DOI Artikel:
Floryan, Margrethe: Sacred woods and sacred ways: Ariccia revisited
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.14576#0055
SACRED WOODS AND SA( RI I) W KYS. ARICCIA RI VISI 11 I)
49
Already in the âge of the Enlightenment, numerous Roman art pilgrims travelled further south. The
preferred goals were excavation sites, collections and spécifie landscape sites. Usually the first rest was made
at Ariccia, and horses were changed at the piazza. Ariccia was also much favoured for excursions from one
of the other towns in the Colli Albani. Thus Goethe, who also mentions nearby Albano, Genzano and Vel-
letri in his Italienische Reise, in his entry from 27 February, 1787, wrote:
Wir kamen durch Albano, nachdem wir von Genzano an dem Eingang eines Parks gehalten hatten, den
Prinz Chigi, der Besitzer, auf eine wunderliche Weise, hait, nicht unterhàlt, deshalb auch nicht will, dass
jemand sich darin umsehe. Hier bildet sich eine wahre Wildnis: Baume und Gestrauche, Krauter und Ranken
wachsen, wie sie wollen, verdorren, stiirzen um, verfaulen. Das ist ailes recht und nur desto besser. Der Platz
vor dem Eingang ist unsàglich schôn. Eine hohe Mauer schliesst das Tal, eine vergitterte Pforte lasst hine-
inblicken, dann steigt der Hugel aufwàrts, wo dann oben das Schloss liegt. Es gàbe das grósste Bild, wenn
es ein rechter Kunstler unternahme10.
Interestingly enough, Goethe's observation about how the garden was being kept ("halt, nicht unter-
hàlt") matches the approach taken by the authorities today!
Goethe found himself describing the Chigi complex from below the piazza and the palace. Today, this
area looks completely différent. It is dominated by extensive vegetable beds. However, an area similar to the
one evoked by Goethe is still to be found north of the palace, notably when leaving the area around the
Savelli aviary and Bernini's fountain and turning northwest (Fig. 7). Big and very irregular rocks remain in
situ. The terrain changes dramatically with the différence of height. The rocks define an impressive gorge.
From deep down the day light indeed seems remote. Humidity comes not only from the flume and the other
waters, such as the playful tuff masques continuously ejecting water (Fig. 8). Because of the emplacement
and the végétation, humidity is omniprésent, even on a hot summer day.
The woodland floor displays a marvel of variety. Moss and fern thrive, layers of dead leaves alternate
with dead branches, and new plants slowly make their way in this ancient forest. No one would dare recon-
struct the spare architectural éléments, nor tidy up the bottom of the gorge to have a more comfortable walk
along the flume leading from one fountain or pool to the other. The respect for the genius loci remains the
main guideline.
When seen from the Windows of the dining-hall of the Chigi Palace, it ail appears as a softly undulat-
ing green carpet spreading out before one's eyes11. The gorge hides deep below the green carpet. The vol-
canoes have been dead for thousands of years, and the shouting and music of the Roman armies on their way
to the top of the Мот Albanus also ceased a long time ago. Nature's dramatic forces are at rest. They have
been camouflaged by Nature itself.
The hills are covered by a large variety of deciduous trees, including many chestnut trees. By way of
contrast, some rather solitary conifers reach towards the sky from beneath the westernmost border of the
territory. Originally, this was an area with natural springs. It was cleared in the 1660s for fishponds to be
placed here, ensuring fresh deliveries of trout and perch. Today, the ponds are totally dilapidated, but the
conifers, imported and planted in the mid-19th century, thrive. They bring variety into the site-specific green
massif. They also kind of echo the endeavours of the time to have colourful flowerbeds and even flamingos
sprinkle the easternmost corner of the estate.
ALLUSIONS TO DIANA ARICINA
The findings in the ruins of Pompeii have testified to Diana being an important motif in the gardens ot
antiquity. So was Venus and Fortuna, Apollo, Mercury, Ceres, Hercules and others12.
Whereas Diana represents the grove or the forest, that is wildness and naturalness, Venus" world is rather
that of the garden, well-appointed and well-groomed. The contrast between the two lias been a favourite
1(1 J.W. Goethe, Italienische Rcisc 1786 1788, Mïmchen n.d.. p. 179.
11 Л painted treillage with exotic birds covers part ofthe wall and ceiling ofthe dining-hall. The rest is taken up b) a landscape
the horizon ofwhich then transforme itself into becoming the real landscape far beyond the palace walls.
