Villa Farnese

The Villa Farnese, also known as '''Palazzo Farnese''' or '''Villa Caprarola''', is a Palace in the city of Caprarola in the Province Of Viterbo , Northern Latium , Italy (approximately 35 Mile s north-west of Rome ). It should not be confused with the Palazzo Farnese and the Villa Farnesina , both in Rome.

The Villa Farnese is a massive Renaissance construction built circa 1550 , opening to the Monte Cimini , a range of densely wooded Volcanic hills. It has a five-sided plant, and is built in reddish gold Stone ; Buttress support the Piano Nobile above, with two floors above again housing an almost complete two storey villa in itself. As a power house at the center of vast Farnese holdings, it has always been more than a Villa in the ordinary agricultural or pleasure senses.

The shape of the villa was predetermined by the ''rocca'', the pentagonal Fortress foundations it sits upon, which were constructed in the 1520s by Antonio Da Sangallo The Younger and Baldassare Peruzzi . Each face of the pentagon is canted inwards towards its center, to permit raking fire upon a would-be scaling force, both from the center and from the projecting Bastion s that advance from each corner angle of the fortress. It is thought that the circular central courtyard was also determined by the necessities of the pentagonal plan.

HISTORY

The Villa Farnese was commissioned in 1559 by Cardinal Alessandro Farnese a grandson of Pope Paul III who was known for advancing the ambitions of his relations. He selected for his architect Giacomo Barozzi Da Vignola , who worked on the villa at Caprarola until his death in 1573. Farnese was a courteous man of letters, however the Farnese family as a whole became unpopular with the following pope, Julius III . Alessandro Farnese decided it would be politic to retire from The Vatican for a period. He therefore selected Caprarola on the family holding of Ronciglione , being both near and yet far enough from Rome as the ideal place to build a country house.

DESIGN

Architecturally the Villa is one of the finest examples of Renaissance Architecture . Ornament is used sparingly to achieve proportion and harmony. Thus while the house stands out in its landscape, the severity of the design is also a complement to it. This particular style, known today as Mannerism , was a reaction to the ornate earlier High Renaissance designs of twenty years earlier.

In 1559 , Vignola, the Architect chosen for this difficult and inhospitable site had recently proved his mettle in designing Villa Giulia on the outskirts of Rome for the preceding pope, Julius III . Vignola in his youth had been heavily influenced by Michelangelo . His plans as built were for a pentagon constructed around a circular Colonnade d Courtyard . In the galleried court, paired Ionic columns flank niches containing busts of the Roman Emperor s, above a rusticated arcade, a reworking of Bramante 's scheme for the "House of Raphael", Rome. A further Bramantesque detail is the entablature that breaks forward over the columns, linking them above, while they stand on separate bases. The interior loggia formed by the arcade is frescoed with Raphaelesque Grotesque s, in the manner of the Vatican ''Logge''. The Gallery and upper floors were reached by five Spiral Staircase s around the courtyard: the most important of these is the ''Scala Regia'' ("Royal Stairs") rising through the principal floors.

Outside, the Villa Farnese is approached by steps from the Village Piazza , a series of Terraces beginning with the Basement ''sotteranei'' excavated from the Tufa , surrounded by steep curving steps leading to the terrace above. This basement floor in the foundations appears as a series of buttresses and retaining walls, large heavily grilled doors in the rusticated walls appear to lead into the guardrooms of a fortress, while above them a curved Balustrade d external double stairway leads to the terrace above. This in turn has a formal double staircase to the principal entrance on the 'Piano dei Prelati' floor. This Bastion like floor (appears as a 2nd ground floor) is rusticated, the main door a severe Arch flanked by three windows each side, the Facade at this level is terminated my massive solid projections.

Above this is the double height Piano Nobile , five huge arched windows incongruously dominate the facade over the front door, above this sit a further two floors, the numerous windows divided by rusticated pilasters in dressed stone.
. Here are portrayed Francis I Of France and Charles V .]]

INTERIORS

The principal staircase or ''Scala Regia'' is a graceful spiral of steps supported by pairs of Ionic columns rising up through the three floors, Fresco ed by Antonio Tempesta .

On the piano nobile a series of 12 like Sculpture too.

GARDENS

The gardens of the Villa are as impressive as the building itself. The Villa's fortress theme is carried out in a Moat and three Drawbridge s. because of the pentagonal plan, two facades face the gardens, each with its Parterre beyond the moat. The lower garden is reached from a drawbridge from the terrace of the piano nobile. This is a patrerre garden of Box Topiary , and Fountain s. A grotto-like Theatre was once here. A walk through the Wood s from here leads to the well known Casino , a small habitable Summerhouse . A 'catena d'acqua' (a kind of Cascade d rill in a stone basin) flows from the Loggia of the casino to the fountains below. The ornate and frescoed casino has its own parterres, rather like a villa in miniature.

TODAY

Alessandro Farnese died in 1589 bequeathing his Estate s to relations - the Farnese Dukes Of Parma . The lights were already dimming in the Villa, the Cardinal's fabulous collection was transferred eventually to family properties in Naples . In the 19th Century the villa became for a while the residence of the Heir to the Throne of the newly united Italy , but by now the lights were barely a flicker.

Today the Casino, and its gardens are one of the homes of the President of the Italian Republic . The empty main Villa, owned by the State, is open to the public. The numerous rooms, salons and halls all with their marbles and frescoes, and the architecture of the great palazzo-like villa are still as impressive and daunting as they were first intended to be.

REFERENCE

Peter J. Murray, 1963. ''The Architecture of the Italian Renaissance'' London:Batsford) pp 240ff

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Villa Farnese