ITALIAN

GARDEN
LANDSCAPE DESIGN
INTRODUCTION
It was inspired by classical ideals of order and beauty, and intended for
the pleasure of the view of the garden and the landscape beyond, for
contemplation, and for the enjoyment of the sights, sounds and smells
of the garden itself.
• Italian gardens are also known as Italian Renaissance gardens.
• A formal garden is distinguished by order, neatness, geometry, and
symmetry. This style of garden design is one of the oldest in the
world.
• The style was imitated throughout Europe, influencing the
gardens of the French Renaissance and the English garden.
• The Italian Renaissance garden was a new style of garden which
emerged in the late 15th century at villas in Rome and Florence.
• They site their villas on the countryside with exceptional views,
where cooling breeze would reach them above valleys.
• Within the villas there were courts and colonnade designed for
every phase of wind and weather.
INTRODUCTION
• The Italian Renaissance garden broke down the wall between the garden, the house,
and the landscape outside.

• Prior to the Italian Renaissance, Italian Medieval gardens were enclosed by

walls, and were devoted to growing vegetables, fruits and medicinal herbs, or, in
the case of monastery gardens, for silent meditation and prayer.

• While the early Italian Renaissance

Classical idea of order and beauty
gardens were designed for
contemplation and pleasure with
tunnels of greenery, trees for shade, an
enclosed giardino segreto (secret
garden) and fields for games and
amusements, the Medicl, the ruling
dynasty of Florence, used gardens to
demonstrate their own power and
magnificence.

• Display and backdrop for Sculptures

The origins of the style are to be found
in ancient Rome.
16 CENTURY THE REBIRTH OF ROME
th

• Inspired by classical ideals of order and beauty

• For pleasure of view of garden, landscape beyond,
• For contemplation
• For enjoyment of the sights, sounds and smells of garden itself

• Characteristics of Italian Renaissance gardens include the axial

arrangement and architectural framing of landscape space, the abundant
presence of water, the use of decorative sculpture.

• Architects used sophisticated geometries to unify a site plan and relate

interior and exterior spaces.

• They subdivided the ground plane of a garden into compartments (later

called parterres) that formed patterns near the house.

• Landscape designers’ ideas were manifested though the use of

geometries.
16 CENTURY THE REBIRTH OF ROME
th

• Inspired by classical ideals of order and beauty

• For pleasure of view of garden, landscape beyond,
• For contemplation
• For enjoyment of the sights, sounds and smells of garden itself

• Characteristics of Italian Renaissance gardens include the axial

arrangement and architectural framing of landscape space, the abundant
presence of water, the use of decorative sculpture.

• Architects used sophisticated geometries to unify a site plan and relate

interior and exterior spaces.

• They subdivided the ground plane of a garden into compartments (later

called parterres) that formed patterns near the house.

• Landscape designers’ ideas were manifested though the use of

geometries.
17 CENTURY ITALIAN BAROQUE STYLE
th

• Baroque styles were characterized by a restlessness and exaggeration of

detail.

• The rational vocabulary of circles and squares was supplemented by the

introduction of spiral, oval, and diagonal geometries that kept the eye
moving through space.

• Landscape space became more theatrical. Italian gardens of the 17th century
were large-scale productions, no longer limited by the conception of villa,
garden, and Bosco as an ensemble complete in itself.

• Gardens now functioned as places of spectacle and entertainment. Plants

and architecture became the set decoration for figurative and literal garden
theaters. The use of sculpture and water to animate a space was taken to
new levels.
INFLUENCE
ROMAN:

• The garden was a place of peace and tranquility - a refuge from urban life
- and a place filled with religious and symbolic meanings.

ITALIAN MEDIEVAL GARDENS:

• ENCLOSED BY WALLS, AND FOR GROWING VEGETABLES,

FRUITS AND MEDICINAL HERBS

• MONASTRIAL GARDENS: Generally, monastic garden types consisted

of kitchen gardens, infirmary gardens, cemetery orchards, orchards, cloister
garths and vineyards. Individual monasteries might also have had a “green
court”

• FOR SILENT MEDITATION AND PRAYER.

