Chapter III: Frascati

The most famous group of villas in the Roman country-side lies on the hill above Frascati. Here, in the middle of the sixteenth century, Flaminio Ponzio built the palace of Mondragone for Cardinal Scipione Borghese.[4] Aloft among hanging ilex-woods rises the mighty pile on its projecting basement. This fortress-like ground floor, with high-placed grated windows, is common to all the earlier villas on the brigand-haunted slopes of Frascati. An avenue of ancient ilexes (now cruelly cut down) leads up through the park to the villa, which is preceded by a great walled courtyard, with fountains in the usual rusticated niches. To the right of this court is another, flanked by the splendid loggia of Vignola, with the Borghese eagles and dragons alternating in its sculptured spandrels, and a vaulted ceiling adorned with _stucchi_—one of the most splendid pieces of garden-architecture in Italy.

Footnote 4:

The villa was begun by Martino Lunghi the Elder, in 1567, for the
Cardinal Marco d’Altemps, enlarged by Pope Gregory VII, and completed
by Paul V and his nephew, Cardinal Scipione Borghese. See Gustav Ebe,
“Die Spätrenaissance.”

At the other end of this inner court, which was formerly a flower-garden, Giovanni Fontana, whose name is identified with the fountains of Frascati, constructed a _théâtre d’eau_, raised above the court, and approached by a double ramp elaborately inlaid in mosaic. This ornate composition, with a series of mosaic niches simulating arcaded galleries in perspective, is now in ruins, and the most impressive thing about Mondragone is the naked majesty of its great terrace, unadorned save by a central fountain and two tall twisted columns, and looking out over the wooded slopes of the park to Frascati, the Campagna, and the sea.

On a neighbouring height lies the more famous Villa Aldobrandini, built for the cardinal of that name by Giacomo della Porta in 1598, and said by Evelyn, who saw it fifty years later, “to surpass the most delicious places ... for its situation, elegance, plentiful water, groves, ascents and prospects.”

The house itself does not bear comparison with such buildings as the Villa Medici or the Villa Pamphily. In style it shows the first stage of the baroque, before that school had found its formula. Like all the hill-built villas of Frascati, it is a story lower at the back than in front; and the roof of this lower story forms at each end a terrace level with the first-floor windows. These terraces are adorned with two curious turrets, resting on baroque basements and crowned by swallow-tailed crenellations—a fantastic reversion to mediævalism, more suggestive of “Strawberry Hill Gothic” than of the Italian seventeenth century.

Orazio Olivieri and Giovanni Fontana are said to have collaborated with Giacomo della Porta in designing the princely gardens of the villa. Below the house a series of splendid stone terraces lead to a long _tapis vert_, with an ilex avenue down its centre, which descends to the much-admired grille of stone and wrought-iron enclosing the grounds at the foot of the hill. Behind the villa, in a semicircle cut out of the hillside, is Fontana’s famous water-theatre, of which Evelyn gives a picturesque description: “Just behind the Palace ... rises a high hill or mountain all overclad with tall wood, and so formed by nature as if it had been cut out by art, from the summit of which falls a cascade ... precipitating into a large theatre of water. Under this is an artificial grot wherein are curious rocks, hydraulic organs, and all sorts of singing birds, moving and chirping by force of the water, with several other pageants and surprising inventions. In the centre of one of these rooms rises a copper ball that continually dances about three feet above the pavement, by virtue of a wind conveyed secretly to a hole beneath it; with many other devices for wetting the unwary spectators.... In one of these theatres of water is an Atlas spouting, ... and another monster makes a terrible roaring with a horn; but, above all, the representation of a storm is most natural, with such fury of rain, wind and thunder as one would imagine oneself in some extreme tempest.”

Atlas and the monster are silent, and the tempest has ceased to roar; but the architecture of the great water-theatre remains intact. It has been much extolled by so good a critic as Herr Gurlitt, yet compared with Vignola’s loggia at Mondragone or the terrace of the Orti Farnesiani, it is a heavy and uninspired production. It suffers also from too great proximity to the villa, and from being out of scale with the latter’s modest elevation: there is a distinct lack of harmony between the two façades. But even Evelyn could not say too much in praise of the glorious descent of the cascade from the hilltop. It was in the guidance of rushing water that the Roman garden-architects of the seventeenth century showed their poetic feeling and endless versatility; and the architecture of the upper garden at the Aldobrandini merits all the admiration which has been wasted on its pompous theatre.

Another example of a _théâtre d’eau_, less showy but far more beautiful, is to be seen at the neighbouring Villa Conti (now Torlonia). Of the formal gardens of this villa there remain only the vast terraced stairways which now lead to an ilex-grove level with the first story of the villa. This grove is intersected by mossy alleys, leading to circular clearings where fountains overflow their wide stone basins, and benches are ranged about in the deep shade. The central alley, on the axis of the villa, leads through the wood to a great grassy semicircle at the foot of an ilex-clad hill. The base of the hillside is faced with a long arcade of twenty niches, divided by pilasters, and each containing a fountain. In the centre is a great baroque pile of rock-work, from which the spray tosses into a semicircular basin, which also receives the cascade descending from the hilltop. This cascade is the most beautiful example of fountain-architecture in Frascati. It falls by a series of inclined stone ledges into four oval basins, each a little wider than the one above it. On each side, stone steps which follow the curves of the basins lead to a grassy plateau above, with a balustraded terrace overhanging the rush of the cascade. The upper plateau is enclosed in ilexes, and in its centre is one of the most beautiful fountains in Italy—a large basin surrounded by a richly sculptured balustrade. The plan of this fountain is an interesting example of the variety which the Italian garden-architects gave to the outline of their basins. Even in the smaller gardens the plan of these basins is varied with taste and originality; and the small wall-fountains are also worthy of careful study.

