Chapter VII: Villas of Venetia

Writers on Italian architecture have hitherto paid little attention to the villa-architecture of Venetia. It is only within the last few years that English and American critics have deigned to recognize any architectural school in Italy later than that of Vignola and Palladio, and even these two great masters of the sixteenth century have been held up as examples of degeneracy to a generation bred in the Ruskinian code of art ethics. In France, though the influence of Viollet-le-Duc was nearly as hostile as Ruskin’s to any true understanding of Italian art, the Latin instinct for form has asserted itself in a revived study of the classic tradition; but French writers on architecture have hitherto confined themselves chiefly to the investigation of their national styles.

It is only in Germany that Italian architecture from Palladio to Juvara has received careful and sympathetic study. Burckhardt pointed the way in his “Cicerone” and in “The Architecture of the Renaissance in Italy”; Herr Gustav Ebe followed with an interesting book on the late Renaissance throughout Europe; and Herr Gurlitt has produced the most masterly work yet written on the subject, his “History of the Baroque Style in Italy.” These authors, however, having to work in a new and extensive field, have necessarily been obliged to restrict themselves to its most important divisions. Burckhardt’s invaluable “Renaissance Architecture,” though full of critical insight, is rather a collection of memoranda than a history of the subject; and even Herr Gurlitt, though he goes into much greater detail, cannot forsake the highroad for the by-paths, and has consequently had to pass by many minor ramifications of his subject. This is especially to be regretted in regard to the villa-architecture of Venetia, the interest and individuality of which he fully appreciates. He points out that the later Venetian styles spring from two sources, the schools of Palladio and of Sansovino. The former, greatly as his work was extolled, never had the full sympathy of the Venetians. His art was too pure and severe for a race whose taste had been formed on the fantastic mingling of Gothic and Byzantine and on the glowing decorations of the greatest school of colourists the world has known. It was from the warm and picturesque art of Sansovino and Longhena that the Italian baroque naturally developed; and though the authority of Palladio made itself felt in the official architecture of Venetia, its minor constructions, especially the villas and small private houses, seldom show any trace of his influence save in the grouping of their windows. So little is known of the Venetian villa-builders that this word as to their general tendencies must replace the exact information which still remains to be gathered.

Many delightful examples of the Venetian _maison de plaisance_ are still to be found in the neighbourhood of Padua and Treviso, along the Brenta, and in the country between the Euganeans and the Monti Berici. Unfortunately, in not more than one or two instances have the old gardens of these houses been preserved in their characteristic form; and, by a singular perversity of fate, it happens that the villas which have kept their gardens are not typical of the Venetian style. One of them, the castle of Cattajo, at Battaglia in the Euganean Hills, stands in fact quite apart from any contemporary style. This extraordinary edifice, built for the Obizzi of Venice about 1550, is said to have been copied from the plans of a castle in Tartary brought home by Marco Polo. It shows, at any rate, a deliberate reversion, in mid-cinque-cento, to a kind of Gothicism which had become obsolete in northern Italy three hundred years earlier; and the mingling of this rude style with classic detail and Renaissance sculpture has produced an effect picturesque enough to justify so quaint a tradition.

Cattajo stands on the edge of the smiling Euganean country, its great fortress-like bulk built up against a wooded knoll with a little river at its base. Crossing the river by a bridge flanked by huge piers surmounted with statues, one reaches a portcullis in a massive gatehouse, also adorned with statues. The portcullis opens on a long narrow court planted with a hedge of clipped euonymus; and at one end a splendid balustraded stairway _à cordon_ leads up to a flagged terrace with yew-trees growing between the flags. To the left of this terrace is a huge artificial grotto, with a stucco Silenus lolling on an elephant, and other life-size animals and figures, a composition recalling the zoölogical wonders of the grotto at Castello. This Italian reversion to the grotesque, at a time when it was losing its fascination for the Northern races, might form the subject of an interesting study of race æsthetics. When the coarse and sombre fancy of mediæval Europe found expression in grinning gargoyles and baleful or buffoonish images, Italian art held serenely to the beautiful, and wove the most tragic themes into a labyrinth of lovely lines; but in the seventeenth and eighteenth centuries, when the classical graces had taken possession of northern Europe, the chimerical animals, the gnomes and goblins, the gargoyles and broomstick-riders, fled south of the Alps, and reappeared in the queer fauna of Italian grottoes and in the leering dwarfs and satyrs of the garden-walk.

From the yew-tree terrace at Cattajo an arcaded loggia gives access to the interior of the castle, which is a bewilderment of low-storied passageways and long flights of steps hewn in the rock against which the castle is built. From a vaulted tunnel of stone one passes abruptly into a suite of lofty apartments decorated with seventeenth-century frescoes and opening on a balustraded terrace guarded by marble divinities; or, taking another turn, one finds one’s self in a sham Gothic chapel or in a mediæval _chemin de ronde_ on the crenelated walls. This fantastic medley of styles, in conjunction with the unusual site of the castle, has produced several picturesque bits of garden, wedged between the walls and the hillside, or on the terraces overhanging the river; but from the architectural point of view, the most interesting thing about Cattajo is the original treatment of the great stairway in the court.

Six or seven miles from Battaglia, in a narrow and fertile valley of the Euganeans, lies one of the most beautiful pleasure-grounds in Italy. This is the garden of the villa at Val San Zibio. On approaching it, one sees, across a grassy common, a stately and ornate arch of triumph with a rusticated façade and a broken pediment enriched with statues. This arch, which looks as though it were the principal entrance-gate, appears to have been placed in the high boundary-wall merely in order to afford from the highway a vista of the _château d’eau_ which is the chief feature of the gardens. The practice of breaking the wall to give a view of some special point in the park or garden was very common in France, but is seldom seen in Italy, though there is a fine instance of it in the open grille below the Villa Aldobrandini at Frascati.

The house at Val San Zibio is built with its back to the highroad, and is an unpretentious structure of the seventeenth century, not unlike the Villa de’ Gori at Siena, though the Palladian grouping of its central windows shows the nearness of Venice. It looks on a terrace enclosed by a balustrade, whence a broad flight of steps descends to the gently sloping gardens. They are remarkable for their long pleached alleys of beech, their wide _tapis verts_, fountains, marble benches and statues charmingly placed in niches of clipped verdure. In one direction is a little lake, in another a “mount” crowned by a statue, while a long alley leads to a well-preserved maze with a raised platform in its centre. These labyrinths are now rarely found in Italian gardens, and were probably never as popular south of the Alps as in Holland and England. The long _château d’eau_, with its couchant Nereids and conch-blowing Tritons, descends a gentle slope instead of a steep hill, and on each side high beech-hedges enclose tall groves of deciduous trees. These hedges are characteristic of the north Italian gardens, where the plane, beech and elm replace the “perennial greens” of the south; and there is one specially charming point at Val San Zibio, where four grass-alleys walled with clipped beeches converge on a stone basin sunk in the turf, with four marble putti seated on the curb, dangling their feet in the water. An added touch of quaintness is given to the gardens by the fact that the old waterworks are still in action, so that the unwary visitor, assailed by fierce jets of spray darting up at him from the terrace steps, the cracks in the flagstones, and all manner of unexpected ambushes, may form some idea of the aquatic surprises which afforded his ancestors such inexhaustible amusement.