CHARACTERISTIC FEATURES
• Very formal lines that intersect.
• Geometrically patterned beds, or parterres, are a
distinct element of the Italian style
• Traditional, Italian gardens had few flowers and
were primarily evergreens for texture and
shape.
• Display and backdrop for sculpture Few flowers and formal lines Water features

• Water features
• Historic themes
• Contrast of sun and shade
• Shady walkways
• Artificial lakes, streams, elegant canals and
large basins Geometrical to serpentine Display and backdrop for Sculptures
CHARACTERISTIC FEATURES
• The art of topiary, "controlled" vegetation Divide the garden into
symmetrical areas, they
• Designed to be inspiring all year around
also serve to create other
•  The garden will need majestic pergolas: these crucial elements,
especially for larger
elements add a more refined touch to the
spaces, like mazes or
landscaping, and at the same time create spaces suggestive paths that
wend their way through
where you can relax sheltered from the sun and
well-kept lawns and
surrounded by the scent of flowers, which together pathways of colored
gravel or "secret
with the climbing plants wrap the columns and
gardens", i.e. Entire
trellises. areas walled off by
vegetation and dedicated
• To create an enchanting locus amoenus, evergreen
to rest and spending
ivy goes perfectly with lavender, while the seasonal time with others. 
colours of the leaves on vines create an evocative
Dividing space in a balanced and
atmosphere symmetrical manner
SUMMARY
• Green is the dominant color of the Italian gardens
• There is no single style Italian garden Italy has many diverse regions that
influence the form and function of its gardens.
• Italian gardens are not only shaped by climate and geography, but also
history, Roman and Renaissance styles, for example, branded their own stamp
on garden design, Italy has inspired much in garden design.
• Like many European gardens, most Italian gardens throughout history have
been highly stylized, but markedly functional.
• For instance, a villa garden would have distinct sections - the orchard, the
patio, the flowerbeds, a pond or water element, and most likely a kitchen
garden.
• It basically displayed careful design to showcase man's control of nature.
PLANNING
• Classic Italian gardens were grown solely for the purpose of pleasure.
• They were grown to provide a place where you could escape from the
daily humdrums of life and enjoy to your heart's contentment.
• They showed symmetry everywhere
• Evergreen outlined beds and hedges were a must, Hedges were
given various shapes to enhance interest and pleasure.
• The hedges were used to divide the garden into a number of portions;
Each part had a special view.
• Evergreen plants were trimmed and shaped into various interesting
forms and figures.
• The presence of water in one form or another was also a must.
PLANNING
• The main function of the water was irrigation,
but it was utilized to enhance the beauty of the
garden in various ways, fountains, streams and
ponds were introduced to create interest and to
provide relaxation.
• The ideal classic gardens were grown on sloping
hill and involved different levels and terraces.
• Various potted plants were also introduced in the
landscaping, different colored flowers were
introduced in the form of bunches scattered in
different areas.
ELEMENTS
• Staircases
• Balustrades
• Sculpture
• Cascades Pavilions
• Shady Walkways
• Water Fountains
• Pavements
• Promenade
• Grotto
ELEMENTS
Outlining with Evergreens
• The most recognizable elements of the Classical Italian
Garden are the evergreen - outlined beds.
• Box hedge, myrtle, rosemary, and other evergreen plants
are trimmed into a hedge shape to divide the beds.
Topiary and Statuary
• Topiary- evergreen plant shaped trimmed and pruned
into amusing shapes are used to add humor and
playfulness to the garden.
• Some say this is really a medieval custom during the
Renaissance. But there is more topiary seen than
statuary in Classical Italian Gardens.
• Statuary, when it is used, is normally a central
feature in a fountain or grotto. It is never vulgar or
offensive, but humorous or graceful.
ELEMENTS
PROMENADE/public walk /pavement and Arches

• Evergreen often line pathways and it’s not always box hedging. Laurel,
Yew, Cypresses, Fir, Oaks, Plum and Junipers trees are used to create
green walls , arches and living pergolas.
• Hardscape- stone walkways, patios and walls, is a signature element of • The promenade is a wide, usually
the Italian garden, rather than expansive lawns. raised pathway flanked by formally
• Footpaths are designed to offer varied walks with varied views through clipped hedges where a family or
the garden. visitors may stroll to view the
garden.
• Its purpose is both for seeing and
being seen.
ELEMENTS
Terracing

