F. Hamilton Hazlehurst
Italian estate near Viterbo, c. 65 km north-east of Rome. It was built for Cardinal Gianfrancesco Gambara, Bishop of Viterbo, from c. 1568, and the design of the whole estate, comprising small twin palaces (palazzine, called casinos in the 17th century), a formal garden and a park, is attributed to Jacopo Vignola. The garden and the first palazzina were mostly completed by 1578 under the direction of the local architect and hydraulic engineer Tommaso Ghinucci. Carlo Maderno built the second palazzina for Cardinal Alessandro Peretti Montalto between 1611 and 1613. The two buildings were planned from the start and have identical exteriors. Their cubical form, with hipped roof and central belvedere, resembles those of the Villa Vecchia at Frascati and the hunting-lodge at Caprarola, both designed by Vignola. Rural and urban architectural traditions were united in the design of the buildings. The simple block with central projection recalls the towers and dovecotes typical of the countryside, while the exterior stone revetment and classical articulation is reminiscent of urban palaces. The floor plan is a variation on a common tripartite plan with a long central space. In the second ...
(b Perthshire, 1625; d 1710).
Scottish architect and garden designer. He was the younger son of Robert Bruce of Blairhall, Perthshire, and probably attended St Salvator’s College, St Andrews, in 1637–8. Bruce was interested in the arts and was reputed to be well versed in languages, but it was as a politician that he first achieved recognition. He played a significant role in General Monk’s conversion to the Royalist cause in 1659 and was a confidential messenger between the Scottish Lords and Charles II in the months preceding the Restoration. Shortly after 1660 he was knighted, and through John Maitland, 2nd Earl and 1st Duke of Lauderdale—whose second wife was a full cousin of Bruce’s—he obtained various minor though lucrative employments before his appointment in 1671 as Surveyor-General of the Royal Works in Scotland (the ancient post of Master of the Royal Works, which had been re-created specifically for the rebuilding of the Palace of Holyroodhouse in Edinburgh), which he held until ...
P. F. Smith
English country house and garden, near Bakewell, Derbys. The estate was purchased in 1549 by Sir William Cavendish (1505–57) and his wife, Elizabeth Talbot, later Countess of Shrewsbury, and the courtyard house was built from 1552. The 3rd Earl of Devonshire (1617–84) remodelled the interior and refenestrated the house (1676–80). The 1st Duke of Devonshire rebuilt it in stages between 1686 and 1706, following the plan of the earlier house (see Cavendish family §(1)). The four distinct fronts, each articulated with a giant order and topped with a balustrade, are among the finest and earliest Baroque façades in England: the south and west fronts are boldly ornamented with sculptural details, and the curved north façade shows strong Italian influence.
The south wing (1687–9), designed by William Talman (see Talman family, §1), contains the second-floor State Apartments and the chapel. In the State Drawing Room the ceiling (...
Bruce A. Coats
(b Nagahami, Ōmi Prov. [now Shiga Prefect.], 1579; d Fushimi, nr Kyoto, 1647).
Japanese tea ceremony master, designer and construction supervisor of numerous palaces, castles and gardens. He was one of the most influential figures in Japanese art during the early 17th century. He is noted for the courtly refinement of his designs, which were elegant yet understated, innovative yet respectful of traditions. Few of the many buildings and gardens attributed to him remain in their original form, but his style is found throughout much of Japan. A disciple in his youth of Furuta Oribe, he practised an elaborate style of tea ceremony, and his name has become associated with a tea-room design that is spacious and luxurious without being ostentatious.
Enshū’s father, Kobori Masatsugu (d 1604), was a samurai who served the military leaders Toyotomi Hideyoshi and Tokugawa Ieyasu (1542–1616) as castle architect and construction supervisor. In 1596 Enshū assisted Masatsugu with work on Fushimi Castle (completed 1594...
Chinese, 17th century, male.
Born in Siming (Zhejiang).
