42 THE ART OF GARDEN DESIGN IN ITALY 



front of the palace still remains in its incomplete state. Upon this side of the island a sandy 

 neck of land runs for some distance into the lake, and although the design is ingeniously arranged 

 to meet this difficulty, the undertaking would have involved very considerable labour and expense, 

 especially in the transport of material from the mainland. 



The palace itself in its incomplete state is not remarkable for any architectural beauty. 

 Its decoration belongs to the extravagant rococo style of its period, lacking the refinement of an 



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earlier generation. Being arranged entirely for use as a summer retreat, the principal apartments 

 are on the shady sides of the building. A long irregular wing extends to the south, with a range 

 of reception rooms, through which a vista is obtained from one end of the palace to the other — 

 an effect so dear to all Italians. The picture gallery is the principal apartment of this wing, and 

 is terminated by a small oval courtyard, skilfully placed to mask the change in the main axial 

 line of the design (see plan, Plate 3). Plate 5 gives a view of this courtyard, and shows the steps 

 on either side leading to the main level of the upper garden. To the left of the courtyard a small 

 doorway leads to an oblong garden, terminated by an architectural composition or theatre with a 

 large statue of Hercules, illustrated on Plate 4. Returning again to the courtyard we ascend the 

 stairway on either side to the main level of the upper parterre, which was originally laid out in 

 square grass plots, the angles being marked by vases or statuary, with orange-trees in tubs lining 

 the walks during the summer months. A flight of steps arranged upon an octagonal plan (see 

 Plate 7) leads to the next level of the garden, with its parterre, and the great mount rising in three 

 terraces to its topmost platform. Upon the side facing the palace is a water-theatre of very baroque 

 design, with stone piers and balustrades supporting amorini and figures representing Agriculture 

 and the Arts, Vulcan and Mars. The whole composition is crowned by an equestrian statue, with 

 recumbent figures on either side representing the two principal rivers whose waters flow into the 

 lake. Lofty pyramids of stone capped by gilded ironwork finials complete this extraordinary 

 composition, which, although somewhat bizarre in the treatment of its detail, in its plan has 



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nevertheless many good points. Stairways on either side lead to the platform at the top of the 

 mount, commanding widespread views of the lake and beautiful surrounding mountain scenery. 

 It has a well-designed balustrade, with piers surmounted by figures, vases, and orange-trees in 

 earthenware pots. The angles are marked by obelisks, and, in the midst of all this display of 

 sculpture, upon the south side is a figure supporting the Cardinal's gilt motto, ' Humilitas'— one 

 perhaps hardly appropriate to its gorgeous surroundings. 



Underneath the platform is a huge storage-tank, which is the raison d'dtre of the whole 

 mount ; water is pumped from the lake, and from this point supplies the whole of the gardens 

 and fountains. The machinery and pumping plant still exist in one of the two hexagonal pavilions, 

 on the south side of the mount ; on the opposite side a corresponding pavilion was sumptuously 

 fitted up as a garden-house, with rusticated angle-quoins and a crowning balustrade beset with 

 statues. Between the two pavilions is the parterre and south garden, which still retains its original 

 character. Plate 6 is a view of the south terraces 



