{"id":3918,"date":"2025-07-17T10:50:53","date_gmt":"2025-07-17T10:50:53","guid":{"rendered":"https:\/\/www.villafarnesina.it\/percorso-di-visita\/the-gardens-of-the-villa\/"},"modified":"2026-01-30T09:51:58","modified_gmt":"2026-01-30T09:51:58","slug":"the-gardens-of-the-villa","status":"publish","type":"portfolio","link":"https:\/\/www.villafarnesina.it\/en\/percorso-di-visita\/the-gardens-of-the-villa\/","title":{"rendered":"The Gardens of the Villa"},"content":{"rendered":"<div   class='avia-fullscreen-slider main_color   avia-builder-el-0  el_before_av_section  avia-builder-el-first  container_wrap fullsize'  >\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-ml0pepg2-b4bcf836cf83f56ada295f4d48154793\">\n#top #wrap_all .avia-slideshow .av-slideshow-caption.av-ml0pepg2-b4bcf836cf83f56ada295f4d48154793__0 .avia-caption-title{\ncolor:#ffffff;\n}\n#top .avia-slideshow .av-slideshow-caption.av-ml0pepg2-b4bcf836cf83f56ada295f4d48154793__0 .avia-caption-content{\ncolor:#ffffff;\n}\n#top #wrap_all .avia-slideshow .av-slideshow-caption.av-ml0pepg2-b4bcf836cf83f56ada295f4d48154793__1 .avia-caption-title{\nfont-size:70px;\ncolor:#ffffff;\n}\n#top .avia-slideshow .av-slideshow-caption.av-ml0pepg2-b4bcf836cf83f56ada295f4d48154793__1 .avia-caption-content{\nfont-size:20px;\ncolor:#ffffff;\n}\n#top .avia-slideshow .av-slideshow-caption.av-ml0pepg2-b4bcf836cf83f56ada295f4d48154793__1 .avia-caption-content p{\nfont-size:20px;\n}\n<\/style>\n<div  class='avia-slideshow av-ml0pepg2-b4bcf836cf83f56ada295f4d48154793 avia-slideshow-no scaling av_fullscreen avia-fade-slider av-slideshow-ui av-control-hidden av-no-slider-navigation av-hide-nav-arrows av-slideshow-autoplay av-loop-endless av-loop-manual-endless av-default-height-applied   avia-slideshow-1' data-slideshow-options=\"{&quot;animation&quot;:&quot;fade&quot;,&quot;autoplay&quot;:true,&quot;loop_autoplay&quot;:&quot;endless&quot;,&quot;interval&quot;:4,&quot;loop_manual&quot;:&quot;manual-endless&quot;,&quot;autoplay_stopper&quot;:false,&quot;noNavigation&quot;:true,&quot;bg_slider&quot;:true,&quot;keep_padding&quot;:false,&quot;hoverpause&quot;:false,&quot;show_slide_delay&quot;:0,&quot;slide_height&quot;:&quot;100&quot;,&quot;image_attachment&quot;:&quot;scroll&quot;}\"  itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><ul class='avia-slideshow-inner ' style='padding-bottom: 56.25%;'><li style='background-position:center center;' data-img-url='https:\/\/www.villafarnesina.it\/wp-content\/uploads\/2025\/07\/giardini_villa_01.jpg' class='avia-slideshow-slide av-ml0pepg2-b4bcf836cf83f56ada295f4d48154793__0  slide-1 slide-odd'><div data-rel='slideshow-1' class='avia-slide-wrap '   ><div class='av-section-color-overlay' style='opacity: 0.5; background-color: #0a0a0a; '><\/div><\/div><\/li><li style='background-position:center center;' data-img-url='https:\/\/www.villafarnesina.it\/wp-content\/uploads\/2025\/07\/giardini_villa_02.jpg' class='avia-slideshow-slide av-ml0pepg2-b4bcf836cf83f56ada295f4d48154793__1  slide-2 slide-even'><div data-rel='slideshow-1' class='avia-slide-wrap '   ><div class='av-section-color-overlay' style='opacity: 0.5; background-color: #0a0a0a; '><\/div><\/div><\/li><\/ul><div class='avia-slideshow-arrows avia-slideshow-controls' ><a href='#prev' class='prev-slide  avia-svg-icon avia-font-svg_entypo-fontello' data-av_svg_icon='left-open-big' data-av_iconset='svg_entypo-fontello' tabindex='-1' title=\"Previous\"><svg version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"15\" height=\"32\" viewBox=\"0 0 15 32\" preserveAspectRatio=\"xMidYMid meet\" aria-labelledby='av-svg-title-1' aria-describedby='av-svg-desc-1' role=\"graphics-symbol\" aria-hidden=\"true\">\n<title id='av-svg-title-1'>Previous<\/title>\n<desc id='av-svg-desc-1'>Previous<\/desc>\r\n<path d=\"M14.464 27.84q0.832 0.832 0 1.536-0.832 0.832-1.536 0l-12.544-12.608q-0.768-0.768 0-1.6l12.544-12.608q0.704-0.832 1.536 0 0.832 0.704 0 1.536l-11.456 11.904z\"><\/path>\r\n<\/svg><span class='avia_hidden_link_text'>Previous<\/span><\/a><a href='#next' class='next-slide  avia-svg-icon avia-font-svg_entypo-fontello' data-av_svg_icon='right-open-big' data-av_iconset='svg_entypo-fontello' tabindex='-1' title=\"Next\"><svg version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"15\" height=\"32\" viewBox=\"0 0 15 32\" preserveAspectRatio=\"xMidYMid meet\" aria-labelledby='av-svg-title-2' aria-describedby='av-svg-desc-2' role=\"graphics-symbol\" aria-hidden=\"true\">\n<title id='av-svg-title-2'>Next<\/title>\n<desc id='av-svg-desc-2'>Next<\/desc>\r\n<path d=\"M0.416 27.84l11.456-11.84-11.456-11.904q-0.832-0.832 0-1.536 0.832-0.832 1.536 0l12.544 12.608q0.768 0.832 0 1.6l-12.544 12.608q-0.704 0.832-1.536 0-0.832-0.704 0-1.536z\"><\/path>\r\n<\/svg><span class='avia_hidden_link_text'>Next<\/span><\/a><\/div><div class='av-slideshow-caption av-ml0pepg2-b4bcf836cf83f56ada295f4d48154793__0 caption_fullwidth caption_center'><div class=\"container caption_container\"><div class=\"slideshow_caption\"><div class=\"slideshow_inner_caption\"><div class=\"slideshow_align_caption\"><h1 class='avia-caption-title '  itemprop=\"name\" >The Gardens of the Villa<\/h1><div class='avia-caption-content av_inherit_color'  itemprop=\"description\" ><p>Spazi verdi storici che testimoniano le diverse fasi evolutive del complesso della Villa Farnesina.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\n<div id='mappa_giardini_storici'  class='avia-section av-2o5j5-d6ea5db15ce20f282f9fb7422b05d232 header_color avia-section-large avia-no-border-styling  avia-builder-el-1  el_after_av_fullscreen  avia-builder-el-last  av-medium-hide av-small-hide av-mini-hide avia-bg-style-scroll av-minimum-height av-minimum-height-100 av-height-100  container_wrap fullsize'   data-av_minimum_height_pc='100' data-av_min_height_opt='100'><div class='container av-section-cont-open' ><div class='template-page content  av-content-full alpha units'><div class='post-entry post-entry-type-page post-entry-3918'><div class='entry-content-wrapper clearfix'>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-mogux-0ffc329b4655919387d8a7bd50ef4b8e\">\n#top .flex_column.av-mogux-0ffc329b4655919387d8a7bd50ef4b8e{\nmargin-top:0px;\nmargin-bottom:30px;\n}\n.responsive #top #wrap_all .flex_column.av-mogux-0ffc329b4655919387d8a7bd50ef4b8e{\nmargin-top:0px;\nmargin-bottom:30px;\n}\n<\/style>\n<div  class='flex_column av-mogux-0ffc329b4655919387d8a7bd50ef4b8e av_one_full  avia-builder-el-2  el_before_av_one_full  avia-builder-el-first  first flex_column_div av-animated-generic bottom-to-top  '     ><p>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-fu4sx-114f49671f18e7267b77f148bc9dba1f\">\n#top .av-special-heading.av-fu4sx-114f49671f18e7267b77f148bc9dba1f{\npadding-bottom:10px;\n}\nbody .av-special-heading.av-fu4sx-114f49671f18e7267b77f148bc9dba1f .