g and ghastly,
and giving a disagreeable impression of utter emptiness and desolation
within. Yet there is character in them: the black dots tell agreeably on
the walls at a distance, and have no disagreeable sparkle to disturb the
repose of surrounding scenery. Besides, the temperature renders
everything agreeable to the eye, which gives it an idea of ventilation.
A few roughly constructed balconies, projecting from detached windows,
usually break the uniformity of the wall. In some Italian cottages there
are wooden galleries, resembling those so frequently seen in
Switzerland; but this is not a very general character, except in the
mountain valleys of North Italy, although sometimes a passage is
effected from one projecting portion of a house to another by means of
an exterior gallery. These are very delightful objects; and when shaded
by luxuriant vines, which is frequently the case, impart a gracefulness
to the building otherwise unattainable.

30. The next striking point is the arcade at the base of the building.
This is general in cities; and, although frequently wanting to the
cottage, is present often enough to render it an important feature. In
fact, the Italian cottage is usually found in groups. Isolated buildings
are rare; and the arcade affords an agreeable, if not necessary, shade,
in passing from one building to another. It is a still more unfailing
feature of the Swiss city, where it is useful in deep snow. But the
supports of the arches in Switzerland are generally square masses of
wall, varying in size, separating the arches by irregular intervals, and
sustained by broad and massy buttresses; while in Italy, the arches
generally rest on legitimate columns, varying in height from one and a
half to four diameters, with huge capitals, not unfrequently rich in
detail. These give great gracefulness to the buildings in groups: they
will be spoken of more at large when we are treating of arrangement and
situation.

[Illustration: Italian Cottage Gallery, 1846. Chimney at Neuchatel;
Dent du Midi and Mont Blanc in the distance.]

[Illustration: Cottage near la Cite, Val d'Aosta, 1838.]

31. The square tower, rising over the roof of the farther cottage, will
not escape observation. It has been allowed to remain, not because such
elevated buildings ever belong to mere cottages, but, first, that the
truth of the scene might not be destroyed;[3] and, secondly, because it
is impossible, or nearly so, to obtain a