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The Medici Gardens of Boboli and Luxembourg: Thoughts on Their Relationship and Development

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The Medici Gardens of Boboli and Luxembourg: Thoughts on Their Relationship and Development --------------------------- 1 The Medici gardens of Boboli and Luxembourg: thoughts on their relationship and development by Pamela M. Coombes A Thesis submitted to ( the Faculty of Graduate studies and Research in partial fulfillment of the requirements for the degree of Master of Arts Department of Art History McGill University Montreal, Quebec Pamela M. Coombes March, 1992 ( TABLE OF CONTENTS ACKNOWLEDG8MENTS . ii ABSTRACT . iii SOMMAIRE . iv LIST OF ILLUSTRATIONS v INTRODUCTION 1 CHAPTERS 1. PRECEDENTS OF ITALIAN INFLUENCE IN FRENCH GARDENS. 7 II. BOBOLI; ITS RELATION TO MARIE DE' MEDICI 19 Ammannati; the amphitheatre and Palazzo Pitti. 25 The Fountains and Iconography of Cosimo 1. 29 The Grottoes at Boboli . 34 The Parigi's; the 'Viottolone' and 'Isolotto'. 39 III. THE GENESIS ~ND DEVELOPMENT OF LUXEM~OURG . 44 Land Aquisitions, Planting and Water . 48 Salomon de Brosse; the Palais du Luxembourg. 53 The Star-shaped wood and Boboli's Labyrinth.. 59 Jacques Boyceau and the 'Grand Parterre' 63 Francini's Terracing 71 Water in the Garden; "the living spirit" . 74 CONCLUSION . 86 BIBLIOGRAPHY . 87 ACKNONLEDGEMENTS Gardens and gardening have long been a source of pleasure for me; thus it was with delight that l stepped from digging and planting to research and writing. l must credit this new approach to my advisor, Prof. Thomas Glen, whose enli~htenp.d view of 'gardens as art' was introduced in a post-graduate seminar. He suggested the thesis tOp1C and along with the members of the Department of Art History, has opened new vistas and provided motivation for my studies through absorbing and vivid lectures. Cathy Rankin and Denise McMurchie have been of special assistance, as have Carol Jackman, Marilyn Berger, the staff of Blackader-Lauterman Library and Inter-library loans, not to mention my colleagues in post-graduate studies whose humour and support will be warmly remembered. The experience was made even more rewarding by the acceptance and understanding of my ch11dren, Alleyne, Christopher and Michael, and their pride in my new role as student. ii c ABSTRACT Marie de' Medici began the 'jardin du Luxembourg' during her Regency for Louis XIII. As Henry IV's queen, she had clung tenaciously to her Italian family heritage and as her upbringing had close associations with the spectacular 'giardino di Boholi', she was thus inspired to utilize it as the prototype for her Parisian garden. The validation of Marie de' Medici's success lies in the investigation of both gardens ta determine the recurring features and to ascertain their precise chronology. Evidence suggests that sorne replicated features were weIl known to Marie, the 'Gratta Grande', the original layout and the amphitheatre's general form; while other features, the 'Isolotto' and the amphitheatre's stone seating, were not. These were realized either concurr~ntly or ev en later than similar features at Luxembourg: a factor overlooked by historians who habitually cite the formative role of Boboli at Luxembourg. iii 1 SOMMAIRE Marie de Médici entreprit la création du )ardln du Luxembourg durant sa régence de LOU1S XIII. Veuve du roi Henri IV, elle continualt de s'accrocher farouchement à son héritage italien qui avait connu des liens étrolts avec le spectaculaire 'giardino dl Boboli' et Marie fut lnsplrée de l'utiliser comme prototype pour son jardln de ParlS. La validation du succès de cette déclslon repose dans l'examen historique de ces deux Jardins afln d'en déterminer les caractérlstiques semblables et d'en préciser leur cronologie . • L'évidence suggère ~ue certains aspects étaient connus de Marie, tels la 'Grotta Grande', le plan origlnal et la forme générale de l'amphithéâtre mais non 'l'Isolotto' ni l'escalier de pierres dans l'amphithéâtre. Ces d~rnlers furent réallsés soit concurrement aveç, ou ultérleurement à, ceux du Luxembourg; un fait qui a échappé aux historiens qui citent le rôle formateur de Boboli sur Luxembourg. iv c LIST OF ILLUSTRATIONS ~igure 1. Plan of Boboli Garden, engraving by G. Vascellini (1789) in the book of F.M. Soldini. 2. Plan of Luxembourg Garden, detail from Gomboust's map of Par1S (1652). 3. Château and garden at Amboise, engraving by Jacques Androuet du Cerceau (1576). 4. Château and garden at Blois, engraving by Jacques Androuet du CercedU (1576). 5. Château and garden at Fontainebleau, engraving by Jacques Androuet du Cerceau (1576). 6. Grotte des P1ns, Fontainebleau (1541-43). ( 7. Grotto at Palazzo deI Té, Mantua (1532). 8. Cortile deI Belvedere, engraving by Hendrick van Schoel (1579) . 9. Château and garden at Ancy-le-Franc, engraving by Jacques Androuet du Cerceau (1576). 10. Chât.eau and garden at Anet, engraving by Jacques Androuet du Cerceau (1576). Il. Chàteau and garden at st. Germaine-en-Laye, engraving by Francini (1614). 