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n.av-special-heading.av-fu4sx-114f49671f18e7267b77f148bc9dba1f .av-subheading{\nfont-size:15px;\n}\n<\/style>\n<div  class='av-special-heading av-fu4sx-114f49671f18e7267b77f148bc9dba1f av-special-heading-h2 blockquote modern-quote  avia-builder-el-3  el_before_av_textblock  avia-builder-el-first '><h2 class='av-special-heading-tag '  itemprop=\"headline\"  >A journey through history, art and nature in the gardens and outdoor spaces of Villa Farnesina.<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-7u7u1-363453e0370ca8d5e6eb9253314cd697 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p style=\"text-align: left;\">Walking through the avenues and buildings surrounding Villa Farnesina means taking <strong>a journey through different eras and atmospheres<\/strong>: from ancient Roman walls to <strong>secret Renaissance gardens<\/strong>, from <strong>botanical collections<\/strong> to <strong>contemporary artworks<\/strong>, from <strong>historic architecture<\/strong> to <strong>archaeological artifacts<\/strong>.<\/p>\n<p style=\"text-align: left;\">Each stop holds stories of illustrious figures, urban transformations and memories that interweave the life of the Villa with that of Rome.<\/p>\n<\/div><\/section><\/p><\/div>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-2t29qh-627c558fbdf7750d27fc6c914e5c9444\">\n#top .flex_column.av-2t29qh-627c558fbdf7750d27fc6c914e5c9444{\nmargin-top:0px;\nmargin-bottom:50px;\n}\n.responsive #top 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.av-image-hotspot.av-1e9475-b0d0d819aab32415ef014ad48aebde05 .av-image-hotspot_inner{\nbackground-color:#541f16;\ncolor:#f2f2f2;\n}\n.av-hotspot-image-container .av-image-hotspot.av-1e9475-b0d0d819aab32415ef014ad48aebde05 .av-image-hotspot-pulse{\nbackground-color:#2a537a;\n}\n.av-hotspot-image-container .av-image-hotspot.av-171vmx-452e0e2486f6af75aa8e557343febda8{\ntop:57.5%;\nleft:58.6%;\n}\n.av-hotspot-image-container .av-image-hotspot.av-171vmx-452e0e2486f6af75aa8e557343febda8 .av-image-hotspot_inner{\nbackground-color:#541f16;\ncolor:#f2f2f2;\n}\n.av-hotspot-image-container .av-image-hotspot.av-171vmx-452e0e2486f6af75aa8e557343febda8 .av-image-hotspot-pulse{\nbackground-color:#2a537a;\n}\n.av-hotspot-image-container .av-image-hotspot.av-112x7l-f24684c745cb2ce35979ded405471cdb{\ntop:49.4%;\nleft:59.2%;\n}\n.av-hotspot-image-container .av-image-hotspot.av-112x7l-f24684c745cb2ce35979ded405471cdb 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.av-image-hotspot.av-r3tqp-9df77646d159a5cadddaa80bea38cb88 .av-image-hotspot-pulse{\nbackground-color:#2a537a;\n}\n.av-hotspot-image-container .av-image-hotspot.av-mzj09-f5b579e8e14b3ab88fb96f83f45dc598{\ntop:78.2%;\nleft:90.4%;\n}\n.av-hotspot-image-container .av-image-hotspot.av-mzj09-f5b579e8e14b3ab88fb96f83f45dc598 .av-image-hotspot_inner{\nbackground-color:#541f16;\ncolor:#f2f2f2;\n}\n.av-hotspot-image-container .av-image-hotspot.av-mzj09-f5b579e8e14b3ab88fb96f83f45dc598 .av-image-hotspot-pulse{\nbackground-color:#2a537a;\n}\n.av-hotspot-image-container .av-image-hotspot.av-f6vm1-20d7cdc2f2dce395babf7e8fecdc4885{\ntop:55.7%;\nleft:77.4%;\n}\n.av-hotspot-image-container .av-image-hotspot.av-f6vm1-20d7cdc2f2dce395babf7e8fecdc4885 .av-image-hotspot_inner{\nbackground-color:#541f16;\ncolor:#f2f2f2;\n}\n.av-hotspot-image-container .av-image-hotspot.av-f6vm1-20d7cdc2f2dce395babf7e8fecdc4885 .av-image-hotspot-pulse{\nbackground-color:#2a537a;\n}\n.av-hotspot-image-container .av-image-hotspot.av-8ohc9-2b8b11bd34157ab8d767cbaa1a44dcc0{\ntop:88.2%;\nleft:84.8%;\n}\n.av-hotspot-image-container .av-image-hotspot.av-8ohc9-2b8b11bd34157ab8d767cbaa1a44dcc0 .av-image-hotspot_inner{\nbackground-color:#541f16;\ncolor:#f2f2f2;\n}\n.av-hotspot-image-container .av-image-hotspot.av-8ohc9-2b8b11bd34157ab8d767cbaa1a44dcc0 .av-image-hotspot-pulse{\nbackground-color:#2a537a;\n}\n<\/style>\n<div  class='av-hotspot-image-container av-24c8u9-02a42f43ca82d5a840857b8b6212590b  avia-builder-el-6  avia-builder-el-no-sibling  av-hotspot-blank av-close-on-click-tooltip avia_animated_image avia_animate_when_almost_visible fade-in av-mobile-fallback-active  av-non-fullwidth-hotspot-image'  itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class='av-hotspot-container'><div class='av-hotspot-container-inner-cell'><div class='av-hotspot-container-inner-wrap'><div class='av-image-hotspot av-1x80ax-5a1789832739e8050b3ace101380d336 av-image-hotspot-1 av-close-on-click-tooltip' data-avia-tooltip-position='right' data-avia-tooltip-alignment='top' data-avia-tooltip-class='av-tt-xlarge-width av-tt-pos-right av-tt-align-top  av-mobile-fallback-active  av-close-on-click-tooltip-single  main_color av-tooltip-shadow av-tt-hotspot' data-avia-tooltip='&lt;h3 class=&quot;s5&quot;&gt;&lt;span class=&quot;s8&quot;&gt;Auditorium Building&lt;\/span&gt;&lt;\/h3&gt;\n&lt;p class=&quot;s5&quot;&gt;The Auditorium Building, spread over three floors, is used for offices and conferences by the Accademia Nazionale dei Lincei. &lt;\/p&gt;\n&lt;p class=&quot;s5&quot;&gt;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.&lt;\/p&gt;\n&lt;p class=&quot;s5&quot;&gt;&lt;span class=&quot;s8&quot;&gt;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 \u201cPalazzina dell&#8217;Auditorio\u201d (Auditorium Building). To facilitate access for scholars, an underground connection to the Villa was also built.   &lt;\/span&gt;&lt;\/p&gt;\n&lt;p class=&quot;s5&quot;&gt;&lt;span class=&quot;s8&quot;&gt;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. &lt;\/span&gt;&lt;\/p&gt;\n'><div class='av-image-hotspot_inner'>1<\/div><div class='av-image-hotspot-pulse'><\/div><\/div><div class='av-image-hotspot av-1pd1kp-ecd62bf3e33740c9c63711800fe5c323 av-image-hotspot-2 av-close-on-click-tooltip' data-avia-tooltip-position='left' data-avia-tooltip-alignment='top' data-avia-tooltip-class='av-tt-xlarge-width av-tt-pos-left av-tt-align-top  av-mobile-fallback-active  av-close-on-click-tooltip-single  main_color av-tooltip-shadow av-tt-hotspot' data-avia-tooltip='&lt;h3&gt;Courtyard of the Loggia of Cupid and Psyche&lt;\/h3&gt;\n&lt;p&gt;The Villa Farnesina was perfectly suited to accommodate gardens \u2013 so much so that in the 16th century it was called the \u201cPalace of Gardens\u201d \u2013 also from an architectural point of view, with the two projecting wings that define the north fa\u00e7ade and frame the Loggia of Cupid and Psyche.