THE HISTORIC GARDENS

The suburban villa of the Sienese banker Agostino Chigi, known as ‘il Magnifico’ (1466-1520), is a significant example of Renaissance culture and reflected the owner’s desire to have a residence far from the hustle and bustle of the city, surrounded by greenery.

In the 16th century, the villa was surrounded by a marvellous viridarium, whose composition harmoniously linked with the architectural forms of the villa itself through the two side wings of the building’s façade, with the festive floral decorations of the Loggia of Love and Psyche, the work of Giovanni da Udine.

The extraordinary representations of plants from the New World, such as corn, courgettes, pumpkins and musk melons, common beans, medicinal plants, fruit plants, as well as ornamental and exotic species, were created with the intention of astonishing and arousing the admiration of visitors and showing guests, dignitaries of the papal court, and the pontiff himself, the magnificence and refinement of the owner, Chigi.

Today, only a small section of the northern part of the garden remains, while at the rear of the Villa (on the south side, where the entrance is now located) there is access to the “secret garden”, inspired by the 16th-century hortus conclusus, separated from the “formal garden” by a high hedge.
The latter extends southwards to a section of the Aurelian Walls, one of the few remaining parts of the city walls that stood on the right bank of the Tiber, the side facing the river having been lost during renovation work at the end of the 19th century.

After careful restoration work, trees have been replanted according to the 19th- and 20th-century layout: pines and some cypresses, the laurel grove – which is perhaps the oldest existing feature – useful and ornamental species (roses, peaches, medlars, Farnesiana acacia, Constantinople acacia, collectible citrus fruits, cherry trees, holm oaks, ancient camellias), some shrub species mentioned in archival documents, such as Myrtus communis, Cornus mas, Berberis, as well as perennial herbaceous plants and bulbous plants such as Viola odorata in ancient varieties, Lilium, Hyacinthus and Iris, which make up the varied and colourful strip along the ancient Farnese wall.

A small collection of archaeological finds, sarcophagi, capitals and statues used as decorative elements, bears witness to the ancient opulence of a surprisingly pleasant environment in the heart of Trastevere.

A journey through history, art and nature in the gardens and outdoor spaces of Villa Farnesina.

Strolling through the avenues and buildings surrounding Villa Farnesina means taking a journey through different eras and influences: from ancient Roman walls to secret Renaissance gardens, from botanical collections to contemporary works of art, from historical architecture to archaeological finds.

Each stop along the way holds stories of famous figures, urban transformations and memories that intertwine the life of the Villa with that of Rome.

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The Auditorium Building, spread over three floors, is used for offices and conferences by the Accademia Nazionale dei Lincei.

The building, dating back to the 19th century, was originally dedicated to the charitable work of Queen Margherita of Savoy, providing shelter for single mothers. In the 1930s, it was converted to house the Library of the Royal Academy of Italy, which at that time established its representative headquarters in Villa Farnesina.

The renovation project, designed by engineer Giovanni Massari in 1933, involved replacing the floors, creating a storage area for over 50,000 volumes, meeting rooms, offices and a large conference room. At the suggestion of architects Cesare Bazzani and Marcello Piacentini, an apse was added to the north side of the building, transforming the rectangular hall into an auditorium with approximately 250 seats. Hence the name “Palazzina dell’Auditorio” (Auditorium Building). To facilitate access for scholars, an underground connection to the Villa was also built.

The building perpetuates the ancient stables of Agostino Chigi commissioned to Raphael the architect, known only through drawings and structured in three naves with a staircase at the rear. All that remains of this construction are the plinth, the pedestals, the bases of the pilasters and part of the walls, once used as stables.

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The Villa Farnesina was perfectly suited to accommodate gardens – so much so that in the 16th century it was called the “Palace of Gardens” – also from an architectural point of view, with the two projecting wings that define the north façade and frame the Loggia of Cupid and Psyche.

Here, on the vault frescoed in 1518 by Giovanni da Udine, pupil of Raphael Sanzio, 170 species of fruits and flowers are recognized, symbols of prosperity and love, conceived as a continuum with the exterior, rich in botanical varieties that came from the Mediterranean and from then exotic lands, even from the New World, testifying to the vast resources and relationships of the banker Agostino Chigi.

The small courtyard of the Loggia, enclosed by walls, had the characteristics of the secret garden, like the other in the opposite section, at the south entrance of the villa. The two secret gardens, called Horti conclusi, inspired by the ancient Roman vignae and monastery cloisters, intimate refuges in nature and silence according to the ideal of the locus amoenus, were created between 1506 and 1511.

