6 
THE ART OF GARDEN DESIGN IN ITALY 
on every side with plane-trees covered with ivy, so that while the heads flourish with their own foliage, 
their bodies enjoy a borrowed verdure ; and thus the ivy, twining round the trunk and branches, 
spreads from tree to tree and connects them together. 
‘ Between each plane-tree are planted box-trees, and behind these, bay-trees, which blend their 
shade with that of the planes. This plantation, forming a straight boundary on both sides of the 
hippodrome, bends at the farther end into a semicircle, which being set round and sheltered with 
cypress-trees, varies the prospect, and casts a deeper gloom ; while the inward circular walks (for there 
are several) enjoying an open exposure, are perfumed with roses, and correct, by a very pleasing contrast 
the coolness of the shade with the warmth of the sun. Having passed through these several winding 
alleys, you enter a straight walk, which breaks out into a variety of others, divided by box-hedges. 
In one place you have a little meadow, in another the box is cut into a thousand different forms : 
sometimes into letters expressing the name of the master; sometimes that of the artificer; whilst 
here and there little obelisks rise, intermixed alternately with fruit-trees: when, on a sudden, in the 
midst of this elegant regularity, you are surprised with an imitation of the negligent beauties of rural 
nature : in the centre of which lies a spot surrounded with a knot of dwarf plane-trees. 
‘ Beyond these is a walk planted with the smooth and twining Acanthus, where the trees are 
also cut into a variety of names and shapes. At the upper end is an alcove of white marble, shaded 
by vines, supported by four small Carystian pillars. From this bench, the water, gushing through 
several little pipes, as if it were pressed out by the weight of the persons who repose themselves upon 
it, falls into a stone cistern underneath, from whence it is received into a fine polished marble basin, 
so artfully contrived that it is always full without ever overflowing. 
‘When I sup here this basin serves for a table, the larger sort of dishes being placed round the 
margin, while the smaller ones swim about in the form of little vessels and water-fowl. Correspond¬ 
ing to this is a fountain which is incessantly emptying and filling; for the water, which it throws up 
a great height, falling back into it, is by means of two openings returned as fast as it is received. 
Fronting the alcove (reflecting as great an ornament to it as it borrows from it) stands a summer¬ 
house of exquisite marble, the doors whereof project and open into a green enclosure; as from its 
upper and lower windows the eye is presented with a variety of different verdures. Next to this is a 
little private recess (which, though it seems distinct, may be laid into the same room) furnished with 
a couch ; and notwithstanding it has windows in every side, yet it enjoys a very agreeable gloominess, 
by means of a spreading vine which climbs to the top and entirely overshadows it. Here you may 
recline and fancy yourself in a wood; with this difference only—that you are not exposed to the 
weather. In this place a fountain also rises and instantly disappears; in different quarters are 
disposed marble seats, which serve no less than the summer-house as so many reliefs after one is 
wearied with walking. Near each seat is a little fountain; and, throughout the whole hippodrome, 
several small rills run murmuring along, wheresoever the hand of art thought proper to conduct them ; 
watering here and there different spots of verdure, and in their progress refreshing the whole.’ 1 
1 Letter to Apollinaris, translated by William Melmoth. 