• The ideal Renaissance garden is terraced on gently sloping

hillside. The various levels are joined up by paths and
short flights of steps.
Trellises and Climbing Plants
• Terraces are used mainly to divide the garden into “rooms”
with varying “ moods”
• Trellises are used to “rooms” and line paths in
the garden. They are trained with climbing
plants like ivy, roses, honeysuckle, or grape
vines.
• The climbing plants are also trained over
structures such as pergolas, porticos and
pavilions. Flowering climbers are preferred
ELEMENTS
Secret Garden and Grotto
• A hideaway in the garden that might contain a
vine-draped pergola or just a tucked-away bench
provides an intimate getaway space.
• Often an Italian garden includes a grotto- an
artificial cave filled with sculpture and furnishings
where one can sip wine in a refreshingly cool space.
Neptune Grotto
Tightly planted beds
• Bordered beds planted up on
various eye levels. In the center is
a tall plants such as a fruit trees or
a evergreen such as laurel.
Surrounding the tall plants are
shorter plants in different color.
(Providing either a contrast or
complementary shades. The plants
are often herbs or flowering plants
such as roses, salvias or lupines.
ELEMENTS
Water features

• Water always plays a past in classical Italian Garden.

Primary the water is for irrigation to keep the plants to
drying out.
• Secondarily, the water is used for such as grottos,
Structures
fountains, streams and fountains.
• Structures are used to separate "rooms", add varied
heights for views; and to provide shade, relaxation,
and protection from wind and salty sea air.
• These structures can be porticos, pergolas, pavilions,
grottos, loggias, balustrades or walls. They are made
of natural materials and often trained with climbing • These features can be central features in “rooms” or as in
plants. the case grottos of to the shady sides of the garden
16 CENTURY VILLA LANTE, BAGNAIA
th

BEGUN IN 1568
BUILT BY- Cardinal Gianfrancesco
Gambara
16 CENTURY VILLA LANTE, BAGNAIA
th

• The Villa Lante (named for a later owner) is a superb expression of Renaissance
design principles.
• There is a beautiful transition from the woods and nature at the highest level to the
extreme geometry of the lower terrace or pattern (parterre).
• Organized around a central axis of water (as the main theme), the compact garden at
Villa Lante presents a unified composition of “part” to “whole.”
• There were two plaza (palazzi) as subordinate to the garden which were built by two
different people at different times.
VILLA LANTE, BAGNAIA: The
• Changes occurred over the centuries, with Duke Ippolito Lante acquiring design of the garden, park, and
city streets complement one
ownership in 1656, thereby adding the more elegant patterns according to the style of another.

the French designer, La Notre In 1971 the garden was acquired by the Italian
Government.
VILLA LANTE, BAGNAIA SITE PLAN AND PLAN
VILLA LANTE, BAGNAIA PLAN
VILLA LANTE, BAGNAIA LAYOUT PLAN
Views Along or Near the Axis

• The water features are aligned along the central

axis, and from many locations along this axis,
several fountains can be seen at once:
• Downward view from the Fountain of the Lights
• Downward view from balcony above the Giants
• Downward view from above stone dining table
• Upward view from gate
• Upward view from the Fountain of the Lights
• Upward view from the Fountain of the Giants

The control of nature was told through the course of water as it flowed from the upper parts of the garden to the lower
parts. Humans mastered nature through art.

The formal gardens are laid out symmetrically on a hillside whose drop in elevation from top to bottom is around fifty
feet.  The architectural features, namely the two palazzine (plaza) and the two temples to the Muses, are laid out in pairs
that are located on the sides, which leaves the center open for water features.
VILLA LANTE, BAGNAIA FOUNTAINS
There are SEVEN fountain in the garden and each fountain tells its own story.

The fountain of peagasus: A fountain of Pegasus marked the

entry to the woodland
• The fountain of the flood: The water course begins in a grotto, the Fountain of the Deluge, situated
between the two Houses of the Muses.
• The fountain of the moors
The fountain of the lamps: A water table, as referenced in antiquity, occupies the axis on the second
level. The concave and convex Fountain of the Lights serves as the transition to the lower terrace.
• The fountain of the giants
• The fountain of the dolphins: The Fountain of the Dolphins marks the uppermost level of the axis.
The fountain of the chains: A water chain sculpted with crayfi sh (a play on the cardinal’s name-gambero
mean scrayfish in Italian) proceeds down the stepped slope, to the Fountain of the River Gods (the Tiber
and the Arno).
Grottoes of Venus and Neptune are recessed into its retaining wall. Steps and ramps lead to the four-
square water parterre on the lowest level.
OVAL FOUNTAIN, FOUNTAIN OF PEAGASUS
• Derived from the statue above the Oval Fountain in the Villa d‘ Este,
takes its name from the figure of a winged horse in the center; it is a
big oval basin with curved sides, cut into a slope of the hill and
topped with a balustrade of small columns.
• This is the first fountain a visitor sees for it sits at the entrance of the
park.
GROTTO FOUNTAIN, FOUNTAIN OF FLOOD
• The Fountain of the Flood forms a visual conclusion to the whole and,
in a more general sense, provides the underlying theme that is
developed throughout the entire garden.
• The theme here is Water, bubbling out in its natural state from a rocky
slope inside.

