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.