" The original drawings are lost; judging from that of the
cottage in Val d'Aosta we may safely believe that they were most
inadequately represented by the old cuts.]]
107. We shall now consider the form of the villa. It is generally the
apex of a series of artificial terraces, which conduct through its
gardens to the water. These are formal in their design, but extensive,
wide, and majestic in their slope, the steps being generally about 1/2
ft. high and 4-1/2 ft. wide (sometimes however much deeper). They are
generally supported by white wall, strengthened by unfilled arches, the
angles being turned by sculptured pedestals, surmounted by statues, or
urns. Along the terraces are carried rows, sometimes of cypress, more
frequently of orange or lemon trees, with myrtles, sweet bay, and aloes,
intermingled, but always with dark and spiry cypresses occurring in
groups; and attached to these terraces, or to the villa itself, are
series of arched grottoes built (or sometimes cut in the rock) for
coolness, frequently overhanging the water, kept dark and fresh, and
altogether delicious to the feelings. A good instance of these united
peculiarities is seen in Villa Somma-Riva, Lago di Como.
The effect of these approaches is disputable. It is displeasing to many,
from its formality; but we are persuaded that it is right, because it is
a national style, and therefore has in all probability due connection
with scene and character: and this connection we shall endeavor to
prove.
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