Open images in Luna Commons
Introduction
Interactive Plan
Bibliography
Historical Documentation
Pliny, Letter on the Laurentian Villa
Pliny , Letters on the Tuscan Villa
Vitruvius, The Ten Books on Architecture
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Hadrian’s Villa
Text by John Pinto
Hadrian’s Villa, constructed between 118 and
134 C.E., surpasses all other
ancient villas in its scale, architectural originality, and resonance.
A passage in the fourth-century Historia Augusta relates
that the emperor intended portions of the villa to recall famous
places and provinces of the Roman Empire. Thus the Villa came to
be seen as a paradigm of what might be termed the landscape of allusion,
in which gardens and parks are seeded with references to famous
and exotic sites. The site near Tivoli, covering a greater area
than Pompeii, contains more than sixty distinct buildings constituting
an extended, pavilioned landscape enlivened by the play of water
and enriched by the display of sculpture.
The evidence for waterworks is extensive, including more than twelve
nymphaea (large, architectural fountains), thirty single fountains,
six grottoes, and twelve pools and basins. At the Villa, water was
deployed as an artistic medium in its own right, its reflective
qualities, movement, and sound vitalizing the static forms of architecture
and sculpture. Nowhere is this more evident than in the scenic triclinium
and canal, where a deep grotto combined with pools, water stairs,
channels, and a cascade to produce a highly theatrical effect.
In contrast, the evidence for gardens is much more limited: planting
pots on both sides of the scenic canal, beds and cavities in the
stadium garden, the small, centered garden of the island enclosure,
the large tree-planting pits cut from the tufa underlying the water
court. What was planted is thus far unknown, and reconstructions
necessarily rely on comparisons to literary sources, such as the
Younger Pliny’s letters, pictorial evidence, and the analysis
of better-preserved soil and seed samples from other archaeological
sites, notably Pompeii. The Villa’s multiple orientations,
divergent axes, terraces, and spectacularly sited pavilions offered
numerous views and vistas, both within its confines and out over
the surrounding landscape. Hadrian’s grand design takes full
advantage of the natural contours of the site, while also employing
massive earth engineering to reshape the land, effectively reorganizing
Nature. Without a center, without connective allées, the
Villa revealed itself only as it was traversed point to point. It
was—and remains—a place of considerable subtlety.
From its inception Hadrian’s Villa was a pragmatic manifestation
of the pastoral. Although Hadrian certainly saw his villa both as
an Arcadian retreat and as a metaphorical expression of his culture
and travels, it also had to serve as a center of his official duties.
The Villa embodies the contradictions of the pastoral mode within
itself; it was simultaneously Hadrian’s alternative, rural
seat of government and his escape from the cares of Rome and empire.
In Hadrian’s design the struggle between the human desire
for immortality and the inexorable cycles of nature endures. Generations
of artists who visited the site below Tivoli were inspired to see
landscape and antiquity as complementary, powerfully allusive forces.
The earliest postclassical descriptions of the Villa, by the humanist
Flavio Biondo and his patron Pope Pius II, date from 1461. Pius
and Biondo made the connection between the passage in the Historia
Augusta and the site below Tivoli, identifying it as Hadrian’s
Villa. Closely following the humanists, Renaissance artists and
architects began to visit the ruins. Francesco di Giorgio Martini
made measured drawings of villa structures, and during the first
decades of the sixteenth century Bramante, Raphael, and other High
Renaissance architects are known to have visited the site. By the
middle of the century, references to Hadrian’s Villa began
to appear in guidebooks and architectural treatises, such as those
of Palladio and Philibert de l’Orme.
Also in the 1550s, Pirro Ligorio began to excavate at Hadrian’s
Villa, recording his findings in the first systematic description
of the site. The influence of what Ligorio saw at Hadrian’s
Villa may be detected in his designs for the Villa d’Este
at Tivoli and the Casino of Pius IV in the Vatican. There is evidence
that Ligorio may also have prepared a general plan of the Villa,
but his drawings were never published and credit for the first comprehensive
survey of the site belongs to Francesco Contini. Long before its
publication in 1668, Contini’s plan was available for study
by Francesco Borromini and other Baroque architects. Attracted by
the numerous departures from Vitruvian classicism on display at
the Villa, Borromini drew inspiration for some of his greatest works,
especially the Oratory of the Filippini and Sant’ Ivo alla
Sapienza.
The influence of Hadrian’s Villa became more diffuse in the
course of the eighteenth century. A long and distinguished list
of artists from throughout Europe were drawn to the Villa, including
Charles-Louis Clérisseau and Robert Adam, Jean Honoré
Fragonard and Hubert Robert. Giovanni Battista Piranesi emerged
as the Villa’s most inspired interpreter, issuing ten printed
views of villa structures in his series le vedute di Roma, as well
as a great annotated plan of the entire site, issued posthumously
by his son Francesco in 1781. In the course of the eighteenth century,
statues excavated at the Villa found their way into every major
European collection, and today its contents are scattered from Malibu
to Saint Petersburg. The influence of the Villa’s pavement,
mural, and vault decorations may be discerned in countless interiors
ranging from Charles Cameron’s Agate Hall at Tsarkoye Selo
to Robert Adam’s Syon House.
In the nineteenth century, Hadrian’s Villa came to be viewed
through the twin lenses of Beaux Arts classicism and Romanticism.
In 1870 most of the site was acquired by the Italian state, effectively
preserving it from further depredation. Much as Piranesi had used
the Villa to underscore the creative dimension of Roman architecture
and its relevance to architects in his day, Le Corbusier, one of
the heroic figures of modernism, particularly admired the way in
which the Villa’s architecture was integrated into the surrounding
landscape. Architects, scholars, artists, and writers continue to
draw and study the relics of Hadrian’s extraordinary retreat,
proving that its affective and instructive potential remains undiminished.
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Click on the thumbnails below for a full view of the images.
View of the site of Hadrian's Villa
Plan by Giovanni Battista Piranesi
Scenic Triclinium
Scenic Canal
Scenic Canal seen from the triclinium
Horace's Villa (Licenza, Italy), excavations in the garden
Stadium garden
Island Enclosure
Water court
East-west terrace with view into the landscape
View from the east belvedere into the landscape
Ceremonial precinct
Circular hall
Title page, Palladio, Four books on architecture
Villa d'Este (Tivoli), Fish pools
Casino of Pius IV (Vatican Palace), Oval court
Plan of Hadrian's villa by Piranesi, detail
Orpheus, originally from Hadrian's Villa, now in the Vatican Museum
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