PRINCirLES FOR DESIGNING VILLAS. 777 from Francesco Solimene, the last of the old school of Italian painters, fig. I41fi. Tliis very picturesque residence was situated at the foot of Mount Vesuvius, and must have harmonised admirably with the surrounding scenery. 1416 1659. The Beau Ideal nf the Italian Style of Villa Architecture, it is justly observed bv IMeason, is to be found in the landscapes of the great Italian painters, and more especially in the backgrounds of their pictures. Speaking of the examples which Italy and her artists afford to the rest of Europe, he says, " that there are no petty ornaments to detract from the effect of simplicity and breadth in the Architecture. None of the sky lines are broken by trifling turrets or meagre pinnacles. The towers are plain, or simply embat- tled ; and the varied line is produced by the different heights of large massive parts. The projections in the facade may be considered, in many of these buildings, as too sudden and unconnected ; owing, no doubt, to the additions made at different times : but the Architect has to study the value of bold breaks in a picturesque composition, which may produce strong light and shade in almost every position of the sun, yet so as not to interfere with the interior convenience of the mansion. The various forms of projections by which the parapets, whether of towers or of the whole facade of the building, may be supported, deserve the particular attention of the Architect; and here the Tuscan Archi- tecture of Florence, and that of many existing Italian villas of the fifteenth century, will supply him with excellent examples. These objects in irregular Architecture, conibii:ed with the power of the owner of the future mansion to arrange his apartments in any way that his taste, or fancy, or habits may guide him, give to the Architect an endless variety of architectural compositions, in which his genius has ample room for display. Such edifices, spread over the country, would contribute most essentially to the beauty of British landscape. But, in following out this style, our artists ought to work on a large scale. No tower, round or square, should be elevated that cannot be made into useful rooms of proper dimensions, so that effect and utility may always be combined. The upper parts of the towers should never be loaded with immeaning hanging watch-turrets, nor the grandeur of the general outline be broken down by ill-placed tasteless pinnacles. We must condemn the present taste for pinnacles, rising above the simple sqiiare tower, of tlie new churches around the metropolis. In correct Gothic Architecture, no pinnacle was uselessly introduced. ' An Italian,' Rose observes, ' wisely considers the Architec- ture of a house as connected with its position, precisely as he meditates a picture with reference to the light in which it is to be placed.' " {Land. Arch. Italy, &c. ) 1 660. The present Country Seats of the Italians have been, more or less, copied by most civilised nations of Europe, celebrated by poets, and " visited and admired by travellers : they have not, however, been described or represented as they deserve. They are arranged so as to produce the best effect ; and advantage of the nature of the site has been taken with admirable skill. The regtdarity of the garden is, as it were, an accom- panying decoration and support to the Architecture. The Architecture, sculpture, and gardens of these villas are often designed by the same hand, and concur in the general effect to produce perfect harmony. Many of the great painters, besides Michael Angelo, were Architects. Raphael superintended the building of St. Peter's for a time ; he built a few palaces and churches ; and we hope to see published a collection of his original architectural designs, found in the valuable library at Ilolkham. Giulio Romano planned several buildings at Mantua. Domenichino is said to have been too picturesque in his 4 V
