The building,
commissioned by the Guinigi family, dates back to the end of
the 18th Century. The stylistic appearance of the Villa would
apparently seem to be quite modest, but a more careful
examination of the volumetric
components, allows us to understand and appreciate how it has
been possible to obtain a valid architectonical product only
by a clever disposition of the masses.
The varied downhill landscape, for example, turns into the
successful balance between the linear development of the basic
fascia and the height of the main body of the building.
The connection between these decisive sectors of the edifice
takes advantage of the sensation of a horizontal compactness
deriving from the prospectical effect which can be obtained
looking at the building from the other end of the vast lawn in
front of the Villa: all this leads to a result of measured
grandeur, but its impact must be appreciate as a whole, not as
a detail.
However it cannot be denied the bright solution of lightening
by the prominence of linked plaster strips, of the pillars of
the portico extended to both of the side buildings. Just the
advancement of the above mentioned portico, from the edge
of the facade, allows the realization of a basic strip with an
intense chiaroscuro, and transmits greater thickness to the
Villa's body which is substantially developped lengthways, and
it is not much deep and smooth. At the same time it
cannot be unnoticed the important horizontal 'sing', made up
of the continuous balustrade decorated with busts, vases, and
statues, of which the only one that is known as a Castruccio
Castacani's image. It must also be pointed out the intentional
contrast between the whiteness of the architectural surfaces
and the green of the surrounding vegetation, on whose inside
we can meet the pleasant surprise of a steep and stepped slope
of a 'water chain', and also the suggestive lengthways view of
the Villa, one of the most original and interesting in the
Lucchesian Country, projected on the Pizzorne's background. |