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1. The Casino di Belvedere is a 15th century building located at a high point of the Vatican hill about 300 meters (about 1000 feet) from the papal palace, overlooking the plain of Prati di Castello from which lower vantage point Vasi provideds a second view of the Belvidere which can be seen in his print of the Porta Angelica, Plate 19 silhouetted against the sky with an impressive sunset.
2. Il Belvedere di Innocenzo VIII in Vaticano nei disegni del corpus londinese K 75 1-3, in «Quaderni dell’Istituto di Storia dell’Architettura», n.s., 54, 2010 (2011), pp.

The Casina Pio IV (or Villa Pia) is a patrician villa in Vatican City which is now home to the Pontifical Academy of Sciences, the Pontifical Academy of Social Sciences and the Pontifical Academy of St. Thomas Aquinas. The predecessor of the present complex structure was begun in the spring of 1558 by Pope Paul IV in the Vatican Gardens, west of the Cortile del Belvedere. Paul IV commissioned the initial project of the 'Casina del Boschetto', as it was originally called, from an unknown architect; the first mention of the single-storey building can be found on 30 April 1558, and a notice of the following 6 May, says that the Pope spent 'two thirds of his time at the Belvedere, where he has begun to build a fountain in the woods'.

Upon Paul IV's death on 18 August 1559, Pope Pius IV took on the project, which had not yet been completed, and, turning to Pirro Ligorio, improved it. The complex, as it was completed in 1562, comprised an elliptical cortile, two free-standing portals, and the loggia with its fountain. Rich sculptural stuccos, once supplemented by some fifty ancient Roman sculptures, enliven the exterior (illustration).^[1] A team of at least six major painters, including Federico Barocci, Federico Zuccari, and Santi di Tito and their assistants, frescoed the interiors.^[2]

The Casina's rich and at times obscure iconographic programme, of the efficacy of baptism, the primacy of the papacy and the welcomed punitive powers of the Church,^[3] seems to have been inspired by CardinalCharles Borromeo, nephew of Pius IV, who probably had it in mind as the headquarters for the Academy he was about to found, on 20 April 1562, called Accademia Noctes Vaticanae. Graham Smith^[2] suggests that the interrelated iconography of the interior frescoes was inspired by Cardinal Marcantonio da Mula.

Pope Pius XI, the founder of the current Pontifical Academy of Sciences, made the Casina the Academy's current headquarters in 1936.

See also[edit]

Citations[edit]

1. ^They are not just as Pirro Ligorio designed them; Graham Smith, The Casino of Pius IV, Princeton, N.J., Princeton University Press, 1977, documents 17th-century restorations, replacements in 1824 and major renovations in 1931–35.
2. ^ ^abSmith 1977.
3. ^As examined by Smith 1977.

General references[edit]

• Friedländer, Walter (1912). Das Kasino Pius des Vierten. Kunstgeschichtlichen forschungen, 3. Leipzig: Karl W. Hierseman. OCLC803230407. The first modern monograph based on documentation.
• Losito, Maria (2010). The Casina Pio IV in the Vatican. Translated by Gabriella Clare Marino. Vatican City: Pontificia Academia Scientiarum. ISBN978-88-7761-099-7. OCLC955239788.
• Smith, Graham (1977). The Casino of Pius IV. Princeton, N.J.: Princeton University Press. ISBN9780691039152. OCLC983924623.
  • Partridge, Loren W. (June 1978). 'Review: [Untitled]'. The Art Bulletin. 60 (2): 369–372. doi:10.2307/3049799. JSTOR3049799. An extended critical review, analyzing the iconographic program in detail.

External links[edit]

• Media related to Casino di Pio IV at Wikimedia Commons

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The Cortile del Belvedere (Belvedere Courtyard or Belvedere Court) was a major architectural work of the High Renaissance at the Vatican Palace in Rome. Designed by Donato Bramante from 1505 onward, its concept and details reverberated in courtyard design, formalized piazzas and garden plans throughout Western Europe for centuries.^{[citation needed]} Conceived as a single enclosed space, the long Belvedere court connected the Vatican Palace with the Villa Belvedere in a series of terraces connected by stairs, and was contained on its sides by narrow wings.

Bramante did not see the work completed, and before the end of the sixteenth century it had been irretrievably altered by a building across the court, dividing it into two separate courtyards.

