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The Poetry of Architecture by John Ruskin
page 60 of 194 (30%)
essentially German.

73. Figs. _h_ to _m_, inclusive, are Spanish, and have a peculiar
character, which would render it quite impossible to employ them out of
their own country. Yet they are not decorated chimneys. There is not one
fragment of ornament on any of them. All is done by variety of form; and
with such variety no fault can be found, because it is necessary to give
them the character of the buildings, out of which they rise. For we may
observe here, once for all, that character may be given either by form
or by decoration, and that where the latter is improper, variety of form
is allowable, because the humble associations which render ornament
objectionable, also render simplicity of form unnecessary.[13] We need
not then find fault with _fantastic_ chimneys, provided they are kept in
unison with the rest of the building, and do not draw too much
attention.

[Footnote 13: Elevation of character, as was seen in the Italian
cottage, depends upon simplicity of form.]

74. Fig. _h_, according to this rule, is a very good chimney. It is
graceful without pretending, and its grotesqueness will suit the
buildings round it--we wish we could give them: they are at Cordova.

Figs. _k_ and _l_ ought to be seen, as they would be in reality, rising
brightly up against the deep blue heaven of the south, the azure
gleaming through their hollows; unless perchance a slight breath of
refined, pure, pale vapor finds its way from time to time out of them
into the light air; their tiled caps casting deep shadows on their
white surfaces, and their _tout ensemble_ causing no interruption to
the feelings excited by the Moresco arches and grotesque dwelling houses
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