This courtyard, with a central fountain (not original), was fed by an ingenious water system that exploited the water of the Tiber, the result of the mastery of engineers working together with architect Baldassarre Peruzzi. The space had been conceived as a “theater of greenery” for staging theatrical performances, a “container” in which to position scenography facing the palace which thus became the stage and backdrop of the performances.

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Citrus fruits have always constituted the main arboreal wealth of the viridarium and their presence has remained constant over the centuries. Still at the end of the nineteenth century, Pierre Fremont, protagonist of the novel Rome by French writer Émile Zola, recounts that in the garden of the Farnesina, even if “abandoned […] devastated, bent, invaded by weeds […] the golden fruits of oranges and cedars always ripened”.

Among the citrus fruits visible today, the giant citron (Citrus medica maxima) stands out, a vigorous plant with an upright habit and irregular, thorny crown. It has smaller, elliptical-oblong leaves with rounded tips. It is highly productive and reblooming, with main flowering periods in spring and autumn. It features large, fragrant white flowers arranged in clusters. The fruits are very large, wrinkled, and oblong-pyriform in shape. The peel is very thick and yellow in color.

An ornamental variant of citron that can be admired in the Villa’s garden is the so-called “Buddha’s hand” (Citrus medica digitata) which produces fruits with “fingers.”

Other rare species include the ribbed bitter orange, the Sweet Lime of Rome, the Mellarosa lemon, the Adam’s Apple, and the Florentine Citron.

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Before the death of its rightful owner, and before being purchased by Cardinal Alessandro Farnese in 1579, Villa Farnesina bordered on its southeast side with a property belonging to the Farnese family. This property was established in the late fifteenth century, at the expense and will of the then-Cardinal Alessandro Farnese senior, grandfather of the Alessandro Farnese who would later purchase the Villa, and future Pope Paul III. He found this place very pleasant due to its healthiness and contact with nature, and he used to visit it daily, even after his ascension to the papal throne, to distract himself and recover from daily commitments.

The property primarily included the building facing Via della Lungara, the so-called Casino Farnese, now the ticket office and guest house of the Accademia dei Lincei, which underwent significant modifications in the second half of the nineteenth century. It was a spacious residence, without a loggia or belvedere, featuring architraves and openings distributed in a not entirely symmetrical manner.

Behind the Casino opened a courtyard, called the cypress courtyard for the tree planted there by the cardinal on the occasion of his graduation. At the center of the courtyard stood, and is still visible today, a wall fountain surmounted by the Farnese lily. There were also a walled garden adjacent to the cypress courtyard, and a large garden at the back, towards the Tiber, bounded by the city walls.

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Di fronte al primo slargo del vialetto circondato dagli agrumi, è collocata una fontana realizzata in epoca ignota dall’unione di due reperti archeologici differenti.
Come vasca è stato riutilizzato un grande sarcofago, appartenente alla tipologia dei cosiddetti sarcofagi strigilati, termine che deriva dal tipo di decorazione a scanalature disposte specularmente sulla fronte e il cui andamento ondulato ricorda lo “strigile”, lo strumento ricurvo con cui nell’antichità gli atleti erano soliti detergersi. La fronte del sarcofago è racchiusa entro una elegante cornice (kymation) a ovuli e astragali, conclusa superiormente da un motivo a larghe fogliette trilobate e lateralmente e in basso da un motivo a treccia. Tali elementi decorativi suggeriscono una datazione del sarcofago tra la fine del III e gli inizi del IV secolo d.C.

The colossal head, used as a water spout above the sarcophagus, was adapted to this function through the loss of the nose and part of the lips.

The sculpture, documented in the context of the Chigi-Farnese properties since the 17th century, depicts a marine Triton, as revealed by the seaweed crossing the surface of the face. The wavy hair, which descends to cover the neck with short curls, is worked to give the hair a wet effect.

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On the south side of Villa Farnesina was one of the two “secret gardens” that once surrounded the building.

Enclosed by walls, this rectangular space extended to the nearby Casino Farnese, now the Villa’s ticket office and guest house of the Accademia dei Lincei. The garden was divided into geometric flowerbeds, adorned with flower pergolas and fruits, with a central fountain, whose remains are still visible today.