There are few gardens in Italy comparable with Val San Zibio; but in Padua there is one of another sort which has kept something of the same ancient savor. This is the famous Botanic Garden, founded in 1545, and said to be the oldest in Italy. The accompanying plan, though roughly sketched from memory, will give some idea of its arrangement. Outside is a grove of exotic trees, which surrounds a large circular space enclosed in a beautiful old brick wall surmounted by a marble balustrade and adorned alternately with busts and statues. The wall is broken by four gateways, one forming the principal entrance from the grove, the other three opening on semicircles in which statues are set against a background of foliage. In the garden itself the beds for “simples” are enclosed in low iron railings, within which they are again subdivided by stone edgings, each subdivision containing a different species of plant.

Padua, in spite of its flat surroundings, is one of the most picturesque cities of upper Italy; and the seeker after gardens will find many charming bits along the narrow canals, or by the sluggish river skirting the city walls. Indeed, one might almost include in a study of gardens the beautiful Prato della Valle, the public square before the church of Santa Giustina, with its encircling canal crossed by marble bridges, its range of baroque statues of “worthies,” and its central expanse of turf and trees. There is no other example in Italy of a square laid out in this park-like way, and the Prato della Valle would form an admirable model for the treatment of open spaces in a modern city.

A few miles from Padua, at Ponte di Brenta, begins the long line of villas which follows the course of the river to its outlet at Fusina. Dante speaks in the “Inferno” of the villas and castles on the Brenta, and it continued the favourite villeggiatura of the Venetian nobility till the middle of the nineteenth century. There dwelt the Signor Pococurante, whom Candide visited on his travels; and of flesh-and-blood celebrities many might be cited, from the famous Procuratore Pisani to Byron, who in 1819 carried off the Guiccioli to his villa at La Mira on the Brenta.

The houses still remain almost line for line as they were drawn in Gianfrancesco Costa’s admirable etchings, “Le Delizie del Fiume Brenta,” published in 1750; but unfortunately almost all the old gardens have disappeared. One, however, has been preserved, and as it is the one most often celebrated by travellers and poets of the eighteenth century, it may be regarded as a good example of a stately Venetian garden. This is the great villa built at Strà, in 1736, for Alvise Pisani, procurator of St. Mark’s, by the architects Prati and Frigimelica. In size and elegance it far surpasses any other house on the Brenta. The prevailing note of the other villas is one of simplicity and amenity. They stand near each other, either on the roadside or divided from it by a low wall bordered with statues and a short strip of garden, also thickly peopled with nymphs, satyrs, shepherdesses, and the grotesque and comic figures of the Commedia dell’ Arte; unassuming _villini_ for the most part, suggesting a life of suburban neighbourliness and sociability. But the Villa Pisani is a palace. Its majestic façade, with pillared central _corps de bâtiment_ and far-reaching wings, stands on the highway bordering the Brenta; behind are the remains of the old formal gardens, and on each side, the park extends along the road, from which it is divided by a high wall and several imposing gateways. The palace is built about two inner courts, and its innumerable rooms are frescoed by the principal Italian decorative painters of the day, while the great central saloon has one of Tiepolo’s most riotously splendid ceilings. Fortunately for the preservation of these treasures, Strà, after being the property of Eugène Beauharnais, was acquired by the Italian government, and is now a “villa nazionale,” well kept up and open to the public.

In the etching of Costa, an elaborate formal garden with _parterres de broderie_ is seen to extend from the back of the villa to the beautifully composed stables which face it. This garden has unfortunately been replaced by a level meadow, flanked on both sides by _boschi_, with long straight walks piercing the dense green leafage of elm, beech and lime. Here and there fragments of garden-architecture have survived the evident attempt to convert the grounds into a _jardin anglais_ of the sentimental type. There is still a maze, with a fanciful little central tower ascended by winding stairs; there is a little wooded “mount,” with a moat about it, and a crowning temple; and there are various charming garden-pavilions, orangeries, gardeners’ houses, and similar small constructions, all built in the airy and romantic style of which the Italian villa-architect had not yet lost the secret. Architecturally, however, the stables are perhaps the most interesting buildings at Strà. Their classical central façade is flanked by two curving wings, forming charmingly proportioned lemon-houses, and in the stables themselves the stalls are sumptuously divided by columns of red marble, each surmounted by the gilded effigy of a horse.

From Strà to Fusina the shores of the Brenta are lined with charming pleasure-houses, varying in size from the dignified villa to the little garden-pavilion, and all full of interest and instruction to the student of villa-architecture; but unhappily no traces of their old gardens remain, save the statues which once peopled the parterres and surmounted the walls. Several of the villas are attributed to Palladio, but only one is really typical of his style: the melancholy Malcontenta, built by the Foscari, and now standing ruinous and deserted in a marshy field beside the river.

The Malcontenta has all the chief characteristics of Palladio’s manner: the high basement, the projecting pillared portico, the general air of classical correctness, which seems a little cold beside the bright and graceful villa-architecture of Venetia. Burckhardt, with his usual discernment, remarks in this connection that it was a fault of Palladio’s to substitute for the recessed loggia of the Roman villa a projecting portico, thus sacrificing one of the most characteristic and original features of the Italian country house to a not particularly appropriate adaptation of the Greek temple porch.

But Palladio was a great artist, and if he was great in his civic architecture rather than in his country houses, if his stately genius lent itself rather to the grouping of large masses than to the construction of pretty toys, yet his most famous villa is a distinct and original contribution to the chief examples of the Italian pleasure-house. The Villa Capra, better known as the Rotonda, which stands on a hill above Vicenza, has been criticized for having four fronts instead of one front, two sides and a back. It is, in fact, a square building with a projecting Ionic portico on each face—a plan open to the charge of monotony, but partly justified in this case by the fact that the house is built on the summit of a knoll from which there are four views, all equally pleasing, and each as it were entitled to the distinction of having a loggia to itself. Still, it is certain that neither in the Rotonda nor in his other villas did Palladio hit on a style half as appropriate or pleasing as the typical manner of the Roman villa-architects, with its happy mingling of freedom and classicalism, its wonderful adaptation to climate and habits of life, its capricious grace of detail, and its harmony with the garden-architecture which was designed to surround it.

