DOI Page / Citation link:
https://doi.org/10.11588/diglit.19776#0030
VILLA LANTE,
BAGNAIA.
FROM an old deed in the archives of Viterbo
we learn that Bagnaia in the twelfth
century was the property of the Lombard
Counts of Castellardo, by whom it was
given to the Commune of Viterbo. This deed was
deposited by Christian, Archbishop of Mayence,
Chamberlain to the Emperor Frederick I., in i 173.
It was, in fact, restored by him to Viterbo, which
had forfeited it as a fine for having destroyed the
city of Ferento.
In the fourteenth century Ranieri, Bishop of
Viterbo, was a mighty hunter. He used to hunt
and hawk in »"he mountains round Bagnaia, and
built himself there a little hunting-lodge, to
which he could escape in the intervals of adminis-
tering his See. That little lodge still stands,
stout and solid, and forms the stable of the present
villa. Through the stucco and whitewash with
which it is covered, struggle the dim traces of
a coat of arms, the heraldic device of Bishop
Ranieri. The bishopric was a poor one, and the
municipality of Viterbo, wishing its bishop to
have an income more worthy of it, presently
made over to the See the whole of the lands
and township of Bagnaia, which became the
country seat of its bishops, who one after another
laid out and embellished the grounds.
In 1566 Cardinal di Gambara was elected to
the bishopric. The craze for building villas was
just reviving in Italy, and no villas were more
beautiful than those which rose round Rome—
the stupendous pile of Caprarola, the romantic
scheme of Este, the lovely and lovable Lante.
Cardinal di Gambara employed the great
Vignola, who was already at work a few miles
off at Caprarola, and it is interesting, as illustrating
the variety of which the famous architect was
capable, to contrast the grandeur of the first with
the imposing elegance of the second.
Vignola was pre-eminently the villa architect.
Born 1507, he grew to manhood just when the
craze for these dwellings was developing, and in
Rome he was employed in no very great works by
the State, but was free to devote himself entirely
to the caprices of the great Cardinals and the Pope
himself in their private pleasure-houses. Vignola s
lite and career were almost contemporary with
those of Palladio, and the two together completed
the first period of the Renaissance. During the
half century that preceded their advent, the last
traces of feeling for Gothic art had died in Italy,
and the admiration for the classic was becoming
more fixed and dogmatic. In the early days of the
revival architects had not intended merely to copy :
they were full of delicate and original fancy ; but
Vignola, from long and enthusiastic study of classic
art, grew to believe that nothing else was worthy
of studv, and that the most exact imitation was to
be aimed at. His work may in consequence
sometimes seem rather cold and tame, but it
is so correct, that it can only be criticised as
classic work. Among his famous villas, after
Caprarola, which is regarded as his masterpiece,
are the villa of Pope Julius outside the Flaminian
Gate and several small palaces in Rome itself.
Ferguson points out that these are less remarkable
for any striking features than for an entire absence
of bad taste or false principles, which in that age
is great praise ; and this is certainly the case with
Villa Lante, as we now call it. The house was
designed to consist of two separate buildings, and
simple as they are, they have all the beauty of
proportion and delicacy of detail which distinguish
this architect. It was when he came to the laying
out of the garden that Vignola was able to give
his genius some freedom, and he remains one of the
very foremost of the garden designers of his age.
The house, or rather villas, were planned in
conjunction with a scheme of paths, water-tanks,
balustrades, and fountains, forming a gay and
charming garden, sufficiently stately, but airy and
graceful in design, and not too fine to be a restful
and attractive summer resort.
We can imagine the courtly old Cardinal
gloating over the plans and watching the progress
of the workmen with an • impatient eye ; but he
was not destined to see the fulfilment of his dreams.
Pope Gregory XIII., hearing much of the beauties
of the villa, proposed to pay it a visit, and the
Cardinal made extensive preparations to receive
him. The first of the twin buildings was finished.
Vignola's design for the gardens was partly carried
out ; but the Pope, not being able to fulfil his pro-
posed intention, sent in his stead that meretorious
( 'S )
BAGNAIA.