Painter, draughtsman. Landscapes, architectural views, gardens, birds, flowers.
Gao Yang was the son-in-law of Zhao Bei. He painted mostly flowers, birds and rocks, but towards the end of his career also produced landscapes.
Cologne (Mus. für Ostasiatische Kunst): ...
English family of architects, patrons and collectors. Principally noted for their interest in garden design and architecture as represented in the family estate at Wrest Park, Beds, many generations of the family were active as statesmen and parliamentarians. Among the important works of art once owned by the family are Claude Lorrain’s Coast View of the Embarkation of Carlo and Ubaldo (Toronto, A. G. Ont.) and Anthony van Dyck’s portrait of the Balbi Children (London, N.G.). In 1676 Anthony, 11th Earl Grey (b 1645; d 19 Aug 1702), designed and built a new north front for the Elizabethan house at Wrest; during the late 1680s he began making Baroque formal gardens to the south of it. His son, Henry Grey, 12th Earl of Kent (b 1671; d 5 June 1740), whose Grand Tour in 1690–91 had included a visit to Rome, inherited the estate on his father’s death and resumed work on the gardens in ...
English country house and garden in Hertfordshire built for Cecil family §(2), Earl of Salisbury, between 1607 and 1612. The U-shaped house is a distinguished example of a Jacobean nobleman’s house, with a central hall and two symmetrical wings. The large two-storey hall with its minstrels’ gallery and plastered ceiling is a development of the English medieval hall. The state apartments are on the first floor, in the Italian style. The oak staircase that leads to these apartments is one of the finest in England.
The east garden was initially laid out on two terraces by Thomas Chandler, but in 1611 Caus, de family §(1) redesigned the garden, though he retained the services of Simon Sturtevant, Chandler’s water engineer. Water ran from the grand Fountain of Neptune in a garden laid out in parterres down to a water-garden for which Sturtevant built the hydraulics, which included a stream and fountains on an island with a pavilion. The collection of plants from the botanical gardens of the Netherlands, France and Italy was entrusted to John Tradescant (...
Dutch house and garden at Houten in the province of Utrecht. In 1680 Diderick van Velthuysen (1651–1716) bought the manor of Heemstede. The house had been built in 1645 and was surrounded by a rectangular garden with a symmetrical plan traversed by paths and canals. Van Velthuysen planned his garden as a visible demonstration of his loyalty to the house of Orange Nassau, and it is among the finest examples of Dutch classicizing gardens (see Garden §VIII 4., (v)). The plan may be French-inspired (and has been attributed to Daniel Marot I), but the ‘introspection’ of the individual gardens, each with its own views and decorations, is typically Dutch. The main axis runs east–west the full length of the garden, through wooded areas, avenues and formal gardens. All the paths are narrow, to disguise the narrowness of the estate itself. Behind the house are parterres de broderie...
Castle in Salzburg, Austria. To the south of Salzburg, Archbishop Marcus Sitticus von Hohenems (reg 1612–19) commissioned Santino Solari to build a small castle to be used as a summer palace. Schloss Hellbrunn (1613–19) is a most perfect realization of the Italian villa suburbana and the earliest of its kind north of the Alps. Situated at the end of a long avenue, the building is a cube of classic simplicity, with a bifurcate staircase opening on to a cour d’honneur. The most remarkable interior features are the Festsaal (banqueting hall), set asymmetrically on the west side, and its projecting octagon, with frescoes by Arsenio Mascagni (1579–1636). Hellbrunn’s main attraction, however, is its gardens. The Lustgarten or Pleasure Garden was laid out north of the castle and furnished with an unusual variety of grottoes, fountains, ponds and other features including the Roman Theatre, a miniature exedra dominated by a statue of ...