The Villa Capra has not preserved its old gardens, and at the Villa Giacomelli, at Maser, Palladio’s other famous country house, the grounds have been so modernized and stripped of all their characteristic features that it is difficult to judge of their original design; but one feels that all Palladio’s rural architecture lacked that touch of fancy and freedom which, in the Roman school, facilitated the transition of manner from the house to the garden-pavilion, and from the pavilion to the half-rustic grotto and the woodland temple.

The Villa Valmarana, also at Vicenza, on the Monte Berico, not far from the Rotonda, has something of the intimate charm lacking in the latter. The low and simply designed house is notable only for the charming frescoes with which Tiepolo adorned its rooms; but the beautiful loggia in the garden is attributed to Palladio, and this, together with the old beech-alleys, the charming frescoed fountain, the garden-wall crowned by Venetian grotesques, forms a composition of exceptional picturesqueness.

The beautiful country-side between Vicenza and Verona is strewn with old villas, many of which would doubtless repay study; but there are no gardens of note in this part of Veneto, except the famous Giusti gardens at Verona, probably better known to sightseers than any others in northern Italy. In spite of all their charm, however, the dusky massing of their old cypresses, and their winding walks along the cliff-side, the Giusti gardens preserve few traces of their original design, and are therefore not especially important to the student of Italian garden-architecture. More interesting in this connection is the Villa Cuzzano, about seven miles from Verona, a beautiful old house standing above a terrace-garden planted with an elaborate _parterre de broderie_. Behind the villa is a spacious court bounded by a line of low buildings with a central chapel. The interior of the house has been little changed, and is an interesting example of north Italian villa planning and decoration. The passion of the Italian architects for composition and continuity of design is seen in the careful placing of the chapel, which is exactly on an axis with the central saloon of the villa, so that, standing in the chapel, one looks across the court, through this lofty saloon, and out on the beautiful hilly landscape beyond. It was by such means that the villa-architects obtained, with simple materials and in a limited space, impressions of distance, and sensations of the unexpected, for which one looks in vain in the haphazard and slipshod designs of the present day.

LIST OF BOOKS MENTIONED

ITALIAN

Gianfrancesco Costa _Le Delizie del Fiume Brenta._ 1750.

Giovanni Falda _Giardini di Roma._ N. d.

Peter Paul Rubens _Palazzi di Genova._ 1622.

Rafaello Soprani _Vite de’ Pittori, Scultori ed Architetti
Genovesi._ (Second edition, revised, enlarged
and supplied with notes by C. G. Ratti.
1768.)

Giuseppe Zocchi _Vedute delle Ville e d’altri luoghi della
Toscana._ 1744.

FRENCH

Le Président de Brosses _Lettres Familières écrites d’Italie en 1739 et
1740._

L. Dussieux _Artistes Français a l’Etranger._

Michel de Montaigne _Journal du Voyage en Italie par la Suisse et
l’Allemagne en 1580 et 1581._

Percier et Fontaine _Choix des plus célèbres Maisons de Plaisance
de Rome et de ses Environs._ 1809.

Marc Antonio del Rè _Maisons de Plaisance de l’Etat de Milan.
Milan._ 1743.

Georges Riat _L’Art des Jardins._ N. d.

Eugène Emmanuel _Dictionnaire Raisonné de l’Architecture
Viollet-le-Duc Française._ 1858.

GERMAN

Jacob Burckhardt _Der Cicerone._ 1901.

Jacob Burckhardt _Geschichte der Renaissance in Italien._ 1891.

Josef Durm _Die Baustile: Die Baukunst der Renaissance in
Italien._ 1903.

Gustav Ebe _Die Spätrenaissance._ 1886.

Cornelius Gurlitt _Geschichte des Barockstils in Italien._ 1887.

W. C. Tuckermann _Die Gartenkunst der Italienischen
Renaissance-Zeit._ 1884.

ENGLISH

Michael Bryan _Dictionary of Painters and Engravers,
biographical and critical._ Revised and
enlarged by Robert Edmund Graves, B.A., 1886.

G. Burnet, D.D., Bishop Some Letters, containing an Account of what
of Salisbury. seemed most remarkable in Switzerland, Italy,
etc. 1686.

John Evelyn Diary, 1644.

ARCHITECTS AND LANDSCAPE-GARDENERS MENTIONED

ALESSI (GALEAZZO)
1512-1572

Though Alessi was a native of Perugia his best-known buildings were erected in Genoa. Among them are the Villa Pallavicini alle Peschiere, the Villa Imperiali (now Scassi), the Villa Giustiniani (now Cambiaso), the Palazzo Parodi, the public granaries, and the church of the Madonna di Carignano. He also laid out the Strada Nuova in Genoa. His chief works in other places are: the Palazzo Marin (now the Municipio) in Milan; the Palazzo Antinori, and the front of the church of S. Maria del Popolo at Perugia; and the church of the Madonna degli Angeli near Assisi.

ALGARDI (ALESSANDRO)
1602-1654

Algardi, a Bolognese architect, was also distinguished as an engraver and sculptor, and was noted for his figures of children. He built the Villa Belrespiro or Pamphily on the Janiculan, and the Villa Sauli, both in Rome.

AMMANATI (BARTOLOMMEO)
1511-1592

Ammanati, the pupil of Bandinelli and Sansovino, was one of the most distinguished Florentine architects of the sixteenth century, and was also noted for his garden-sculpture. In Florence some of his best work is seen in the Boboli garden and in the court of the Palazzo Pitti, while the bridge of the S. Trinità is considered his masterpiece. In Rome he built the fine façades of the Palazzo Ruspoli and of the Collegio Romano. The rusticated loggia of the Villa Fonte all’ Erta is ascribed to him.

BERNINI (GIOVANNI LORENZO)
1598-1680

Bernini, a Neapolitan by birth, was the greatest Italian architect and sculptor of the seventeenth century. One of his masterpieces in architecture is the church of S. Andrea al Noviziato on the Quirinal, and among his other works in Rome are: the piazza and colonnade of St. Peter’s, the Scala Regia in the Vatican, the Palazzo di Monte Citorio, and the fountains of Trevi and the Tritone; at Pistoja the Villa Rospigliosi, at Terni the cathedral, and at Ravenna the Porta Nuova.

