VILLA LANTE (ITALY) 1

Villa Lante (Italy)

Students Name

University/College
VILLA LANTE (ITALY) 2

Thesis: The Villa Lante is considered as an exciting renaissance Piazza characterized

with symbolism. Indeed, the garden can be regarded as a complex humanist iconography that has

a symbolic link to the well-watered fertility, antiquity, ad cardinal of the encompassing Roman

landscape. It is located in Via Francigena, a once important Roman road that goes through the

Cimini hills. This paper will provide an analysis of the villa and its varying attributes ranging

from the fountains, their spatial organization and the figures in the garden.

Bagnaia is not mentioned in 963BC, as it was a village known as Bangaria. After the 13th

century, the lands surrounding the village were given to the Pope as a gift. However, they were

often given to the Bishop, who resided in nearby Viterbo. It was during the 16th century that an

Episcopal residence was constructed in the locale. Furthermore, the Middle Ages were a period

that the village begins to attract beautiful architecture, especially during the Renaissance1. After

the Villa Lante had been built, the region became very popular. The Villa is indeed unique.

Methods and materials

The garden was the work of some of the most popular architects in the renaissance. This

includes Jacopo Barozi also known as Vignola. This is the same location that Lous XIVs

landscape architect Andre LeNotre was informed on the use of wood as garden accessories. As

the garden increases in height, the mood changes. Water goes down through several water

features and fountains. The hedges and fences also provide additional shade. The different levels

of the garden have different panoramas. This provides a different perspective when one pauses at

each level2. The Villa Lante got its name from the Lante Della Rovere family. For about three

1
Shepherd, J.C, and G.A Jellicoe. Italian gardens of the Renaissance. New York: Princeton Architectural Press, 1993.
2
Bagnaia and the Villa Lante. January 1, 2016. http://www.italyheaven.co.uk/bagnaia.html (accessed May 7,
2016).
VILLA LANTE (ITALY) 3

centuries, the family owned the estate and made many changes. The property changed ownership

in 1933.

The garden was one belonging to the bishop of Viterbo. The bishop led to the development of the

pleasure grounds. There is a long table made of stone halfway up that was used to entertain

guests and visitor who visited the Cardinals3. Wine bottles were kept in the central trough, and

they could often place their feet in the cool water channel below.

Figure 1: Aerial view of Villa Lante (source: Gothein, Wright and Archer-Hind 2014)

Figure 1 is the aerial view of the villa with the surrounding village. It also a cross section of the

villa. The architectural characteristics of the villa such as pieces of masonry (small palaces and

fountains) and nature (vegetation and water) are minor to a specific scheme of larger symbolic

elements4.

Symbolic features of Renaissance gardens

3
Baker, Nick V., A. Fanchiotti, and K. Steemers. Daylighting in Architecture: A European Reference Book. 1st. New
York: Routledge, 2015.
4
Bizley, Graham. Architecture in Detail II. 1st. New York: Routledge, 2010.
VILLA LANTE (ITALY) 4

In figure 2, the Fountain of Pegasus is named after the illustration of the horse at the

center. The fountain has curved sides and an oval basin. It is topped with balustrade and is

located at the incline of the hill. Cardinal Montalto built the fountain. The fountain was inspired

by a similar fountain in Tivoli at the Villa dEste. The villa has several fountains. These are seen

as representatives of the elements of nature. The fountain of the flood and fountain of dolphins is

used to represent water. The fountain of the lamps is used to represent Fire. The fountain of the

dolphins acts as a representative of earth and the fountain of the square is used to represent

water5.

The fountain is the first feature that is placed at near the entrance of the garden.

According to mythology, the hoof from the winged horse hit the earth and created the spring of

Hippocrates. This is a symbol of the artistic thinking, and it supports the allusion of the

surrounding busts comprised of nine Greek muses.

Figure 2: Fountain of Pegasus (Source: Shepherd and Jellicoe 1993)

5
Boults, Elizabeth, and Chip Sullivan. Illustrated history of landscape design. Hoboken, N.J.: John Wiley & Sons,
2010.
VILLA LANTE (ITALY) 5

During the 15 and 16 centuries, the Renaissance gardens evolve besides other sciences and arts.

