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In the order of age, the first country-seat near Siena which claims attention is the fortress-villa of Belcaro.

Frequent mention is made of the castle of Belcaro in early chronicles and documents, and it seems to have been a place of some importance as far back as the eleventh century. It stands on a hilltop clothed with oak and ilex in the beautiful wooded country to the west of Siena, and from its ancient walls one looks forth over the plain to the hill-set city and its distant circle of mountains. It was perhaps for the sake of this enchanting prospect that Baldassare Peruzzi, to whom the transformation of Belcaro is ascribed, left these crenellated walls untouched, and contented himself with adorning the inner court of the castle with a delicate mask of Renaissance architecture. A large bare villa of no architectural pretensions was added to the mediæval buildings, and Peruzzi worked within the enclosed quadrangle thus formed.

A handsome architectural screen of brick and marble with a central gateway leads from a stone-paved court to a garden of about the same dimensions, at the back of which is an arcaded loggia, also of brick and marble, exquisitely light and graceful in proportion, and frescoed in the Raphaelesque manner with medallions and arabesques, fruit-garlands and brightly plumed birds. Adjoining this loggia is a small brick chapel, simple but elegant in design, with a frescoed interior also ascribed to Peruzzi, and still beautiful under its crude repainting. The garden itself is the real hortus inclusus of the mediæval chronicler: a small patch of ground enclosed in the fortress walls, with box-edged plots, a central well and clipped shrubs. It is interesting as a reminder of what the mediæval garden within the castle must have been, and its setting of Renaissance architecture makes it look like one of those little marble-walled pleasances, full of fruit and flowers, in the backgrounds of Gozzoli or Lorenzo di Credi.

Several miles beyond Belcaro, in a pleasant valley among oak-wooded hills, lies the Marchese Chigi’s estate of Cetinale. A huge clipped ilex, one of the few examples of Dutch topiary work in Italy, stands at the angle of the road which leads to the gates. Across the highway, facing the courtyard entrance, is another gate, guarded by statues and leading to a long tapis vert which ascends between double rows of square-topped ilexes to a statue on the crest of the opposite slope. The villa looks out on this perspective, facing it across an oblong courtyard flanked by low outbuildings. The main house, said to have been built (or more probably rebuilt) in 1680 by Carlo Fontana for Flavio Chigi, nephew of Pope Alexander VII, is so small and modest of aspect that one is surprised to learn that it was one of the celebrated pleasure-houses of its day. It must be remembered, however, that with the exception of the great houses built near Rome by the Princes of the Church, and the country-seats of such reigning families as the Medici, the Italian villa was almost invariably a small and simple building, the noble proprietor having usually preferred to devote his wealth and time to the embellishment of his gardens.

The house at Cetinale is so charming, with its stately double flight of steps leading up to the first floor, and its monumental doorway opening on a central salone, that it may well be ascribed to the architect of San Marcello in Rome, and of Prince Lichtenstein’s “Garden Palace” in Vienna. The plan of using the low-studded ground floor for offices, wine-cellar and store-rooms, while the living-rooms are all above-stairs, shows the hand of an architect trained in the Roman school. All the Tuscan and mid-Italian villas open on a level with their gardens, while about Rome the country houses, at least on one side, have beneath the living-rooms a ground floor generally used for the storage of wine and oil.

But the glory of Cetinale is its park. Behind the villa a long grass-walk as wide as the house extends between high walls to a fantastic gateway, with statues in ivy-clad niches, and a curious crowning motive terminating in obelisks and balls. Beyond this the turf-walk continues again to a raised semicircular terrace, surrounded by a wall adorned with busts and enclosed in clipped ilexes. This terrace abuts on the ilex-clothed hillside which bounds the valley. A gateway leads directly into these wild romantic woods, and a steep irregular flight of stone steps is seen ascending the wooded slope to a tiny building on the crest of the hill. This ascent is called the Scala Santa, and the building to which it leads is a hermitage adorned with circular niches set in the form of a cross, each niche containing the bust of a saint. The hermitage being directly on the axis of the villa, one looks out from the latter down the admirable perspective of the tapis vert and up the Scala Santa to the little house at its summit. It is interesting to note that this effect of distance and grandeur is produced at small cost and in the simplest manner; for the grass-walk with its semicircular end forms the whole extent of the Cetinale garden. The olive-orchards and corn-fields of the farm come up to the boundary walls of the walk, and the wood is left as nature planted it. Fontana, if it was indeed he who laid out this simple but admirable plan, was wise enough to profit by the natural advantage of the great forest of oak and ilex which clothes this part of the country, and to realize that only the broadest and simplest lines would be in harmony with so noble a background.

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.