BORROMINI (FRANCESCO)
1599-1667

Borromini, a pupil of Maderna, was, next to Bernini, the most original and brilliant exponent of _baroque_ architecture in Italy. He was born in Lombardy, but worked principally in Rome. Among his best-known buildings are the church of St. Agnes on the Piazza Navona, that of San Carlo alle quattro fontane, and the College of the Propaganda Fide. In conjunction with Bernini and Maderna, he built the Palazzo Barberini in Rome. Some of his best work is seen in the Villa Falconieri at Frascati.

BRAMANTE (DONATO)
1444-1514

Bramante was born at Urbino, but executed all his early work in Milan, producing the church of S. Maria delle Grazie, the Ospedale Maggiore, and the sacristy of San Satiro, which he not only built, but decorated internally. In Lombardy the early Renaissance of building is called the Bramantesque style. Bramante’s works in Rome are: the Tempietto of San Pietro in Montorio, the palace of the Cancelleria, a part of the Vatican, and a part of the Palazzo di San Biagio.

BROWN (LANCELOT)
1715-1783

Lancelot Brown, known as “Capability Brown,” a native of Northumberland, began his career in a kitchen-garden, but, though without artistic training and unable to draw, he became for a time a popular designer of landscape-gardens. He was appointed Royal Gardener at Hampton Court, and laid out the lake at Blenheim. He was considered to excel in water-gardens.

BUONTALENTI (BERNARDO TIMANTE)
1536-1608

Buontalenti, one of the leading Florentine architects of the sixteenth century, was also distinguished as a sculptor and painter. He built the villa of Pratolino and carried on the planning of the Boboli garden. His other works in Florence are: the façades of the Palazzi Strozzi and Riccardi, the Palazzo Acciajuoli (now Corsini), the corridor leading from the Uffizi to the Pitti Palace, and the casino behind San Marco. At Siena, Buontalenti built the Palazzo Reale, and at Pisa, the Loggia de’ Banchi.

CAMPORESI (PIETRO)
B. ——, d. 1781

Camporesi, a Roman architect, is mentioned as working with “Moore of Rome” on the grounds of the Villa Borghese.

CARLONE

Several brothers of this name lived in Genoa between 1550 and 1650. They were known as sculptors, painters and gilders, and workers in stucco. The beautiful ceiling of the church of the Santissima Annunziata in Genoa is known to be by one of the Carloni.

CASTELLI (CARLO)
XVII Century

Castelli, who completed the façade of Santa Maria alla Porta, in Milan, was an architect of the school of Maderna. With Crivelli he laid out the gardens of the Isola Bella, near Como.

CASTELLO (GIOVANNI BATTISTA)
CALLED IL BERGAMASCO
1509-1579

Giovanni Castello of Bergamo was a pupil of Alessi’s and distinguished himself in fresco-painting and sculpture. In Genoa he remodelled the Palazzo Pallavicini (now Cataldi) and built the Palazzo Imperiali. Soprani (“Vite de’ Pittori, Scultori ed Architetti Genovesi”) says that Il Bergamasco was court-architect to Philip II of Spain and worked on the Escorial. Bryan, in his Dictionary of Painters and Engravers, states that Il Bergamasco was employed on the Prado by Charles V, while his son worked for Philip II.

CRIVELLI
XVII Century

This landscape-gardener worked with Carlo Castelli on the grounds of the Isola Bella, near Como.

FERRI (ANTONIO)
XVII Century

Ferri, a Florentine architect, built the Villa Corsini near Florence, and remodelled the Palazzo Corsini on the Lungarno.

FONTANA (CARLO)
1634-1714

Fontana, one of the most versatile and accomplished architects of his day, was born at Bruciato, near Milan. He was called to Rome as architect of St. Peter’s, and collaborated with Bernini on several occasions. In Rome he built the palace of Monte Citorio, the façade of San Marcello, and the Palazzo Torlonia. As a villa-architect his most famous creation is the Garden Palace of Prince Liechtenstein in Vienna. He built the palace on the Isola Bella, and the Villa Chigi, at Cetinale, near Siena, is also attributed to him. He was the author of works on the Vatican and on the antiquities of Rome.

FONTANA (GIOVANNI)
1546-1614

Giovanni Fontana, of Melide, near Lugano, excelled in everything relating to hydraulic work. At the Villa Borghese in Rome, and in the principal villas at Frascati (Aldobrandini, Taverna, Mondragone), he introduced original designs for the waterworks. In Rome he built the Palazzi Giustiniani and de’ Gori, and made the design for the Fontana dell’ Acqua Paola, though he did not live to carry it out.

FRIGIMELICA (COUNT GIROLAMO)
XVIII Century

Count Frigimelica, an accomplished Venetian nobleman, built the church of S. Gaetano at Vicenza, and collaborated with Prati in the construction of the Villa Pisani at Strà.

JUVARA (FILIPPO)
1685-1735

Juvara, the most original and interesting Italian architect of the eighteenth century, was a pupil of Carlo Fontana’s. His most important work is the church of the Superga near Turin, and his principal buildings are found in or near Turin: among them being the hunting-lodge of Stupinigi and the churches of Santa Cristina and Santa Maria in Carmine. The church of San Filippo in Turin was rebuilt by Juvara, and the royal villa at Rivoli, as well as other villas in the environs of Turin, show his hand. He remodelled the Palazzo Madama in Rome; at Lucca he finished the Palazzo Reale; at Mantua the dome on the church of S. Andrea is by him, and in Lisbon and Madrid, respectively, he built the royal palaces.

LE NÔTRE (ANDRÉ)
1613-1700

Le Nôtre, the greatest of French landscape-gardeners, first studied painting under Simon Vouet, together with Mignard, Lebrun and Lesueur, then succeeded his father as superintendent of the royal gardens. Among his great works are the gardens at Vaux-le-Vicomte, at Sceaux, at Chantilly, and the cascades and park at Saint-Cloud. The park of Versailles, the gardens of the Trianon, of Clagny and of Marly, are considered his masterpieces. When he visited Italy he remodelled the grounds of the Villa Ludovisi. He was frequently consulted by the Elector of Brandenburg and other notable foreigners.

LIGORIO (PIRRO)
1493-1580

Ligorio, the Neapolitan architect, was also distinguished as antiquary, sculptor and engineer; he worked much in _sgraffiti_. He built the beautiful Villa Pia in the Vatican gardens, and the Villa d’Este at Tivoli, and made additions to the Vatican. The Library in Turin possesses his numerous manuscripts, some of which have been published. His best-known works are “An Attempt to Restore Ancient Rome” and “The Restoration of Hadrian’s Villa,” the plates for which were engraved on copper by Francesco Contini in 1751.

