The Villas of The Papal Nobility

In the summer of 2006, I spend a whole summer in Rome as a study-abroad student. While the academic program focuses on architecture and urbanism, it would be impossible to understand Rome without learning about Catholicism. The church has been the biggest sponsor of buildings and arts for nearly two thousand years. My time in Rome gave me an unhealthy interest in the Catholic Church and the history of the papacy. By nature, a non-hereditary monarchy is an unusual political system. As a non-Christian, I struggle to understand how God could select the Vicor of Jesus Christ through the College of Cardinals. The more I learned about the church's history, the more I am convinced that this is an institution of men, not divinity.

As much as we could all bemoan the wrongs of the modern Catholic Church, the level of corruption and immorality during the Renaissance was legendary. During that time, the temporal powers of the papacy were at their zenith. As the absolute ruler of the Papal States, the pope was a power player in European politics and perhaps the most lucrative job there was. A humble priest could be elevated to be a supreme pontiff overnight with a conclave. Naturally, all the prominent noble families of Italy jostled for a red cardinal hat. During this period, just about every pope came from notable nobilities. Families such as the Medici, the Della Rovere, and the Orsini actually “produced” more than one pontiff.

The statue of Pope Julius III outside of the Cathedral of Perugia.

With the practice of simony and nepotism in full swing, these “papal families” ripped the riches of the papal state. And unlike the religious leaders of today, these families were not shy about hiding their riches. Like any temporal ruler at that time, the display of wealth is a potent tool for projecting political strength in the face of their adversaries. Many of these families had a grand palazzo in the town center and a country villa in the Roman countryside. They often employed the best architects of their time and commissioned lavish villas to glorify their dynastic accomplishments.

Villa Farnese, Caprarola

Villa Farnese is arguably the pinnacle of high Renaissance and Mannerist architecture among all the papal villas in and around Rome. The Hosue of Farnese hailed from modern Umbria and Emilia-Romagna. The family was one of Rome's most prominent and legendary noble families during the Renaissance and ruled as Duke of Parma and Piacenza. Among the most notable members of the family include Giulia Farnese, the mistress of Pope Alexander VI, and her brother Alessandro Farnese, who later became Pope Paul III. He is among a long line of Renaissance-era popes who indulged in self-enrichment, nepotism, and sexual impropriety.

The imposing facade of Villa Farnese. Note that fortress basion that surrounds the palace.

But for all his sins, Pope Paul III was one of the most influential pontiffs of the era. In addition to granting “spiritual freedom” to indigenous people of the Americas, his greatest accomplishment was to create the first full-throated defense of Roman supremacy against the Protestant Reformation. Known as Counter-Reformation, the campaign for the church took many forms. In 1540, he approved the establishment of the Jesuit Order to evangelize the New World. On the cultural front, the Pope and the Farnese family had a long history of art patronage. Famously, the Pope commissioned Michelangelo to paint the famous Last Judgement at the Sistine Chapel. The family also acquired a huge collection of ancient sculptures, collectively known as the Farnese Collection.

Not surprisingly, Farnese’s interests in art extended to architecture. In the center of Rome, Pope Paul III commissioned Antonio da Sangallo the Younger and Michelangelo for a grand palace. Palazzo Farnese, now used as the French Embassy to Italy, is widely regarded as the most “perfect” Renaissance place. Besides classic proportions and grand construction, the real demonstration of power was that the family also bought up and demolished surrounding blocks to create a grand piazza for themselves.

In the little village of Caprarola, the family constructed their grandest palace/villa at the top of the hill. The whole village is organized around one avenue, so it should be no surprise the family built their giant villa at the end of the avenue. So whenever anyone goes anywhere in the village, they are instantly reminded of the power and prestige of the Farnese. The villa looks like a giant wedding cake from the far end of the avenue. But as we got closer, the unusual geometry of the villa revealed itself. The pentagon-shaped villa is highly unusual and presents a special challenge for the architects.

The grand loggia that used to open to the outdoor breeze.

While the villa lost almost all its original furnishing over the centuries, the original interior has been wonderfully restored. Like all Renaissance palaces, the interior of the building was there to tell stories. In this case, it is the story of the history of Farnese and their grand accomplishment. Aside from countless murals of the Farnese pope and cardinals, their family coats of arms were everywhere you look. The architect includes a circular courtyard and a spiral staircase to negotiate with the octagonal plan. Unusual in its time, the circular spaces are full of intrigue.

On the ground floor, the circular arcade is decorated with frescos by Antonio Tempesta. The wall frescos are inspired by Roman wall paintings from antiquity, and the ceiling is painted with an elaborate scheme of garden trellis, songbirds, and greeneries. Even though it is technically indoor, the fresco brings a vibrant garden into the barren courtyard. I suspect Tempesta must have taken inspiration from the ambulatory mural at the mausoleum of Santa Costanza.

One of the numerous ceiling frescos in Villa Farnese.

