32. Having now reviewed the distinctive parts of the Italian cottage in
detail, we shall proceed to direct our attention to points of general
character. I. Simplicity of form. The roof, being flat, allows of no
projecting garret windows, no fantastic gable ends: the walls themselves
are equally flat; no bow-windows or sculptured oriels, such as we meet
with perpetually in Germany, France, or the Netherlands, vary their
white fronts. Now, this simplicity is, perhaps, the principal attribute
by which the Italian cottage attains the elevation of character we
desired and expected. All that is fantastic in form, or frivolous in
detail, annihilates the aristocratic air of a building: it at once
destroys its sublimity and size, besides awakening, as is almost always
the case, associations of a mean and low character. The moment we see a
gable roof, we think of cock-lofts; the instant we observe a projecting
window, of attics and tent-bedsteads. Now, the Italian cottage assumes,
with the simplicity, _l'air noble_ of buildings of a higher order; and,
though it avoids all ridiculous miniature mimicry of the palace, it
discards the humbler attributes of the cottage. The ornament it assumes
is dignified; no grinning faces, or unmeaning notched planks, but
well-proportioned arches, or tastefully sculptured columns. While there
is nothing about it unsuited to the humility of its inhabitant, there is
a general dignity in its air, which harmonizes beautifully with the
nobility of the neighboring edifices, or the glory of the surrounding
scenery.

33. II. Brightness of effect. There are no weather stains on the walls:
there is no dampness in air or earth, by which they could be induced;
the heat of the sun scorches away all lichens, and mosses and moldy
vegetation. No thatch or stone crop on the roof unites the building with
surrounding vegetation; all is clear, and warm, and sharp on the eye;