12. Bird's-eye view of Boboli Gardens by Stefano Buonsignori (ca. 1594). 13. Giusto utens, Lunette of Boboli Garden, Museo di Firenze corn'era (ca. 1599). 14. Amphitheatre, detail of Utens Lunette. 15. Exterior of the 'Grotticina' by Baccio Bandinelli (1553). ( v 16. lnterior of the 'Grotticina' by Giovanni Fancelli 1 (1554) . 17. Plan of the pitti Palace and Boboli Garden after additions of Parigi. 18. Plan of Villa Giulia. 19. F'ountain of Neptune, sto 1 do Lorenz 1 (ca. 1565 - 68) . 20. Fountain of Neptune, detail from Utens Lunette. 21. Design for the Chariot of Neptune, Giorgio Vasari (1566) . 22. Fountain of Oceanus by Giambologna (1567-76). 23. Design for a fountain by Giambologna. Collectlon of Mt Henry Oppenheimer, London: Pen and ink; 205 x 330mm. 24. Fountain of Juno by Ammannatl (1556), detall of utens Lunet te. 25. Mock-up of Fountaln of Juno. 26. Exterior of the 'Grotta Grande' by Glorg1o Vasarl (1556-60) and Bernardo Buontalentl (1583-89). 27. lnterior of the 'Grotta Grande' with frescos by Bernardlno Poccettl and figures by Piero Matl (1583-93) . 28. View of the 'Viottolone' and the 'Isolotto'. 29. Harpy Fountain, Giulio Parigi (1618-20). 30. Map, vicinity of Hôtel du Luxembourg prior to Marie de' Medici's purchases. 31. Aqueduct Arcueil at Rungis (1613-24). 32. Plan of Luxembourg Palace by Alfonse de Gisors. 33. Garden façade, Luxembourg Palace, engraving wlth architecture by Marot and figures by Stefano della Bella (1649). 34. Court yard façade of Palazzo Pitti and view of the amphitheatre. 35. Map by François Quesnel and Claude Vellefaux (1615). -... vi ~---------- 36. Plan of Luxembourg, Anon. (before 1627). ( 37. View of Luxembourg Palace and Garden, engraving by Gabriel Perelle. 38. Luxembourg, 'parterre de broderie' by Jacques Boyceau, T:t::_~J!~_ (;h.Li~rgiI}~q~ (1638). 39. Luxembourg, Vl ew of cent ra l 'parterre', engra ving by Gabrl€'l Perelle (1649). 40. Luxembourg, liew of west terrace and parterr.e' , engraVl'-~'1 by Israel Sylvestre (1649). 41. Luxembourg, view of concave-convex stai rs leading to terrace and Grc.t te du I.uxembourg in original location, engra'/ing by Israël Sylvestre, figures by Stefano della Bella (1649). 42. Grotte du Luxembourg. 43. Grot te du Luxembourg 1 engraving by Jean Marot. 44. pl at e VI, !"i.Yre _ d' at:chi tect ure, Al essandro Francini (1631) . 45. Plate XXXIV, l:!i vr~ __c!~ __ ~rchi_te~J.ure, Al essandro Francini ( (1631). 46. Pl at e II II, .l:!i. vre_.çt'_~rc_hi tect ur~, Al essandro Francini, (1631). 47 . Foun tain 0 f the Acqua Gi ul i a, drawing by Paul Brill, Gabinetto Nazionale delle Stampe (end of 16th century) . 48. Fountain for the 'grand parterre' with sculpture by Gui llaume Berthelot. Sketch in notebook of Richard Symonds (1649). ( vii 1 INTRODUCTION The Parisian garden of the PalalS du Luxembourg and the Florentine 'giardlno dl Boboll' of the Palazzo Plttl have a strong common bond in terms of patronage -- bath w~re created for members of the famed Florentlne Medlcl famlly. Marie de' Medicl, for who~ the PalalS du Luxembourg was constructed, has achleved over the years, consIderable renown as a patroness of the arts. Though perhaps less a connaisseur than her I~allan ancestors, her taste for displays of munificence still demanded the employment of the 1 most noted artists and architects of the tlme. The cel ebra ted !-1edi~i _p~.J'i_~_~ by Pet er Pau 1 Rubens, commissloned for the Palais du Luxembourg, lS but one, albelt the most notable, attestation to her involvement with the arts. ln thlS respect she drew on an illustrlous famlly heritage dating back to GiovannI di Bicci de' Medicl (1360- 1429), the founder of a prosperous Florentlne banklng family. His descendant, Marie's grandfather, was appolnted Tuscan Grand-duke in 1569. Cosimo 1 (1519-74), as he became, surrounded himself with the leading late Renalssance artists. His era gave rise to the cultural milleu that produced not only the Boboli garden but the transformation of the fortress-like Palazzo Pitti into a ceremonial state 1 resldence. tt was ln this treasure house, arnong a vast 1 accumulatlon of contemporary and ancient art, that Marie spent her youth. Born in 1573 to Cosimo's eldest son, Prince Francesco (1541-87), and Glovanna of Austria, Marle's childhood was both lonely and bereft. In 1578 her mother died, and Francesco, now grand-duke, hastily married his notorious mistress Bianca Cappello, retreating to a favoured villa at Pratolino. His children were ensconced in the Palazzo Pitti to be cared for by family retainers. Marie's young companlon in thlS lsolatlon, Léonora Dorl (later known as Galigaï), became her closest confidante. The death of Francesco in 1587, forced hlS younger brother, a Cardinal, to leave the church and assume his hereditary title. The new Grand-duke, Ferdinando I (1549- 1609), endeavored to treat his niece as a daughter, and his marriage to Chrlstlne of Lorraine, in 1589, provided a second enduLlng friend of comparable age for the orphaned Marie, now in her mid-teens.
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