FROM an old deed in the archives of Viterbo
we learn that Bagnaia in the twelfth
century was the property of the Lombard
Counts of Castellardo, by whom it was
given to the Commune of Viterbo. This deed was
deposited by Christian, Archbishop of Mayence,
Chamberlain to the Emperor Frederick I., in i 173.
It was, in fact, restored by him to Viterbo, which
had forfeited it as a fine for having destroyed the
city of Ferento.
In the fourteenth century Ranieri, Bishop of
Viterbo, was a mighty hunter. He used to hunt
and hawk in »"he mountains round Bagnaia, and
built himself there a little hunting-lodge, to
which he could escape in the intervals of adminis-
tering his See. That little lodge still stands,
stout and solid, and forms the stable of the present
villa. Through the stucco and whitewash with
which it is covered, struggle the dim traces of
a coat of arms, the heraldic device of Bishop
Ranieri. The bishopric was a poor one, and the
municipality of Viterbo, wishing its bishop to
have an income more worthy of it, presently
made over to the See the whole of the lands
and township of Bagnaia, which became the
country seat of its bishops, who one after another
laid out and embellished the grounds.
In 1566 Cardinal di Gambara was elected to
the bishopric. The craze for building villas was
just reviving in Italy, and no villas were more
beautiful than those which rose round Rome—
the stupendous pile of Caprarola, the romantic
scheme of Este, the lovely and lovable Lante.
Cardinal di Gambara employed the great
Vignola, who was already at work a few miles
off at Caprarola, and it is interesting, as illustrating
the variety of which the famous architect was
capable, to contrast the grandeur of the first with
the imposing elegance of the second.
Vignola was pre-eminently the villa architect.
Born 1507, he grew to manhood just when the
craze for these dwellings was developing, and in
Rome he was employed in no very great works by
the State, but was free to devote himself entirely
to the caprices of the great Cardinals and the Pope
himself in their private pleasure-houses. Vignola s
lite and career were almost contemporary with
those of Palladio, and the two together completed
the first period of the Renaissance. During the
half century that preceded their advent, the last
traces of feeling for Gothic art had died in Italy,
and the admiration for the classic was becoming
more fixed and dogmatic. In the early days of the
revival architects had not intended merely to copy :
they were full of delicate and original fancy ; but
Vignola, from long and enthusiastic study of classic
art, grew to believe that nothing else was worthy
of studv, and that the most exact imitation was to
be aimed at. His work may in consequence
sometimes seem rather cold and tame, but it
is so correct, that it can only be criticised as
classic work. Among his famous villas, after
Caprarola, which is regarded as his masterpiece,
are the villa of Pope Julius outside the Flaminian
Gate and several small palaces in Rome itself.
Ferguson points out that these are less remarkable
for any striking features than for an entire absence
of bad taste or false principles, which in that age
is great praise ; and this is certainly the case with
Villa Lante, as we now call it. The house was
designed to consist of two separate buildings, and
simple as they are, they have all the beauty of
proportion and delicacy of detail which distinguish
this architect. It was when he came to the laying
out of the garden that Vignola was able to give
his genius some freedom, and he remains one of the
very foremost of the garden designers of his age.
The house, or rather villas, were planned in
conjunction with a scheme of paths, water-tanks,
balustrades, and fountains, forming a gay and
charming garden, sufficiently stately, but airy and
graceful in design, and not too fine to be a restful
and attractive summer resort.
We can imagine the courtly old Cardinal
gloating over the plans and watching the progress
of the workmen with an • impatient eye ; but he
was not destined to see the fulfilment of his dreams.
Pope Gregory XIII., hearing much of the beauties
of the villa, proposed to pay it a visit, and the
Cardinal made extensive preparations to receive
him. The first of the twin buildings was finished.
Vignola's design for the gardens was partly carried
out ; but the Pope, not being able to fulfil his pro-
posed intention, sent in his stead that meretorious
( 'S )