The Villa Lante shows the direct influence of other changes in the society. Today, the garden is

often considered for its fantastic water works, beautiful sculpture and large trees that are always

green. Indeed, understanding the garden will entail looking at the reasoning of the Renaissance

architects. According to them, the hard was interrelated even though it was hierarchical in nature.

Next, the entrance of the fountain there is a path that goes diagonally through the Bosco.

This is a woodland park that also contains several fountains. Initially, a fountain of Acorns has

now disappeared. The purpose of this fountain was to suggest the Golden Age of Antiquity. This

arises from the belief that acorns a stable meal for the Arcadian man. This was a belief according

to Ovid. There is also a missing fountain. This depicts Bacchus. It recreates Virgils description

about the Golden Age. It was a period when the wine is thought to have flowed freely in streams

that emerged from the ground. Moreover, some fountains are surrounded by trellis. These show

dragons and unicorns that depict the life of virtue6.

Above the wooded slope, a gate allows entry into the highest section of the garden. As

one descent from a terrace to a different one, the perception of the garden will begin to evolve in

regards to how the garden changes from allusions to antiquity. The fountain of the deluge is

located here. It has a grotto covered with ferns. It has six openings that water flow to the

dolphins below. Their forms are not easy to see due to the surrounding vegetation. This is

symbolic of Ovids account of the ruin of humankind due to floods. On the opposite side of the

fountain of the deluge is a pavilion that has logia displaying the name of and crayfish mechanism

of Cardia Gambaro. In Italian, a crayfish is known as a Gambaro. This is a visual pun about the

6
Gothein, Marie Luise Schroeter, Walter P. Wright, and Laura Archer-Hind. A History of Garden Art. Cambridge :
Cambridge University Press, 2014.
VILLA LANTE (ITALY) 6

name. Essentially, it reinforces the symbolism of the deluge. Moreover, small pipes have been

installed in the eaves. These are below the pavilion that surrounds the Fountain f Deluge. This

sometimes allows water to flow out in streams from above like raindrops. This surprising effect

drenches the visitors below the pavilion. This is symbolic and acts as a practical joke in

accordance to the humor of the day7. This water trick is known as giocchi daqua that was quite

popular during the Renaissance.

A stairway ramp leads to the terrace below beyond the fountain of the dolphins. This

suggests Ovid described the ruin of the world by the Deluge as. The elongated crawfish, with its

front claws and head coming out of the middle of the stairs located at the top of the ramp. The

hind claws are hanging over the top of the Fountain of the River god (see figure 3). It creates a

water chain that is known in Italian as Catena dacqua. The curves that have been linked echo

and create the movement of the water streams above the shallow shell-like trough within it.

Symbolically, out of the ruins of the deluge, cardinal Gamabara is harnessing water essential for

human welfare. The water spills above the crayfish claws known as the Arno and Tiber. Thy falls

into the basis enclosed with two mystic sculptures of the respective gods signifying the river. The

cornucopias of the dragons detail the fertility that arises from the water8. The statue of Pomona

and Flora enhances this.

7
Self, Ronnie. The Architecture of Art Museums: A Decade of Design: 2000 - 2010. 1st. New York: Routledge, 2014.
8
Shepherd, J.C, and G.A Jellicoe. Italian gardens of the Renaissance. New York: Princeton Architectural Press, 1993.
VILLA LANTE (ITALY) 7

Figure 3: River gods (source: Gothein, Wright and Archer-Hind 2014)

The middle of the terrace has plane trees planted in a row. The foundation of the table has

a central water channel that bubble with water coming for the Cardinal Gambara. This is

symbolic of ancient Rome where similar channels supplied floating food provided by servants 9.

The garden shows the new simplistic relationship between the divine and human. The

relationship begins at the top with God who created both nature and man. Many looked at the

natural world in terms of its usefulness and how it met their needs. Animals and plants provided

food and medicine, and humans relied on nature for all their needs. This symbolic relationship is

seen in many characteristics of the garden10. The garden has many plans, and the artistic

9
Unwin, Simon. Analysing Architecture. 1st. New York: Routledge, 2013.
10
Sofia, Piazza Varoli. Paesaggi e giardini della Tuscia. May 1, 2000. http://www.bagnaia.vt.it/home_en.htm
(accessed May 7, 2016).
VILLA LANTE (ITALY) 8

figurines in the garden represent animals. Nature is considered as part of the divinely established

cosmos, and in gaining an understanding of nature means and we start to understand God11.