The fountain's theme

derives from the Biblical
flood of the old testament
and initiates the story of
humanity's evolution.
CASINO FOUNTAIN OF MOORS (DEI MORI)
The architectural massing enforces the
perfect symmetry. Two casinos flank
the central axis, creating a continuous
experience of landscape space. Paths • The Quadrato is a perfectly square.
and stairs move the visitor to and from The twin casino stand on one side, on
the axis in a subtle choreography of the remaining three sides the garden
dark to light, open space to enclosed, is enclosed by high box hedges.
internal focus to outward view. • At the heart of the complex, a center
basin contains the "Fontana dei Mori"

An ingenious device
emitted harmonious
sounds due to the violent
beating of water below
the mountains

Four walkways with balustrades

divide the main pool into four
basins and lead to the triple
circle of pools with the statue of
Moors
FONTANA DEI LUMINI, FOUNTAIN OF THE LAMPS
• The Fountain of the Lamps which stands at the first level with
entrances to the small palace.
• a circular tiered fountain, with concentric basins that are partially
sunken into the ground, similarly to a Greek amphitheater and
half of it is secured into the embankment behind.
• On the ledge of each tier, smaller fountains, imitating Roman oil
lamps, spout small jets of water which in the sunlight appear to
blaze like lamp flames.

Seventy torches spur out water jets that frame a central

water spout
 GIANTS, FOUNTAIN OF THE GIANTS
• The Fountain of the Giants is thus named because of the two large figures of
reclining giants that lie there, interpretable as personifications of River Arno
and River Tiber, symbols of the two souls of Tuscia.
• The fountain is a symbolic representation of Earth, as one of the four natural
elements, and of water, no longer from sea but fresh river water.

Two large figures

of reclining
giants
BANQUES, FOUNTAIN OF THE GIANTS
• On the next (third) terrace is a
large and long stone table,
with a central channel with
water flowing to keep the
wine cool.
• At the back of this terrace, are
large sculpted river gods
flanking a fountain.

The use of symmetrically arranged statues of reclining river gods

WATER CHAIN, FOUNTAIN OF THE CHAINS
• Water flowing from the fountain of
the dolphins spurts into the jaws of a
crayfish, stairs flanking the lead up to
the next terrace, the symbol of
Cardinal Gambara.

• The fountain begins with the

crayfish's head and front claws in
the middle of the stairs and
continues down with linked curves
that form the body.

• It ends with water flowing through the

crayfish's back claws, which begins the
fountain of the giants. The starting of fountain from the
top from fountain of dolphins to
lower part, fountain of the giants
17 CENTURY VILLA ALDOBRANDINI, FRASCATI
th

• ORIENTATION: The orientation of the hillside villa is

to the northwest; views are across the campagna (town)
toward Rome.
• The villa is set on a large terrace, creating in the front
a platform to launch sight lines and in the back a garden.
• The rear terrace is carved out of the slope, forming an
exedra (porch).
• The south facade of the villa, the side toward the
garden, is more articulated and detailed than the north
facade.
BAROQUE GEOMETRY: The design of Villa
Aldobrandini incorporates site planning principles and
architectural features that are typical of Early Italian
Baroque style.
VILLA ALDOBRANDINI, FRASCATI, PLAN
• Work on the garden began in 1598 and it was finished by 1603.
• Immersed in a splendid Italian garden, it is made unique by the
magnificent nymphaeum of 2500 square meters with beautiful
fountains and terraces on several levels.
• The Villa has an internal capacity of up to 300 people and external
up to 2000 that make it ideal for large outdoor events, public events,
gala dinners and ceremonies with a large number of guests. 
A long entrance allée
(ally) helps merge the
huge mass of the
structure into the
landscape.

Magnificent
nymphaeum
VILLA ALDOBRANDINI, FRASCATI, SECTION
OPTICAL TRICKERY:
Terrain was manipulated to
create spatial illusions at Villa
Aldobrandini.

