122. With all, however, that can be alleged in extenuation of its
faults, it cannot be denied that the stucco _does_ take away so much of
the dignity of the building, that, unless we find enough bestowed by its
form and details to counterbalance, and a great deal more than
counterbalance, the deterioration occasioned by tone and material, the
whole edifice must be condemned, as incongruous with the spirit of the
climate, and even with the character of its own gardens and approach. It
remains, therefore, to notice the details themselves. Its form is simple
to a degree; the roof generally quite flat, so as to leave the mass in
the form of a parallelopiped, in general without wings or adjuncts of
any sort. Villa Somma-Riva [Carlotta] is a good example of this general
form and proportion, though it has an arched passage on each side, which
takes away from its massiness. This excessive weight of effect would be
injurious, if the building were set by itself; but, as it always forms
the apex of a series of complicated terraces, it both relieves them and
gains great dignity by its own unbroken simplicity of size. This general
effect of form is not injured, when, as is often the case, an open
passage is left in the center of the building, under tall and
well-proportioned arches, supported by pilasters (never by columns).
Villa Porro, Lago di Como, is a good example of this method. The arches
hardly ever exceed three in number, and these are all of the same size,
so that the crowns of the arches continue the horizontal lines of the
rest of the building. Were the center one higher than the others, these
lines would be interrupted, and a great deal of simplicity lost. The
covered space under these arches is a delightful, shaded, and breezy
retreat in the heat of the day; and the entrance doors usually open into
it, so that a current of cool air is obtainable by throwing them open.

123. The building itself consists of three floors: we remember no
instance of a greater number, and only one or two of fewer. It is, in
general, crowned with a light balustrade, surmounted by statues at
intervals. The windows of the uppermost floor are usually square, often
without any architrave. Those of the principal floor are surrounded with
broad architraves, but are frequently destitute of frieze or cornice.
They have usually flat bands at the bottom, and their aperture is a
double square. Their recess is very deep, so as not to let the sun fall
far