12 P. G ri m a l, Les jardins romains, Paris 1984, pp. 45, 172. 311.
49
Already in the âge of the Enlightenment, numerous Roman art pilgrims travelled further south. The
preferred goals were excavation sites, collections and spécifie landscape sites. Usually the first rest was made
at Ariccia, and horses were changed at the piazza. Ariccia was also much favoured for excursions from one
of the other towns in the Colli Albani. Thus Goethe, who also mentions nearby Albano, Genzano and Vel-
letri in his Italienische Reise, in his entry from 27 February, 1787, wrote:
Wir kamen durch Albano, nachdem wir von Genzano an dem Eingang eines Parks gehalten hatten, den
Prinz Chigi, der Besitzer, auf eine wunderliche Weise, hait, nicht unterhàlt, deshalb auch nicht will, dass
jemand sich darin umsehe. Hier bildet sich eine wahre Wildnis: Baume und Gestrauche, Krauter und Ranken
wachsen, wie sie wollen, verdorren, stiirzen um, verfaulen. Das ist ailes recht und nur desto besser. Der Platz
vor dem Eingang ist unsàglich schôn. Eine hohe Mauer schliesst das Tal, eine vergitterte Pforte lasst hine-
inblicken, dann steigt der Hugel aufwàrts, wo dann oben das Schloss liegt. Es gàbe das grósste Bild, wenn
es ein rechter Kunstler unternahme10.
Interestingly enough, Goethe's observation about how the garden was being kept ("halt, nicht unter-
hàlt") matches the approach taken by the authorities today!
Goethe found himself describing the Chigi complex from below the piazza and the palace. Today, this
area looks completely différent. It is dominated by extensive vegetable beds. However, an area similar to the
one evoked by Goethe is still to be found north of the palace, notably when leaving the area around the
Savelli aviary and Bernini's fountain and turning northwest (Fig. 7). Big and very irregular rocks remain in
situ. The terrain changes dramatically with the différence of height. The rocks define an impressive gorge.
From deep down the day light indeed seems remote. Humidity comes not only from the flume and the other
waters, such as the playful tuff masques continuously ejecting water (Fig. 8). Because of the emplacement
and the végétation, humidity is omniprésent, even on a hot summer day.
The woodland floor displays a marvel of variety. Moss and fern thrive, layers of dead leaves alternate
with dead branches, and new plants slowly make their way in this ancient forest. No one would dare recon-
struct the spare architectural éléments, nor tidy up the bottom of the gorge to have a more comfortable walk
along the flume leading from one fountain or pool to the other. The respect for the genius loci remains the
main guideline.
When seen from the Windows of the dining-hall of the Chigi Palace, it ail appears as a softly undulat-
ing green carpet spreading out before one's eyes11. The gorge hides deep below the green carpet. The vol-
canoes have been dead for thousands of years, and the shouting and music of the Roman armies on their way
to the top of the Мот Albanus also ceased a long time ago. Nature's dramatic forces are at rest. They have
been camouflaged by Nature itself.
The hills are covered by a large variety of deciduous trees, including many chestnut trees. By way of
contrast, some rather solitary conifers reach towards the sky from beneath the westernmost border of the
territory. Originally, this was an area with natural springs. It was cleared in the 1660s for fishponds to be
placed here, ensuring fresh deliveries of trout and perch. Today, the ponds are totally dilapidated, but the
conifers, imported and planted in the mid-19th century, thrive. They bring variety into the site-specific green
massif. They also kind of echo the endeavours of the time to have colourful flowerbeds and even flamingos
sprinkle the easternmost corner of the estate.
ALLUSIONS TO DIANA ARICINA
The findings in the ruins of Pompeii have testified to Diana being an important motif in the gardens ot
antiquity. So was Venus and Fortuna, Apollo, Mercury, Ceres, Hercules and others12.
Whereas Diana represents the grove or the forest, that is wildness and naturalness, Venus" world is rather
that of the garden, well-appointed and well-groomed. The contrast between the two lias been a favourite
1(1 J.W. Goethe, Italienische Rcisc 1786 1788, Mïmchen n.d.. p. 179.
11 Л painted treillage with exotic birds covers part ofthe wall and ceiling ofthe dining-hall. The rest is taken up b) a landscape
the horizon ofwhich then transforme itself into becoming the real landscape far beyond the palace walls.
12 P. G ri m a l, Les jardins romains, Paris 1984, pp. 45, 172. 311.