e, may yet give it a
peculiar air of cottage aristocracy; a beauty (no matter how
dilapidated) which may appear to have been once fitted for the
surrounding splendor of scene and climate. Now, let us fancy an Italian
cottage before us. The reader who has traveled in Italy will find little
difficulty in recalling one to his memory, with its broad lines of light
and shadow, and its strange, but not unpleasing mixture of grandeur and
desolation. Let us examine its details, enumerate its architectural
peculiarities, and see how far it agrees with our preconceived idea of
what the cottage ought to be?

28. The first remarkable point of the building is the roof. It generally
consists of tiles of very deep curvature, which rib it into distinct
vertical lines, giving it a far more agreeable surface than that of our
flatter tiling. The _form_ of the roof, however, is always excessively
flat, so as never to let it intrude upon the eye; and the consequence
is, that, while an English village, seen at a distance, appears all red
roof, the Italian is all white wall; and therefore, though always
bright, is never gaudy. We have in these roofs an excellent example of
what should always be kept in mind, that everything will be found
beautiful, which climate or situation render useful. The strong and
constant heat of the Italian sun would be intolerable if admitted at the
windows; and, therefore, the edges of the roof project far over the
walls, and throw long shadows downwards, so as to keep the upper windows
constantly cool. These long oblique shadows on the white surface are
always delightful, and are alone sufficient to give the building
character. They are peculiar to the buildings of Spain and Italy; for
owing to the general darker color of those of more northerly climates,
the shadows of their roofs, however far thrown, do not tell distinctly,
and render them, not varied, but gloomy. Another ornamental use of these
shadows is, that they break the line of junction of the wall with the
roof: a point always desirable, and in every kind of building, whether
we have to do with lead, slate, tile, or thatch, one of extreme
difficulty. This object is farther forwarded in the Italian cottage, by
putting two or three windows up under the very eaves themselves, which
is also done for coolness, so that their tops are formed by the roof;
and the wall has the appearance of having been terminated by large
battlements and roofed over. And, finally