77. It seems then, that out of the eighteen chimneys, which we have noticed, though several possess character, and one or two elegance, only two are to be found fit for imitation; and, of these, one is exclusively a cottage chimney. This is somewhat remarkable and may serve as a proof:—
First, of what we at first asserted, that chimneys which in any way attract notice (and if these had not, we should not have sketched them) were seldom to be imitated; that there are few buildings which require them to be singular, and none which can tolerate them if decorated; and that the architect should always remember that the size and height being by necessity fixed, the form which draws least attention is the best.
78. Secondly, that this inconspicuousness is to be obtained, not by adhering to any model of simplicity, but by taking especial care that the lines of the chimney are no interruption, and its color no contrast, to those of the building to which it belongs. Thus Figs. h to m would be far more actually remarkable in their natural situation, if they were more simple in their form; for they would interrupt the character of the rich architecture by which they are surrounded. Fig. d, rising as it does above an old Gothic window, would have attracted instant attention, had it not been for the occurrence of the same lines in it which prevail beneath it. The form of n only assimilates it more closely with the roof on which it stands. But we must not imitate chimneys of this kind, for their excellence consists only in their agreement with other details, separated from which they would be objectionable; we can only follow the principle of the design, which appears, from all that we have advanced, to be this: we require, in a good chimney, the character of the building to which it belongs divested of all its elevation, and its prevailing lines, deprived of all their ornament.
79. This it is, no doubt, excessively difficult to give; and, in consequence, there are very few cities or edifices in which the chimneys are not objectionable. We must not, therefore, omit to notice the fulfillment of our expectations, founded on English character. The only two chimneys fit for imitation, in the whole eighteen, are English; and we would not infer anything from this, tending to invalidate the position formerly advanced, that there was no taste in England; but we would adduce it as a farther illustration of the rule, that what is most adapted to its purpose is most beautiful. For that we have no taste, even in chimneys, is sufficiently proved by the roof effects, even of the most ancient, unaffected, and unplastered of our streets, in which the chimneys, instead of assisting in the composition of the groups of roofs, stand out in staring masses of scarlet and black, with foxes and cocks whisking about, like so many little black devils, in the smoke on the top of them, interrupting all repose, annihilating all dignity, and awaking every possible conception which would be picturesque, and every imagination which would be rapturous, to the mind of master-sweeps.
80. On the other hand, though they have not on the Continent the same knowledge of the use and beauty of chimneys in the abstract, they display their usual good taste in grouping, or concealing them; and, whether we find them mingling with the fantastic domiciles of the German, with the rich imaginations of the Spaniard, with the classical remains and creations of the Italian, they are never intrusive or disagreeable; and either assist the grouping, and relieve the horizontality of the lines of the roof, or remain entirely unnoticed and insignificant, smoking their pipes in peace.
81. It is utterly impossible to give rules for the attainment of these effects, since they are the result of a feeling of the proportion and relation of lines, which, if not natural to a person, cannot be acquired, but by long practice and close observation; and it presupposes a power rarely bestowed on an English architect, of setting regularity at defiance, and sometimes comfort out of the question. We could give some particular examples of this grouping; but, as this paper has already swelled to an unusual length, we shall defer them until we come to the consideration of street effects in general. Of the chimney in the abstract, we are afraid we have only said enough to illustrate, without removing, the difficulty of designing it; but we cannot but think that the general principles which have been deduced, if carefully followed out, would be found useful, if not for the attainment of excellence, at least for the prevention of barbarism.
Oxford, Feb. 10, [1838].
[13] Elevation of character, as was seen in the Italian cottage, depends upon simplicity of form.