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 
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 
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'Stre 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. 