The current appearance of this space is due to a renovation and conservation intervention promoted by the National Academy of Lincei in the early 2000s, aimed at restoring the sixteenth-century spatiality of the secret garden through the placement of yew hedges, which were present in the sixteenth-century garden. The secret garden of Agostino Chigi also contained other species of trees and plants, as well as a rose garden with many varieties of roses.

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The laurel (Laurus nobilis) is an ancient and famous plant that in the classical world symbolized knowledge and glory. It was sacred to Apollo, the solar god and protector of arts, music, and poetry, who always wore a laurel crown after Daphne transformed into this plant. In Apollo’s temple at Delphi, a priestess, intoxicated by laurel potions, would issue oracles that dispelled – not always explicitly – doubts and uncertainties.

This laurel tree was planted by Cesare Pascarella, a dialect poet, writer, and painter, during the decade (1930-1940) when he was a member of the Royal Academy of Italy.

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The section of the Aurelian Walls present in Villa Farnesina’s park is one of the oldest remaining in Rome. Built in 271 AD by order of Emperor Aurelian with the aim of stopping the advance of Northern European populations towards the Roman Empire, the Aurelian Walls extended for 19 km and were up to 6.5 meters high.

This wall circuit connects directly with Porta Settimiana, which since medieval times opened onto the via sancta, later renamed Via Settimiana by Pope Julius II della Rovere, which connected Trastevere with the Vatican and St. Peter’s Basilica.

The state of preservation allows recognition of various construction phases, evidenced by different building techniques. The base belongs to a possibly eighteenth-century reinforcement intervention and consists of massive masonry of irregular tufa blocks alternating with few bricks and is bordered by a brick cornice. In the upper part, the curtain wall built under Emperor Honorius (by whose order around 403 AD the height of the walls was almost doubled) can be seen, above which some modern masonry repairs can be distinguished that might date back to the pontificate of Pius IX. The left tower, which is preserved in its full height, shows the remains of the protiro that connected the upper maneuvering chamber with the uncovered walkway. The right tower, in worse condition, was inhabited in the nineteenth century by one of Rome’s public washerwomen, who carried out her activity inside.

What can be observed today in Villa Farnesina’s gardens is a surviving section of the glorious walls that from 1876 were sectioned and removed to make way for the construction of Lungotevere della Farnesina, considered the first engineering intervention of national scope in the newly formed Kingdom of Italy.

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At the end of the path that branches off to the left of the avenue running along the boundary wall between the garden and the area of the current John Cabot University, there is a rectangular sarcophagus without its lid, on whose front are carved two winged Victories, with linear and synthetic features. Facing each other in mirror image toward the center, they support a “tabula ansata“, that is, a plaque with handles, dating to the 2nd century AD, which bears a Greek inscription with the name of the Greek freedman Marcus Aurelius Giocondo who was buried there.

The Victories are dressed in a tunic that covers the entire body, whose folds follow the movement and flow of air. The feathering of the wings is also rendered with remarkable realism. The faces, in profile, show a simple hairstyle formed by a “tenia”, a braided band that follows the forehead and is gathered in a chignon at the nape. The sarcophagus was probably part of Agostino Chigi’s collection of antiquities, as reported by some contemporary testimonies.

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A stump of California sequoia (Sequoia sempervirens) is what remains after the felling – in the 1980s, due to wood rot – of the specimen planted by Guglielmo Marconi during the seven-year period 1930-1937 (the year of his death) when he was President of the Royal Academy of Italy, which was then housed in Villa Farnesina. Marconi took great care of the Villa’s garden and its plants.

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Continuing along the avenue that runs along the boundary wall between the garden and the area where John Cabot University is now located, there is positioned a sculpture representing a female figure, covered by drapery that falls only in the lower part of the body, captured in the gesture of supporting a half-open shell. Despite heavy restoration in the upper part, this is a work from the Roman period inspired by a well-known Hellenistic sculptural model: the so-called Aphrodite of Syracuse.

Compared to the original model, however, some significant variations have been introduced, such as the movement of the drapery and the shell basin that transform the goddess of love into a more prosaic sea nymph. The goddess is placed within a niche that imitates a natural grotto, framed by a stone mosaic.

The sculpture could be what remains of a more complex composition, with putti supporting vases as water spouts. In the mid-16th century this ensemble is described as part of the original decoration of the Farnese garden, before the acquisition of the Chigi property, in the famous description of Roman statues compiled in 1556 by the Bolognese naturalist Ulisse Aldrovandi.