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The Sacro Bosco of Bomarzo and the Alternate Antiquity of Alto Lazio

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The Sacro Bosco of Bomarzo and the Alternate Antiquity of Alto Lazio A Dream of Etruria: The Sacro Bosco of Bomarzo and the Alternate Antiquity of Alto Lazio Katherine Coty A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2013 Committee: Stuart Lingo Estelle Lingo Margaret Laird David Streatfield Program Authorized to Offer Degree: Art History © Copyright by Katherine Coty, 2013 All rights reserved. For my grandmothers, who were always there for me Acknowledgments I wish to thank my committee members, who provided incredible support and feedback throughout my thesis journey. A special thanks to Dr. Stuart Lingo, who was with me every step of the way, as I grappled with the intricacies and absurdities of the bosco, providing a rational terra firma whenever the park’s curious grotesqueries threatened to pull me through the looking glass. If it were not for his seminar in Mannerism, I might never have encountered the Sacro Bosco or felt the allure of the bizarre. I would also like to thank the Northwest Institute of Architecture and Urban Studies in Italy, who believed in the importance of my research, and never second-guessed the significance of an ‘ugly garden.’ If it were not for my time in Civita di Bagnoregio, I would not have been able to delve as deeply into the Sacro Bosco’s connection to the landscape of Alto Lazio, nor would I have been able to witness the key role tufo and the Etruscan past played—and continue to play— within the region. There is something ineffably special about Alto Lazio, and I hope my contributions would have made Astra proud. Finally, I must acknowledge my friends, family and loved ones. This project nearly transformed me into a hermit, and you were all so incredibly understanding, as I put my life on hold for stone monsters and blocks of tufo. Your support was invaluable. v Table of Contents List of Figures………………………………………………………………………….…….... vi Introduction……………………………………………………………………………............ 1 Chapter One: Genius Loci, Genius Forgeries…………………………………………….…. 28 Chapter Two: Etruscan Elements within and without the Bosco…………………...….…….. 52 Chapter Three: Bosco within a Bosco……………………………………………...………… 70 Chapter Four: Hypnerotomachia Tyrrhenica…………………………….……………...…… 96 Conclusion…………………………………………………………………………………….. 127 Maps…………………………………………………………………………………………... 131 Figures………………………………………………………………………………………… 135 Works Cited…………………………………………………………………………………… 183 vi List of Figures 1. Tempietto. Sacro Bosco. 2. Tempietto, interior. Sacro Bosco 3. Viewing platform, upper level. Sacro Bosco. 4. Viewing platform, lower level. Sacro Bosco. 5. Prospect from the viewing platform. Sacro Bosco. 6. Inscription on the retaining wall. Sacro Bosco. 7. Heraldic orsino. Sacro Bosco. 8. Heraldic orsino. Sacro Bosco. 9. Hybrid bench figure. Sacro Bosco. 10. Two-finned mermaid. Sacro Bosco. 11. Female monster. Sacro Bosco. 12. Lioness and lion. Sacro Bosco. 13. Satyr (?). Sacro Bosco. 14. Covered bench. Sacro Bosco. 15. Vase. Sacro Bosco. 16. Vase detail. Sacro Bosco. 17. Maned quadruped. Sacro Bosco. 18. Faux tomba a fossa. Sacro Bosco. 19. Seated female figure (front). Sacro Bosco. 20. Seated female figure (back). Sacro Bosco. 21. Elephant with turret. Sacro Bosco. 22. Dragon with lions. Sacro Bosco. 23. Orco grotto. Sacro Bosco. 24. Orco grotto (interior). Sacro Bosco. 25. Hippodrome with vases. Sacro Bosco. 26. River god. Sacro Bosco. 27. Disembodied animal face. Sacro Bosco. 28. Reclining female nude. Sacro Bosco. 29. Dry fountain with face. Sacro Bosco. vii 30. Brick tower. Sacro Bosco. 31. Rock-cut bench. Sacro Bosco. 32. Battling colossi. Sacro Bosco. 33. Inscription near the colossi. Sacro Bosco. 34. Clearing below the colossi. Sacro Bosco. 35. Water monster. Sacro Bosco. 36. Tortoise. Sacro Bosco. 37. Tortoise, drawing. Giovanni Guerra. 38. Tortoise, drawing. Bartholomaüs Breenbergh. 39. Pegasus fountain. Sacro Bosco. 40. Pegasus fountain, drawing. Giovanni Guerra. 41. Pegasus fountain, drawing. Bartholomaüs Breenbergh. 42. Broken column. Sacro Bosco. 43. Bas-relief tree. Sacro Bosco. 44. Stone lion, benches, and the Three Graces. Sacro Bosco. 45. Stone benches. Sacro Bosco. 46. Stone bench (detail). Sacro Bosco. 47. Ninfeo. Sacro Bosco. 48. Female nude. Sacro Bosco. 49. Bearded and horned male face. Sacro Bosco. 50. Theater with cippi. Sacro Bosco. 51. Casa pendente. Sacro Bosco. 52. Altar. Sacro Bosco. 53. Faux Etruscan tomb. Sacro Bosco. 54. Faux tomb (detail). Sacro Bosco. 55. Stone bench. Sacro Bosco. 56. Sphinx. Sacro Bosco. 57. Sphinx. Sacro Bosco. 58. Multi-faced herm. Sacro Bosco. 59. Multi-faced herm. Sacro Bosco. 60. Open-mouthed monster. Sacro Bosco. viii 61. Santa Maria della Valle. Bomarzo. 62. Tomba della Sirena. Sovana. 