Romance of Roman Villas (The Renaissance)

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Elizabeth W. Champney

ROMANCE OF ROMAN VILLAS CHAPTER I

Title: Romance of Roman Villas

(The Renaissance)

Author: Elizabeth W. (Elizbeth Williams) Champney

Language: English

Character set encoding: ISO-8859-1

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Pope Julius II. Viewing the Newly-found Statue of the Apollo Belvedere From the painting by Carl Becker. Permission of the Berlin Photographic Co. Pope Julius II. Viewing the Newly-found Statue of the Apollo Belvedere
From the painting by Carl Becker. Permission of the Berlin
Photographic Co.

ROMANCE OF ROMAN
VILLAS

(THE RENAISSANCE)

BY

ELIZABETH W. CHAMPNEY

AUTHOR OF "ROMANCE OF THE ITALIAN VILLAS," "ROMANCE OF THE FEUDAL CHÂTEAUX," "ROMANCE OF THE FRENCH ABBEYS," etc.

ILLUSTRATED

G. P. PUTNAM'S SONS
NEW YORK AND LONDON
The Knickerbocker Press
1908

  • Introduction
  • Contents
  • Illustrations
  • Romance of Roman Villas
  • Footnotes
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INTRODUCTION

In came the cardinal, grave and coldly wise,
His scarlet gown and robes of cobweb lace
Trailed on the marble floor; with convex glass
He bent o'er Guido's shoulder.
Walter Thornbury.

STILL unrivalled, after the lapse of four centuries the villas of the great cardinals of the Renaissance retain their supremacy over their Italian sisters, not, as once, by reason of their prodigal magnificence but in the appealing charm of their picturesque decay.

The centuries have bestowed a certain pathetic beauty, they have also taken away much, and the sympathy which these ruined pleasure palaces evoke whets our curiosity to know what they were like in their heyday of joyous revelling.

If we run down the list of the nobler villas of Rome we will find that, with few exceptions, they were built by princes of the purple, and that the names they bear are not Roman but those of the ruling families of other Italian cities.

That the sixteenth century should have produced the most palatial residences ever inhabited by prelates was but a natural outcome of the conditions then existing. The society of Rome was a hierarchical aristocracy made up of the younger sons of every powerful and ambitious family of Italy, and the red hat was so greatly desired not for the honour or emoluments of the cardinalcy per se but because it was a step to the papacy.

"To an Italian," says Alfred Austin, "it must seem a reproach never to have had a pope in the family, and you will with difficulty find a villa of any pretension, certainly not in Frascati, where memorial tassels and tiara carven in stone over porch and doorway do not attest pontifical kinship."

The young cardinal's first move in the game which he was to play was at all expense to create an impression, and if, as in the case of Ippolito d'Este, he had no benevolent uncle in St. Peter's chair to guide his career, the parental coffers were drawn upon recklessly and the cadet of the great house led a more extravagant life in his Roman villa than the duke his elder brother in his provincial court. The object of his ambition once attained the new Pope unscrupulously enriched his family, and endeavoured to make his office hereditary by elevating his favourite nephew to the cardinalcy, and endowing this future candidate for the papacy with means from the revenues of the Church to purchase the votes of his rivals. This is the constantly reiterated history of the builders of the palaces and villas of Rome.

Sixtus IV. made the fortunes of his numerous de la Rovere and Riario nephews,—one of whom, Pietro, Cardinal of San Sisto, for whom Bramante built the Cancellaria Palace, set the pace for his comrades of the Sacred College by squandering in two years the enormous sum of $2,800,000. Cardinal Raphael Riario of the next generation began the most beautiful of all villas, Lante, which three other cardinals subsequently perfected.

Leo X. after his election as pope, proved to be a greater spendthrift than Sixtus IV., for he not only repaired the broken fortunes of the Medici but eclipsed his father as a patron of art, making the erection of monumental buildings and the collection of objects of art a mania among all men of wealth and culture. Cardinal Giulio (afterwards Clement VII.) in the Villa Madama, and Cardinal Ferdinando in the Villa Medici sustained the family tradition, but Cardinal Alexander Farnese (Pope Paul III.) outrivalled them both, by filling the Farnese palace with the most valuable collections ever amassed by a private individual.[1]

Immediately succeeding Alexander Farnese Julius III. built the noble Villa di Papa Giulio, and Pius IV. the charming Villa Pia; but nepotism did not scandalously reassert itself until the last quarter of the century, when the immense Villa Aldobrandini was erected by a nephew of Clement VIII.

Pope Paul V. in his turn bestowed more than a million dollars upon his Borghese nephews, to one of whom, Cardinal Scipione, we owe the delightful Villa Borghese, just outside the Porta del Popolo.

Early in the next century the evil attained greater proportions. Olimpia Pamphili, whose name and memory are perpetuated in the villa built by her son, received from Pope Innocent X. more than two millions. But Innocent seems to have a fair claim to his name when compared with his immediate predecessor Urban VIII. who conferred upon his nephews, the brothers Barberini, sums amounting to one hundred and five millions!

An architecture of pompous ostentation and riotous overloading of ornament, the Baroque, now took the place of the classical beauty of the Renaissance and art degraded became the slave of wealth, until the great Cardinal Albani erected his villa to serve as her temple.

We are ready to expect great results in the villas and palaces of the millionaires of the earlier half of the sixteenth century when we reflect that they were executed by Bramante, Peruzzi, San Gallo, Michael Angelo, and Raphael with a host of lesser men who would have been great in any other age, and that the ruins of imperial Rome furnished them with models for their designs and an inexhaustible quarry of statues, columns, mosaics, and other materials.

