Villa Aldobrandini, with the grandiose nymphaeum and the Water Theater

Dear fellow travelers,

Greetings from Daniela Uslan! Today, I’m thrilled to recommend the magnificent Villa Aldobrandini in Frascati, Italy. This 16th-century villa is a true gem of Renaissance architecture and landscape design.

The highlight of Villa Aldobrandini is undoubtedly its grandiose nymphaeum and the stunning Water Theater. These features showcase the pinnacle of Italian garden design and hydraulic engineering of the era.

Quick facts:
• Built between 1598-1602
• Designed by Giacomo della Porta and Carlo Maderno
• Located approximately 20 km southeast of Rome
• Part of the group of villas known as the Castelli Romani

The Water Theater, with its cascading fountains and intricate sculptures, creates a mesmerizing display of aquatic artistry. The nymphaeum, dedicated to the mythological water nymphs, offers a cool retreat adorned with frescoes and mosaics.

Villa Aldobrandini perfectly balances natural beauty with architectural prowess, making it a must-visit destination for art and history enthusiasts alike..

Frascati is renowned for its historic villas, authentic architectural jewels that reflect the grandeur of the Roman tradition. Among them, the Villa Aldobrandini stands out for its magnificence and historical value. Originally known as the Belvedere, the villa enjoys a privileged position that allows one to admire the dome of St. Peter’s and the surrounding landscape.

Villa Aldobrandini has been an object of admiration for centuries, as evidenced by the accounts of illustrious travelers such as Stendhal, who described it in enthusiastic tones in his “Roman Walks.” Today, the villa continues to be a symbol of the perfect marriage of architecture and nature, a place where history and beauty blend harmoniously.

Villa Aldobrandini is not only a testament to the past, but a living work of art that continues to enchant and inspire. With its grand Nymphaeum and magnificent Water Theater, it remains one of the finest examples of Baroque architecture and landscaping, a place where time seems to stand still, leaving room for pure beauty.

The architectural transformation of the villa

In 1601, Cardinal Pietro Aldobrandini commissioned Giacomo della Porta to enlarge the existing building. The work, complex and articulated, required considerable earthworks and terracing to respect the natural course of the land. The facade, enriched by a skillful play of pilasters, harmonizes perfectly with its surroundings.

The villa was conceived as a refuge to escape from city affairs, a place of rest and contemplation, in keeping with the otium so beloved by the men of the Renaissance. This concept of relaxation and enjoyment of leisure, inherited from imperial Rome, is reflected in every aspect of the villa, from the sumptuous interiors to the spacious gardens.

The majesty of the facade and terraces

The facade of the villa, facing the valley and opening onto a panoramic terrace, exemplifies classical harmony and rhythmicity. At the back, the main entrance opens onto a central projecting body with overlapping loggias. The interior decorations were entrusted to artists of the caliber of Domenico Zampieri, known as Domenichino, and the Cavalier d’Arpino, whose frescoes compete in magnificence with the Teatro delle Acque.

The villa is distinguished by a bright and continuous facade, overlooking the valley, preceded by a large elliptical terrace. Two symmetrical ramps connect the various levels, providing scenic access to the main building. At the rear, a superimposed loggia and archway frame the magnificent Water Theater, a characteristic feature of 17th-century villas.

Interior decorated with refinement

Inside, the villa features richly decorated rooms with polychrome frescoes and stuccoes. On the second floor, Cavalier d’Arpino, Domenichino and Zuccari adorned the walls with mythological stories, while the large hall on the second floor and the loggia on the third are works by Carlo Maderno.

The rooms on the piano nobile are adorned with magnificent frescoes by Cavalier d’Arpino, depicting scenes from the Old Testament. These paintings, with their vivid narrative and intense colors, lend a solemn and majestic atmosphere to the villa’s interiors.

The Nymphaeum: a Baroque masterpiece

Along the entablature of the nymphaeum, a Latin inscription celebrates Cardinal Pietro Aldobrandini, nephew of Clement VIII, who had restored religious peace with France and regained the duchy of Ferrara without bloodshed. The elevation of the nymphaeum, 118 meters long, features a single composite order, designed by Giacomo della Porta and completed by Orazio Olivieri. The sculptural groups and decorations, made between 1620 and 1621, are the work of Jacques Sarrazin and Ippolito Buti.

The Water Theater, a semicircular nymphaeum with a terminal balustrade, is one of the main attractions of the villa. Designed by Carlo Maderno and Giovanni Fontana, the nymphaeum includes underground rooms used as a cool refuge on sultry days. The semicircular elevation of Ionic order houses several mythological sculptures and a central fountain by French sculptor Jacques Sarrazin.

The statues in the Nymphaeum of Villa Aldobrandini are not only works of art to be admired, but also ingenious hydraulic installations. Through a complex system of gushes, these figures create a true sensory experience, combining visual and acoustic pleasure, typical of the Roman Baroque.

The central niche is flanked by two gray granite columns with composite capitals and statues of satyrs. Here, Atlas holds up the world, represented by a metal sphere from which abundant water spilled. Originally, there were also two Hesperides and Hercules, depicted in the act of assisting Atlas, symbolizing Pietro Aldobrandini’s help to the Pope. Between the rocks, sprout the head and clenched fists of the giant Encèlado, reconstructed by sculptor Di Vito in the post-war period. Opposite the niche was a central fountain, decorated with the heraldic symbols of the Aldobrandini family.

The side niches, next to that of Atlas, are flanked by red porphyry columns and contain statues of river gods and water nymphs. The remaining niches at the ends of the hemicycle feature gray granite columns and statues depicting a triton and a nymph with twisted fish tails. In these niches are Polyphemus, intent on playing the syrinx, and a Centaur with a whelk, representations of creatures where bestial instinct prevails over rationality.

An enchanted forest and rustic fountains.

Beyond the Nymphaeum, the villa’s park extends into a fascinating forest of holm oaks and plane trees. A long tree-lined avenue, designed to surprise visitors with its tunnel effect, leads to the villa, gradually preparing the eye for the final architectural spectacle. On the slope, a sequence of fountains – the Cascade, the Fountain of the Shepherds and the Rustic Fountain – accentuate the natural character of the garden as one moves away from the front of the Theater.

Water plays a central role in the beauty and functionality of the villa. From the aqueduct that runs through the woods to Mount Algido, to the ingenious hydraulic system of the Nymphaeum, water not only beautifies the landscape but also offers refreshing refreshment. The artificial waterfall and fountains that dot the garden complete this idyllic picture, demonstrating how the water element has been skillfully and creatively integrated.

An Italian-style garden

The southern area of the villa houses a small Italian-style garden, a green area structured with symmetrical flower beds and precisely tended plants. This space, while more modest than the villa’s vast gardens, offers a corner of tranquility and beauty.