idea of either by reading or by hearing of them. For, with the slightest love of truth, he who wishes to furnish an account of the absurd, gets into a dilemma: he is anxious to give an idea of it, and so makes it something, whereas, in reality, it is a nothing which seeks to pass for something. And here I must premise another general reflection ; viz., that neither the most tasteless nor the most excellent production comes entirely and immediately from a single individual or a single age, but that with a little attention any one may trace its pedigree and descent.
The fountain already described in Palermo belongs to the forefathers of the Pallagonian follies, only that the latter, in their own soil and domain, develop themselves with the greatest freedom and on the largest scale.
When in these parts a country-seat is built, it is usually placed in the middle of a whole property: and therefore, in order to reach the princely mansion, you have to pass through cultivated fields, kitchen-gardens, and similar rural conveniences; for these Southerns show far more of economy than we Northmen, who often waste a good piece of rich land on a park, which, with its barren shrubs, can only charm the eye. But here it is the fashion to build two walls, between which you pass to the castle, without knowing in the least what is doing on your right and left. This passage begins generally with a grand portico, and sometimes with a vaulted hall, and ends with the mansion itself. But, in order that the eye may not be entirely without relief between these by-walls, they are generally arched over, and ornamented with scrolls, and also with pedestals, on which, here and there, a vase is placed. The flat surfaces are plastered, divided into compartments, and painted. The court is formed by a circle of one-storied cabins, in which work-people of all sorts reside, while the quadrangular castle towers over all.
