As charming in its way, though less romantic and original, is the Marchese Chigi’s other seat of Vicobello, a mile or two beyond the Porta Ovile, on the other side of Siena. Vicobello lies in an open villa-studded country in complete contrast to the wooded hills about Cetinale. The villa is placed on a long narrow ridge of land, falling away abruptly at the back and front. A straight entrance avenue runs parallel to the outer walls of the outbuildings, which form the boundary of the court, the latter being entered through a vaulted porte-cochère. Facing this entrance (as at Cetinale) is a handsome gateway guarded by statues and set in a semicircular wall. Passing through this gate, one descends to a series of terraces planted with straight rows of the square-topped ilexes so characteristic of the Sienese gardens. These densely shaded terraces descend to a level stretch of sward (perhaps an old bowling-green) bordered by a wall of clipped ilexes, at the foot of the hill on which the villa stands.
On entering the forecourt, one faces the villa, a dignified oblong building of simple Renaissance architecture, ascribed in the local guide-book to Baldassare Peruzzi, and certainly of earlier construction than the house at Cetinale. On the left, a gate in a high wall leads to a walled garden, bounded by a long lemon-house which continues the line of the outbuildings on the court. Opposite, a corresponding gateway opens into the bosco which is the indispensable adjunct of the Italian country house. On the other side of the villa are two long terraces, one beneath the other, corresponding in dimensions with the court, and flanked on each hand by walled terrace-gardens, descending on one side from the grove, on the other from the upper garden adjoining the court. The plan, which is as elaborate and minutely divided as that of Cetinale is spacious and simple, shows an equally sure appreciation of natural conditions, and of the distinction between a villa suburbana and a country estate. The walls of the upper garden are espaliered with fruit-trees, and the box-edged flower-plots are probably laid out much as they were in the eighteenth century. All the architectural details are beautiful, especially a well in the court, set in the wall between Ionic columns, and a charming garden-house at the end of the upper garden, in the form of an open archway faced with Doric pilasters, before a semicircular recess with a marble seat. The descending walled gardens, with their different levels, give opportunity for many charming architectural effects—busts in niches, curving steps, and well-placed vases and statues; and the whole treatment of Vicobello is remarkable for the discretion and sureness of taste with which these ornamental touches are added. There is no excess of decoration, no crowding of effects, and the garden-plan is in perfect keeping with the simple stateliness of the house.
About a mile from Vicobello, on an olive-clad hillside near the famous monastery of the Osservanza, lies another villa of much more modest dimensions, with grounds which, though in some respects typically Sienese, are in one way unique in Italy. This is La Palazzina, the estate of the De’ Gori family. The small seventeenth-century house, with its adjoining chapel and outbuildings, lies directly on the public road, and forms the boundary of its own grounds. The charming garden-façade, with its voluted sky-line, and the two-storied open loggia forming the central motive of the elevation, faces on a terrace-like open space, bounded by a wall, and now irregularly planted à l’Anglaise, but doubtless once the site of the old flower-garden. Before the house stands an old well with a beautiful wrought-iron railing, and on the axis of the central loggia a gate opens into one of the pleached ilex-alleys which are the glory of the Palazzina. This ancient tunnel of gnarled and interlocked trees, where a green twilight reigns in the hottest summer noon, extends for several hundred feet along a ridge of ground ending in a sort of circular knoll or platform, surrounded by an impenetrable wall of square-clipped ilexes. The platform has in its centre a round clearing, from which four narrow paths radiate at right angles, one abutting on the pleached walk, the others on the outer ilex-wall. Between these paths are four small circular spaces planted with stunted ilexes and cypresses, which are cut down to the height of shrubs. In these dwarf trees blinded thrushes are tied as decoys to their wild kin, who are shot at from the circular clearing or the side paths. This elaborate plantation is a perfectly preserved specimen of a species of bird-trap once, alas! very common in this part of Italy, and in which one may picture the young gallants of Folgore da San Gimignano’s Sienese sonnets “Of the Months” taking their cruel pleasure on an autumn day.
Another antique alley of pleached ilexes, as densely shaded but not quite as long, runs from the end of the terrace to a small open-air theatre which is the greatest curiosity of the Villa de’ Gori. The pit of this theatre is a semicircular opening, bounded by a low wall or seat, which is backed by a high ilex-hedge. The parterre is laid out in an elaborate broderie of turf and gravel, above which the stage is raised about three feet. The pit and the stage are enclosed in a double hedge of ilex, so that the actors may reach the wings without being seen by the audience; but the stage-setting consists of rows of clipped cypresses, each advancing a few feet beyond the one before it, so that they form a perspective running up to the back of the stage, and terminated by the tall shaft of a single cypress which towers high into the blue in the exact centre of the background. No mere description of its plan can convey the charm of this exquisite little theatre, approached through the mysterious dusk of the long pleached alley, and lying in sunshine and silence under its roof of blue sky, in its walls of unchanging verdure. Imagination must people the stage with the sylvan figures of the Aminta or the Pastor Fido, and must place on the encircling seats a company of nobil donne in pearls and satin, with their cavaliers in the black Spanish habit and falling lace collar which Vandyke has immortalized in his Genoese portraits; and the remembrance of this leafy stage will lend new life to the reading of the Italian pastorals, and throw a brighter sunlight over the woodland comedies of Shakspeare.
THE THEATRE AT LA PALAZZINA, SIENA
ROMAN VILLAS
THE DOME OF ST. PETER’S, FROM THE VATICAN GARDENS