The grounds of the Villa Borghese, which include a park of several hundred acres, were laid out by Domenico Savino and Girolamo Rainaldi, while its waterworks are due to Giovanni Fontana, whose name is associated with the great _jeux d’eaux_ of the villas at Frascati. Falda’s plan shows that the grounds about the house have been little changed. At each end of the villa is the oblong secret garden, not sunken but walled; in front an entrance-court, at the back an open space enclosed in a wall of clipped ilexes against which statues were set, and containing a central fountain. Beyond the left-hand walled garden are various dependencies, including an aviary. These little buildings, boldly baroque in style, surcharged with stucco ornament, and not without a certain Flemish heaviness of touch, have yet that gaiety, that _imprévu_, which was becoming the distinguishing note of Roman garden-architecture. On a larger scale they would be oppressive; but as mere garden-houses, with their leafy background, and the picturesque adjuncts of high walls, wrought-iron gates, vases and statues, they have an undeniable charm.
[Illustration: GATEWAY OF THE VILLA BORGHESE]
The plan of the Borghese park has been the subject of much discussion. Falda’s print shows only the vicinity of the villa, and it has never been decided when the outlying grounds were laid out and how much they have been modified. At present the park, with its romantic groves of umbrella-pine, its ilex avenues, lake and amphitheatre, its sham ruins and little buildings scattered on irregular grassy knolls, has the appearance of a _jardin anglais_ laid out at the end of the eighteenth century. Herr Tuckermann, persuaded that this park is the work of Giovanni Fontana, sees in him the originator of the “sentimental” English and German landscape-gardens, with their hermitages, mausoleums and temples of Friendship; but Percier and Fontaine, from whose plan of the park his inference is avowedly drawn, state that the grounds were much modified in 1789 by Jacob Moore, an English landscape-gardener, and by Pietro Camporesi of Rome. Herr Gurlitt, who seems to have overlooked this statement, declares himself unable to pronounce on the date of this “creation already touched with the feeling of sentimentality”; but Burckhardt, who is always accurate, says that the hippodrome and the temple of Æsculapius are of late date, and that the park was remodelled in the style of Poussin’s landscapes in 1849.