Page:The Poetry of Architecture.djvu/34

22 the Italian sun would be intolerable if admitted at the windows; and, therefore, the edges of the roof project far over the walls, and throw long shadows downwards, so as to keep the upper windows constantly cool. These long oblique shadows on the white surface are always delightful, and are alone sufficient to give the building character. They are peculiar to the buildings of Spain and Italy; for owing to the general darker color of those of more northerly climates, the shadows of their roofs, however far thrown, do not tell distinctly, and render them, not varied, but gloomy. Another ornamental use of these shadows is, that they break the line of junction of the wall with the roof: a point always desirable, and in every kind of building, whether we have to do with lead, slate, tile, or thatch, one of extreme difficulty. This object is farther forwarded in the Italian cottage, by putting two or three windows up under the very eaves themselves, which is also done for coolness, so that their tops are formed by the roof; and the wall has the appearance of having been terminated by large battlements, and roofed over. And, finally, the eaves are seldom kept long on the same level: double or treble rows of tiling are introduced; long sticks and irregular woodwork are occasionally attached to them, to assist the festoons of the vines; and the graceful irregularity and marked character of the whole; must be dwelt on with equal delight by the eye of the poet, the artist, or the unprejudiced architect. All, however, is exceedingly humble; we have not yet met with the