The Villa was designed by Baldassarre Peruzzi and built in the 16th century (by commission of Cardinal Carafa upon inspiration of the Villa Farnesina in Rome); originally it was particularly distinguished for its two side avant-corps and a central portico. Between 1723 and 1743, the Villa was subjected to some important architectural modifications under the guidance of Baldassarre Erba: the open arcade was converted into a gallery and a new apartment was added.

The interiors were decorated with frescoes by Pannini between 1730 and 1740. Purchased in 1987 by the Villa Grazioli company, the structure underwent ten years of restorations, resulting in the reinstated splendour that welcomes our Guests today.

The Rooms

A masterpiece of the Renaissance, Park Hotel Villa Grazioli is home to prestigious historical frescoes that reflect centuries of art and culture. The interiors are adorned with scenes encompassing everything from mythological allegories to idyllic landscapes, creating a visual connection between the architecture of the villa and its natural historical setting. The mastery of the artists of the past can be seen in every single detail, from the ceilings decorated with optical illusions to walls displaying delicate, complex tempera paintings. Each room is an open window to the past, offering visitors an immersive journey in Italy’s classic beauty and artistic tradition.

Stanza della Ringhiera

The “Stanza della Ringhiera” is particularly suggestive. Here, the ceiling vault acts to give us a glimpse of the open sky, framed by a balustrade interwoven with vines. Peacocks and owls can be seen perching on the balustrade, as squirrels and dormice poke their heads out from between the leaves.

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Sale del Giorno e della Notte

The “Stanza della Ringhiera” opens onto two other rooms at either side. One goddess dedicated to the Night, the other to the Day. The ceiling paintings have been lost in part over the years; rainwater leaked through the roof in the past, literally washing away the tempera colours of Ciampelli’s beautiful allegories.

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Stanza delle virtù

Ciampelli used the vault ceilings of the “Stanza della Virtù” to exalt the moral qualities of Cardinal Acquaviva, who commissioned the work. The centre of the vault is dominated by Pegasus, the winged horse of ancient mythology, and symbol of Fame, while the main larger sides of the ceiling portray two foreboding female figures sitting on thrones.

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Stanza di Eliseo

In 1613, the villa fell under the property of Prince Michele Peretti who – following the advice of his brother Cardinal A. Montalto – commissioned the decoration of the fifth room on the main floor to a painter from the Bologna school of the Carraccis, probably Antonio Carracci himself, nephew of the more renowned Annibale.

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Galleria del Pannini

In 1737, Baldassare Erba Odescalchi commissioned the decoration of the new gallery to one of the most famous painters of the time: Giovanni Paolo Pannini. An overall glimpse of the entire artistic composition can give us an idea of what the painter intended while decorating this hall.

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Stanze della Creazione

The gallery leads to four small drawing rooms, two on each side. The vaults of these rooms are covered in paintings by Pannini depicting scenes from the book of Genesis, four days of creation.

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Cappella

Inside the villa’s small chapel is a tombstone carrying the contents of a letter by Pope Gregory XIII, from 1580.

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The frescoes

The Galleria Nova or Galleria del Pannini offers a refined and meditative visual experience. In contrast to the typical grandeur of the Baroque eras, the intimacy of the scenes here invites reflection. The three central panels capture the Sun Chariot in the moments of its rising, shining and setting, while other paintings represent idyllic scenes of peasant life.

The vault, painted as an open sky between clouds and angels, merges with an elegant pergola that visually connects the aristocratic interiors with the external nature of the garden. In the Stanza di Eliseo, we observe the influence of Bolognese artists, disciples of Annibale Carracci, who enrich the ceiling with motifs that evoke the scenographic skill of Pannini, who trained at the school of Bibbiena.

On the walls, a delicate grisaille depicts the deities Apollo and Diana next to Allegories of the Seasons, animated by childlike figures interacting with seasonal attributes. Majestic female figures personify the four continents, and sculptural details include a book with the author's initials at the foot of Europe.

Sections of the vault are adorned with pairs of genies flanking the Odescalchi coats of arms, symbols of nobility and power, while allegorical figures support the four elements – Air, Water, Fire, Earth – each represented with its own distinctive attributes.

Between 2023 and 2024, the Gallery was restored and today it is possible to admire it in its new appearance, which has evoked the original style, then lost in the restorations that took place in the following centuries. In the second half of 2024, the Gallery and several rooms on the main floor of the Villa will be open to visitors in an innovative way: thanks to the latest generation augmented reality viewers, it will be possible to immerse yourself in the Villa as it was in past centuries and therefore see the spaces in their original furnishings, inhabited by the characters of that time and witness the life of the era.

Sustainability

OUR COMMITMENT TO SUSTAINABLE TOURISM: REDUCING WASTE AND CONSUMPTION

Involving Guests in protecting the environment is an integral part of the experience on offer, with a local staff guaranteeing short commutes and a preference for national and, where possible, local suppliers. In line with our commitment to reduce our carbon footprint, we have eliminated the use of single-use plastic and reduced by 90% the use of paper in our offices, thereby demonstrating a strong commitment towards sustainability and the conservation of the territory.