Among the villas of Frascati there are two, less famous than the foregoing, but even more full of a romantic charm. One is the Villa Muti, a mile or two beyond the town, on the way to Grotta Ferrata. From the gate three ancient ilex avenues lead to the villa, the central one being on the axis of the lowest garden. The ground rises gradually toward the house, and the space between the ilex avenues was probably once planted in formal _boschi_, as fragments of statuary are still seen among the trees. The house, set against the hillside, with the usual fortress-like basement, is two stories lower toward the _basse-cour_ than toward the gardens. The avenue to the left of the entrance leads to a small garden, probably once a court, in front of the villa, whence one looks down over a mighty retaining-wall at the _basse-cour_ on the left. On the right, divided from the court by a low wall surmounted by vases, lies the most beautiful box-garden in Italy, laid out in an elaborate geometrical design, and enclosed on three sides by high clipped walls of box and laurel, and on the fourth by a retaining-wall which sustains an upper garden. Nothing can surpass the hushed and tranquil beauty of the scene. There are no flowers or bright colours—only the contrasted tints of box and ilex and laurel, and the vivid green of the moss spreading over damp paths and ancient stonework.

In the upper garden, which is of the same length but narrower, the box-parterres are repeated. This garden, at the end nearest the villa, has a narrow raised terrace, with an elaborate architectural retaining-wall, containing a central fountain in stucco-work. Steps flanked by statues lead up to this fountain, and thence one passes by another flight of steps to the third, or upper, garden, which is level with the back of the villa. This third garden, the largest of the three, was once also laid out in formal parterres and _bosquets_ set with statues, and though it has now been remodelled in the landscape style, its old plan may still be traced. Before it was destroyed the three terraces of the Villa Muti must have formed the most enchanting garden in Frascati, and their plan and architectural details are worthy of careful study, for they belong to the rare class of small Italian gardens where grandeur was less sought for than charm and sylvan seclusion, and where the Latin passion for the monumental was subordinated to a desire for moderation and simplicity.

The Villa Falconieri, on the hillside below Mondragone, is remarkable for the wealth of its garden-architecture. The grounds are entered by two splendid stone gateways, the upper one being on an axis with the villa. A grass avenue leads from this gate to an arch of triumph, a rusticated elevation with niches and statues, surmounted by the inscription “Horatius Falconieris,” and giving access to the inner grounds. Hence a straight avenue runs between formal ilex-groves to the court before the house. On the right, above the _bosco_, is a lofty wall of rock, picturesquely overgrown by shrubs and creepers, with busts and other fragments of antique sculpture set here and there on its projecting ledges. This natural cliff sustains an upper plateau, where there is an oblong artificial water (called “the lake”) enclosed in rock-work and surrounded by a grove of mighty cypresses. From this shady solitude the wooded slopes of the lower park are reached by a double staircase so simple and majestic in design that it harmonizes perfectly with the sylvan wildness which characterizes the landscape. This staircase should be studied as an example of the way in which the Italian garden-architects could lay aside exuberance and whimsicality when their work was intended to blend with some broad or solemn effect of nature.

The grounds of the Villa Falconieri were laid out by Cardinal Ruffini in the first half of the sixteenth century, but the villa was not built till 1648. It is one of the most charming creations of Borromini, that brilliant artist in whom baroque architecture found its happiest expression; and the Villa Falconieri makes one regret that he did not oftener exercise his fancy in the construction of such pleasure-houses. The elevation follows the tradition of the Roman _villa suburbana_. The centre of the ground floor is an arcaded loggia, the roof of which forms a terrace to the recessed story above; while the central motive of this first story is another semicircular recess, adorned with stucco ornament and surmounted by a broken pediment. The attic story is set still farther back, so that its balustraded roof-line forms a background for the richly decorated façade, and the building, though large, thus preserves the airy look and lightness of proportion which had come to be regarded as suited to the suburban pleasure-house.

To the right of the villa, the composition is prolonged by a gateway with coupled columns surmounted by stone dogs, and leading from the forecourt to the adjoining _basse-cour_. About the latter are grouped a number of low farm-buildings, to which a touch of the baroque gives picturesqueness. In the charm of its elevation, and in the happy juxtaposition of garden-walls and outbuildings, the Villa Falconieri forms the most harmonious and successful example of garden-architecture in Frascati.

The elevation which most resembles it is that of the Villa Lancellotti. Here the house, which is probably nearly a century earlier, shows the same happy use of the open loggia, which in this case forms the central feature of the first story, above a stately pedimented doorway. The loggia is surmounted by a kind of square-headed gable crowned by a balustrade with statues, and the façade on each side of this central composition is almost Tuscan in its severity. Before the house lies a beautiful box-garden of intricate design, enclosed in high walls of ilex, with the inevitable _théâtre d’eau_ at its farther end. This is a semicircular composition, with statues in niches between rusticated pilasters, and a central grotto whence a fountain pours into a wide balustraded basin; the whole being surmounted by another balustrade, with a statue set on each pier. It is harmonious and dignified in design, but unfortunately a fresh coating of brown and yellow paint has destroyed that exquisite _patina_ by means of which the climate of Italy effects the gradual blending of nature and architecture.

GENOESE VILLAS