Boults Е. Illustrated history of landscape design

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WATER AXIS: Similar in plan to the garden at Villa Lante, the barchetto at Villa Farnese is

arranged symmetrically about an axis and punctuated by a series of water features.

BAROQUE DANCE: The architectural emphasis of the 17th-century additions to the barchetto at Villa Farnese, Caprarola, intro-

duced a more Baroque design vocabulary based on movement and drama.

VISUAL NARRATIVE: Villa Farnese

VILLA GIULIA, RO

Cardinal Giovanni Maria

del Monte enlarged his d

retreat, a villa suburban

outside the city walls, in

when he was elected Pop

Julius III. Many great art

are believed to have had

in its design: Giorgio Vas

Michelangelo, Bartolome

Ammannati, and Vignola

linear site plan of Villa Gi

aligns with a shallow valle

natural low spot amid ac

woods, orchards and vine

A long allée connected th

to a mooring on the Tibe

A series of telescoping

courtyards frame the g

space. A large semicircu

portico deﬁ nes the ﬁ rst

race. Views continue thr

a central loggia to a rea

loggia and garden terrac

From the central loggia,

is surprised to discover

the next courtyard is su

and a nymphaeum is rev

at an even lower level. Th

semicircular form of the

tico is echoed by the cu

stairs that lead to the

courtyard. Access to th

nymphaeum itself is thr

hidden stairs. The water

channel around the peri

of the nymphaeum was

the acqua vergine after

ancient aqueduct that r

beneath the property. F

graceful caryatids supp

the upper-level court.

VILLA GIULIA: The garden

seen in the context of

the barco illustrates the

important Renaissance

concept of “composed”

nature.

16th CENTURY

/ ITALY

Villa Giulia, Rome

CASE STUDY:

SECTION ELEVATION: The tension created between the horizontal sight

line and the vertical circulation is characteristic of Mannerist design.

SURPRISE AND DELIGHT: Along the axially arranged space, elements are screened from view, creating a sense of drama.

FORMS REPEAT:

A dynamic three-

part division of

space occurs in

both plan and

section.

9090

SACRO BOSCO, BOMARZO

The most extreme example of Manner-

ist distortion can be seen in the Sacro

Bosco (sacred wood) of Count Orsini,

constructed at Bomarzo from 1552–

1583. Colossal sculptures, some carved

out of the stone on the site, dot the

valley below the count’s hilltop palace. No

linear narrative connects these surreal

sculptural events. Inscriptions allude to

literary themes, but the meaning of this

fantasyland is unclear. The park has been

variously understood as a critique of

SACRO BOSCO,

BOMARZO: The

terrain is largely

unaltered in

Count Orsini’s

sacred wood.

Renaissance order and hierarchy, or an in-

terpretation of literary works such as the

Hypnerotomacchia Poliphili, and Orlando

Furioso, a story about a man who went

mad after the loss of his lover (Orsini’s

wife died young).

The park is known today

as the Park of the Monsters.

GARDEN OF THE MONSTERS: A) Tilted House—Is the house leaning or the world tilting? B) Fame Rides a Turtle—

Fame, like haste, is made slowly; C)Hell’s Mouth—“Ogni pensiero vola” (Leave every care, you who enter here), a reference to

Dante’s Gates of Hell, is inscribed on the entry to this grotto with built-in bench and picnic table.

16th CENTURY

/ ITALY

Different forces affected the develop-

ment of the Renaissance garden in the

Venetian Republic. New trade routes

established by the increasingly power-

ful European monarchies devastated

Venice’s economy. Attention turned

toward the reclamation of agricultural

lands in the Veneto region.

Villas of the Veneto are year-round

residences and working farms. Andrea

Palladio gained a reputation as the

preeminent architect of the ideal

agrarian villa. He interpreted the

classical Roman design vocabulary

as a function of space and mass,

realized through a rational geo-

metric order. He modeled his four

books of architecture, I Quattro Libri

dell’Architettura (1570), on Serlio’s

practical treatise, similarly illus-

trated with plans and elevations.

Palladian architecture is synonymous

with a harmony of part to whole. Pal-

ladio developed precise ratios for the

heights and widths of rooms, and ap-

plied the same system to the design of

building facades. He arranged func-

tional spaces hierarchically, typically

around a central unit, resulting in bilat-

eral symmetry and an A-B-A rhythm.

His villas incorporated elements from

traditional farm buildings—dovecotes,

long arcaded loggias, stucco ﬁ nish over

brick—and were set amid agricultural

ﬁ elds, staking their claim in the ﬂ at

VILLA EMO, FANZOLO: The villa stretches

out as an elongated cross-axis.

