RURAL ARCHITECTURE. 311 



this reason, a great portion of the finest specimens of the mod- 

 ern domestic architecture of the other continent, is to be 

 found in the Roman style. 



The Italian style is, we think, decidedly the most beauti- 

 ful mode for domestic purposes, that has been the direct off- 

 spring of Grecian art. It is a style which has evidently 

 grown up under the eyes of the painters of more modern 

 Italy, as it is admirably adapted to harmonize with general 

 nature, and produce a pleasing and picturesque effect in fine 

 landscapes. Retaining more or less of the columns, arches, 

 and other details of the Roman style, it has intrinsically a bold 

 irregularity, and strong contrast of light and shadow, which 

 give it a peculiarly striking and painter-like efiect. 



" The villa architecture of modern Italy," says Mr. Lamb, 

 an able architect,* " is characterized, when on a moderate scale, 

 by scattered irregular masses, great contrasts of light and 

 shade, broken and plain surfaces, and great variety of outline 

 against the sky. The blank wall on which the eye sometimes 

 reposes ; the towering campanile, boldly contrasted with the 

 horizontal line of roof only broken by a few straggling chim- 

 ney-tops: the row of equal sized, closely placed windows, con- 

 trasting with the plain space and single window of the pro- 

 jecting balcony ; the prominent portico, the continued arcade, 

 the terraces, and the variously formed and disposed out-build- 

 ings, all combine to form that picturesque whole, which dis- 

 tinguishes the modern Italian villa from every other."f 



A building in the Italian style, may readily be known at 

 first sight, by the peculiar appearance of its roofs. These are 

 always projecting at the eaves, and deeply furrowed or ridged, 



* Loudon's Ency. of Arch. p. 951. 



t In this country, owing to the greater number of fires, the effect would be 

 improved by an additional number of chimney-tops. 