LIPPI (ANNIBALE)
B. ——, d. 1581

Lippi is generally said to have been the son of Nanni di Baccio Bigio, the architect and sculptor, though some biographers declare them to have been the same person. Assuming Lippi to have had a separate identity, only two of his works are known: the church of S. Maria di Loreto, near Spoleto, and the Villa Medici in Rome. His fame rests on the latter, which became the model of the Roman _maison de plaisance_.

LONGHENA (BALDASSARE)
1604-1682

Longhena, the most distinguished architect of the late Renaissance in Venetia, gave all his time and work to his native city. Among the buildings he erected there are: S. Maria della Salute, S. Maria al Scalzi, the Ospedaletto, the cloister and staircase in San Giorgio Maggiore, the Palazzo Pesaro, and the Palazzo Rezzonico (now Zelinsky).

LUNGHI OR LONGHI (MARTINO) THE ELDER
XVI Century

Lunghi, born at Viggiù in the Milanese, in the second half of the sixteenth century, built the Villa Mondragone at Frascati, in 1567, for Cardinal Marco d’Altemps. The villa was enlarged by Gregory VII, and later by Paul V and his nephew, Cardinal Scipione Borghese.

MARCHIONNE (CARLO)
1704-1780

Marchionne was the architect of the Villa Albani near Rome, built in 1746.

MICHELANGELO (SIMONE BUONARROTI)
1475-1564

The great architect, sculptor and painter, was born in Florence, where he built the Laurentian Library and the chapel of S. Lorenzo, with the cupola of the sacristy. In Rome he built the Palazzo de’ Conservatorii on the Capitoline hill, the cornice of the Palazzo Farnese, the Porta del Popolo and the Porta Pia. His model for the dome of St. Peter’s was carried out except as to the lantern. Tradition assigns to him the Villa ai Collazzi (now Bombicci) near Florence.

MONTORSOLI (FRA GIOVANNI ANGELO)
1507-1563

Fra Giovanni Montorsoli, a Florentine monk of the Servite Order, was a sculptor, and studied under Michelangelo. He was early called to Genoa, where he decorated the church of San Matteo (the church of the Doria family) and built the famous villa in the harbour for the Admiral Andrea Doria. The Villa Imperiali, at San Fruttuoso, near Genoa, is also attributed to Montorsoli. One of his best works is the high altar in the church of the Servi at Bologna.

MOORE (JACOB)
1740-1793

Moore, a Scotch landscape-painter—known as “Moore of Rome”—was patronized by Prince Borghese, and remodelled the grounds of the Villa Borghese in the style of the _jardin anglais_.

MORA
XVII Century

A Roman engineer of the name built some of the waterworks on the Isola Bella, near Como, in the seventeenth century.

NOLLI (ANTONIO)
XVIII Century

Nolli laid out the grounds of the Villa Albani near Rome, in 1746.

NOLLI (PIETRO)
XVIII Century

Pietro Nolli is also mentioned as one of the landscape-gardeners who laid out the Villa Albani.

OLIVIERI (ORAZIO) OF TIVOLI
XVI Century

Olivieri was employed as an engineer of the waterworks at the Villa d’Este at Tivoli and the Villa Aldobrandini at Frascati.

PALLADIO (ANDREA)
1508-1580

Palladio, the great Venetian architect, was born at Vicenza. He turned the development of Italian Renaissance architecture in the direction of pure classicalism, and was a master of proportion in building. At Vicenza he rebuilt the Sala della Ragione, and built the Palazzi Tiene and Valmarana and the Teatro Olimpico; while the Villa Capra or Rotonda, near Vicenza, is his work, and also the Villa Giacomelli at Maser. In Venice he erected the churches of San Giorgio Maggiore and Il Redentore, also the Villa Malcontenta near Fusina on the Brenta. Palladio published a “Treatise on Architecture” and “The Antiquities of Rome.”

PARIGI (GIULIO)
B. ——, d. 1635

Parigi was a Florentine architect, engineer and designer. As far as is known, he worked entirely in Florence and its environs. He is the architect of the court and arcade of Poggio Imperiale, the cloister of S. Agostino, the Palazzo Marucelli (now Fenci), the Palazzo Scarlatti, and a part of the Uffizi.

PERUZZI (BALDASSARE)
1481-1537

Peruzzi, who was both architect and painter, divided his time between Rome and Siena, where he was born. He built the Villa Vicobello near Siena, as well as that of Belcaro. The well-known Palazzo Massimi alle Colonne in Rome is his work, also the Villa Trivulzio near Rome.

PIRANESI (GIOVANNI BATTISTA)
1720-1778

Piranesi, the famous Venetian etcher and engraver, was specially noted for his etchings of famous buildings, and has been called “The Rembrandt of Architecture.” He was also an architect, and worked on the church of S. Maria del Popolo in Rome. While there he also remodelled the chapel of the Priory of the Knights of Malta, and probably laid out the grounds. Piranesi published over twenty folio volumes of engravings and etchings.

PONZIO (FLAMINIO)
1575-1620

Ponzio, a Lombard architect, built the loggia of the Villa Mondragone at Frascati, and the Palazzo Sciarra, and finished the Borghese Chapel in the church of S. Maria Maggiore in Rome.

PORTA (GIACOMO DELLA)
1541-1604

Della Porta, a Milanese architect, was a pupil of Vignola’s. His great work was the finishing of the dome of St. Peter’s in Rome, in doing which he followed Michelangelo’s plan, but improved the curve. His other works in Rome were: the churches of Il Gesù, S. Luigi de’ Francesi, S. Catarina de’ Funari, the Palazzo Paluzzi, the façade of the Palazzo Chigi, the famous fountains in the Piazza d’Araceli and the Piazza Navona (for which Bernini supplied the sculpture), and the Fontana delle Tartarughe. In Genoa he finished the church of the S. S. Annunziata, and he was employed on the Villa d’Este at Tivoli and the Villa Aldobrandini at Frascati.

PRATI
XVIII Century

Prati collaborated with Count Frigimelica in building the Villa Pisani, at Strà near Venice, in the eighteenth century.

RAINALDI (GIROLAMO)
1570-1655

Rainaldi was a Roman and his principal works are in Rome. He planned the church of S. Agnese; built the façade of S. Andrea della Valle, the façade of S. Maria in Campitelli, and the Palazzo Pamphily on the Piazza Navona. He added two pavilions to the Farnesina, and designed the grounds of the Villa Borghese and the gardens of the Villa Mondragone at Frascati. In Bologna he built the church of S. Lucia.

