Today as in the past, we draw inspiration from this countryside. Art and nature merge. Architecture is a material background, built by the hands of men, set in a natural creation, the frons scaenae. The countryside is the whole theatre: a whimsical nature which inspires "whims". At times we find a theatre within a theatre, like the theatre of waters, in the grounds of the Villa Aldrobrandini, counterpointing the nature of Lazio. We can spot "whims" in the chimney bell-tower or tower-chimney, which stands high in the park, in the mask recalling Bomarzo, in the spiralled columns. An ensemble of complementary elements in the allegorical sense which pervades the entire construction of the villa.
The history of the tuscolane villas is indissolubly linked to the territory, a site chosen in distant times. This further ennobled the zone, adding to its mild climate, the undeniable evocativeness of the landscape and its nearness to Rome. The exorbitant expenses of purchasing the future dwellings, was criticised only by Cardinal Cesare Baronio who, living in the shooting lodge of the Villa Lancelotti Piccolomini, in search of peace, watched rise of the great Villa Aldrobrandini, with monumental proportions. It so much impressed him that he wrote above his door:
« For him who must die, this is enough». Still today, coasting the long wall that separates the road from the Aldobrandini property, one perceives the stark contrast between the dimensions of the Belvedere and the more modest Villa Lancelotti.
Looking at the engraving of Barriere - Rome1622 -, we find ourselves in another age, in which the Tuscolane Villas had only just come into existence. The city of Frascati in the foreground, behind the Acquaviva of Cardinal Montalto(Grazioli) and the Villa Bel Pogio of Sig. Duca di Ceri on the left of the city, the Villas Mondragone, Borghesia(Taverna), La Ruffina(Falconieri) and la Ruffinella(Tuscolana). The revival will begin from the Sixteenth Century, the site will host together with the Villa Mondragone, the residences Lancelotti(Piccolomini),Torlonia(Ludovisi, Conti), Grazioli Acquavita Montalto (today a part of Grottaferrata), Falconieri called "La Ruffina", the VillaTuscolana called "Rufinella". The most impressive among all these, for its lines, vegetation and position is the Belvedere or Villa Aldobrandini. Goethe, who stayed there, wrote; «.it is hard to find a more delightfil position. This villa more than any other incarnates the spirit and intentions of its ideator, designed to generate wonder and delight.
For those approaching Frascati, the Belvedere has a remendous impact. The Villa is imposing in the urbanistic panorama, suppling an ideal background to the city of Frascati. We feel wonder and delight, as we appoach the palace, having already observed with pleasure the surroundings. Entering the side entrance, we stop, astonished, in front of the theatre of waters, which is as long as 118 metres. The importance of the theatre is obvious. Just think - it cost as much as all the rest of the villa- and the celebrative description was written over it and not over the villa. Such is the description up to the present, when what is of interest is the relationship between countryside and the built up area around -not only of this but also of other villas- and the theme of water, as cathartic, designed to astonish, through fountains, games of water, and musical games.
Not far away, we see the smallest among the villas of Frascati, the Villa Lancelotti (Piccolmini), whose panorama is different from that of the other villas. It looks towards the hills instead of towards Rome.
A little beyond, we can see the immediate panorama, that surrounding La Ruffina, consisting of the convent of the Camaldolesi with expanses of olive groves. Proceeding, we come to the highest of the Tuscolanum villas high up, with a powerful facade by Vanvitelli, originally a part of the Villa Falconieri sestate, situated on the slopes of Monte Tuscolo, the Villa Tuscolana. As the inscription over the entrance to the wide avenue which leads to the building, tells us, this is "La Rufinella", to distinquish it from the "Rufina", both the property of Monsignor Rufini, bishop of Melfi. Passing in 1581 to Cardinal Guido Ferreri, it is knicknamed Ferreria, today used as an hotel.
One remark on the Villa Mondragone which, even if in the territory of Monte Porzio Catone, comes in the chronological ambit of Tuscolanian residences. The villa built on the hill exploits the repetition of the palazzo-parterre-wood system, this time in front of the Alban Hills. It will be necessary then, to analyse the case of the Villa Torlonia. We cannot appreciate its original beauty, as the palazzo was destroyed by a bombardment 18 September 1943 and today in its place stands a modern building.
The Villa Belpoggio (Pallavicimi), attributed to Carlo Fontana, designer also of the shooting lodge of Monsignor Visconti at Frascati, should have had - as appears from the engravings of Greuther- a quadrangular shape, with three floors and a small belvedere tower.
Finally, one word about the villa that the Jesuit Eschinardi - the author of the erudite version of the Alessandrine land register- defines as that which: comes after all the other villas, on the sea, the Villa Muti (Arrigoni).
Taking all things into account, we may ask what is left of these villas today, but above all how they have adapted to contemporary needs. Many, in fact, have perforce lent themselves to the needs of reception, to be used in ways not so very different from their original ones, but necessarily with a modernisation of services - baths, stairs, elevators, to cater for lectures, conferences, or de luxe hotels, altering, in part, the original structures, not always resulting in quality.
The Villa Grazioli, yesterday Montalto Acquaviva, a small gem set in the Colle Tuscolano, is an exception. Though re-adapted as a de luxe hotel, this retains much of its original qualities: the frescoes in the gallery, the rooms on the piano nobile and the ground floor. Above all, the wooden panelling remains. The dark parts of the windows with richly adorned surfaces, the painted doors, the attics with beams and decorated surfaces. Going through the interior, through the gallery that recounts themes of the countryside - objects of meditation and contemplation - and facing the area behind from one of the windows, we see a decidedly changed panorama. If the interior of the villa is still preserved in many parts, the same cannot be said of the exterior surroundings; in fact the relationship with the countryide is completely changed. Before there was agriculture, with vineyards, natural surroundings. The ancient views of fields are not to be seen now, because of the new buildings, which do not have the same value.