Palace and garden on the outskirts of Hannover, Germany. After Duke Georg of Calenberg (d 1641) had elevated Hannover to the status of Residenzstadt, his summer residence was developed from an existing palace to the north-west of the town (from 1638). The modest palace, which was altered several times, was almost completely destroyed in 1943, but its Baroque gallery-building (1694–6) survives. The banqueting hall and residential wings are richly decorated: the frescoes (including an Aeneas cycle) were painted by the Venetian Tommaso Giusti (1644–1729), while the stucco decoration was executed by Dossa Grana, Pietro Rosso (fl 1695–1706) and others. To the south of the Residenz lies the park, the Grosser Garten, for which Herrenhausen is famed. The first pleasure garden, inspired by Venetian villa design, was created in 1666 by the landscape gardener Michael Grosse and developed (from 1674) by ...
K. A. Ottenheym
Royal palace at Apeldoorn, the Netherlands. In 1684 William, Prince of Orange and stadholder of the Netherlands, purchased the Oude Loo property and commissioned designs for a new hunting-lodge from the Académie d’Architecture in Paris. In the following year, work began on Het Loo; designed by van Swieten and Jacob Roman, it remains unknown to what extent they actually used the plans that had been prepared in Paris in 1685. The hunting-lodge (1685–6) initially consisted of a square main building, which was connected to the wings on the forecourt by arched colonnades. At this time the gardens probably extended no further than what are now the Lower Gardens on the rear side. After the Glorious Revolution (1688–9) Het Loo became too small for the extensive household of William and Mary, who had by that time been proclaimed King and Queen of England (reg 1689–1702). After ...
K. A. Ottenheym
Country house at Voorburg, The Hague. In 1639 Constantijn Huygens (i), poet, scholar and secretary to Frederick Henry, Stadholder of the Netherlands, purchased a plot just outside Voorburg with the intention of building a secluded country house. He named the house Hofwijck, which means ‘far from the court’. Huygens probably designed both the house and its gardens (destr.) himself in 1639–42, in collaboration with the architects Pieter Post and Jacob van Campen. The house is built of brick; its cubic form and pyramidal roof typify the simplicity of Post’s oeuvre. The façades have no explicitly classical features; they are decorated only with trompe-l’oeil paintings of statues between the windows, which are arranged in three rows, one above the other. Huygens’s poem about the house, Vitauliam: Hofwijck, provides the most complete description of the house and an explanation of its symbolism. The overall plan of the house and gardens was intended to symbolize the human form, with the house itself representing the head and the gardens the body....
[formerly Isola di San Vittore]
Island in Lake Maggiore, northern Italy, the principal of three islands near Stresa known as the Isole Borromeo, where the 17th-century Palazzo Borromeo was built; this is a significant example of the harmonious integration of architecture, sculpture and garden design in the Baroque style. Before the 17th century the island was a barren rock with a few cottages and a church, inhabited only by poor fishermen. Count Carlo III Borromeo (1586–1652) initiated a grand project of building and landscaping in 1632 and renamed the island Isabella (later corrupted to Isola Bella) in honour of his wife Isabella d’Adda. Carlo’s scheme was finished under his sons Vitaliano Borromeo and Cardinal Giberto Borromeo (1615–72), Vitaliano taking over most of the supervision of the project. Several artists collaborated on the scheme; Angelo Crivelli (d 1630), who conceived the original plan for the gardens and palace, Francesco Maria Ricchini, ...
(b Florence, 1570–80; d Madrid, Dec 24, 1643).
Italian architect. His career began in Florence, where he was apprenticed to Bernardino Poccetti. He collaborated with Bernardo Buontalenti on the decoration (1593) of the Boboli Gardens and created several hydraulic systems for the gardens of Pratolino and Castello. He designed trophies to adorn the Via Tornabuoni façade of the Palazzo Strozzi and worked on stage settings, mainly with the dramatist Jacopo Cicognini at the court of Grand Duke Ferdinand I of Tuscany. Lotti was sent to Spain in 1626 by Grand Duke Cosimo II to serve at the court of King Philip IV. His accomplishments enabled Philip to compete with the splendour of contemporary Italian and French courts by renovating the royal gardens, which had fallen into disrepair after the expulsion of Moorish engineers, and by producing spectacular theatre settings. Lotti designed a new theatre at the royal palace of Zarzuela (1634; destr.) and the Coliseo de Comedias (begun ...
