ture on its situation, and of the utter impossibility of judging of the beauty of any building in the abstract: and we would also lay much stress upon them, as showing with what boldness the designer may introduce into his building, undisguised, such parts as local circumstances render desirable; for there will invariably be something in the nature of that which causes their necessity, which will endow them with beauty.
These, then, are the principal features of the Italian villa, modifications of which, of course more or less dignified in size, material, or decoration, in proportion to the power and possessions of their proprietor, may be considered as composing every building of that class in Italy. A few remarks on their general effect will enable us to conclude the subject.
We have been so long accustomed to see the horizontal lines and simple forms which, as we have observed, still prevail among the Ausonian villas, used with the greatest dexterity, and the noblest effect, in the compositions of Claude, Salvator, and Poussin; and so habituated to consider those compositions as perfect models of the beautiful, as well as the pure in taste; that it is difficult to divest ourselves of prejudice, in the contemplation of the sources from which those masters received their education, their feeling, and. their subjects. We would hope, however, and we think it may be proved, that in this case principle assists and encourages prejudice. First, referring only to the gratification afforded to the eye