&lt;\/p&gt;\n&lt;p&gt;Here, on the vault frescoed in 1518 by Giovanni da Udine, pupil of Raphael Sanzio, 170 species of &lt;strong&gt;fruits&lt;\/strong&gt; and &lt;strong&gt;flowers&lt;\/strong&gt; are recognized, symbols of &lt;strong&gt;prosperity&lt;\/strong&gt; and &lt;strong&gt;love&lt;\/strong&gt;, conceived as a continuum with the exterior, rich in botanical varieties that came from the Mediterranean and from then exotic lands, even from the &lt;strong&gt;New World&lt;\/strong&gt;, testifying to the vast resources and relationships of the banker &lt;strong&gt;Agostino Chigi&lt;\/strong&gt;.&lt;\/p&gt;\n&lt;p&gt;The small courtyard of the Loggia, &lt;strong&gt;enclosed by walls&lt;\/strong&gt;, had the characteristics of the &lt;strong&gt;secret garden&lt;\/strong&gt;, like the other in the opposite section, at the south entrance of the villa. The two secret gardens, called &lt;strong&gt;Horti conclusi&lt;\/strong&gt;, inspired by the ancient &lt;em&gt;Roman vignae&lt;\/em&gt; and monastery cloisters, &lt;strong&gt;intimate refuges in nature and silence&lt;\/strong&gt; according to the ideal of the &lt;em&gt;locus amoenus&lt;\/em&gt;, were created between 1506 and 1511. &lt;\/p&gt;\n&lt;p&gt;This courtyard, with a &lt;strong&gt;central fountain&lt;\/strong&gt; (not original), was fed by an &lt;strong&gt;ingenious water system that exploited the water of the Tiber&lt;\/strong&gt;, the result of the mastery of engineers working together with architect Baldassarre Peruzzi. The space had been conceived as a &#8220;&lt;em&gt;theater of greenery&lt;\/em&gt;&#8221; for staging theatrical performances, a &#8220;&lt;em&gt;container&lt;\/em&gt;&#8221; in which to position scenography facing the palace which thus became the stage and backdrop of the performances.&lt;\/p&gt;\n'><div class='av-image-hotspot_inner'>2<\/div><div class='av-image-hotspot-pulse'><\/div><\/div><div class='av-image-hotspot av-1k021l-c406e7cd157d2d562d220ec6a1b48c80 av-image-hotspot-3 av-close-on-click-tooltip' data-avia-tooltip-position='left' data-avia-tooltip-alignment='top' data-avia-tooltip-class='av-tt-xlarge-width av-tt-pos-left av-tt-align-top  av-mobile-fallback-active  av-close-on-click-tooltip-single  main_color av-tooltip-shadow av-tt-hotspot' data-avia-tooltip='&lt;h3&gt;Citrus Collection&lt;\/h3&gt;\n&lt;p&gt;Citrus fruits have always constituted the &lt;strong&gt;main arboreal wealth of the viridarium&lt;\/strong&gt; 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 \u00c9mile Zola, recounts that in the garden of the Farnesina, even if &#8220;&lt;em&gt;abandoned [&#8230;] devastated, bent, invaded by weeds [&#8230;] the golden fruits of oranges and cedars always ripened&lt;\/em&gt;&#8220;. &lt;\/p&gt;\n&lt;p&gt;Among the citrus trees visible today, the giant citron (Citrus medica maxima) stands out, a vigorous plant with an upright habit and an irregular, spiny canopy. It has smaller leaves, elliptic-oblong in shape, with a rounded apex. It is highly productive and ever-flowering, with its main blooms occurring in spring and autumn. It bears large, fragrant white flowers arranged in clusters. The fruits are very large, corrugated, and oblong-pyriform in shape. The skin is very thick and yellow in color.&lt;\/p&gt;\n&lt;p&gt;An ornamental variant of citron that can be admired in the Villa&#8217;s garden is the so-called &#8220;&lt;em&gt;Buddha&#8217;s hand&lt;\/em&gt;&#8221; (Citrus medica digitata) which produces fruits with &#8220;fingers.&#8221;&lt;\/p&gt;\n&lt;p&gt;Other rare species include the ribbed bitter orange, the &lt;strong&gt;Sweet Lime of Rome&lt;\/strong&gt;, the &lt;strong&gt;Mellarosa lemon&lt;\/strong&gt;, the &lt;strong&gt;Adam&#8217;s Apple&lt;\/strong&gt;, and the &lt;strong&gt;Florentine Citron&lt;\/strong&gt;.&lt;\/p&gt;\n'><div class='av-image-hotspot_inner'>3<\/div><div class='av-image-hotspot-pulse'><\/div><\/div><div class='av-image-hotspot av-1e9475-b0d0d819aab32415ef014ad48aebde05 av-image-hotspot-4 av-close-on-click-tooltip' data-avia-tooltip-position='left' data-avia-tooltip-alignment='top' data-avia-tooltip-class='av-tt-xlarge-width av-tt-pos-left av-tt-align-top  av-mobile-fallback-active  av-close-on-click-tooltip-single  main_color av-tooltip-shadow av-tt-hotspot' data-avia-tooltip='&lt;h3&gt;Farnese Casino&lt;\/h3&gt;\n&lt;p&gt;Before the death of its rightful owner, and before it was purchased by Cardinal Alessandro Farnese in 1579, Villa Farnesina bordered a property of the Farnese family on its south-eastern side. This property had been established in the final years of the fifteenth century, at the expense and by the will of the then Cardinal Alessandro Farnese the Elder, grandfather of the Alessandro Farnese who would later purchase the Villa, and the future Pope Paul III. He found this place very pleasant, thanks to its healthy environment and close contact with nature, and he was accustomed to visiting it daily, even after his ascent to the papal throne, in order to relax and recover from his daily duties.&lt;\/p&gt;\n&lt;p&gt;The property primarily included the building facing Via della Lungara, the so-called &lt;strong&gt;Casino Farnese&lt;\/strong&gt;, 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 &lt;strong&gt;spacious residence&lt;\/strong&gt;, without a loggia or belvedere, featuring architraves and openings distributed in a not entirely symmetrical manner. &lt;\/p&gt;\n&lt;p&gt;Behind the Casino opened a courtyard, called the &lt;strong&gt;cypress courtyard&lt;\/strong&gt; 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.&lt;\/p&gt;\n'><div class='av-image-hotspot_inner'>4<\/div><div class='av-image-hotspot-pulse'><\/div><\/div><div class='av-image-hotspot av-171vmx-452e0e2486f6af75aa8e557343febda8 av-image-hotspot-5 av-close-on-click-tooltip' data-avia-tooltip-position='left' data-avia-tooltip-alignment='top' data-avia-tooltip-class='av-tt-xlarge-width av-tt-pos-left av-tt-align-top  av-mobile-fallback-active  av-close-on-click-tooltip-single  main_color av-tooltip-shadow av-tt-hotspot' data-avia-tooltip='&lt;h3&gt;Strigillated Sarcophagus&lt;\/h3&gt;\n&lt;p&gt;Facing the first clearing of the path surrounded by citrus trees, there is a fountain created at an unknown time by combining two different archaeological artifacts.