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Boox I. GARDENING IN ITALY. 17

cellai. They were in the geometric and architectural taste of those of Pliny, and served as models or precedents for other famous gardens which succeeded them till within the last sixty years, when, as Eustace observes, a mixture of the modern or natural-like manner was generally admitted.::

73. The taste for distributing statues and urns in gardens is said to have been revived about the beginning of the sixteenth century by Cardinal D’ Este, from the accidental circumstance of his having formed a villa on the site of that of the emperor Adrian, near Rome, where finding a number of antiquities, he distributed them over the newly arranged surface.‘This mode was soon imitated by Francis I. of France, and afterwards by the other countries of Europe. Gardens of plants in pots and vases, began to be introduced about the same time, and were used to decorate apartments, balconies, and roofs of houses as at present.:;

74, About the end of the sixteenth century, the celebrated Montaigne travelled in Italy, and has left us some accounts of the principal gardens of that age. He chiefly enlarges on their curious hydraulic devices, for which the garden of the Cardinal de Ferrara at Tivoli was remarkable.(Jour. en Ital. tom. ii.)

75. About the beginning of the seventeenth century, L’ Adamo, a poem, was written and published at Milan in 1617, by G. B. Andreini, a Florentine. The prints, Warton observes,(Lssay on Pope,) that are to represent paradise are full of clipt hedges, square parterres, straight walks, trees uniformly lopt, regular knots and carpets of flowers, groves nodding at groves, marble fountains, and water-works.‘This may be considered as a poetic assemblage of the component parts of a fine Italian garden in the seventeenth century.

76. After the middle of the seventeenth century, the celebrated Evelyn, the author of Sylva, visited Italy, and has described a number of its principal gardens.

At Genoa he saw the palace of Hieronymo del Negro,“ on the terrace or hilly garden, there is a grove of stately trees, among which are sheep, shepherds, and wild beasts, cut very artificially in a grey stone; fountains, rocks, and fish-ponds. Casting your eyes one way, you would imagine yourself in a wilder- ness and silent country; sideways, in the heart of a great city.”

At and near Florence, he says, there are more than a thousand palaces, and country-houses of note. He particularises those of Boboli at the ducal residence(now the palace Pitti), in the town, which still exist and are kept in tolerable order.:

Inand near Rome, he mentions those of the Borghese family, and of Cardinal Aldobrandini at Frascati, “ surpassing, in my opinion, the most delicious places I ever beheld for its situation, elegance, plentiful waters, groves, ascents, and prospects.” He admires several hydraulic conceits, some of which still exist, and also that‘‘ of a copper ball, supported by a jet of air issuing from the floor, and continually dancing about.”:,: im.:

At Tivoli he visited the palace and gardens of Este, which are mentioned with similar encomiums.

Of the palaces and gardens of Lombardy, he observes,“ No disgrace in this country to be some gener- ations in finishing their palaces, that, without exhausting themselves by a vast expence at once, they may at last erect a sumptuous pile.”‘* An Italian nobleman,” Forsyth remarks,“ will live on a crown a day, but spend millions for the benefit of posterity, and the ornament of his country.”:

At Viimarini, near Vicenza, he found an orangery,‘‘ eleven score paces long, full of fruit and blossoms. In the centre of the garden, a magnificent wire cupola, supported by slender brick piers, and richly covered with ivy.— A most inextricable labyrinth.”(Memoirs by Bray, vol. i. 75—207.)

77. In the beginning of the eighteenth century Italy was visited by Volkman, a German traveller, whom Hirschfield considers as deserving credit, and a good judge. He repre- sents the Italian gardens as inferior to those of France in point of superb alleys, lofty clipt hedges, and cabinets of verdure; but, he adds, that they please the greater part of tra- vellers from the north of Europe, more than the French gardens, from the greater variety of plants which they contain, and their almost perpetual luxuriance and verdure. Among the fine gardens, he includes those of Venerie, Stupigni, and Vigne de la Reine, near Turin, which do not appear to have been visited by Evelyn. The beauties of most of the gardens near Rome, he considers as depending more on their situations, distant views, classic remains and associations, luxuriant vegetation, and fine climate, than on their design, which, he says, exhibits‘all the puerilities of the French taste, without its formal grandeur.”’(Nachrichten von Italien, 1 ster band.)

78. About the middle of the eighteenth century the English style of gardening began to

-|© J 5.. 7. 5 fad attract attention in Italy, though partly from the general stagnation of mind, and partly from the abundance of natural beauty already existing, it has never made much progress in that country.‘ Unfortunately,” observes Eustace(Tour, i. 426.), a traveller abun- dantly partial to Italy,“ the modern Romans, like the continental nations in general, are not partial to country residence. They may enjoy the description or commend the representation of rural scenes and occupations in books and pictures; but they feel not the beauties of nature, and cannot relish the calm, the solitary charms of a country life.””

The Italians in general, he elsewhere adds(i. 98.), have very little taste in furnishing a

house, or in laying out grounds to advantage.— Notwithstanding these remarks, and the known paucity of specimens of landscape gardening in Italy, an Italian author of eminence, Professor Malacarne of Padua, has lately claimed for Charles Imanuel, first

Duke of Savoy, the honor of having invented and first displayed an English garden or

park in the neighbourhood of Turin; and which park he proves by a letter of Tasso,

that poet wished to immortalise“ as much as he could,” in the well-known stanza of his

Jerusalem, which Chaucer copied, and which Warton and Eustace suggest as more

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