciduous trees; and the larch is now generally confined to barren and exposed ground. There the plant, which is a hardy one, is of slower growth; much less liable to injury; and the timber is of better quality. But the circumstances of many permit, and their taste leads them, to plant with little regard to profit; and there are others, less wealthy, who have such a lively feeling of the native beauty of these scenes, that they are laudably not unwilling to make some sacrifices to heighten it. Both these classes of persons, I would entreat to inquire of themselves wherein that beauty which they admire consists. They would then see that, after the feeling has been gratified that prompts us to gather round our dwelling a few flowers and shrubs, which from the circumstance of their not being native, may, by their very looks, remind us that they owe their existence to our hands, and their prosperity to our care; they will see that, after this natural desire has been provided for, the course of all beyond has been predetermined by the spirit of the place. Before I proceed, I will remind those who are not satisfied with the restraint thus laid upon them, that they are liable to a charge of inconsistency, when they are so eager to change the face of that country, whose native attractions, by the act of erecting their habitations in it, they have so emphatically acknowledged. And surely there is not a single spot that would not have, if well managed, sufficient dignity to support itself, unaided by the productions of other climates, or by elaborate decorations which might be becoming elsewhere.