RAPHAEL SANZIO
1483-1520

Raphael succeeded Bramante as chief architect of St. Peter’s. His most important villa is the famous Villa Madama near Rome. The Farnesina in Rome was built by him, and he laid out the gardens of the Vatican. His other works in Rome are the Palazzo Caffarelli (now Stoppani) and the Capella Chigi. In Florence he designed the façades of the church of San Lorenzo and of the Palazzo Pandolfini (now Nencini).

REPTON (HUMPHREY)
1752-1818

Repton, who was born at Bury St. Edmunds, began life as a merchant, but having failed in his business, became a landscape-gardener. He published “Observations on Landscape Gardening” (1803), and is the best-known successor of “Capability Brown” in the naturalistic style of gardening.

ROMANO (GIULIO DEI GIANNUZZI—ALSO CALLED GIULIO PIPPI)
1492-1546

As Raphael’s pupil, Giulio Romano painted the architectural backgrounds of Raphael’s frescoes in the Vatican, and this led to his studying architecture. His masterpiece is the Palazzo del Tè at Mantua, where he also built a part of the Palazzo Ducale. He carried out Raphael’s decorations in the Villa Madama.

RUGGIERI (ANTONIO MARIA)
XVIII Century

Ruggieri built the Villa Alario (now Visconti di Saliceto) on the Naviglio near Milan, and the façade of the church of S. Firenze in Florence. He also remodelled the interior of Santa Felicità in Florence, and in Milan he built the Palazzo Cusani.

SANGALLO (ANTONIO GIAMBERTI DA)
1455-1534

Antonio da Sangallo was a brother of Giuliano, and famous as a carver of crucifixes. He altered Hadrian’s tomb in Rome into the Castle of St. Angelo, and laid out a part of the Vatican gardens. The church of the Madonna di S. Biagio in Montepulciano and the fortress of Cività Castellana were built by him.

SANGALLO, THE YOUNGER (ANTONIO CORDIANI DA)
1483-1546

This Sangallo was a nephew of the other Antonio, and a pupil of Bramante’s. After Raphael’s death he became the leading architect of St. Peter’s. The fortress at Cività Vecchia is his work. In Rome he planned the outer gardens of the Vatican and built the right-hand chapel in S. Giacomo degli Spagnuoli, the beautiful Palazzo Marchionne Baldassini, the Palazzo Sacchetti, and the greater part of the Palazzo Farnese.

SANGALLO (GIULIANO GIAMBERTI DA)
1445-1516

Giuliano da Sangallo, the Florentine architect, was also noted as an engineer and a carver in wood. His great work is the villa at Poggio a Caiano near Florence, with a hall having the widest ceiling then known. He also built the Villa Petraia at Castello, near Florence, and in or near Florence the sacristy and cloister of San Spirito, the cloister for the Frati Eremitani di S. Agostino, and the villa of Poggio Imperiale. Among his other works are: the Palazzo Rovere near San Pietro in Vincoli, in Rome, and the Palazzo Rovere at Savona. Sangallo also constructed many fortresses. After Bramante’s death he worked with Raphael on St. Peter’s.

SANSOVINO (JACOPO TATTI)
1487-1570

Sansovino, though a Florentine by birth, worked principally in Venice. He was equally distinguished as sculptor and architect. In the latter capacity he built in Venice the Zecca or Mint, the Loggietta, the Palazzo Cornaro, the Palazzo Corner della Cá Grande, the Scala d’Oro in the Doge’s palace, the churches of San Martino and San Fantino, and his masterpiece, the Library of San Marco. In Rome the Palazzo Gaddi (now Nicolini) was built by him.

SAVINO (DOMENICO)
XVIII Century

Savino is mentioned among the landscape-gardeners who remodelled the grounds of the Villa Borghese.

TITO (SANTI DI) OF FLORENCE
1536-1603

Santi di Tito of Florence was known as an historical painter, and also as a builder of villas at Casciano and Monte Oliveto. An octagonal villa at Peretola was built by him, and he did some decorative work in the Villa Pia. In Florence he built the Palazzo Dardinelli.

IL TRIBOLO (NICCOLÓ PERICOLI)
1485-1550

Il Tribolo, the Florentine sculptor, studied under Sansovino. He became known for his beautiful designs in tile-work, of which the Villa Castello near Florence shows many examples. He collaborated with Ammanati in laying out the Boboli garden, and the great grotto at Castello is his work.

UDINE (GIOVANNI DA)
1487-1564

Giovanni da Udine, born, as his name indicates, in the chief city of the province of Friuli, was one of the most celebrated decorative artists of his day. He studied under Giorgione and Raphael, and became noted for his stained glass and for the invention of a stucco as durable as that of the Romans. His stucco-work in the Villa Madama and in the loggias of the Vatican is famous, and part of the decoration of the Borgia rooms in the Vatican is his work. Michelangelo’s chapel of the Medici in Florence was painted and decorated in stucco by Udine, and he carried out, in painting, some of Raphael’s designs for the great hall of the Farnesina. The Palazzo Grimani in Venice and the Palazzo Massimi alle Colonne in Rome were partly decorated by him.

VAGA (PIERIN DEL)
1500-1547

Del Vaga, whose real name was Pietro Buonaccorsi, was born near Florence. He was a pupil of Raphael’s, and after the latter’s death was employed in finishing a part of his work in the Vatican. Almost all del Vaga’s work was done in Genoa, where he painted the state apartments in the Villa Doria. The charming plaster decorations in the Palazzo Pallavicini (now Cataldi) are by him, and also the Hercules cycle in the Palazzo Odero (now Mari).

VASANZIO (GIOVANNI)
B. ——, d. 1622

Vasanzio, known also as Il Fiammingo, but whose real name was John of Xanten, was a Flemish architect who came to Italy and had considerable success in Rome. He built the Villa Borghese in Rome and designed the fountains of the inner court of the Villa Pia. He also worked on the Villa Mondragone at Frascati and succeeded Flaminio Ponzio as architect of the Palazzo Rospigliosi in Rome.

VASARI (GIORGIO)
1511-1574

Vasari, who was born at Arezzo, was a pupil of Michelangelo and Andrea del Sarto. Though he considered himself a better painter than architect, it is chiefly as the latter that he interests the modern student. He built the court of the Uffizi in Florence and planned the Villa di Papa Giulio in Rome; painted the ceiling of the great hall of the Palazzo Vecchio in Florence, and carved the figure of Architecture on the tomb of Michelangelo in Santa Croce. He is, however, chiefly famous for his lives of the Italian painters and architects.

