Exedras and Gazebos
Iron Berceau - Gazebos
Within the large park, various architectural elements—both functional and evocative—can be encountered, all of which emphasize the symmetry of the layout.
Beyond the majestic cypress trees, the central axis opens onto the first geometric forecourt, onto which face, in symmetrical arrangement, two elegant rectangular pavilions in wrought iron—gazebo–berceau structures of Oriental-inspired design—originally intended as rose gardens.
The lattice iron structures, referred to at the time as “cocchi grandi,” recall in their central portion the form of a Chinese pagoda, culminating in a harmonious vault which, when viewed from below, forms an octagon.
Today the “cocchi grandi” are made of iron, but originally they were constructed in wood; jasmine grew along their sides, and potted plants were displayed along the surrounding walkways. In two small “loggiatini” and in the “cantoniere” within the same forecourt, Vincenzo arranged for the planting of roses and double-flowered oleanders.
The two gazebos mark the transverse axis of the spatial design, orthogonal to the entrance axis: to the east they lead to the Secret Garden, while to the west they introduce the area that was once agricultural, now home to the historic orchard and the new fruit garden.
QR Code n. 04-15
Iron Gazebo
Exedras Garden Esplanade
The axial path concludes in front of the Casino, in the Esedra forecourt, an elliptical esplanade in the French taste, defined by two symmetrical exedras with gates and seating, open toward the main viewpoints.
Within this elliptical space, the façade of the Casino is framed by the two exedras, which define its immediate setting and convey a sense of expansive spatiality, once enriched with ornamental statues and vases, of which only the bases remain today.
These structures embrace the main façade and, at the same time, connect it to the hill behind. Both this space and the following one, with the two wrought-iron gazebos, were conceived—and are perceived—as a continuation of the interior rooms of the Casino: the elliptical space evokes a grand ballroom, while the area of the two gazebos forms a series of more secluded spaces intended for rest and relaxation.
The expansion of space is emphasized by the major axis of the ellipse, parallel to the façade of the Casino, which continues in a straight line beyond the two central exedras, reaching the two semicircular belvederes overlooking, respectively, Spoleto and Assisi and Montefalco.
Giuseppe Valadier later replicated this architectural scheme in the square of the collegiate church of Monte San Pietrangeli, in the Marche region, and even more clearly in the transformation of Piazza del Popolo in Rome between 1814 and 1828 (with works completed later), replacing the previous trapezoidal form with a symmetrical double-hemicycle layout. This design is part of the Neoclassical reorganization that gave the square its present appearance, linking the urban fabric with the Pincian Hill and the park of Villa Borghese.
Exedra – Origin and Ancient Function
An exedra is an architectural structure with a semicircular plan, often defined by columns or porticoes, characterized by an opening (a niche) and originally equipped with seating. Originating in Greek and Roman architecture as a place for conversation or rest, it now often defines monumental open spaces, gardens, or decorative elements.
The term derives from the Greek exédra (“outer seat”). In Greek and Roman elite houses, it was a bright, open space intended for living and relaxation.
The exedra is a significant architectural form: the semicircle, or hemicycle, that defines it is a shape capable of existing both at an intimate, even domestic scale, and at a monumental one. Its name, however, literally refers to the idea of an “outdoor seat.”
QR Code n. 05
Exedras Garden Esplanade