&lt;br \/&gt;\nA large &lt;strong&gt;sarcophagus&lt;\/strong&gt; has been repurposed as the basin, belonging to the type known as &lt;strong&gt;strigillated sarcophagi&lt;\/strong&gt;, a term derived from the type of &lt;strong&gt;fluted decoration&lt;\/strong&gt; arranged symmetrically on the front, whose wavy pattern recalls the &#8220;&lt;strong&gt;strigil&lt;\/strong&gt;,&#8221; the curved instrument ancient athletes used to cleanse themselves. The front of the sarcophagus is enclosed within an elegant frame (kymation) with ovules and astragals, topped with a pattern of wide trilobed leaves and bordered laterally and below by a braided motif. These decorative elements suggest the sarcophagus dates between the late 3rd and early 4th century AD.  &lt;\/p&gt;\n&lt;p&gt;The colossal head used as a water spout above the sarcophagus was adapted for this function through the loss of its nose and part of its lips.&lt;\/p&gt;\n&lt;p&gt;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.&lt;\/p&gt;\n'><div class='av-image-hotspot_inner'>5<\/div><div class='av-image-hotspot-pulse'><\/div><\/div><div class='av-image-hotspot av-112x7l-f24684c745cb2ce35979ded405471cdb av-image-hotspot-6 av-close-on-click-tooltip' data-avia-tooltip-position='left' data-avia-tooltip-alignment='top' data-avia-tooltip-class='av-tt-xlarge-width av-tt-pos-left av-tt-align-top  av-mobile-fallback-active  av-close-on-click-tooltip-single  main_color av-tooltip-shadow av-tt-hotspot' data-avia-tooltip='&lt;h3&gt;&lt;span data-contrast=&quot;auto&quot;&gt;Secret Garden&lt;\/span&gt;&lt;\/h3&gt;\n&lt;p&gt;&lt;span data-contrast=&quot;auto&quot;&gt;On the south side of Villa Farnesina was one of the two &#8220;&lt;strong&gt;secret gardens&lt;\/strong&gt;&#8221; that once surrounded the building.&lt;\/span&gt;&lt;\/p&gt;\n&lt;p&gt;&lt;span data-contrast=&quot;auto&quot;&gt;Enclosed by walls, this rectangular space extended to the nearby &lt;strong&gt;Casino Farnese&lt;\/strong&gt;, now the Villa&#8217;s ticket office and guest house of the Accademia dei Lincei. The garden was divided into &lt;strong&gt;geometric flowerbeds&lt;\/strong&gt;, adorned with &lt;strong&gt;flower pergolas&lt;\/strong&gt; and &lt;strong&gt;fruits&lt;\/strong&gt;, with a &lt;strong&gt;central fountain&lt;\/strong&gt;, whose remains are still visible today.  &lt;\/span&gt;&lt;span data-ccp-props=&quot;{&quot;&gt; &lt;\/span&gt;&lt;\/p&gt;\n&lt;p&gt;&lt;span data-contrast=&quot;auto&quot;&gt;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 &lt;strong&gt;rose garden&lt;\/strong&gt; with many varieties of roses. &lt;\/span&gt;&lt;span data-ccp-props=&quot;{&quot;&gt; &lt;\/span&gt;&lt;\/p&gt;\n'><div class='av-image-hotspot_inner'>6<\/div><div class='av-image-hotspot-pulse'><\/div><\/div><div class='av-image-hotspot av-34mw9-aa07fb5ea283af5bfd4864c8e92ec24a av-image-hotspot-7 av-close-on-click-tooltip' data-avia-tooltip-position='left' data-avia-tooltip-alignment='top' data-avia-tooltip-class='av-tt-xlarge-width av-tt-pos-left av-tt-align-top  av-mobile-fallback-active  av-close-on-click-tooltip-single  main_color av-tooltip-shadow av-tt-hotspot' data-avia-tooltip='&lt;h3&gt;&lt;span data-contrast=&quot;auto&quot;&gt;Cesare Pascarella&#8217;s Laurel&lt;\/span&gt;&lt;\/h3&gt;\n&lt;p&gt;The laurel (Laurus nobilis) is an ancient and renowned plant which, in the classical world, symbolised knowledge and glory. It was sacred to Apollo, the solar god and protector of the arts, music and poetry, who was said to wear a laurel wreath after Daphne was transformed into this plant. In the Temple of Apollo at Delphi, a priestess, intoxicated by laurel potions, delivered oracles that dispelled\u2014though not always explicitly\u2014doubts and uncertainties. &lt;span data-ccp-props=&quot;{&quot;&gt; &lt;\/span&gt;&lt;\/p&gt;\n&lt;p&gt;&lt;span data-contrast=&quot;auto&quot;&gt;This laurel tree was &lt;strong&gt;planted by Cesare Pascarella&lt;\/strong&gt;, a dialect poet, writer, and painter, during the decade (1930-1940) when he was a &lt;strong&gt;member of the Royal Academy of Italy&lt;\/strong&gt;.&lt;\/span&gt;&lt;span data-ccp-props=&quot;{&quot;&gt; &lt;\/span&gt;&lt;\/p&gt;\n'><div class='av-image-hotspot_inner'>7<\/div><div class='av-image-hotspot-pulse'><\/div><\/div><div class='av-image-hotspot av-r3tqp-9df77646d159a5cadddaa80bea38cb88 av-image-hotspot-8 av-close-on-click-tooltip' data-avia-tooltip-position='left' data-avia-tooltip-alignment='top' data-avia-tooltip-class='av-tt-xlarge-width av-tt-pos-left av-tt-align-top  av-mobile-fallback-active  av-close-on-click-tooltip-single  main_color av-tooltip-shadow av-tt-hotspot' data-avia-tooltip='&lt;h3&gt;&lt;span data-contrast=&quot;auto&quot;&gt;Sarcophagus with Winged Victories&lt;\/span&gt;&lt;\/h3&gt;\n&lt;p&gt;&lt;span data-contrast=&quot;auto&quot;&gt;The section of the &lt;strong&gt;Aurelian Walls&lt;\/strong&gt; present in Villa Farnesina&#8217;s park is &lt;strong&gt;one of the oldest remaining in Rome&lt;\/strong&gt;. Built in &lt;strong&gt;271 AD&lt;\/strong&gt; by order of &lt;strong&gt;Emperor Aurelian&lt;\/strong&gt; with the aim of &lt;strong&gt;stopping the advance of Northern European populations towards the Roman Empire&lt;\/strong&gt;, the Aurelian Walls extended for 19 km and were up to 6.5 meters high. &lt;\/span&gt;&lt;span data-ccp-props=&quot;{&quot;&gt; &lt;\/span&gt;&lt;\/p&gt;\n&lt;p&gt;&lt;span data-contrast=&quot;auto&quot;&gt;This wall circuit connects directly with &lt;strong&gt;Porta Settimiana&lt;\/strong&gt;, which since medieval times opened onto the &lt;\/span&gt;&lt;i&gt;&lt;span data-contrast=&quot;auto&quot;&gt;via sancta&lt;\/span&gt;&lt;\/i&gt;&lt;span data-contrast=&quot;auto&quot;&gt;, later renamed Via Settimiana by Pope Julius II della Rovere, which &lt;strong&gt;connected Trastevere with the Vatican and St. Peter&#8217;s Basilica&lt;\/strong&gt;.&lt;\/span&gt; &lt;span data-ccp-props=&quot;{&quot;&gt; &lt;\/span&gt;&lt;\/p&gt;\n&lt;p&gt;&lt;span data-contrast=&quot;auto&quot;&gt;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&#8217;s public washerwomen, who carried out her activity inside.    &lt;\/span&gt;&lt;span data-ccp-props=&quot;{&quot;&gt; &lt;\/span&gt;&lt;\/p&gt;\n&lt;p&gt;&lt;span data-contrast=&quot;auto&quot;&gt;What can be observed today in Villa Farnesina&#8217;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. &lt;\/span&gt;&lt;span data-ccp-props=&quot;{&quot;&gt; &lt;\/span&gt;&lt;\/p&gt;\n'><div class='av-image-hotspot_inner'>8<\/div><div class='av-image-hotspot-pulse'><\/div><\/div><div class='av-image-hotspot av-mzj09-f5b579e8e14b3ab88fb96f83f45dc598 av-image-hotspot-9 av-close-on-click-tooltip' data-avia-tooltip-position='left' data-avia-tooltip-alignment='top' data-avia-tooltip-class='av-tt-xlarge-width av-tt-pos-left av-tt-align-top  av-mobile-fallback-active  av-close-on-click-tooltip-single  main_color av-tooltip-shadow av-tt-hotspot' data-avia-tooltip='&lt;h3&gt;&lt;span data-contrast=&quot;auto&quot;&gt;Aurelian Walls&lt;\/span&gt;&lt;\/h3&gt;\n&lt;p&gt;&lt;span data-contrast=&quot;auto&quot;&gt;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 &lt;em&gt;John Cabot University&lt;\/em&gt;, there is a &lt;strong&gt;rectangular sarcophagus without its lid&lt;\/strong&gt;, on whose front are carved &lt;strong&gt;two winged Victories&lt;\/strong&gt;, with linear and synthetic features. Facing each other in mirror image toward the center, they support a &#8220;&lt;em&gt;tabula ansata&lt;\/em&gt;&#8220;, that is, a plaque with handles, dating to the &lt;em&gt;2nd century AD&lt;\/em&gt;, which bears a Greek inscription with the name of the &lt;strong&gt;Greek freedman&lt;\/strong&gt; &lt;strong&gt;Marcus Aurelius Giocondo&lt;\/strong&gt; who was buried there.  &lt;\/span&gt;&lt;span data-ccp-props=&quot;{&quot;&gt; &lt;\/span&gt;&lt;\/p&gt;\n&lt;p&gt;&lt;span data-contrast=&quot;auto&quot;&gt;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 &#8220;tenia&#8221;, a braided band that follows the forehead and is gathered in a chignon at the nape. The sarcophagus was probably part of &lt;strong&gt;Agostino Chigi&#8217;s collection of antiquities&lt;\/strong&gt;, as reported by some contemporary testimonies.    &lt;\/span&gt;&lt;span data-ccp-props=&quot;{&quot;&gt; &lt;\/span&gt;&lt;\/p&gt;\n'><div class='av-image-hotspot_inner'>9<\/div><div class='av-image-hotspot-pulse'><\/div><\/div><div class='av-image-hotspot av-f6vm1-20d7cdc2f2dce395babf7e8fecdc4885 av-image-hotspot-10 av-close-on-click-tooltip' data-avia-tooltip-position='left' data-avia-tooltip-alignment='top' data-avia-tooltip-class='av-tt-xlarge-width av-tt-pos-left av-tt-align-top  av-mobile-fallback-active  av-close-on-click-tooltip-single  main_color av-tooltip-shadow av-tt-hotspot' data-avia-tooltip='&lt;h3&gt;&lt;span class=&quot;TextRun SCXW181137733 BCX0&quot; lang=&quot;IT-IT&quot; xml:lang=&quot;IT-IT&quot; data-contrast=&quot;auto&quot;&gt;&lt;span class=&quot;NormalTextRun SCXW181137733 BCX0&quot;&gt;Guglielmo Marconi&#8217;s Sequoia Stump&lt;\/span&gt;&lt;\/span&gt;&lt;\/h3&gt;\n&lt;p&gt;&lt;span class=&quot;TextRun SCXW181137733 BCX0&quot; lang=&quot;IT-IT&quot; data-contrast=&quot;auto&quot;&gt;&lt;span class=&quot;NormalTextRun SCXW181137733 BCX0&quot;&gt;A stump of &lt;strong&gt;California sequoia&lt;\/strong&gt; &lt;em&gt;(&lt;\/em&gt;&lt;\/span&gt;&lt;\/span&gt;&lt;em&gt;&lt;span class=&quot;TextRun SCXW181137733 BCX0&quot; lang=&quot;IT-IT&quot; data-contrast=&quot;auto&quot;&gt;&lt;span class=&quot;NormalTextRun SCXW181137733 BCX0&quot;&gt;Sequoia &lt;\/span&gt;&lt;span class=&quot;NormalTextRun SpellingErrorV2Themed SCXW181137733 BCX0&quot;&gt;sempervirens&lt;\/span&gt;&lt;\/span&gt;&lt;\/em&gt;&lt;span class=&quot;TextRun SCXW181137733 BCX0&quot; lang=&quot;IT-IT&quot; data-contrast=&quot;auto&quot;&gt;&lt;span class=&quot;NormalTextRun SCXW181137733 BCX0&quot;&gt;) is what remains after the felling &#8211; in the 1980s, due to wood rot &#8211; of the specimen planted by &lt;strong&gt;Guglielmo Marconi&lt;\/strong&gt; during the seven-year period 1930-1937 (the year of his death) when he was &lt;strong&gt;President of the Royal Academy of Italy&lt;\/strong&gt;, which was then housed in Villa Farnesina. &lt;strong&gt;Marconi took great care of the Villa&#8217;s garden and its plants.&lt;\/strong&gt; &lt;\/span&gt;&lt;\/span&gt; &lt;span class=&quot;EOP SCXW181137733 BCX0&quot; data-ccp-props=&quot;{&quot;&gt; &lt;\/span&gt;&lt;\/p&gt;\n'><div class='av-image-hotspot_inner'>10<\/div><div class='av-image-hotspot-pulse'><\/div><\/div><div class='av-image-hotspot av-8ohc9-2b8b11bd34157ab8d767cbaa1a44dcc0 av-image-hotspot-11 av-close-on-click-tooltip' data-avia-tooltip-position='left' data-avia-tooltip-alignment='top' data-avia-tooltip-class='av-tt-xlarge-width av-tt-pos-left av-tt-align-top  av-mobile-fallback-active  av-close-on-click-tooltip-single  main_color av-tooltip-shadow av-tt-hotspot' data-avia-tooltip='&lt;h3&gt;&lt;span class=&quot;TextRun SCXW23872495 BCX0&quot; lang=&quot;IT-IT&quot; xml:lang=&quot;IT-IT&quot; data-contrast=&quot;auto&quot;&gt;&lt;span class=&quot;NormalTextRun SCXW23872495 BCX0&quot;&gt;Nymphaeum Fountain&lt;\/span&gt;&lt;\/span&gt;&lt;\/h3&gt;\n&lt;p&gt;&lt;span class=&quot;TextRun SCXW23872495 BCX0&quot; lang=&quot;IT-IT&quot; data-contrast=&quot;auto&quot; xml:lang=&quot;IT-IT&quot;&gt;&lt;span class=&quot;NormalTextRun SCXW23872495 BCX0&quot;&gt;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 &lt;strong&gt;female figure&lt;\/strong&gt;, covered by drapery that falls only in the lower part of the body, captured in the gesture of supporting a &lt;strong&gt;half-open shell&lt;\/strong&gt;. Despite heavy restoration in the upper part, this is a &lt;strong&gt;work from the Roman period&lt;\/strong&gt; inspired by a well-known Hellenistic sculptural model: the so-called &lt;strong&gt;Aphrodite of Syracuse&lt;\/strong&gt;. &lt;\/span&gt;&lt;\/span&gt;&lt;\/p&gt;\n&lt;p&gt;&lt;span class=&quot;TextRun SCXW23872495 BCX0&quot; lang=&quot;IT-IT&quot; data-contrast=&quot;auto&quot; xml:lang=&quot;IT-IT&quot;&gt;&lt;span class=&quot;NormalTextRun SCXW23872495 BCX0&quot;&gt;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 &lt;strong&gt;niche that imitates a natural grotto&lt;\/strong&gt;, framed by a stone mosaic. &lt;\/span&gt;&lt;\/span&gt;&lt;\/p&gt;\n&lt;p&gt;&lt;span class=&quot;TextRun SCXW23872495 BCX0&quot; lang=&quot;IT-IT&quot; data-contrast=&quot;auto&quot; xml:lang=&quot;IT-IT&quot;&gt;&lt;span class=&quot;NormalTextRun SCXW23872495 BCX0&quot;&gt;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. &lt;\/span&gt;&lt;\/span&gt;&lt;span class=&quot;EOP SCXW23872495 BCX0&quot; data-ccp-props=&quot;{}&quot;&gt; &lt;\/span&gt;&lt;\/p&gt;\n'><div class='av-image-hotspot_inner'>11<\/div><div class='av-image-hotspot-pulse'><\/div><\/div><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-2653 avia-img-lazy-loading-not-2653 