176. Let us suppose, however, that the design is yielded entirely to the architect's discretion. Being a piece of domestic architecture, the chief object in its exterior design will be to arouse domestic feelings, which, as we saw before, it will do most distinctly by corresponding with the first part of character. Yet it is still more necessary that it should correspond with its situation; and hence arises another difficulty, the reconciliation of correspondence with contraries; for such, it is deeply to be regretted, are too often the individual's mind, and the dwelling-place it chooses. The polished courtier brings his refinement and duplicity with him to ape the Arcadian rustic in Devonshire; the romantic rhymer takes a plastered habitation, with one back window looking into the Green Park; the soft votary of luxury endeavors to rise at seven, in some Ultima Thule of frosts and storms; and the rich stock-jobber calculates his percentages among the soft dingles and woody shores of Westmoreland. When the architect finds this to be the case, he must, of course, content himself with suiting his design to such a mind as ought to be where the intruder's is; for the feelings which are so much at variance with themselves in the choice of situation, will not be found too critical of their domicile, however little suited to their temper. 177. If possible, however, he should aim at something more; he should draw his employer into general conversation; observe the bent of his disposition, and the habits of his mind; notice every manifestation of fixed opinions, and then transfer to his architecture as much of the feeling he has observed as is distinct in its operation. This he should do, not because the general spectator will be aware of the aptness of the building, which, knowing nothing of its inmate, he cannot be; nor to please the individual himself, which it is a chance if any simple design ever will, and who never will find out how well his character has been fitted; but because a portrait is always more spirited than a composed countenance; and because this study of human passions will bring a degree of energy, unity, and originality into every one of his designs (all of which will necessarily be different), so simple, so domestic, and so lifelike, as to strike every spectator with an interest and a sympathy, for which he will be utterly unable to account, and to impress on him a perception of something more ethereal than stone or carving, somewhat similar to that which some will remember having felt disagreeably in their childhood, on looking at any old house authentically haunted. The architect will forget in his study of life the formalities of science, and, while his practiced eye will prevent him from erring in technicalities, he will advance, with the ruling feeling, which, in masses of mind, is nationality, to the conception of something truly original, yet perfectly pure.