Summary

Mrs. Charles MacVeagh Fountains of Papal Rome — Villa Giulia

Like the Pope's beautiful resting-place behind the public fountain, the Nymphaeum has endured three centuries of vile usage and neglect Nowhere in Rome is it more necessary to use imagination than in the Villa Giulia. The visitor should descend into the lowest court on a day of brilliant sunshine and, standing before the Fountain of the Virgins, replace for himself the lost lustre of the columns, the whiteness of the balustrades, the rich coloring of mural paintings and stucco, and the gleam of antique statuary.
Source: Wikisource

Mrs. Charles MacVeagh Fountains of Papal Rome — Villa Giulia

He must fancy the fitful music of stringed instruments, the perfume from the orange groves drifting over the garden walls where sat the monkeys and brilliant tropical birds. He must feel the languid stir or deep repose of long, indolent, luxurious summer days, and through it all, he must be conscious of the water* Only so will he be able to form some adequate conception of what the "secret fountain" must have been in the days of Pope Julius III. The highest charm of the beautiful creation lay in its presentation of contrast translated into a medium suitable to every sense.
Source: Wikisource

Mrs. Charles MacVeagh Fountains of Papal Rome — Villa Giulia

His devotion to the creation of Ms villa was perhaps the only outlet for the activities of a nature too slight to cope with the stern and sinister century ou which his lot had fallen. Long days spent with Vignola, Amannati, and Vasari, and above all, with the aged but undaunted Michelangelo himself, for whom this Pope felt a loving veneration, must have had a zest and stimulating quality sufficient to make the Pope's life in this villa something more than the sybaritic enjoyment of mere sensuous beauty.
Source: Wikisource

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