368 



GARDENS AND VILLAS ON LAKE MAGGIORE. 



master of this monumental type. Some of the detail is tolerably crude, but less so than in 

 other examples, such as, for instance, the Aldobrandini at Frascati. The black flint-like pebbles 

 used for the mosaic work are pleasanter than the rough stone spalls used elsewhere, and contrast 

 well as a dark ground with the grey granite, the stonework and the worn white marble used 

 for the architectural details and the sculpture (Fig. 384). The basis of the scheme seems to 

 arise from the condition that a great reservoir had to be formed at one end of the island ; this, 

 therefore, was surrounded by successive diminishing terraces, with an effect like the hanging 

 gardens of Babylon in miniature. By a bold conception the mitre lines of the blunt pyramid 

 thus formed were marked out by three tall obelisks and two statues on high pedestals set 

 alternating. These converging lines, which give so much character to the island garden, 

 are drawn, as it were, from two strong octagonal towers on the lake front, against which the 

 return terraces abut (Fig. 381). The irregularities of the island are walled up, and planted 

 with lemon and orange trees as lower plateaux (Fig. 380). On one side this artificial 

 platform is seen supported on great pointed arches springing off the rocks, forming deep 

 recesses full of shadow. The adjustment of the square lines of the real lay-out to the actual 

 form of the island is extremely well done. There is much concealed art in this garden, which 

 appears probably to the every-day visitor as a very much simpler thing than it is. Throughout 



the winter the orange and 

 lemon trees trained on 

 the terrace walls are 

 protected by wooden 

 pent roofs, which are 

 removed about the month 

 of May. There is some- 

 thing of the appearance 

 of an ancient fortress 



387. STATE BEDCHAMBERS, ISOLA BELLA. 



tion. 1 he highest terrace, 

 or plateau, is oblong in 

 shape, and provides a 

 fine view over Stresa 

 and the lake beyond. 

 It seems as if the scheme 

 demanded some crowning 

 pavilion, loggia or shrine 

 as the visible nucleus of 

 the plan at this level. 

 There is ample space for 

 tree planting in this garden, and the soap tree, eucalyptus, oleander, Himalaya cedar, Japanese 

 lemon, with many others, are pointed out to the visitor. 



The fatal defect of the baroco style, the vulgar desire to astonish, is far less visible in the 

 garden than in the palace. The exterior of the palace is mainly finished in the flat, dull style 

 of the early part of the last century, the baroco scheme having been too incredibly costly to 

 be ever realised. As it is, the centre block of the palace is all in the rough. 



The lay-out of the little harbour is interesting, with its ingeniously planned flights of steps 

 leading to an arcaded open court a square of six bays of elliptical arches. This, again, is only 

 in a half-completed state. Presumably, had the whole scheme been realised, the picturesque 

 jumble of old village houses which now links palace and church would have been swept away. 

 With this achieved, more, perhaps, would have been lost than gained. 



Those who wish to study this fascinating monument would do well to obtain a permission 

 from the administration of the family in Milan, as nothing can be done on the spot. From a 

 visit, as one of a troop of visitors making the regulation round, the garden student will probably 

 come away merely bewildered by what he has seen. A. T. B. 



