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Cultivating Myth and Composing Landscape at the Villa D'este, Tivoli

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Cultivating Myth and Composing Landscape at the Villa D'este, Tivoli CULTIVATING MYTH AND COMPOSING LANDSCAPE AT THE VILLA D’ESTE, TIVOLI by MIRIAM SUSANNAH DEBORAH BAY A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Classics, Ancient History and Archaeology College of Arts and Law University of Birmingham September 2018 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis presents a new reconstruction and interpretation of the ideological programmes at the Villa d’Este in Tivoli, devised by Pirro Ligorio for Cardinal Ippolito II d’Este from 1560 to 1572. It traces the sixteenth-century visitor’s progress through the garden, where a sculptural pantheon of classical deities and demigods located within mythically allusive settings transformed the visitor’s journey into a lushly storyboarded experience, reconfiguring the garden as a site of mythic encounter. Investigating the intersection between the visitor’s symbolic and sensory modes of experience at the Villa d’Este, this thesis pioneers a new approach to Italian Renaissance garden design, synthesising traditional interpretative approaches to iconography with innovative phenomenological methodologies from sensory anthropology and recent ecocritical perspectives on landscape in the Cinquecento. This critical framework reveals how the Villa d’Este’s iconographic schema was augmented by the multisensory effects of water features and plantings, which reoriented the visitor within physically immersive mythic locales and microcosmic visions of the surrounding Tiburtine landscape. It also results in a new ecocritical interpretation of the Villa d’Este, engaging with representations of landscape features and natural phenomena within the garden as creative expressions of and responses to environmental concerns. ACKNOWLEDGEMENTS First and foremost, I would like to thank my supervisor, Professor Diana Spencer, not only for her inspiration, guidance and encouragement throughout this PhD, but also for the many amazing opportunities she has given me and supported me in, from developing my skills as a teacher and a writer, to participating in conferences and Rome study tours. No one could have asked for a better supervisor. I am also very grateful to Dr. David Hemsoll for his art historical expertise and his always humorous and enjoyable feedback sessions. Many thanks to my family, for their endless love and for always making me laugh, but in particular my parents, who instilled in me the values and passions which underpin this thesis. Mum, for the long walks through the wild woods and along the rugged coastline of North Devon, which gave me a lifelong love of landscape. Dad, for the childhood bedtime stories of ancient myths replete with feminist retellings, which inspired an enduring fascination with myth. Finally, I am grateful for the overwhelming kindness, generosity and hospitality of all those I met on my travels throughout Italy, particularly in Rome and Tivoli. TABLE OF CONTENTS List of Figures………………………………………………………………………………i Introduction Setting the Scene…………………………………………………………………………...1 The Villa d’Este at Tivoli……………………………………………………………….1 Tivoli’s Ancient Legacy and Renaissance Revival……………………………………..4 Reconstructing the Villa d’Este………………………………………………………..11 Chapter 1 Surveying the Study of Italian Renaissance Gardens………………………………….20 Introduction……………………………………………………………………………20 1.1 Reconstructing and Decoding the Garden…………………………………………21 1.2 Authorship and Experience..….….….….…………………………………………34 1.3 Rewilding the Garden…………….………………………………………………..39 1.4 Reinstating the Senses…………….……………………………………………….47 1.5 Into the Garden…………….………………………………………………………51 Chapter 2 Redefining the Garden Experience………………………………………………...……56 Introduction…………….………………………………………………………...……56 2.1 Garden of the Gods………………………………………………………………..58 2.2 Heterotopia: Merging Myth and Reality…………………………………………..63 2.3 Thirdspace: Synthesising Symbolism and the Senses……………………………..67 2.4 Garden of the Senses…….………………………………………………………...70 2.5 Waterscapes of Seeing, Hearing, Bathing and Tasting…………………………….77 2.6 Plantscapes of Purity, Power and Exoticism………………………………………80 2.7 The Third Pleasure…………………………..…………………………………….87 Chapter 3 First Terrace Plantscape: A New Garden of the Hesperides…………………….….…89 Introduction…………….………………………………………………………..…….89 3.1 The Realm of Flora….