avia_image' src=\"https:\/\/www.villafarnesina.it\/wp-content\/uploads\/2025\/08\/Villa_Farnesina_Giardini_Storci.jpg\" alt='' title='Villa_Farnesina_Giardini_Storci'  height=\"951\" width=\"1920\"  itemprop=\"thumbnailUrl\" srcset=\"https:\/\/www.villafarnesina.it\/wp-content\/uploads\/2025\/08\/Villa_Farnesina_Giardini_Storci.jpg 1920w, https:\/\/www.villafarnesina.it\/wp-content\/uploads\/2025\/08\/Villa_Farnesina_Giardini_Storci-300x149.jpg 300w, https:\/\/www.villafarnesina.it\/wp-content\/uploads\/2025\/08\/Villa_Farnesina_Giardini_Storci-1030x510.jpg 1030w, https:\/\/www.villafarnesina.it\/wp-content\/uploads\/2025\/08\/Villa_Farnesina_Giardini_Storci-768x380.jpg 768w, https:\/\/www.villafarnesina.it\/wp-content\/uploads\/2025\/08\/Villa_Farnesina_Giardini_Storci-1536x761.jpg 1536w, https:\/\/www.villafarnesina.it\/wp-content\/uploads\/2025\/08\/Villa_Farnesina_Giardini_Storci-1500x743.jpg 1500w, https:\/\/www.villafarnesina.it\/wp-content\/uploads\/2025\/08\/Villa_Farnesina_Giardini_Storci-705x349.jpg 705w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" \/><\/div><\/div><\/div><div class='av-hotspot-fallback-tooltip av-image-hotspot-1 av-close-on-click-tooltip'><div class=\"av-hotspot-fallback-tooltip-count\">1<div class=\"avia-arrow\"><\/div><\/div><div class=\"av-hotspot-fallback-tooltip-inner clearfix\"><\/p>\n<h3 class=\"s5\"><span class=\"s8\">Auditorium Building<\/span><\/h3>\n<p class=\"s5\">The Auditorium Building, spread over three floors, is used for offices and conferences by the Accademia Nazionale dei Lincei. <\/p>\n<p class=\"s5\">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.<\/p>\n<p class=\"s5\"><span class=\"s8\">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 \u201cPalazzina dell&#8217;Auditorio\u201d (Auditorium Building). To facilitate access for scholars, an underground connection to the Villa was also built.   <\/span><\/p>\n<p class=\"s5\"><span class=\"s8\">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. <\/span><\/p>\n<p>\n<\/div><\/div><div class='av-hotspot-fallback-tooltip av-image-hotspot-2 av-close-on-click-tooltip'><div class=\"av-hotspot-fallback-tooltip-count\">2<div class=\"avia-arrow\"><\/div><\/div><div class=\"av-hotspot-fallback-tooltip-inner clearfix\"><\/p>\n<h3>Courtyard of the Loggia of Cupid and Psyche<\/h3>\n<p>The Villa Farnesina was perfectly suited to accommodate gardens \u2013 so much so that in the 16th century it was called the \u201cPalace of Gardens\u201d \u2013 also from an architectural point of view, with the two projecting wings that define the north fa\u00e7ade and frame the Loggia of Cupid and Psyche.<\/p>\n<p>Here, on the vault frescoed in 1518 by Giovanni da Udine, pupil of Raphael Sanzio, 170 species of <strong>fruits<\/strong> and <strong>flowers<\/strong> are recognized, symbols of <strong>prosperity<\/strong> and <strong>love<\/strong>, conceived as a continuum with the exterior, rich in botanical varieties that came from the Mediterranean and from then exotic lands, even from the <strong>New World<\/strong>, testifying to the vast resources and relationships of the banker <strong>Agostino Chigi<\/strong>.<\/p>\n<p>The small courtyard of the Loggia, <strong>enclosed by walls<\/strong>, had the characteristics of the <strong>secret garden<\/strong>, like the other in the opposite section, at the south entrance of the villa. The two secret gardens, called <strong>Horti conclusi<\/strong>, inspired by the ancient <em>Roman vignae<\/em> and monastery cloisters, <strong>intimate refuges in nature and silence<\/strong> according to the ideal of the <em>locus amoenus<\/em>, were created between 1506 and 1511. <\/p>\n<p>This courtyard, with a <strong>central fountain<\/strong> (not original), was fed by an <strong>ingenious water system that exploited the water of the Tiber<\/strong>, the result of the mastery of engineers working together with architect Baldassarre Peruzzi. The space had been conceived as a &#8220;<em>theater of greenery<\/em>&#8221; for staging theatrical performances, a &#8220;<em>container<\/em>&#8221; in which to position scenography facing the palace which thus became the stage and backdrop of the performances.<\/p>\n<\/div><\/div><div class='av-hotspot-fallback-tooltip av-image-hotspot-3 av-close-on-click-tooltip'><div class=\"av-hotspot-fallback-tooltip-count\">3<div class=\"avia-arrow\"><\/div><\/div><div class=\"av-hotspot-fallback-tooltip-inner clearfix\"><\/p>\n<h3>Citrus Collection<\/h3>\n<p>Citrus fruits have always constituted the <strong>main arboreal wealth of the viridarium<\/strong> 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 \u00c9mile Zola, recounts that in the garden of the Farnesina, even if &#8220;<em>abandoned [&#8230;] devastated, bent, invaded by weeds [&#8230;] the golden fruits of oranges and cedars always ripened<\/em>&#8220;. <\/p>\n<p>Among the citrus trees visible today, the giant citron (Citrus medica maxima) stands out, a vigorous plant with an upright habit and an irregular, spiny canopy. It has smaller leaves, elliptic-oblong in shape, with a rounded apex. It is highly productive and ever-flowering, with its main blooms occurring in spring and autumn. It bears large, fragrant white flowers arranged in clusters. The fruits are very large, corrugated, and oblong-pyriform in shape. The skin is very thick and yellow in color.<\/p>\n<p>An ornamental variant of citron that can be admired in the Villa&#8217;s garden is the so-called &#8220;<em>Buddha&#8217;s hand<\/em>&#8221; (Citrus medica digitata) which produces fruits with &#8220;fingers.&#8221;<\/p>\n<p>Other rare species include the ribbed bitter orange, the <strong>Sweet Lime of Rome<\/strong>, the <strong>Mellarosa lemon<\/strong>, the <strong>Adam&#8217;s Apple<\/strong>, and the <strong>Florentine Citron<\/strong>.<\/p>\n<\/div><\/div><div class='av-hotspot-fallback-tooltip av-image-hotspot-4 av-close-on-click-tooltip'><div class=\"av-hotspot-fallback-tooltip-count\">4<div class=\"avia-arrow\"><\/div><\/div><div class=\"av-hotspot-fallback-tooltip-inner clearfix\"><\/p>\n<h3>Farnese Casino<\/h3>\n<p>Before the death of its rightful owner, and before it was purchased by Cardinal Alessandro Farnese in 1579, Villa Farnesina bordered a property of the Farnese family on its south-eastern side. This property had been established in the final years of the fifteenth century, at the expense and by the will of the then Cardinal Alessandro Farnese the Elder, grandfather of the Alessandro Farnese who would later purchase the Villa, and the future Pope Paul III. He found this place very pleasant, thanks to its healthy environment and close contact with nature, and he was accustomed to visiting it daily, even after his ascent to the papal throne, in order to relax and recover from his daily duties.