In his "Asolani" Bembo gives a very full and minute description of the gardens at Asolo, which relieved the royal retirement of Caterina, the Queen of Cyprus. Nothing could be more admirable than the situation: there were skirts of mountain which were covered, and are still covered, with oaks; there were grottos in the sides of cliffs, and water so disposed--in jets, in pools inclosed by marble, and among rocks--as to counterfeit all the wildness of Nature; there was the same stately array of cypresses, and of clipped hedges, which had belonged to the villas of Pliny; temples were decorated with blazing frescoes, to which, I dare say, Carpaccio may have lent a hand, if not that wild rake, Giorgione. Here the pretty Queen, with eight thousand gold ducats a year, (whatever that amount may have been,) and some seventy odd retainers, held her court; and here Bembo, a dashing young fellow at that time of seven or eight and twenty, became a party to those disquisitions on Love, and to those recitations of song, part of which he has recorded in the "Asolani." I am sorry to say, the beauty of the place, so far as regards its artificial features, is now all gone. The hall, which may have served as the presence-chamber of the Queen, was only a few years since doing service as a farmer's barn; and the traces of a Diana and an Apollo were still coloring the wall under which a few cows were crunching their clover-hay. All the gardening of Italy at that period, as, indeed, at almost all times, depended very much upon architectural accessories: colonnades and wall-veil with frescoes make a large part of Italian gardening to this day. The Isola Bella in the Lago Maggiore, and the Borghese Garden at Rome, are fair types. And as I recall the sunny vistas of this last, and the noontide loungings upon the marble seats, counting white flecks of statues amid the green of cypresses, and watching the shadow which some dense-topped pine flings upon a marble flight of steps or a marble balustrade, I cannot sneer at the Italian gardening, or wish it were other than it is. The art-life of Italy is the crowning and the overlapping life. The Campagna seems only a bit of foreground to carry the leaping arches of the aqueducts, and to throw the hills of Tivoli and Albano to a purple distance. The farmers (_fattori_) who gallop across the fields, in rough sheepskin wrappers, and upon scurvy-looking ponies, are more picturesque than thrifty; and if I gallop in company with one of them to his home upon the farther edge of the Campagna, (which is an allowable wet-day fancy,) I shall find a tall stone house smeared over roughly with plaster, and its ground-floor devoted to a crazy cart, a pony, a brace of cows, and a few goats; a rude court is walled in adjoining the house, where a few pigs are grunting. Ascending an oaken stair-way within the door, I come upon the living-room of the _fattore_; the beams overhead are begrimed with smoke, and garnished