Term applied to a style of architecture, interior décor and garden layout associated with the reign of Louis XIV of France (reg 1643–1715; see Bourbon, House of family, §I, (8)). Once he began his personal rule in 1661, the King took a passionate interest in the building and furnishing of the royal residences, notably Versailles, bringing together the most talented artists of the day to promote the power and magnificence of the monarchy. The style had its origins at Vaux-le-Vicomte, château of, the opulent late Baroque château created in the 1650s for Nicolas Fouquet, Surintendant des Finances, and the collaborative effort of the architect Louis Le Vau (see Le Vau family, §1), the garden designer Le Nôtre [Le Nostre], André and Le Brun, Charles, painter and designer. After Fouquet’s disgrace and imprisonment in 1661, the three worked together to transform the King’s hunting-lodge at Versailles into a statement of political absolutism....
French royal château near Paris. The first château at Meudon (the Vieux Château) was built for Cardinal Sanguin and his niece Anne de Pisselieu, Duchesse d’Etampes (1508–80), mistress of Francis I, between 1520 and 1540. It was of an austere simplicity: two superimposed orders proportioned the façades, and the dormer windows were surmounted by triangular and segmental pediments. On the garden front appeared, probably for the first time, what was to become the classic French façade arrangement. It was divided into five sections with three projecting pavilions, one central and one at each end; each section had a separate roof, those of the pavilions being taller than those of the blocks connecting them. The châteaux of Fontainebleau and Coulommiers, for instance, followed this example. Four small corner towers were built out on corbels like those at Anet.
In 1553 the Duchesse d’Etampes sold Meudon to Charles de Guise, Cardinal of Lorraine, who added a grotto designed by ...
F. Hamilton Hazlehurst and Kathleen Russo
French family of artists. Jacques Mollet (fl to 1595) was employed by Charles de Lorraine, Duc d’Aumale, at Anet, château of, Eure-et-Loire, where he worked in collaboration with the architect Etienne Dupérac and made the first parterre de broderie in France (after 1582). His son Claude Mollet (i) (c. 1564–c. 1649) trained under him at Anet, afterwards becoming ‘premier jardinier de France’. The sites at which Claude Mollet worked include Fontainebleau, Saint-Germain-en-Laye, Monceau-en-Brie and, most notably, the Tuileries in Paris. His assistants included, in turn, Pierre Le Nôtre and Jean Le Nôtre, grandfather and father respectively of André Le Nôtre, who became the greatest garden designer of the 17th century. Claude Mollet, whose Théâtre des plans et jardinages was posthumously published in Paris in 1652, had a number of his elaborate parterre designs illustrated in Olivier de Serres’s Théâtre d’agriculture et mesnage des champs...
(b Lacima [now Cima], Lake Lugano, Jan 22, 1669; d Vicenza, Feb 21, 1747).
Italian architect, architectural editor and expositor, landscape designer, draughtsman and cartographer. His work represents the transition from late Venetian Baroque to Neo-classicism, which his studies of Palladio did much to promote in its early stages. His style, however, was never entirely free of the Baroque elements acquired during his formative years.
Muttoni was the son of a builder, and in 1696 he went to work in Vicenza, as members of his family had done since the 16th century, enrolling that year in the stonemasons’ guild. From the beginning of the 18th century he was active as an expert consultant (‘perito’) and cartographer, as is exemplified by the plan of the fortifications of Vicenza that he drew in 1701 for the Venetian government (Vicenza, Archv Stor. Mun.). Throughout his life he continued to undertake various small professional commissions for surveys and on-site studies. His first major commission, however, was the majestic Palazzo Repeta (...