[Footnote 16:  [Villa Serbelloni, now the dependence of the Hotel Grande Bretagne at Bellaggio, and Villa Somma-Riva, now called Villa Carlotta, at Cadenabbia, and visited by every tourist for its collection of modern statuary, are both too well known to need illustration by the very poor wood-cuts which accompanied this chapter in the “Architectural Magazine.”  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.

108.  The frequent occurrence of the arch is always delightful in distant effect, partly on account of its graceful line, partly because the shade it casts is varied in depth, becoming deeper and deeper as the grotto retires, and partly because it gives great apparent elevation to the walls which it supports.  The grottoes themselves are agreeable objects seen near, because they give an impression of coolness to the eye; and they echo all sounds with great melody; small streams are often conducted through them, occasioning slight breezes by their motion.  Then the statue and the urn are graceful in their outline, classical in their meaning, and correct in their position, for where could they be more appropriate than here; the one ministering to memory, and the other to mourning.  The terraces themselves are dignified in their character (a necessary effect, as we saw above), and even the formal rows of trees are right in this climate, for a peculiar reason.  Effect is always to be considered, in Italy, as if the sun were always to shine, for it does nine days out of ten.  Now the shadows of