<\/p>\n<p>The property primarily included the building facing Via della Lungara, the so-called <strong>Casino Farnese<\/strong>, 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 <strong>spacious residence<\/strong>, without a loggia or belvedere, featuring architraves and openings distributed in a not entirely symmetrical manner. <\/p>\n<p>Behind the Casino opened a courtyard, called the <strong>cypress courtyard<\/strong> 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.<\/p>\n<\/div><\/div><div class='av-hotspot-fallback-tooltip av-image-hotspot-5 av-close-on-click-tooltip'><div class=\"av-hotspot-fallback-tooltip-count\">5<div class=\"avia-arrow\"><\/div><\/div><div class=\"av-hotspot-fallback-tooltip-inner clearfix\"><\/p>\n<h3>Strigillated Sarcophagus<\/h3>\n<p>Facing the first clearing of the path surrounded by citrus trees, there is a fountain created at an unknown time by combining two different archaeological artifacts.<br \/>\nA large <strong>sarcophagus<\/strong> has been repurposed as the basin, belonging to the type known as <strong>strigillated sarcophagi<\/strong>, a term derived from the type of <strong>fluted decoration<\/strong> arranged symmetrically on the front, whose wavy pattern recalls the &#8220;<strong>strigil<\/strong>,&#8221; the curved instrument ancient athletes used to cleanse themselves. The front of the sarcophagus is enclosed within an elegant frame (kymation) with ovules and astragals, topped with a pattern of wide trilobed leaves and bordered laterally and below by a braided motif. These decorative elements suggest the sarcophagus dates between the late 3rd and early 4th century AD.  <\/p>\n<p>The colossal head used as a water spout above the sarcophagus was adapted for this function through the loss of its nose and part of its lips.<\/p>\n<p>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.<\/p>\n<\/div><\/div><div class='av-hotspot-fallback-tooltip av-image-hotspot-6 av-close-on-click-tooltip'><div class=\"av-hotspot-fallback-tooltip-count\">6<div class=\"avia-arrow\"><\/div><\/div><div class=\"av-hotspot-fallback-tooltip-inner clearfix\"><\/p>\n<h3><span data-contrast=\"auto\">Secret Garden<\/span><\/h3>\n<p><span data-contrast=\"auto\">On the south side of Villa Farnesina was one of the two &#8220;<strong>secret gardens<\/strong>&#8221; that once surrounded the building.<\/span><\/p>\n<p><span data-contrast=\"auto\">Enclosed by walls, this rectangular space extended to the nearby <strong>Casino Farnese<\/strong>, now the Villa&#8217;s ticket office and guest house of the Accademia dei Lincei. The garden was divided into <strong>geometric flowerbeds<\/strong>, adorned with <strong>flower pergolas<\/strong> and <strong>fruits<\/strong>, with a <strong>central fountain<\/strong>, whose remains are still visible today.  <\/span><span data-ccp-props=\"{\"> <\/span><\/p>\n<p><span data-contrast=\"auto\">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 <strong>rose garden<\/strong> with many varieties of roses. <\/span><span data-ccp-props=\"{\"> <\/span><\/p>\n<\/div><\/div><div class='av-hotspot-fallback-tooltip av-image-hotspot-7 av-close-on-click-tooltip'><div class=\"av-hotspot-fallback-tooltip-count\">7<div class=\"avia-arrow\"><\/div><\/div><div class=\"av-hotspot-fallback-tooltip-inner clearfix\"><\/p>\n<h3><span data-contrast=\"auto\">Cesare Pascarella&#8217;s Laurel<\/span><\/h3>\n<p>The laurel (Laurus nobilis) is an ancient and renowned plant which, in the classical world, symbolised knowledge and glory. It was sacred to Apollo, the solar god and protector of the arts, music and poetry, who was said to wear a laurel wreath after Daphne was transformed into this plant. In the Temple of Apollo at Delphi, a priestess, intoxicated by laurel potions, delivered oracles that dispelled\u2014though not always explicitly\u2014doubts and uncertainties. <span data-ccp-props=\"{\"> <\/span><\/p>\n<p><span data-contrast=\"auto\">This laurel tree was <strong>planted by Cesare Pascarella<\/strong>, a dialect poet, writer, and painter, during the decade (1930-1940) when he was a <strong>member of the Royal Academy of Italy<\/strong>.<\/span><span data-ccp-props=\"{\"> <\/span><\/p>\n<\/div><\/div><div class='av-hotspot-fallback-tooltip av-image-hotspot-8 av-close-on-click-tooltip'><div class=\"av-hotspot-fallback-tooltip-count\">8<div class=\"avia-arrow\"><\/div><\/div><div class=\"av-hotspot-fallback-tooltip-inner clearfix\"><\/p>\n<h3><span data-contrast=\"auto\">Sarcophagus with Winged Victories<\/span><\/h3>\n<p><span data-contrast=\"auto\">The section of the <strong>Aurelian Walls<\/strong> present in Villa Farnesina&#8217;s park is <strong>one of the oldest remaining in Rome<\/strong>. Built in <strong>271 AD<\/strong> by order of <strong>Emperor Aurelian<\/strong> with the aim of <strong>stopping the advance of Northern European populations towards the Roman Empire<\/strong>, the Aurelian Walls extended for 19 km and were up to 6.5 meters high. <\/span><span data-ccp-props=\"{\"> <\/span><\/p>\n<p><span data-contrast=\"auto\">This wall circuit connects directly with <strong>Porta Settimiana<\/strong>, which since medieval times opened onto the <\/span><i><span data-contrast=\"auto\">via sancta<\/span><\/i><span data-contrast=\"auto\">, later renamed Via Settimiana by Pope Julius II della Rovere, which <strong>connected Trastevere with the Vatican and St. Peter&#8217;s Basilica<\/strong>.<\/span> <span data-ccp-props=\"{\"> <\/span><\/p>\n<p><span data-contrast=\"auto\">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&#8217;s public washerwomen, who carried out her activity inside.    <\/span><span data-ccp-props=\"{\"> <\/span><\/p>\n<p><span data-contrast=\"auto\">What can be observed today in Villa Farnesina&#8217;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. <\/span><span data-ccp-props=\"{\"> <\/span><\/p>\n<\/div><\/div><div class='av-hotspot-fallback-tooltip av-image-hotspot-9 av-close-on-click-tooltip'><div class=\"av-hotspot-fallback-tooltip-count\">9<div class=\"avia-arrow\"><\/div><\/div><div class=\"av-hotspot-fallback-tooltip-inner clearfix\"><\/p>\n<h3><span data-contrast=\"auto\">Aurelian Walls<\/span><\/h3>\n<p><span data-contrast=\"auto\">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 <em>John Cabot University<\/em>, there is a <strong>rectangular sarcophagus without its lid<\/strong>, on whose front are carved <strong>two winged Victories<\/strong>, with linear and synthetic features. Facing each other in mirror image toward the center, they support a &#8220;<em>tabula ansata<\/em>&#8220;, that is, a plaque with handles, dating to the <em>2nd century AD<\/em>, which bears a Greek inscription with the name of the <strong>Greek freedman<\/strong> <strong>Marcus Aurelius Giocondo<\/strong> who was buried there.  <\/span><span data-ccp-props=\"{\"> <\/span><\/p>\n<p><span data-contrast=\"auto\">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 &#8220;tenia&#8221;, a braided band that follows the forehead and is gathered in a chignon at the nape. The sarcophagus was probably part of <strong>Agostino Chigi&#8217;s collection of antiquities<\/strong>, as reported by some contemporary testimonies.    <\/span><span data-ccp-props=\"{\"> <\/span><\/p>\n<\/div><\/div><div class='av-hotspot-fallback-tooltip av-image-hotspot-10 av-close-on-click-tooltip'><div class=\"av-hotspot-fallback-tooltip-count\">10<div class=\"avia-arrow\"><\/div><\/div><div class=\"av-hotspot-fallback-tooltip-inner clearfix\"><\/p>\n<h3><span class=\"TextRun SCXW181137733 BCX0\" lang=\"IT-IT\" xml:lang=\"IT-IT\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW181137733 BCX0\">Guglielmo Marconi&#8217;s Sequoia Stump<\/span><\/span><\/h3>\n<p><span class=\"TextRun SCXW181137733 BCX0\" lang=\"IT-IT\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW181137733 BCX0\">A stump of <strong>California sequoia<\/strong> <em>(<\/em><\/span><\/span><em><span class=\"TextRun SCXW181137733 BCX0\" lang=\"IT-IT\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW181137733 BCX0\">Sequoia <\/span><span class=\"NormalTextRun SpellingErrorV2Themed SCXW181137733 BCX0\">sempervirens<\/span><\/span><\/em><span class=\"TextRun SCXW181137733 BCX0\" lang=\"IT-IT\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW181137733 BCX0\">) is what remains after the felling &#8211; in the 1980s, due to wood rot &#8211; of the specimen planted by <strong>Guglielmo Marconi<\/strong> during the seven-year period 1930-1937 (the year of his death) when he was <strong>President of the Royal Academy of Italy<\/strong>, which was then housed in Villa Farnesina. <strong>Marconi took great care of the Villa&#8217;s garden and its plants.<\/strong> <\/span><\/span> <span class=\"EOP SCXW181137733 BCX0\" data-ccp-props=\"{\"> <\/span><\/p>\n<\/div><\/div><div class='av-hotspot-fallback-tooltip av-image-hotspot-11 av-close-on-click-tooltip'><div class=\"av-hotspot-fallback-tooltip-count\">11<div class=\"avia-arrow\"><\/div><\/div><div class=\"av-hotspot-fallback-tooltip-inner clearfix\"><\/p>\n<h3><span class=\"TextRun SCXW23872495 BCX0\" lang=\"IT-IT\" xml:lang=\"IT-IT\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW23872495 BCX0\">Nymphaeum Fountain<\/span><\/span><\/h3>\n<p><span class=\"TextRun SCXW23872495 BCX0\" lang=\"IT-IT\" data-contrast=\"auto\" xml:lang=\"IT-IT\"><span class=\"NormalTextRun SCXW23872495 BCX0\">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 <strong>female figure<\/strong>, covered by drapery that falls only in the lower part of the body, captured in the gesture of supporting a <strong>half-open shell<\/strong>. Despite heavy restoration in the upper part, this is a <strong>work from the Roman period<\/strong> inspired by a well-known Hellenistic sculptural model: the so-called <strong>Aphrodite of Syracuse<\/strong>. <\/span><\/span><\/p>\n<p><span class=\"TextRun SCXW23872495 BCX0\" lang=\"IT-IT\" data-contrast=\"auto\" xml:lang=\"IT-IT\"><span class=\"NormalTextRun SCXW23872495 BCX0\">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 <strong>niche that imitates a natural grotto<\/strong>, framed by a stone mosaic. <\/span><\/span><\/p>\n<p><span class=\"TextRun SCXW23872495 BCX0\" lang=\"IT-IT\" data-contrast=\"auto\" xml:lang=\"IT-IT\"><span class=\"NormalTextRun SCXW23872495 BCX0\">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. <\/span><\/span><span class=\"EOP SCXW23872495 BCX0\" data-ccp-props=\"{}\"> <\/span><\/p>\n<\/div><\/div><\/div><\/div>\n\n","protected":false},"excerpt":{"rendered":"<p>The suburban villa of the Sienese banker Agostino Chigi, known as \u2018il Magnifico\u2019 (1466-1520), is a significant example of Renaissance culture and reflected the owner&#8217;s desire to have a residence far from the hustle and bustle of the city, surrounded by greenery.  <\/p>\n","protected":false},"author":1,"featured_media":2322,"comment_status":"open","ping_status":"closed","template":"","meta":{"footnotes":""},"tags":[],"portfolio_entries":[79],"class_list":["post-3918","portfolio","type-portfolio","status-publish","has-post-thumbnail","hentry","portfolio_entries-tour-itinerary"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The Gardens of the Villa &#8226; Villa Farnesina<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.villafarnesina.it\/en\/percorso-di-visita\/the-gardens-of-the-villa\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Gardens of the Villa &#8226; Villa Farnesina\" \/>\n<meta property=\"og:description\" content=\"The suburban villa of the Sienese banker Agostino Chigi, known as \u2018il Magnifico\u2019 (1466-1520), is a significant example of Renaissance culture and reflected the owner&#039;s desire to have a residence far from the hustle and bustle of the city, surrounded by greenery.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.villafarnesina.it\/en\/percorso-di-visita\/the-gardens-of-the-villa\/\" \/>\n<meta property=\"og:site_name\" content=\"Villa Farnesina\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/accademialincei\/\" \/>\n<meta property=\"article:modified_time\" content=\"2026-01-30T09:51:58+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.villafarnesina.it\/wp-content\/uploads\/2025\/07\/Villa_Farnesina_giardini_preview.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1080\" \/>\n\t<meta property=\"og:image:height\" content=\"1080\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"25 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.villafarnesina.it\/en\/percorso-di-visita\/the-gardens-of-the-villa\/\",\"url\":\"https:\/\/www.villafarnesina.it\/en\/percorso-di-visita\/the-gardens-of-the-villa\/\",\"name\":\"The Gardens of the Villa &#8226; 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