ound, so that the main building becomes an independent feature,
instead of forming the apex of a mass of various architecture.
Consequently, the weight of form which in the former case it might, and
even ought to, possess, would here be cumbrous, ugly, and improper; and
accordingly we find it got rid of. This is done, first by the addition
of the square tower, a feature which is not allowed to break in upon the
symmetry of buildings of high architectural pretensions; but is
immediately introduced, whenever less richness of detail, or variety of
approach, demands or admits of irregularity of form. It is a constant
and most important feature in Italian landscape; sometimes high and
apparently detached, as when it belongs to sacred edifices; sometimes
low and strong, united with the mass of the fortress, or varying the
form of the villa. It is always simple in its design, flat-roofed, its
corners being turned by very slightly projecting pilasters, which are
carried up the whole height of the tower, whatever it may be, without
any regard to proportion, terminating in two arches on each side, in the
villa most frequently filled up, though their curve is still
distinguished by darker tint and slight relief. Two black holes on each
side, near the top, are very often the only entrances by which light or
sun can penetrate. These are seldom actually large, always
proportionably small, and destitute of ornament or relief.

137. The forms of the villas to which these towers are attached are
straggling, and varied by many crossing masses; but the great principle
of simplicity is always kept in view; everything is square, and
terminated by parallel lines; no tall chimneys, no conical roofs, no
fantastic ornaments are ever admitted: the arch alone is allowed to
relieve the stiffness of the general effect. This is introduced
frequently, but not in the windows, which are either squares or double
squares, at great distances from each other, set deeply into the walls
and only adorned with broad flat borders. Where more light is required
they are set moderately close, and protected by an outer line of arches,
deep enough to keep the noonday sun from entering the rooms. These lines
of arches cast soft shadows along the bright fronts, and are otherwise
of great value. Their effect is pretty well seen in fig. 10; a piece
which, while it has no distinguished beauty is yet pleasing by its
entire simplicity; and peculiarly so, when we know that s