For certain, the most impressive space is Scala Regia, the Royal Stairs. The staircase is unlike any I have ever seen, and I could only describe it as “heavenly.” Aided by modern artificial illumination, the white staircase has a warm and celestial glow. Like all grand staircases of its era, the stair treads are deep enough to make the ascent regal and signifying. The spiraling colonnade makes this a place of dreams for any photographer. Keen observers would notice the presence of fleurs-de-lis along the frieze. Since future generations may paint over murals, the family symbols were set in stone in perpetuity.

The circular courtyard is among the most popular setting for filming.

While considered a work of the High Renaissance, Villa Farnese could also be classified as “Mannerist” and is a precursor of the Baroque style. While still working within the classical elements and language of the Renaissance, architects of this era injected a sense of drama and emotion into the stoicism of the previous era. They no longer felt obligated to follow the codified rules of ancient classicism; this allowed them to adapt to the challenges of unusual site conditions… such as a pentagon-shaped building. The grand architecture of the Farnese family is the epitome of this new style. This flamboyant aesthetics is also considered a political tool to counter the surging Protestantism.

As magnificent as the building is, the garden is considered by many to be the highlight of Villa Farnese. The first garden is connected to the villa via a deep moat and a drawbridge. The box topiary of strict geometric rigidity fits well with the imposing villa. The formal garden is adorned with towering chestnut trees and grottos. But unknown to most visitors, the real highlight is the upper garden. Hidden away by the side of the garden is a little gate that led us to the upper section. This particular path has no formality and is intended to serve as a transition between two realms.

Contrary to the lower garden, the upper garden is designed as a world of fantasy. It is purposefully hidden away from the rest of the villa. Upon entry, visitors were greeted by an expressive series of fountains flanked by two '“casinos,” purpose-made for entertaining. A hidden fountain underneath the floor would be activated for special family guests to add a little “surprise” to their visit. I could only imagine how the guests might have reacted. Given how elaborate court dresses were back in the day, I imagine their wet cloth would take some time to dry out.

The focal point of the upper garden is the so-called catena d'acqua (water chain), a fountain containing a series of smaller cascades. It is one of the most ingenious water features I have ever seen. The sound and reflection from the cascade create an otherworldly effect. The fountain is flanked by two lines of dolphins, named the Dolphin Fountain (Fontana dei Delfini). At the top of the fountain stands the House of Pleasure (Casina del Piacere). Despite the implication of its name, the pleasure here is supposed to be about intellectual pursuit and not earthly delight. Although I doubted the Farnese did not host some epic parties here.

Unfortunately, the upper garden was closed for maintenance during our recent visit, so I was very glad that I still vividly remember my previous visit with my cohort and professor in 2006. Looking back at my photos from then, I was surprised by how few photos I took back in the day. But as much as I tried to talk up the splendor of the upper garden to Brian, I don’t think he was interested. So anyone who could care less about the history of church or architecture might be interested to know that Villa Farnese was the filming location for many popular television shows.

The grand scale of Villa Farnese should not be underestimated.

Among them include Borgias, The Medicis, Luthers, and Two Popes. Funny enough, I recognize Villa Farnese from all these shows over the years. The distinctive circular courtyard and spiral staircase are well-known spaces instantly recognizable. Interestingly, the Palazzo Farnese in Rome is also a popular filming location for the period dramas of Renaissance Rome. It speaks volumes about the Farnese’s impacts on architecture and art.

Sacro Bosco, Bomarzo

Among all the papal villas in Lazio, Bomarzo’s Sacro Bosco stands out for its quirkiness. Commissioned by Pier Francesco Orsini, the park was built to commemorate the memories of his wife, a Farnese family member. The Orsini family is arguably the most well-known noble family in Rome. The family was one of the two dominant aristocratic dynasties (the other being the Colonna family) and counted five popes as family members. In addition to two grand palazzos in the center of Rome, the family also possesses seven castles throughout central Italy.

With the family’s vast real estate holdings, perhaps it made sense that a prominent family member felt the freedom to create something completely unorthodox. Sacro Bosco (or Sacred Garden) could be best described as a Mannerist amusement park. But instead of rollercoaster rides, the park is dotted with nearly two dozen larger-than-life sculptures and architectural follies. From Hannibal’s elephant, a whale, Pegasus, to Proteus, the subject matters of the sculptures are wide-ranging, to say the least. Historians have debated the exact stories behind the “collection.” But what is clear is that the park is designed to surprise and even shock visitors of the day. The villa is commonly called the Park of the Monsters (Parco dei Mostri).

Designed by Pirro Ligorio, a papal architect under several pontiffs, Sacro Bosco is so different from any other garden of its time., including his other prominent design: Villa d’Este in Tivoli. Looking at the map of the villa, it resembles a kind of Renaissance amusement park. Despite its notoriety, the park later became abandoned for several centuries. Coincidentally, the park was rediscovered and brought back to life thanks to works by Salvador Dali. Since then, the villa has been the setting and inspiration of numerous films and literature. While this may not be the Italian noble villa of your dreams, it is indeed one of the most amusing and important gardens of its time.