VIGNOLA (GIACOMO BAROZZI DA)
1507-1573

Vignola, one of the greatest architects of the sixteenth century, born at Vignola, in the province of Modena, followed Michelangelo as the architect of St. Peter’s. The Villa Lante at Bagnaia, near Viterbo, is attributed to him. In Rome he built the celebrated Villa di Papa Giulio, though the plan was Vasari’s; also the garden-architecture of the Orti Farnesiani on the Palatine. His masterpiece is the palace at Caprarola, near Viterbo. He also built the great Palazzo Farnese at Piacenza, various buildings at Bologna, and the loggia of the Villa Mondragone at Frascati. His church of the Gesù in Rome greatly influenced other architects. His text-book on the Orders of Architecture is one of the best-known works on the subject.

INDEX

Acqua Sola, gardens of, 42, 53

Albani, Cardinal, 113

Albani, Villa, Pietro Nolli’s work on, 110;
Antonio Nolli’s work on, 113

d’Albaro, San Francesco, villas at, 188

Alessi, Galeazzo: Strada Nuova, 176;
Villa Imperiali (Scassi), 179;
Villa Paradiso, 189;
Villa Cambiaso, 189

Algardi, Alessandro, 109

Ammanati, Bartolommeo, Boboli garden, 25;
Villa di Papa Giulio, 84

Anguissola, Count, 212

Arethusa, grotto of, at Villa d’Este, 147

Battaglia, castle of Cattajo at, 233

Bernini, 185

Bisuschio: _see_ Villa Cicogna

Boboli garden, 25;
Isola Bella in, 29

Bologna, Giovanni da, 37;
figure of the Apennines, 57

Bombicci, Villa, 53

Borghese, Cardinal Scipione, 148

Borghese, Villa, 107

Borromean Islands, 197

Borromeo, Cardinal Charles, 201

Borromeo, Count Vitaliano IV, 198

Borromini, 163

Botanic Garden at Padua, 239

Bramante: Vatican gardens, 81;
double staircase in the Vatican, 97

Brenta, the, 233, 243

Brown, “Capability,” 205

Brunswick, Caroline of, 184

Buonaccorsi: _see_ Vaga

Buontalenti, 25

Burnet, Bishop: description of Isola Bella,

Cadenabbia, 214

Cafaggiuolo, Villa, 30

_Caffè_ at the Villa Albani, 114

Cagnola, Villa, 219

Cambiaso, Villa, 189

Cambiaso, Villa: _see_ Paradiso

Campi, Villa, 54

Campiobbi, 48

Camporesi, 108

Canopus, Valley of, at Villa of Hadrian, 148

Capra, Villa, at Vicenza, 246

Caprarola, 97;
Vignola’s casino, 131;
_château d’eau_, 131

Careggi, Villa, 30

Carloni, the: statue of Neptune in Villa Doria, 175

Carlotta, Villa, at Cadenabbia, 214

Casino of the Aurora, 119

Casino del Papa: _see_ Villa Pia

Castelli: terraces on the Isola Bella, 198

Castello, Giovanni Battista, 173

Castello, Villa, 30

Cattajo, castle of, 233

Cecchignola, hunting-lodge of, 119

Celimontana, Villa, 119

Cetinale, Villa, 64;
hermitage at, 66

_Châteaux d’eau_ at the Villa Aldobrandini, 152;
Villa Borghese, 107;
Caprarola, 131;
Villa Cicogna, 217;
Palazzo Colonna, 119;
Villa Conti, 155;
Villa d’Este at Tivoli, 144;
Villa Lante, 136;
Lancellotti, 164;
Mondragone, 151;
Val San Zibio, 237

Chigi, Flavio, 65

Chigi, Villa, 117

Cicogna, Villa, 214;
_château d’eau_, 217

Clement VII: _see_ Medici, Giuliano de’

Colonna, Cardinal, 83

Colonna, Palazzo, 118;
_château d’eau_, 119

Como, villa of Bishop of, 213

Conti, Villa: _see_ Torlonia

Cordova, Cardinal Bishop of, 140

Corsini, Villa, 48

Crivelli, Villa, near Inverigo, 218

Crivelli: work on the Isola Bella, 198

Cuzzano, Villa, 250

Danti, Villa, 48, 57

De’ Gori, Villa: _see_ Palazzina, La

Durazzo-Grapollo, Villa, 186

Dussieux, 110

Este, Cardinal Ippolito d’, 140

Este, Villa d’, at Cernobbio, 208

Este, Villa d’, at Tivoli, 139;
grotesque garden-architecture, 29;
Ligorio’s work, 140;
frescoes of the Zuccheri, 143

Evelyn, description of Villa Medici, 89;
of Villa Doria, 175

Falconieri, Villa, 160

Farnese, Cardinal Alexander, 127

Farnese gardens, 97

Ferrara, Alfonso I of, 140

Ferri, Antonio, 48

Fontana, Carlo: Cetinale, 65;
palace and garden-pavilions on the Isola Bella, 198

Fontana, Giovanni: Villa Borghese, 107;
_théâtre d’eau_ at Mondragone, 151;
waterworks at the Villa Aldobrandini, 152

Fonte all’ Erta, 51

Frascati, _jeux d’eaux_ in villas, 107;
characteristic features of villas, 139

Gallio, Cardinal, 184

Gambara, Cardinal, 132

Gamberaia, Villa, 45

Garden, Botanic, at Padua, 239

Garden-house at Caprarola, 131

Garden-house at Strà, 244

Gardens:
Acqua Sola, 185
Boboli, 25
Farnese, 97
Florentine, English influence on, 21
Genoese, characteristics of, 178
Giusti, 250
Pigna, 82
Vatican, 98

Genoa, villas of, 173

Giacomelli, Villa, 249

Giulio, Villa di Papa, 84

Giusti gardens, 250

Giustiniani, Villa, 174

Grotto at Villa Castello, 34;
at Villa d’Este, 147;
at Villa Gamberaia, 45

Hermitage at Cetinale, 66

Imperiali, Villa, at Sampierdarena: _see_ Villa Scassi

Imperiali, Villa, at San Fruttuoso, 190

Isola Bella, Lake of Como, 198;
Bishop Burnet’s description of, 201

Isola Bella in Boboli garden, 29

Isola Madre, Lake of Como, 197

Julius III, 84

Juvara, 231

Lancellotti, Villa, 164

Lante, Villa, 132;
_château d’eau_, 136;
gardens, 97

Le Nôtre, 110, 139

Ligorio, Pirro, 98;
Casino del Papa, 98;
Villa d’Este at Tivoli, 140

Lippi, Annibale, 90

Lomellini, Villa, 174

Longhena, 232

Ludovisi, Villa, 119

_Maison de plaisance_, the, 22

Malcontenta, Villa della, 245

Malta, Villa of the Knights of, 117

Marchionne, Carlo, 113

Mattei, Villa, 119

Medici, Eleonora de’, 25

Medici, Giuliano de’ (Clement VII), 82

Medici, Villa, 89

Michelangelo: Villa Bombicci, 53;
Villa di Papa Giulio, 84

Modena, Villa of Duke of, at Varese, 224

Mondragone, 97;
work by Flaminio Ponzio, 148;
Vignola’s loggia, 151;
Giovanni Fontana’s _théâtre d’eau_, 151

