gardens of Villa Giulia, that overlooked the same branch of the lake.
Nor, nearer home, must I forget the Villa Sommariva. The grounds are not extensive, and, of course, broken into terraces, from the nature of the site; with overarching trees, forming shady alcoves and covered walks. It is a cool and pleasant retreat at noon: the house is a very good one, large and cheerful. It possesses a renowned work of Canova, the Cupid and Psyche. The expression of their faces is tender and sweet; but—I like not to confess it—I am not an admirer of Canova’s women. He is said to have had singular opportunities of studying the female form; but place his Venus, or any other of his female statues, beside those of Grecian sculpture, and his defects must strike the most untaught eye. There was a little antique of a sleeping nymph in the halls of the Villa Sommariva, which formed a contrast with the modern Psyche. It looked as the finger could impress the marble, as the imitated flesh had yielded to the posture of the figure. Canova’s seemed as if it moved only at the joints, and as if no other portion of the frame was influenced by attitude.
When alone in an evening, I often walk towards Menaggio. I have selected a haunt among rocks close to the water’s edge, shaded by an olive-wood.