The interactions between nature, humans, and the divine are complex and subtle in the

Villa Lante. Nature and art are linked as an interrelated whole. Together they led to something

that is not one or another and is considered equal. However, many perishable features and

painting of the garden have disappeared, and this makes it harder to look at the symbolism.

Despite this, it is possible to recreate them.

Axial alignment

The Villa Lante is enclosed in a wall of greenery. Based on figure 3, the walls have fruit

trees and climbers, creating a unique view. The gardens have an axial formation in accordance to

the house. This means that there is a main line that goes from the main doorway in the middle of

the house to the end of the garden. This is symbolic of the link between the entire structure and

gardens. All of the features are linked via this line, and this creates a relationship. Moreover, the

regions to the left and right to the line are similar, and they mirror each other.

After the main axis, there is a cross axis that separated the garden into regular

subdivisions. Pergolas or latticework structure made out of wood to provide a stronger visual

structure (See figure 4) covered the paths. Additionally, the compartments are separated by cross

paths to create a symmetrical network of consistent units. In many cases, they are in the form of

squares. This formation was symbolic of the beauty and art during this time. It created a new

look for the gardens12. It also acted as a symbolic between man and nature.

11
Uechi, Naomi Tanabe. Evolving transcendentalism in literature and architecture : Frank Furness, Louis Sullivan
and Frank Lloyd Wright. 1st. Newcastle upon Tyne: Cambridge Scholars Publishing, 2013.
12
Winter, Frederick E. Studies in Hellenistic architecture. 1st. Toronto: Univ. of Toronto Press, 2006.
VILLA LANTE (ITALY) 9

Figure 4: Villa Lante designs of the garden (Source: Shepherd and Jellicoe 1993)

Each single compartment in the garden was planted with either a single or more varieties

of flowers. This made it possible to enhance the beauty of the gardens and was to show off.

During the 16th century, a period of discovery, the obsession with plants was on the increase. In

this regard, planting a wide variety of flowers was a show of the wealth that rich individuals had.

It was symbolic of how influential a person was, and the diversity of Gods wonders (See figure

5).

Fountains symbolism

The gardens were often characterized with sculptures, grottoes, gazebos, statues and

beautiful water features. This was symbolic of the inventiveness of man. Indeed, these features

were unique and detailed ways in which man can create beauty in the environment. Many of the
VILLA LANTE (ITALY) 10

features were a consequence of mans imaginations. The architecture of the Vila Lante is unique

in all aspects13. Indeed, while looking at figure 4, the garden offers a scope to achieve a symbolic

display of the owners wealth and power.

Figure 5: Villa Lante Unique designs (Source: Baker, Fanchiotti and Steemers 2015)

Figure 6: Fountain of the chain (Source: Baker, Fanchiotti and Steemers 2015)

13
Bizley, Graham. Architecture in Detail II. 1st. New York: Routledge, 2010.
VILLA LANTE (ITALY) 11

The fountain of the chain (figure 6) contains and peperino stone crayfish where water spurts

from its mouth. This is symbolic as it acts as a Cardinal Gambara emblem. The water from the

fountain then goes down the slope while enclosed by the peperino volumes in bounds and leaps.

This creates a crystalline chain until it arrives at the Fountain of the Giants

Figure 7: Quadrato and the Fountain of the

Moors (source: Baker, Fanchiotti and Steemers 2015)

Figure 7 is the fountain of the moors and the Quadrato. Cardinal Montalvo supported the

construction. Initially, there as an inventive device that emitted musical sounds due to the violent

sound of water beating against the mountains below. The water came out from the exists of the

star creating a veil of water that hid the moors. The main pool is divided by four walkways. This

leads to the development of four basins that go towards the three circle of pools. Furthermore,

the statue of the moors is credited to Taddeo Landini14.

14
Self, Ronnie. The Architecture of Art Museums: A Decade of Design: 2000 - 2010. 1st. New York: Routledge,
2014.
VILLA LANTE (ITALY) 12

Figure 8: Fountain of the Lamps (source: Baker, Fanchiotti and Steemers 2015)

Figure 8 is the fountain of the lamps. This is located at the first level of the entrance. It is

circular with concentric basis. These are sunk into the ground partially and are symbolic to the

Greek amphitheaters. Furthermore, it is held into place by the embankment behind it. The

fountain has seventy touches that act as exits for water jets. This creates a central water sprout.