Montaigne: description of Castello, 33

Montalto, Cardinal, 132

Montorsoli, Fra., 174

Moore, Jacob, 108

Mora, 198

Muti, Villa, 159

Naples, King of, 83

Negroni, Villa, 119

Nolli, Antonio, 113

Nolli, Pietro, 110

Olivieri, Orazio, 147

Padua, Botanic Garden, 239;
Prato della Valle, 240

Palazzina, La, 71;
theatre at, 72

Palladio, 180, 232

Pallavicini, Villa, at Pegli, 185

Pallavicini alle Peschiere, Villa, 185, 180

Palmieri, Villa, 57

Pamphily, Villa, 109; _théâtre d’eau_, 110

Papa, Casino del: _see_ Villa Pia

Papa Giulio, Villa di, 84

Paradisino, Villa, 189

Paradiso, Villa, 189

Parigi, Giulio, 38

Parma, Duchess of, 83

Parodi, Palazzo, 177

Peruzzi, Baldassare, at Belcaro, 63;
at Vicobello, 69

Peter Leopold, Grand Duke of Tuscany, 38

Petraia, Villa, 30;
fountain at, 37

Pia, Villa, 140

Pigna, Giardino della, 82

Piranesi, 117

Pisani, Alvise, 243

Pisani, Villa, at Strà, 244

Pius IV, 98

Pliniana, Villa, 212

Poggio a Caiano, 30

Poggio Imperiale, 38

Ponzio, Flaminio, 148

Porta, Giacomo della, 144;
Villa Aldobrandini, 151

Prati, 243

Pratolino, Villa, 30, 57

Priorato, Il: _see_ Villa of the Knights of Malta

Pulci, Castel, 57

Rainaldi, Girolamo, 107

Raphael, 82

Repton, Humphrey, 205

Riario, Cardinal, 132

Ridolfi, Cardinal, 132

Romano, Giulio, 82

Rotonda Cagnola: _see_ Cagnola

Rotonda Capra: _see_ Capra

Rubens, 176

Ruffini, Cardinal, 163

Ruggieri, 223

Sacchetti, Villa, 119

Sampierdarena, 33

Sangallo, Antonio da, 82;
A. da Sangallo the Younger, 104

Sangallo, Giuliano da, 38, 82

Sansovino, 232

Savino, 107

Scassi, Villa, 179

Sixtus V, 132

Strà, Villa Pisani at, 244

Strada Nuova in Genoa, 176

Tiepolo: Villa Pisani, 244;
Villa Valmarana, 249

Tito, Santi di, 53

Torlonia, Villa, 155

Tribolo, Il: Boboli garden, 25;
fountain at Castello, 33;
at Petraia, 37

Udine, Giovanni da, 83

Vaga, Pierin del, 173

Valmarana, Villa, 249

Val San Zibio, Villa of, 237

Vasanzio, Giovanni (Il Fiammingo), 107

Vasari, 84

Vatican, gardens of, 81

Venetia, villa-architecture of, 232

Vigna del Papa: _see_ Villa di Papa Giulio

Vignola: Villa di Papa Giulio, 84;
Farnese gardens, 97;
Caprarola, 131;
loggia at Mondragone, 151

Villa:
Ai Collazzi: _see_ Bombicci
Alario: _see_ Visconti di Saliceto
Albani, 110, 113
Aldobrandini, 151
Belcaro, 63
Belrespiro: _see_ Pamphily
Bombicci, 53
Borghese, 107
Cafaggiuolo, 30
Cagnola, 219
Cambiaso (Paradiso), 189
Cambiaso, by Alessi, 189
Campi, 54
Capponi at Arcetri, 48
Capra, 246
Caprarola, 97
Careggi, 30
Carlotta, 214
Castel Pulci, 57
Celimontana, 119
Cetinale, 64
Chigi, 117
Cicogna, 214
Conti: _see_ Torlonia
Corsini, 48
Crivelli, 218
Cuzzano, 250
Danti, 48, 57
De’ Gori: _see_ Palazzina, La
Doria in Genoa, 175
Durazzo-Grapollo, 186
d’Este at Cernobbio, 184
d’Este at Tivoli, 139
Falconieri, 160
Fonte all’ Erta, 51
Gamberaia, 41
Giacomelli, 249
Giustiniani, 174
Imperiali at San Fruttuoso, 190
Imperiali: _see_ Scassi
Isola Bella, 198
Lancellotti, 164
Lante, 97
Lappeggi, 57
Lomellini, 174
Ludovisi, 119
Madama, 82
Malcontenta, 245
Malta, of the Knights of, 117
Medici, 89
Mondragone, 97
Muti, 159
Negroni, 119
Palazzina, La, 71
Pallavicini at Pegli, 185
Pallavicini alle Peschiere, 185
Palmieri, 57
Pamphily, 109
di Papa Giulio, 84
Paradisino, 189
Paradiso: _see_ Cambiaso
Petraia, 30
Pia, 140
Pisani, 244
Pliniana, 212
Poggio a Caiano, 30
Poggio Imperiale, 30
Pratolino, 57
Priorato, del: _see_ Malta
Rotonda: _see_ Cagnola and Capra
Sacchetti, 119
Scassi, 179
Torlonia, 155
Valmarana, 249
Val San Zibio, 237
Vicobello, 69
Visconti di Saliceto, 220

_Villa suburbana_, the, 22

Villas of the Brenta, 240;
of the Brianza, 218;
Florentine, 19;
Genoese, 173;
Milanese, 197;
Roman, 81;
Sienese, 63;
Venetian, 231

Vismara, 198

Xanten, John of: _see_ Vasanzio

Zocchi, etchings by, 33

Zuccheri, the, 85, 143

------------------------------------------------------------------------

Transcriber’s note:

1. Silently corrected typographical errors.

2. Retained anachronistic and non-standard spellings as printed.