That the entrance lodge should correspond in style with the mansion, is a maxim insisted upon by all writers on Rural Architecture. Where the latter is built in a mixed style, there is more latitude allowed in the choice of forms for the lodge, which may be considered more as a thing by itself. But where the dwelling is a strictly architectural composition, the lodge should correspond in style, and bear evidence of emanating from the same mind. A variation of the same style may be adopted with pleasing effect, as a lodge

in the form of the old English cottage for a castellated mansion, or a Doric lodge for a Corinthian villa; but never two distinct styles on the same place, (a Gothic gate-house and a Grecian residence,) without producing in minds imbued with correct principles, a feeling of incongruity. A certain correspondence in size is also agreeable; where the dwelling of the proprietor is simply an ornamental cottage, the lodge, if introduced, should be more simple and unostentatious; and even where the house is magnificent, the lodge should rather be below the general air of the residence than above it, that the stranger who enters at a showy and striking lodge may not be disappointed in the want of correspondence between it and the remaining portions of the demesne.

The gate-lodge at Blithewood, on the Hudson, the seat of R. Donaldson, Esq., is a simple and effective cottage in the bracketed style-octagonal in its form, and very compactly arranged internally.

Nearly all the fine seats on the North river have entrance lodges-often simple and but little ornamented, or only pleasingly embowered in foliage; but, occasionally, highly picturesque and striking in appearance.

A view of the pretty gate lodge at Netherwood, Dutchess County, N. Y., the seat of James Lenox, Esq., is shown in Fig. 63. Half a mile north of this seat is an interesting lodge in the Swiss style,

at the entrance to the residence of Mrs. Sheafe.

In Fig. 64, is shown an elevation of a lodge in the Italian style, with projecting eaves supported by cantilevers or

brackets, round-headed windows with balconies, characteristic porch, and other leading features of this style.

Mr. Repton has stated it as a principle in the composition of residences, that neither the house should be visible from the entrance, nor the entrance from the house, if there be sufficient distance between them to make the approach through varied grounds, or a park, and not immediately into a court-yard.

Entrance lodges, and indeed, all small ornamental buildings should be supported, and partially concealed, by trees and foliage; naked walls, in the country, hardly admitting of an apology in any case, but especially when the building is ornamental, and should be considered part of a whole, grouping with other objects in rural landscape.

NOTE. To readers who desire to cultivate a taste for rural architecture, we take pleasure in recommending the following productios of the English press. Loudon's Encyclopedia of Cottage, Farm, and Villa Architecture, a volume replete with information on every branch of the subject; Robinson's Rural Architecture, and Designs for Ornamental Villas; Lugar's Villa Architecture; Goodwin's Rural Architecture; Hunt's Picturesque Domestic Architecture, and Examples of

Tudor Architecture: Pugin's Examples of Gothic Architecture, etc. The most successful American architects in this branch of the art, with whom we are acquainted, are Alexander J. Davis, Esq., of New-York, and John Notman, Esq., of Philadelphia.

SECTION X.

EMBELLISHMENTS; ARCHITECTURAL, RUSTIC AND FLORAL.

Value of a proper connection between the house and grounds. Beauty of the architectural terrace, and its application to villas and cottages. Use of vases of different descriptions. Sun-dials. Architectural flower-garden. Irregular flower-garden. French flower-garden. English flower-garden. General remarks on this subject. Selection of showy plants, flowering in succession. Arrangement of the shrubbery, and selection of choice shrubs. The conservatory or green-house. Open and covered seats. Pavilions. Rustic seats. Prospect tower. Bridges. Rockwork. Fountains of various descriptions. Judicious introduction of decorations.

Nature, assuming a more lovely face

Borrowing a beauty from the works of grace.

COWPER.

Each odorous bushy shrub

Fenced up the verdant wall; each beauteous flower;

Iris all Hues, Roses and Jessamine

Rear'd high their flourished heads between,

And wrought Mosaic.

MILTON.

N our finest places, or those country seats where much of

the polish of pleasure ground

or park scenery is kept up, one of the most striking defects, is the want of" union between the house and the grounds." We are well aware that from the comparative rarity of any