PALLADIAN VILLAS

PALLADIAN

HARMONY:

Plan and

elevation

were uniﬁ ed

by the same

proportional

relationships.

Veneto plain. Views of the produc-

tive landscape were welcomed. Typical

Palladian elements included a square

hall, a loggia, a pedimented “temple”

front, and steps that led directly to

the piano nobile. Plinths and platforms

elevated buildings above the ground

plane. Exterior ornamentation was

sober, but interior surfaces were lav-

ishly decorated. Avenues and vistas

engaged front and rear courtyards;

site planning, rather than garden

design, was Palladio’s hallmark.

16th CENTURY

/ ITALY

16th CENTURY

/ ITALY

ARCHITECTURE CONTROLS LANDSCAPE: The Villa Rotonda was carefully sited by Palladio to frame unique views in each direction.

VILLA EMO, FANZOLO

Villa Emo, built in 1564, is a one-story

structure with a temple front and a

paved entry ramp. Wings extend from

both sides of the central block and

have an attached colonnade. Long

allées define a perpendicular axis and

organize the site. The rear courtyard

forms a large rectangle.

Of all Palladio’s villas, Villa Emo seems

to relate most directly to its agricul-

tural context through its low profile

and extended arms. Architecture and

landscape feel perfectly balanced.

VILLA ROTONDA, VICENZA

Constructed from 1566–1570 on a hill-

top very near the town of Vicenza, Villa

Rotonda has no agricultural component

and most likely functioned as a daytime

retreat or entertainment villa. The villa,

raised on a platform, occupies the site

with authority. The plan is rotated

from a true north-south alignment,

permitting sunlight to enter each room.

Alterations, particularly to the central

dome, were made by Vincenzo Scamozzi

after Palladio’s death.

The square villa displays quadripar-

tite symmetry about a round central

hall, with four identical porticos. The

repetition of the classical Greek

temple front on all four sides is un-

usual; rather than creating a hier-

archical marking of the entrance, it

denotes an equality of experience. The

dominant axis becomes vertical—the

visitor’s eye moves up, through the

dome. The form of Villa Rotonda was

to become an icon in the imagination

of future generations of architects

and designers.

VILLA ROTONDA, VICENZA: The

square temple front attached to a

spherical volume of interior space

was inspired by the Pantheon in

Rome.

16th CENTURY

/ FRANCE AND ENGLAND

CHATEAUX

OF THE LOIRE

VALLEY

France in the 16th century was not

as politically fragmented as Italy. Af-

ter the collapse of the feudal system,

power was centralized in an absolute

monarchy. Gardens became outsized

expressions of royal authority.

The Loire Valley is flatter, more

densely wooded, and more spacious

than the landscape around Rome and

Tuscany. French gardens were sprawl-

ing, complex arrangements of ground-

plane features. Defensive moats

typically surrounded the chateaux

of the Loire Valley. When the intro-

duction of gunpowder made fortified

medieval castles obsolete and inde-

fensible, the moats, still essential for

good drainage, were incorporated into

gardens as ornamental canals.

Renaissance gardens in France were

mostly additions to existing medieval

chateaux, which were year-round dwell-

ings, not summertime retreats. Space

LOIRE VALLEY: Royal estates were

situated in the Loire valley.

RENAISSANCE GARDENS IN FRANCE

AND ENGLAND

was limited, constrained by the moat

and the conﬁ guration of the forti-

ﬁ ed castle. The axial arrangements of

Italian gardens were ill suited to these

irregular spaces. Landowners developed

gardens as separate entities, built on

adjacent properties not directly related

to the house.

The designs of 16th-century French

gardens are known today through the

engravings of Jacques Androuet du Cer-

ceau. His book, Les plus excellents basti-

ments de la France (1576 and 1579),

contained illustrations of important

chateaux and their gardens.

As foreign powers made claim to

Italian territories, and Italian art-

ists fled Rome after the sack, clas-

sical organizing principles spread

throughout Europe in the latter part

of the 16th century. The new vocabu-

lary of design expressed the regional

and cultural characteristics unique

to each country.

16th CENTURY

/ FRANCE

AMBOISE

King Charles VIII of France invaded

southern Italy in 1494, asserting

his ancestral right to the Kingdom

of Naples. His victory was of minor

political consequence, but it was

enormously inﬂ uential in bringing

Italian Renaissance design ideas to

France. He returned to his country

with Italian artifacts, artists, and

craftsmen. Charles VIII enlarged his

garden at Amboise according to the

new style, adding 10 compartments

and a central water feature along

a high terrace within the chateau

walls. A gallery along the long side

of the rectangular plan deﬁ ned the

edge of the garden and afforded

views of the Loire.

