34. III. Elegance of feeling. We never can prevent ourselves from imagining that we perceive in the graceful negligence of the Italian cottage, the evidence of a taste among the lower orders refined by the glory of their land, and the beauty of its remains. We have always had strong faith in the influence of climate on the mind, and feel strongly tempted to discuss the subject at length; but our paper has already exceeded its proposed limits, and we must content ourselves with remarking what will not, we think, be disputed, that the eye, by constantly resting either on natural scenery of noble tone and character, or on the architectural remains of classical beauty, must contract a habit of feeling correctly and tastefully; the influence of which, we think, is seen in the style of edifices the most modern and the most humble.
35. Lastly, Dilapidation. We have just used the term "graceful negligence": whether it be graceful, or not, is a matter of taste; but the uncomfortable and ruinous disorder and dilapidation of the Italian cottage is one of observation. The splendor of the climate requires nothing more than shade from the sun, and occasionally shelter from a violent storm: the outer arcade affords them both; it becomes the nightly lounge and daily dormitory of its inhabitant, and the interior is abandoned to filth and decay. Indolence watches the tooth of Time with careless eye and nerveless hand. Religion, or its abuse, reduces every individual of the population to utter inactivity three days out of the seven; and the habits formed in the three regulate the four. Abject poverty takes away the power, while brutish sloth weakens the will; and the filthy habits of the Italian prevent him from suffering from the state to which he is reduced. The shattered roofs, the dark, confused, ragged windows, the obscure chambers, the tattered and dirty draperies, altogether present a picture which, seen too near, is sometimes revolting to the eye, always melancholy to the mind. Yet even this many would not wish to be otherwise. The prosperity of nations, as of individuals, is cold and hard-hearted, and forgetful. The dead die, indeed, trampled down by the crowd of the living; the place thereof shall know them no more, for that place is not in the hearts of the survivors for whose interests they have made way. But adversity and ruin point to the sepulcher, and it is not trodden on; to the chronicle, and it doth not decay. Who would substitute the rush of a new nation, the struggle of an awakening power, for the dreamy sleep of Italy's desolation, for her sweet silence of melancholy thought, her twilight time of everlasting memories?
36. Such, we think, are the principal distinctive attributes of the Italian cottage. Let it not be thought that we are wasting time in the contemplation of its beauties; even though they are of a kind which the architect can never imitate, because he has no command over time, and no choice of situation; and which he ought not to imitate, if he could, because they are only locally desirable or admirable. Our object, let it always be remembered, is not the attainment of architectural data, but the formation of taste.
Oct. 12, 1837
[3] The annexed illustration will, perhaps, make the remarks advanced more intelligible. The building, which is close to the city of Aosta, unites in itself all the peculiarities for which the Italian cottage is remarkable: the dark arcade, the sculptured capital, the vine-covered gallery, the flat and confused roof; and clearly exhibits the points to which we wish particularly to direct attention; namely, brightness of effect, simplicity of form, and elevation of character. Let it not be supposed, however, that such a combination of attributes is rare; on the contrary, it is common to the greater part of the cottages of Italy. This building has not been selected as a rare example, but it is given as a good one. [These remarks refer to a cut in the magazine text, represented in the illustrated edition by a photogravure from the original sketch.]
III.
THE MOUNTAIN COTTAGE—SWITZERLAND.
37. In the three instances of the lowland cottage which have been already considered, are included the chief peculiarities of style which are interesting or important. I have not, it is true, spoken of the carved oaken gable and shadowy roof of the Norman village; of the black crossed rafters and fantastic proportions which delight the eyes of the German; nor of the Moorish arches and confused galleries which mingle so magnificently with the inimitable fretwork of the gray temples of the Spaniard. But these are not peculiarities solely belonging to the cottage: they are found in buildings of a higher order, and seldom, unless where they are combined with other features. They are therefore rather to be considered, in future, as elements of street effect, than, now, as the peculiarities of independent buildings. My remarks on the Italian cottage might, indeed, be applied, were it not for the constant presence of Moorish feeling, to that of Spain. The architecture of the two nations is intimately connected: modified, in Italy, by the taste of the Roman; and, in Spain, by the fanciful creations of the Moor. When I am considering the fortress and the palace,[4] I shall be compelled to devote a very large share of my attention to Spain; but for characteristic examples of the cottage, I turn rather to Switzerland and England. Preparatory, therefore, to a few general remarks on modern ornamental cottages, it will be instructive to observe the peculiarities of two varieties of the mountain cottage, diametrically opposite to each other in most of their features; one always beautiful, and the other frequently so.