The History and Origins of Villa Carlotta
The origins of Villa Carlotta are rooted in the lineage of the Clerici family. After inheriting a significant family fortune, Anton Giorgio Clerici oversaw the completion of the villa in 1745. This period established the site as a significant presence on the shores of Lake Como in Tremezzo, Italy. The property remained within the family until 1801, when Claudia Caterina Clerici sold the estate to Giovanni Battista Sommariva. Sommariva was a man of notable social ascent, having risen from the position of a barber's apprentice to hold power within the government of Napoleon Bonaparte.
The ownership of the villa shifted again in 1843 when Princess Marianna, wife of Prince Albert of Prussia, purchased the property for 780,000 lira. This era brought a new chapter to the residence, which eventually took its current name. The name Villa Carlotta was bestowed after the house was given to Princess Charlotte as a wedding present. The transition through these various hands—from the Clerici family to the Sommariva and eventually to the Prussian royalty—has left a layered history within the walls of the villa.
The Architecture and Grand Design
The origins of the villa trace back to the 17th century, commissioned by the Marquis Giorgio Clerici. Constructed in the fashionable Baroque style, the building possesses a structural history that remains partially veiled, as the identity of its original architect is unknown. The residence was completed in 1745, establishing a presence on the shores of Lake Como that would evolve through the centuries.
In the early 19th century, Giovanni Battista Sommariva introduced modifications to align the structure with the changing tastes of the era. These alterations sought to integrate the interior more closely with the surrounding landscape. He added balconies designed to capture the views of the lake and installed a large clock upon the facade. This period of transition shifted the villa's character from its strictly Baroque roots toward a more contemporary sensibility.
The estate extends beyond the main residence to include specialized structures that reflect the private life of its former inhabitants. A domed family chapel and a mausoleum are situated near the lake shore, providing a sense of permanence to the grounds. The architecture remains a study in layered history, where the formal lines of the 1700s meet the more outward-looking modifications of the 1800s.
The Art and Sculpture Collections
The interior spaces hold a significant assembly of sculpture and painting that reflects the refined tastes of the villa's former inhabitants. The presence of works by Antonio Canova and Bertel Thorvaldsen provides a weight to the rooms, where marble and plaster take on a permanent, silent life. These figures exist alongside the paintings of Francesco Hayez, whose canvases occupy the walls with a specific, quiet intensity. The collection also includes the works of Giovanni Migliara, contributing to the varied visual landscape of the rooms.
Beyond the fine arts, the villa preserves the personal history of its residents through an array of furniture and private objects. The second floor is particularly intimate, containing the belongings and furniture of Princess Charlotte. These items, along with the Belloni Zecchinelli archive, offer a tangible connection to the domestic life and the intellectual pursuits of the past. The arrangement of these pieces allows for a sense of continuity between the art and the architecture.
- The apothecary of a cloister, 1823 - Giovanni Migliara
- Valenza Gradenigo faints in front of her father, the Inquisitor, 1832 - Francesco Hayez
- View of Villa Sommariva, 1819 - Jean-Joseph-Xavier Bidauld
Masterpieces of the Museum Collection
The presence of Francesco Hayez is felt most strongly in the painting Romeo and Juliet's Last Kiss, a work from 1823. This piece occupies a central place within the collection, offering a quiet intensity that commands the room. Nearby, the atmosphere shifts toward the sculptural. Antonio Canova’s original plaster model of the Muse Terpsichore, dating from 1811, possesses a delicate clarity. The figure of Palamedes also remains a significant presence, representing one of Canova's most celebrated achievements in form and proportion.
In the Marble Room, the scale of the collection expands. Here, the Frieze dedicated to Alexander the Great by Bertel Thorvaldsen unfolds across the space. The weight of the stone is balanced by the grace of Adamo Tadolini’s marble Eros and Psyche, which was carved after a model by Canova. These works exist in a dialogue of light and shadow, inviting a slow, steady observation of their surfaces.
Other works offer a different perspective on the era. Giovanni Migliara’s The apothecary of a cloister, painted in 1823, provides a glimpse into a more structured, quiet world. The collection is composed of these distinct moments, each holding its own space within the villa's halls.
The Botanical Gardens and Park
The twenty acres of park surrounding the villa offer a quiet transition from the architecture to the natural landscape of Lake Como. This botanical garden covers about eight hectares, organized into distinct environments that reflect various horticultural traditions. One finds the structured lines of Italian and French styles alongside the more relaxed arrangements of the English garden. These spaces coexist with Japanese and tropical sections, creating a diverse collection of flora that changes with the seasons.
The terrain rises from the water, featuring formal terraces that step down toward the lake. Within these slopes, a fern valley provides a shaded retreat, while a rock garden offers a different texture to the landscape. The azalea and rhododendron valley is a central feature, where the density of blooms creates a solid block of color during the spring months. Nearby, a bamboo garden provides a sense of stillness, contributing to the varied character of the grounds.