Figure 9: Fountain of the Giants (Source: Shepherd and Jellicoe 1993)

VILLA LANTE (ITALY) 13

The fountain of giants (see figure 9) is named as such due to the dual figures of large giants that

lie there. The two giants are symbolic of the River Tiber and Rover Arno, which also act as the

dual souls of Tuscia. Moreover, this fountain acts as a representation of nature and the earth.

Figure 10: fountain of the dolphins (source: Sofia 2000)

Figure 10 is the fountain of the dolphins. Before 1615, it was entirely covered with a

wooden kiosk. It has 16 dolphins that have been organized in two sets at the corners of a

structure. This octagon shape supports about 16 jets of water. The fountain is characterized by a

play of water that showers anyone who sits on the benches close by. The water from the fountain

flows and head into the fountain of the chain15.

Figure 11 is the fountain of the floods. This acts as a visual conclusion for the entire

garden. Moreover, it creates an underlying theme that emerges from the entire garden. The main

symbolism here is water. Water emerges from its natural state from a rocky slope inside.

15
Boults, Elizabeth, and Chip Sullivan. Illustrated history of landscape design. Hoboken, N.J.: John Wiley & Sons,
2010.
VILLA LANTE (ITALY) 14

Symbolically, rain is considered as the source of all water. Moreover, all the fountains depend on

water for their existence, and only a single source of water is used to ensure that all the fountains

ae functioning. The fountains are entirely linked.

Figure 11: Fountain of the floods (Source: Baker, Fanchiotti and Steemers 2015)

The fountains have different features, and this shows how animal and plants are reliant on water

for sustenance.

In conclusion, Villa Lante di Bagnaia is considered as a popular representative of the

Renaissance in Italy. The garden has many characteristics that are symbolic in nature. The

fountains, features, and architecture of the garden are indeed unique and offer a new perspective

on the link between the divine, animals, and plants. Plants, in a topiary formation that is common

in traditional Italian garden designs, characterize the garden. Water is an important element in

the garden. Water is led in several ways, and it goes through all the seven main fountains. The

arrangement and structure of the fountains have an allegorical meaning, and they act as a
VILLA LANTE (ITALY) 15

representative of the four elements of nature. These are fire, earth, air, and water, creating a

garden that is symbolic in every aspect.

VILLA LANTE (ITALY) 16

Bibliography

Bagnaia and the Villa Lante. January 1, 2016. http://www.italyheaven.co.uk/bagnaia.html

(accessed May 7, 2016).

Baker, Nick V., A. Fanchiotti, and K. Steemers. Daylighting in Architecture: A European

Reference Book. 1st. New York: Routledge, 2015.

Bizley, Graham. Architecture in Detail II. 1st. New York: Routledge, 2010.

Boults, Elizabeth, and Chip Sullivan. Illustrated history of landscape design. Hoboken, N.J.:

John Wiley & Sons, 2010.

Gothein, Marie Luise Schroeter, Walter P. Wright, and Laura Archer-Hind. A History of Garden

Art. Cambridge: Cambridge University Press, 2014.

Self, Ronnie. The Architecture of Art Museums: A Decade of Design: 2000 - 2010. 1st. New

York: Routledge, 2014.

Shepherd, J.C, and G.A Jellicoe. Italian gardens of the Renaissance. New York: Princeton

Architectural Press, 1993.

Sofia, Piazza Varoli. Paesaggi e giardini della Tuscia. May 1, 2000.

http://www.bagnaia.vt.it/home_en.htm (accessed May 7, 2016).

Uechi, Naomi Tanabe. Evolving transcendentalism in literature and architecture: Frank

Furness, Louis Sullivan, and Frank Lloyd Wright. 1st. Newcastle upon Tyne: Cambridge

Scholars Publishing, 2013.

Unwin, Simon. Analysing Architecture. 1st. New York: Routledge, 2013.

VILLA LANTE (ITALY) 17

Winter, Frederick E. Studies in Hellenistic architecture. 1st. Toronto: Univ. of Toronto Press,

2006.