supposed to give strength, I know not; but as it is invariably covered
by luxuriant stonecrop, it is always a delightful object.

[Footnote 7: That is to say, a _flinty_ volcanic ash.]

[Footnote 8: Compare the treatment of a similar theme in _Modern
Painters_, vol. iv., chaps. viii.-x.]

52. The door is flanked and roofed by three large oblong sheets of gray
rock, whose form seems not to be considered of the slightest
consequence. Those which form the cheeks of the windows are generally
selected with more care from the débris of some rock, which is naturally
smooth and polished, after being subjected to the weather, such as
granite or syenite. The window itself is narrow and deep set; in the
better sort of cottages, latticed, but with no affectation of
sweetbrier or eglantine about it. It may be observed of the whole of the
cottage, that, though all is beautiful, nothing is pretty. The roof is
rather flat, and covered with heavy fragments of the stone of which the
walls are built, originally very loose; but generally cemented by
accumulated soil, and bound together by houseleek, moss, and stonecrop:
brilliant in color, and singular in abundance. The form of the larger
cottages, being frequently that of a cross, would hurt the eye by the
sharp angles of the roof, were it not for the cushion-like vegetation
with which they are rounded and concealed. Varieties of the fern
sometimes relieve the massy forms of the stonecrop, with their light and
delicate leafage. Windows in the roof are seldom met with. Of the
chimney I shall speak hereafter.

53. Such are the prevailing peculiarities of the Westmoreland cottage.
"Is this all?" some one will exclaim: "a hovel, built of what first