……………………………………………………………..91 3.2 Golden Apples of a New Hesperides………………………………………………97 3.3 Jasmine and the Scent of Exoticism……………………………………………...109 3.4 Lost and Found in the Labyrinth…………………………………………………115 Chapter 4 First Terrace Waterscape: Realm of the Nature Goddess……………………………123 Introduction…………….…………………………………………………………….123 4.1 Into the Hinterland……………………………………………………………….128 4.2 Fear and Flooding in Tivoli………………………………………………………133 4.3 Into the Valle d’Inferno…………………………………………………………..141 4.4 Monstrous Portents of Natural Disasters…………………………………………152 4.5 Subjugating the Nature Goddess…………………………………………………157 Chapter 5 Second Terrace: Here Be Dragons……………………………………………………..160 Introduction…………….…………………………………………………………….160 5.1 Monstrous Marvels in the Era of Exploration……………………………………165 5.2 Into the Woods.…………………………………………………………………...174 5.3 Into the Dragons’ Lair……………………………………………………………186 5.4 Fear and Fascination in the Garden………………………………………………193 Chapter 6 Third Terrace: Realm of the Tiburtine Sibyl………………………………………….196 Interlude: At the Crossroads………………………………………………………….196 Introduction…………….…………………………………………………………….198 6.1 Regenerating Tivoli.……………………………………………………………...204 6.2 Reviving the Acque Albule……………………………………………………….211 6.3 Passage to Rome………………………………………………………………….221 6.4 The Sibyl’s Prophecy…………………………………………….………..….….226 6.5 Reinstating the Tiburtine Sibyl…………………………………………………...232 Chapter 7 Third and Fourth Terraces: Between Vice and Virtue……………………………….234 Introduction…………….…………………………………………………………….234 7.1 Hercules’ Choice….……………………………………………………………...242 7.1.1 At the Crossroads………………………………………………………….242 7.1.2 The Paths of Vice and Virtue………………………………………………250 7.2 The Grotto of Venus Voluptas……………………………………………………253 7.2.1 The Bathing Beauty………………………………………………………..253 7.2.2 Garden Isle of the Goddess………………………………………………..260 7.2.3 What Actaeon Saw………………………………………………………...268 7.3. The Grotto of Chaste Diana.……………………………………………………..270 7.3.1 Beware the Bathing Beauty………………………………………………..270 7.3.2 Sylvan Haunt of the Huntress……………………………………………..280 7.3.3 Warning Tales from the Woods……………………………………………285 7.4 A Landscape Trick of Moral Choice……………………………………………..290 Conclusion Fantasy and Reality in the Garden…………………………………………………….293 Introduction………….……………………………………………………………….293 Environmental Awareness: Reconciling the locus amoenus and the locus horridus...294 Augmented Reality: Synthesising Symbolism and the Senses………………………297 Appendices………………………………………………………………………………303 Bibliography…………………………………………………………………………….304 Primary Sources…………………………………………………………………...…304 Ligorio, Antichità di Roma Manuscripts………………………………………...304 Principal Accounts of the Villa d’Este…………………………………………..306 Medieval and Renaissance Sources.…………………………………………….307 Ancient Sources.………………………………………………………………....311 Secondary Sources…………………………………………………………………...315 Figures……………………………………………………………………………….…..342 LIST OF FIGURES Figures are illustrated at the end of the thesis. Primary figures referenced recurrently throughout the thesis are collated in section one and subsequent figures are listed under their corresponding chapter. Photographs are my own unless otherwise indicated. 1. Primary Figures 1.1. Étienne Dupérac, Palazzo et Giardini di Tivoli, 1573, engraving. Metropolitan Museum of Art, New York. 1.2. Girolamo Muziano, View of the Villa d’Este, c. 1568, fresco. Salone della Fontana, Villa d’Este. 1.3. Stefano Cabral and Fausto del Re, Topographia antico moderna dell’agro tiburtino, from Delle Ville e de più notabili monumenti antichi della citta, e del territorio di Tivoli, 1778, pen and ink. Rome, xxii. 1.4. Cairoli Fulvio Giuliani, Topographical map of Tivoli, from Villa Gregoriana in Tivoli, 2005, map 1. 1.5. Daniel Stoopendaal, Civitatis Tyburis Delineatio, 1704, engraving. 2. Introduction 2.1. Sanctuary of Hercules Victor, first century CE. Tivoli. 2.2. Sanctuary of Hercules Victor, theatre. Tivoli. 2.3. Temple of the Sibyl, first century BCE. Tivoli. 2.4. Temple of the Sibyl, view from the Valle d’Inferno. Tivoli. 3. Chapter 3 3.1. Johann Friedrich Greuter, Metamorphosis of Limace and Bruno, from Ferrari, De florum cultura, 1633, engraving. Rome, 54. 3.2. Johann Friedrich Greuter, Metamorphosis of Melissa and Florilla, from Ferrari, De florum cultura, 1633, engraving. Rome, 518. 3.3. Hercules in the Garden of the Hesperides, early first century CE, marble relief. Inv. Nr. 1008. Villa Albani Torlonia, Rome. From E. B. Harrison, ‘Hesperides and Heroes: A Note on the Three-Figure Reliefs’, 1964, plate 11, fig. C. 3.4. Federico Zuccari, Cardinal Ippolito’s impresa, 1566-67, fresco. Stanza della Nobilità, Villa d’Este. 3.5. Entrance vestibule from the porta
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