■m^ 



VILLAS AT FRASCATI 



119 



illustrated on Plate 103. The arrangement of the approach to the casino from the north is clever 

 and worthy of special attention. A gentle slope leads from the principal entrance-gateway ; this 

 is crossed by a central and two side avenues leading to the lowest terrace, whence double ramps 

 lead to a kind of hippodrome forming the middle terrace, having a spacious grotto, and continuing, 

 lead up to the grand terrace on the north front of the casino. Here are some small fountains 

 with boys playfully struggling in a boat-shaped pool.^ 



The garden has during the last century fallen into a state of disrepair, like most of the 

 Frascati villas ; but we can still see quite enough of its glories to form a good idea of its 



appearance in the seventeenth century, and the water-theatre remains practically in its original 

 condition. 



The Villa Borghese, about a mile to the east of Frascati, was originally known as the 

 Villa Taverna. It was given to Pope Paul V. by its owner, Count Ferdinand Taverna, governor 

 of Rome. The grounds have been somewhat curtailed in extent, but the disposition of the 

 garden remains practically as it is shown in Rossi's print of the seventeenth century, the approach 

 only having been altered. The original entrance-gateway, shown upon Plate 107, is now unused 

 the approach being a very steep one. It is a well-proportioned composition, planned upon a 

 central line with the casino. From the front door we look through the house to a small cool 

 semicircular courtyard, with flights of steps on either side of a wall-fountain, giving access to 

 the higher level of the garden beyond. 



The 'giardino segreto ' occupies an oblong space to the east of the house, and has a central 

 octagonal pool, with clipped hedges and seats around. A high terrace and shady walk of tulip- 

 trees are on the north side, and the garden is traversed by pergola walks of blue wistaria. Upon 



1 This fountain is engraved in Falda's Romanonim Font'tnalia, Nuremberg 1635, which shows a more comprehensive design. 