63. Tomba dei Demoni Alati. Sovana. 64. Monte Casoli rock-cut necropolis. Bomarzo. 65. Monte Casoli rock-cut necropolis. Bomarzo. 66. Colombarium. Monte Casoli. Bomarzo. 67. Columbarium. Monte Casoli, Bomarzo. 68. Shaped boulder near the Sacro Bosco. 69. Shaped boulder near the Sacro Bosco. 70. Sasso delle Madonelle. Bosco del Serraglio. 71. Monument to Lucius Roscius. Bosco del Serraglio. 72. Sasso Bucato. Bosco del Serraglio. 73. Unnamed formation/monument. Bosco del Serraglio. 74. Half-carved mass of tufo. Sacro Bosco. 75. Half-carved mass of tufo. Sacro Bosco. 76. Monument to Lucius Arlenus Strabo. Bosco del Serraglio. 77. Rock-cut tombs of the San Nicolao area. Selva di Malano. 78. “Heros” tomb, San Nicolao area. Selva di Malano. 79. Tombe a fossa. Selva di Malano. 80. D. Coelius monument. Selva di Malano. 81. The first Sasso del Predicatore. Selva di Malano. 82. Brick tower (detail). Sacro Bosco. 83. Ara Cubica. Selva di Malano. 84. The second Sasso del Predicatore. Selva di Malano. 85. Baldassare Peruzzi sketch. Bomarzo, CIL: VI, 560 suppl. 86. Tagliata delle Rochette. Cagnemora/Tacchiolo. 87. “Iter Privatm Dvorvm Domitiorvm.” Tagliata delle Rochette, Cagnemora/Tacchiolo. 88. Second “TER.” Tagliata delle Rochette, Cagnemora/Tacchiolo. 89. Baldassare Peruzzi sketch. Bomarzo, CIL: XI, 3045. 90. Unnamed monument. Cagnemora. 91. Finestraccia. Tacchiolo. ix 92. Piramide Etrusca. Tacchiolo. 93. Rock-cut ruins. Santa Cecilia. 94. Rock-cut dwelling. Santa Cecilia. 95. Rock-cut ruins. Santa Cecilia. 96. Rock-cut ruins. Santa Cecilia. 97. Tombe a fossa. Santa Cecilia. 98. Rock-cut ruins. Santa Cecilia. 99. Rock-cut ruins. Santa Cecilia. 100. Rock-cut bench. Sacro Bosco. 101. Rock-cut benches and belvedere. Parco degli Orsini, Pitigliano. 102. Rock-cut benches. Pacro degli Orsini, Pitigliano. 103. Rock-cut covered bench. Parco degli Orsini, Pitigliano. 104. Reclining female figure. Parco degli Orsini, Pitigliano. 105. Reclining male nude. Parco degli Orsini, Pitigliano. 106. Papacqua fountain, back wall. Soriano nel Cimino. 107. Papacqua fountain, back wall (detail). Soriano nel Cimino. 108. Papacqua fountain, back wall (detail). Soriano nel Cimino. 109. Pseudo-Etruscan script. Papacqua fountain, back wall. Soriano nel Cimino. 110. Moses striking the rock. Papacqua fountain. Soriano nel Cimino. 111. Grotto of the Deluge. Villa Lante, Bagnaia. 112. Frescoed plan of Villa Lante. Palazzina Gambara, Villa Lante, Bagnaia. 113. Winged double-tailed mermaid. Villa Lante, Bagnaia 114. Elephant statue with obelisk. Hypnerotomachia Poliphili. 115. Colossal winged horse statue. Hypnerotomachia Poliphili. 1 Introduction, or Approaching the Mystery at Hand The gardens of the late Italian Renaissance are generally viewed as living embodiments of period conceptions of beauty and orderliness, combining graceful classicizing statues, geometric boxwood parterres and extraordinary water features to create verdant oases that ravish the senses and transport the visitor to a realm of enchanting splendor and serenity. These sites, simultaneously intended as peaceful retreats and grand aristocratic showpieces, employ linear and symmetrical design to foster a sense of balanced well-being, while emphasizing clear routes and destinations through the tranquil setting, past a cavalcade of wonders fusing both Art and Nature. The example par excellence of natural environment shaped and tamed by the civilizing forces of human rationality and ingenuity, the archetypal Renaissance garden can be read as the ultimate application and combination of period interests and pursuits, fusing ancient imagery with artful ingenium to produce a site both orderly and extravagantly fantastic, where humanists, antiquarians and noblemen alike could retreat to an inspiring and revitalizing slice of Parnassus reborn. Yet one landscape architectural project of the Cinquecento stands apart from its contemporaries, seemingly courting calculated grotesqueness, monstrosity and chaos, fully distanced from the paradigmatic beautiful garden that serves as a site of pleasure and tranquil repose. Located in the province of Viterbo, some ninety kilometers north of Rome, is the village of Bomarzo, home to one of the most unconventional and iconoclastic sites of the Renaissance, the Sacro Bosco of Vicino Orsini, nestled in the small valley just below the rustic community’s centro storico. The Sacro Bosco dates from the mid- to late sixteenth century, and while many details of its construction are hazy or entirely lost to time—including the name or names of those responsible for its execution—it has easily generated more scholarly attention than any other 2 built environment of its era. While the dearth of concrete data concerning its construction has plagued academic examination of the Sacro Bosco with a host of wild assumptions and half-
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