The villa marks the threshold between paradise (the

river of life springing from the grotto in the woods)
and the world (the city of Rome in the distance).
GARDENS OF THE TEATRO DELL' ACQUA,
FEATURE
• Instead of standing on one edge, the palace is the centerpiece of the
garden layout.
• The rear, there is a water theatre with niches for statues and fountains.
The “theater of the waters”, at the back of the main entrance
overlooking the belvedere, is a hidden treasure, beautiful even during the
day and without jets of water.
The water theater at the back of the villa

• A statue of atlas holds a globe stands in the

The space is defined by a
central niche. Gardens of formally planted large semicircular
retaining wall, with arched
plane trees and hydrangeas surround and a niches containing
sculptures of mythological
wood of oak and chestnut trees is to the rear. figures.
GARDENS OF THE TEATRO DELL' ACQUA,
FEATURE
• Behind this an aqueduct moves into the woods, bringing water 8km from
a spring on the mount Algido to provide water for the feature.
• Two small allées bordered the path, disguising utilitarian gardens and
orchards; today, a single massive pleached allée leads from the town to
the villa.

The roof of the villa

appears to sit on top
of a grotto.
GARDENS OF THE TEATRO DELL' ACQUA,
FEATURE
• A “rustic” grotto on the second terrace contains figures of peasants.
• The water continues along a smooth channel to the cascade, which is
framed by the twin Pillars of Hercules.
• The Pillars of Hercules represented the edge of the known world in
antiquity.
17 CENTURY BOBOLI GARDEN, FLORENCE
th

• The gardens celebrated the water that

cosimo brought to florence through his
construction of aqueducts.
• The topography behind the palazzo was
manipulated to form a “natural”
amphitheater. A large fountain of oceanus
can be seen on the axis.
• It is divided into two parts, quite separated
• The chief one takes its start in a trough of
the valley and proceeds along the main axis
of the ammanati court as far as the town
hall.
17 CENTURY BOBOLI GARDEN, FLORENCE
th

• From the reverse view, the distance

seems compressed, the sunken courtyard
becomes invisible, and the building
becomes a ledge for views to the Arno
valley.
• These optical illusions are typical
Baroque tricks, reflective of the
The garden was enlarged in the 17th century, its redesign subversive attitude toward order that
expressing a Baroque taste for theatrics and display.
characterized the era.
BOBOLI GARDEN, FEATURES
• Called the Viottolone, the dramatic, cypress-lined avenue
leads down a slope to the Isolotto.
• Here, an oval pond contains an oval-shaped island and the
colossal Oceanus sculpture formerly located within the
grassy amphitheater.
• Two bridges connect to the isolotto along the path of the
axis.
BOBOLI GARDEN, FEATURES
They also continued work beyond
the amphitheater, adding
horseshoe-shaped terrace with a
Fountain of Abundance at the upper
limits of the original axis.
The Fountain of Neptune
Above the amphitheater, lies the
fountain of Neptune. The structure
comprises a large basin with a
bronze statue of Neptune by
Stoldo Lorenzi at the center. The
fountain is also nicknamed the
“Fountain of the Fork” as Neptune
a appears to be holding a large
trident. Located on the top of the
hill is the statue of Abundance.
BOBOLI GARDEN, ELEMENTS

Trellises and Climbing Plants use to

cover the passage

The pathway to the garden from the entrance

The court around the garden façade is sunk

BOBOLI GARDEN, ELEMENTS

Different elements used as water

fountains

The pathway created with

hedges outing the flower beds

The green lungs of Florence

VISUAL ILLUSTRATIONS
BIBLIOGRAPHY
• Illustrated history of Landscape Architecture

• https://cklemme.wordpress.com/2015/03/10/case-study-of-boboli-gardens-the-living-past/
• https://www.gardenista.com/posts/10-garden-ideas-steal-italian-coast/
• http://www.museumsinflorence.com/musei/boboli_garden.html
• http://www.sgira.org/hm/vigfive.html
• https://www.corradi.eu/en/magazine/italian-garden-examples
• https://www.gardenvisit.com/gardens/villa_aldobrandini
• https://www.gesteventi.com/event-venue-locations/villa-aldobrandini-frascati/
 THANK YOU

PRESENTED TO:
AR. DAMANDEEP KAUR

PRESENTED BY:
MOHD. JAID (1818230)
SAGAR (1818238)
SIMRAN KAUR (1818242)

5th SEMESTER, BATCH-2K18