palace resulting from a single original project in the world in terms of volume, with more than . Behind the façades of its matching segmental ranges of outbuildings that flank the giant forecourt, a jumble of buildings arose to facilitate daily business. The palace encloses four courts that feature what scholars describe as a well-proportioned interior that evokes a monotonous dignity unique in its time. Of all the royal residences inspired by the Palace of Versailles, the Reggia of Caserta is the one that bears the greatest resemblance to the original model: the unbroken balustraded skyline and the slight break provided by pavilions within the long, somewhat monotonous façade. As at Versailles, a large aqueduct was required to bring water for the prodigious water displays. Like its French predecessor, the palace was intended to display the power and grandeur of an absolute Bourbon monarchy. A solecism at Caserta is that above the piano reale, the King's floor, is another floor of equal magnificence. The enfilades of Late Baroque saloni were the heart and seat of government, as well as displays of national wealth. Caserta provided a royal refuge from the dust and factions of the capital, just as Versailles had freed Louis XIV from Paris. The royal palace has more than 40 monumental rooms completely decorated with frescoes when, in comparison, Versailles counts only 22 monumental rooms. The Park The garden, a typical example of the Baroque extension of formal vistas, stretches for 120 ha, partly on hilly terrain. It is also inspired by the park of Versailles. The park starts from the back façade of the palace, flanking a long alley with artificial fountains and cascades. There is a botanical garden called "The English Garden", in the upper part designed in the 1780s by Carlo Vanvitelli and the German-born botanist, nurseryman, plantsman-designer, John Graefer, trained in London and recommended to Sir William Hamilton by Sir Joseph Banks. It is an early Continental example of an "English garden" in the svelte naturalistic taste of Capability Brown. The fountains and cascades, each filling a vasca (basin), with architecture and hydraulics by Luigi Vanvitelli at intervals along a wide straight canal that runs to the horizon, rivalled those at Peterhof outside St. Petersburg. These include: The Fountain of Diana and Actaeon (sculptures by Paolo Persico, Angelo Maria Brunelli, and Tommaso Solari); The Fountain of Venus and Adonis (1770–80); The Fountain of the