FRENCH RENAISSANCE: The chateau at Amboise was redesigned by Italian artists

and craftsmen.

AMBOISE: A garden terrace with 10 symmetrical compartments, called parterres, enhanced the medieval castle.

BLOIS

Charles VIII was succeeded by his

cousin Louis XII, who not only carried

on with Charles’s gardening ambi-

tions, but also married his wife. Louis

completed work at Amboise, and

moved the court to Blois.

The garden consisted of three ter-

races. The main rectangular terrace

comprised 10 garden compartments

arranged in two long rows. A central

pathway led to a bridge across a

moat that connected to the chateau.

A fountain within a wooden pavil-

ion marked the intersection of two

crossing pathways. The lower terrace

is believed to contain one of the first

orangeries in France.

(The gardens

were known for their wide variety of

fruits and vegetables.) In 1505, Louis

added an upper terrace, probably as

an expanded kitchen garden.

FONTAINEBLEAU: Although no

comprehensive site plan uniﬁ es the

various additions to Fontainebleau,

sight lines and ﬂ at planes of water

extended the garden out into the

landscape.

FONTAINEBLEAU

When Francis I assumed the throne

in 1515 upon the death of his uncle

Louis XII, he moved the court to

Fontainebleau, near Paris, disdaining

the country estates of the Loire Val-

ley. His rebuilding of the chateau has

been much altered over time, but the

basic structure of the grounds was

established in this era. The difference

in the scale and variety of landscape

spaces, particularly those defined by

water, initiated a new phase in French

garden design.

The Fountain Court, framed by the

old castle, stretched out in front

of a new transverse wing. Directly

across from the Fountain Court was

a large trapezoidal lake. An allée of

elms on one side of the lake bordered

an orchard and recreational fields.

On the other side of the lake was a

compartment garden of ornamental

and utilitarian plants.

The reign of Francis I coincided with

the second wave of Italian inﬂ uence in

France. The French court developed into

a cultural center, attracting many of

the great Italian Renaissance artists,

including Serlio, Vignola, Primaticcio,

and Leonardo da Vinci, who died in

France in 1519. Modiﬁ cations made to

Fontainebleau, most notably during the

17th century, reﬂ ected the changing

styles and tastes of its royal owners.

16th CENTURY

/ FRANCE

16th CENTURY

/ FRANCE

CHENONCEAUX: Site plan showing formal garden terraces and traces of wood-

land allées.

Diane had created a large garden ter-

race on the north bank of the river, to

the east of the forecourt, with com-

partments of ﬂ owers, vegetables, and

fruit trees. When Henry died in 1559, his

wife Catherine de’ Medici took over the

chateau from Diane de Poitiers. Cath-

erine continued making improvements

at Chenonceaux. A second-story gallery

was added to the bridge, resulting in the

scenic composition recognizable today.

She also planted a garden terrace on

the west side of the forecourt.

Catherine’s legacy included the rees-

tablishment of the garden as a venue

for spectacles and theatrical enter-

tainments. Her lavish parties, which

often served political ends, were well

recorded.

The idea of the garden as

theater was expanded upon by the court

aristocracy in the 17th century.

ANET: Landscape was framed

by architecture as in the Italian

models. Harmony and symmetry

were created by the axial scheme.

ANET

Francis I was succeeded in 1547 by

Henry II. Henry hired Philibert de

l’Orme to redesign the chateau at

Anet for his mistress Diane de Poit-

iers. De l’Orme had studied in Rome

and developed a symmetrical scheme

for the chateau and garden.

A large entry court, called the Court of

Honor, was deﬁ ned by the three wings of

the chateau, and bordered on two sides

by small plantations, courtyards, and

pavilions. Behind the house a semicircular

staircase descended to a large garden

of compartments, framed on three sides

by a gallery and surrounded by a moat.

Twin towers marked the far corners of

the garden. A pavilion within a semicircu-

lar pool terminated the central axis and

echoed the form of terrace stairs. De

l’Orme developed an iconographic program

around the theme of Diana the huntress.

CHENONCEAUX

Diane de Poitiers was also in resi-

dence at Chenonceaux. The castle at

Chenonceaux is located directly on the

river Cher. During the reign of Henry II,

Philibert de l’Orme built a bridge to link

the chateau to the south bank of the

river. A long allée of elms leading to the

castle was planned at this time, as was

a garden on the opposite bank.