The point of view of the present volume is the life rather than the art of these villas, but it is not possible to ignore the stimulus which the daily discovery of the masterpieces of ancient art afforded to the artists of the day, and the connoisseurship imposed upon the rivalling patrons and collectors.

In the chapters entitled: "The Finding of Apollo" and "The Lure of Old Rome" I have striven to depict the influence of these discoveries upon such sensitive souls as those of Raphael and Ligorio, and the gradual education of the financier Chigi and Cardinal Ippolito d'Este in the refinements of dilettantism.

But the Fornarina left a more potent impression on Raphael's art than the Apollo Belvedere, and her memory and that of Imperia still haunt the villa of the Farnesina indissolubly united with that of the master of art and the master of revels.

In the noble Colonna palace the personality most vividly present to-day is that of Vittoria Colonna, making good the boast of Michael Angelo's sonnet,—

"So I can give long life to both of us
In either way by colour or by stone,
Making the semblance of thy face and mine,
Centuries hence when both are buried thus
Thy beauty and my sadness shall be shown
And men shall say, 'For her 't was right to pine.'"

But if Michael Angelo carved or painted Vittoria the portrait is lost; and it is to his love, not to his art that she owes her immortality. So from the history of these beautiful dwellings I have chosen as the focal point of each of the following chapters, the half-forgotten face of some woman, and were it not that the story of Vittoria Colonna is so well known that noble woman might well have led the procession. For the same reason, and because her castle of Spoleto could not be classed under my topic, I have laid aside a study of Lucrezia Borgia and of another Lucrezia who may have resided within its walls.

But from the succession of beauties who kissed their lovers beneath the rose-trellises of Rome, I have stolen secrets enough to overfill these pages, secrets which few of the gentle shades would forbid my telling, since for the most part they are sweet and innocent and true. For the others, daughters of disorder, may their sufferings bespeak your pity.

The difficulty in arriving at just estimates has only made the attempt the more engrossing, as those will attest who have tracked through the mass of conflicting histories the story of the elusive lady who gave the name of Madama to the exquisite villa which Raphael designed for Clement VII.

The Villa Aldobrandini recalls an ancient legend preserved in more than one of the Italian novelli; and reading between the lines of the Amyntas we may trace Tasso's love for Leonora which blossomed in the terraced garden of the Villa d'Este.

The villas Borghese and Mondragone are still instinct with the personality of a romantic little lady of a later period, the bewildering Pauline Bonaparte. It is impossible while enthralled by her portrait statue to remember any other princess of that noble house; but as we wander through the portrait gallery of the Colonna palace it is equally difficult to choose a favourite from its brilliant gallery. My apologies are due to many another in fixing upon Giulia Gonzaga, wife of Vespasian Colonna as my heroine, though such was the fame of her beauty that the Sultan of Turkey despatched a fleet for her capture.

In the last decade of the century, Marie de' Medici looked down upon Rome from the villa of her uncle, Cardinal Ferdinando, and wandered among that wonderful array of statues which now form the glory of the Pitti Palace.

This was the time, if ever, that Shakespeare visited Italy, and I have attempted to give a true picture of the life and scenes which he may have viewed.

To my last chapter is left the confession that the supreme charm of Rome of the Renaissance lies not in itself, but in the fact that it is the bridge which unites modernity to the Rome of antiquity.

Each statue unearthed in the cardinal's garden, as it reassumed its place upon the familiar terrace, must have whispered to its marble companions: "They call this the Villa d'Este! We know better, it is Hadrian's. Their learned men have labelled you, 'By an Unknown Sculptor,' little suspecting that your lips were arched by Praxiteles. They have christened our friend in the garden of Lucullus, the 'Venus de' Medici,' ignorant of the prouder name she bore, and they call the relief in that new villa, 'The Antinous of Cardinal Albani,' not knowing that the portrait and its original were alike, Faustina's."

Shall we, indulgent reader, on some fair, future day, led by the lure of old Rome, together revisit our loved villas and win the confidences of these marble men and women who smile on us so inscrutably, and yet with such all-compelling fascination?

Dear Italy, the sound of thy soft name
Soothes me with balm of Memory and of Hope.
Mine for the moment height and steep and slope
That once were mine. Supreme is still the aim
To flee the cold and grey
Of our December day,
And rest where thy clear spirit burns with unconsuming flame.

Fount of Romance whereat our Shakespeare drank!
Through him the loves of all are linked to thee,
By Romeo's ardour, Juliet's constancy
He sets the peasant in the royal rank,
Shows, under mask and paint,
Kinship of knave and saint
And plays on stolid man with Prospero's wand and Ariel's prank.

Then take these lines and add to them the lay
All inarticulate, I to thee indite;
The sudden longing on the sunniest day,
The happy sighing in the stormiest night,
The tears of love that creep
From eyes unwont to weep,
Full with remembrance, blind with joy and with devotion deep. [2]

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CONTENTS

CHAPTER  
  Introduction
 
I. — The Eyes of a Basilisk
  (Vatican, Villa of the Belvedere)
II. — The Finding of Apollo
  (Villa Farnesina)
III. — A Cellini Casket
  (Villa Madama)
IV. — Flower o' the Peach
  (Villa Aldobrandini)
V. — With Tasso at Villa d'Este
  (Villa d'Este)
VI. — Mondragone
  (Villas Borghese and Mondragone)
VII. — The Adventure of the Knight of the Brandished Lance
  (Villa Medici)
VIII. — The Ladies of Palliano
  (Colonna Palace and Castle of Palliano)
IX. — The Lure of Old Rome
  (Hadrian's Villa. Villas d'Este and Albani)
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ILLUSTRATIONS

IN PHOTOGRAVURE
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ILLUSTRATIONS

OTHER THAN PHOTOGRAVURE

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