Villa Lante, Bagnaia

Besides Villa Farnese, there is one villa around Rome that I would consider a must-visit: Villa Lante. Just a half-hour northwest of Caprarola, the town of Bagnaia looks like an upscale suburb of nearby Viterbo. Hidden behind the quiet lane of the town is one of the most important gardens in all of Italy. This villa was voted Italy’s “most beautiful park” in 2011, and the state made a commemorative €5 coins a few years later. And according to British botanist Monty Don, this is the “perfect” Renaissance garden. Though technically not a villa for the “papal nobility,” the garden is noted for its opulence and design ingenuity. Pairing Villa Lante and Villa Farnese on the same day is a no-brainer.

Pegasus Fountain and the main staircase to the garden.

Villa Lante was built around the same time as Villa Farnese, but their appearance seems far apart. Unlike its counterpart at Caprarola, Villa Lante does not have an imposing palace fronting its facade. Intentional or not, the main access gate for the villa is actually on a side entrance on Via Jacopo Barozzi. Just past the door is the massive Pegasus Fountain. Pegasus, the winged horse of Greek mythology, was an allegorical choice for bringing sparks of intellect into the wilderness. On the right side of the fountain is a large woodland area known as the Bosco. Despite its natural appearance, the Bosco is a carefully planned garden miming the wilderness. It is said that this is the predecessor of the English Garden movement in the Enlightenment era.

The next section of the garden comprises two casinos and a courtyard in between. A grotto with three small water features is at the end of the courtyard. This spot marks the highest of the garden and the origin of all water. Mimicking the source of a river, the grotto reminds us how even the biggest river started out as a trickle. In front of the fern-encrusted grotto is a courtyard known as the Fountain of Deluge (La Fontana del Diluvio). Like the Villa Farnese’s casinos, the secret water feature could be turned on to surprise the guests. But unlike at Villa Farnese, there is no place for people to hide. The “deluge” was meant to simulate the rain and also speaks to the achievement of its hydraulic engineering.

The Fountain of Giants (*La Fontana dei Giganti*).

Perhaps the most recognizable water feature in the whole garden is the catena d'acqua (water chain), which is remarkably similar to the one at Villa Farnese. Although it may not be as elaborate or large, the narrow passageway made it a dramatic experience. Since the whole complex is organized around this single axis, the view from the fountain is particularly splendid. A giant sculpture of a crayfish anchors this fountain. It may seem like an odd choice for a garden, but it is the emblem of Cardinal Gianfrancesco Gambara, one of the villa's earliest owners and a major builder. At the bottom of the catena d'acqua are two giant reclining statues, symbolizing the union of Rome and Florence, the two centers of power in Renaissance Italy.

Cardinal Gambara was an ambitious political figure who fought hard to climb the church hierarchy. It is said that the whole purpose of the villa was to entertain his colleague and to impress. Among the most interesting features of the villa was the so-called Cardinal’s Table (La Tavola del Cardinale). The massive stone table was purpose-built for elaborate banquets. In the middle of the table is a pool of ice-cold water, which is perfect for chilling wines even in the height of the summer. In the age before refrigeration, this was the top-of-line amenity. But what impressed me were the separate water channels at the table's base, which allowed guests to dip their toes during the hot summer days. It's funny that without learning about the history, a normal visitor would easily miss out on this ingenious setup.

Fountain of the Moors (*Fontana dei Mori*).

Finally, we arrived at the villa’s Lower Garden. Unlike the rest of the garden, everything here is beautifully manicured precisely. For the cardinal’s guests, this final section of the garden represents men’s triumph over nature. According to landscape historians, each pattern of the parterre here seeps with religious symbolism. From the grill pattern of the martyrdom of San Lorenzo to the rounded-cross shape of the water fountain, there is so much to the design that would be lost on visitors today.

In the middle of the Lower Garden is a central fountain set up like a naumachia (a flooded theater where Romans staged mock naval battles for mass entertainment). At each corner of the pool is a small boat holding stone arquebusiers with water gushing out. The cardinal set up this garden as a stage for drama and entertainment. Commonly referred to as the Fountain of the Moors (Fontana dei Mori), the fountain is adorned with four athletes holding up a sculpture of three mountains with a crowning star and dangling pears. This curiously-looking sculpture is the family crest of the Cardinal Peretti Montalto, the villa's owner at the time. It was commissioned in preparation for a visit by Pope Clement VIII, who owned a massive family villa in Frascati.

Before heading out, visiting the two casinos located just south of the Lower Garden is imperative. Although the two pavilions appear identical, they were built by two different cardinal owners decades apart: Cardinal Gambara and Cardinal Peretti. The strict adherence to symmetry speaks to the commitment to Renaissance perfection. Inside each casino is a pair of fantastic wall frescos. Inside Casino Gambara is a magnificent fresco of a bird-eye view of the villa. The mural gives us an insight into the villa’s original pastoral surroundings. But more significantly, perhaps, it demonstrates how much of Gambara's original vision has been preserved through the centuries.

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Villa Farnese, Caprarola

Sacro Bosco, Bomarzo

Villa Lante, Bagnaia

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