Early history and Bramante's design[edit]

Innocent VIII began construction of the Villa Belvedere on the high ground overlooking old St Peter's Basilica, in 1484. Here, where the breezes could tame the Roman summer, he had the Florentine architect Antonio Pollaiuolo, design and complete by 1487 a little summerhouse, which also had views to the east of central Rome and north to the pastures beyond the Castel Sant'Angelo (the Prati di Castello). This villa suburbana was the first pleasure house to be built in Rome since Antiquity.^[1]

When Pope Julius II came to the throne in 1503, he moved his growing collection of Roman sculpture here, to an enclosed courtyard within the Villa Belvedere itself. Soon after its discovery, Julius purchased the ancient sculpture of Laocoön and His Sons and brought it here by 1506. A short time later, the statue of Apollo became part of the collection, henceforth to be known as the Apollo Belvedere, as did the heroic male torso known as the Belvedere Torso.

Julius commissioned Bramante to link the Vatican Palace with the Villa Belvedere. Bramante's design is commemorated in a fresco at the Castel Sant'Angelo; he regularized the slope as a set of terraces, linked by rigorously symmetrical stairs on the central longitudinal axis, to create a sequence of formal spaces that was unparalleled in Europe, both in its scale and in its architectural unity.^{[citation needed]}

A series of six narrow terraces at the base was traversed by a monumental central stair leading to the wide middle terrace.^[2] The divided stair to the uppermost terrace, with flights running on either side against the retaining wall to a landing and returning towards the center, was another innovation by Bramante. His long corridor-like wings that enclose the Cortile now house the Vatican Museums collections. One of the wings accommodated the Vatican Library. The wings have three storeys in the lower court and end in a single one enclosing the uppermost terrace.

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The whole visual scenography culminated in the semicircular exedra at the Villa Belvedere end of the court. This was set into a screening wall devised by Bramante to disguise the fact the villa facade was not parallel to the facing Vatican Palace facade at the other end. The entire perpectivised ensemble was designed to be best seen from Raphael's Stanze in the papal apartments of the palace.^[3]

Subsequent history[edit]

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Shortly after, the court was home to the papal menagerie. It was on the lower part of the courtyard that Pope Leo X would parade his prized elephant Hanno for adoring crowds to see. Because of the pachyderm's glorious history he was buried in the Cortile del Belvedere.^[4]

The court was incomplete when Bramante died in 1514. It was finished by Pirro Ligorio for Pius IV in 1562–65. To the great open-headed exedra at the end of the uppermost terrace, Ligorio added a third story, enclosing the central space with a vast half-dome to form the largest niche that had been erected since antiquity— the nicchione ('great niche') visible today from several elevated outlooks around Rome (illustration). He completed his structure with an uppermost loggia that repeated the hemicycle of the niche and took its cue from scholarly reconstructions of the ancient sanctuary dedicated to Fortuna Primigenia at Praeneste, south of Rome.

The lowest, and largest level of the court was not planted. It was cobbled and paved with a saltire of stones laid corner to corner and had semi-permanent bleachers set against the Vatican walls to serve for outdoor entertainments, pageants and carousels such as the festive early-17th-century joust depicted in a painting in Museo di Roma, Palazzo Braschi. The upper two levels were laid out with of patterned parterres that the Italians referred to as compartimenti, set in wide graveled walkways. The four sections (now grassed) of the upper courtyard have the same pattern that appears in 16th-century engravings.

Sixtus V spoiled the unity of the Cortile (1585–90) by erecting a wing of the Vatican Library, which occupies the former middle terrace and bisects the space. James Ackerman has suggested that the move was a conscious one, designed to screen the secular, even pagan nature of the Cortile and the collection of sculptures that Pope Adrian VI had referred to as 'idols'. Today the lowest terrace is still called the Cortile del Belvedere, but the separated upper terrace is called the Cortile della Pigna after the Pigna, a large bronze pinecone, mounted in the niccione, likely to have been the finial of Hadrian's tomb or, as supposed in the Middle Ages, to mark the turning point for chariots in the hippodrome where many Christians were martyred.^[5]

In 1990, a sculpture of two concentric spheres by Arnaldo Pomodoro was placed in the middle of the upper courtyard.^[6]

See also[edit]

Notes[edit]

1. ^Ackermann, James S. (1951). 'The Belvedere as a Classical Villa'. Journal of the Warburg and Courtauld Institutes. yumpu.com. 14: 70–71. doi:10.2307/750353. Retrieved 2014-01-24.
2. ^The middle terrace was obliterated by the cross wing of Sixtus V in 1589.
3. ^This view exaggerated in the engraving (illustration, above right) made to commemorate the festive carousel celebrating the marriage of one of Pius IV's nephews in 1565. The illustration reverses the drawing it was made from: the court where the sculptures were displayed appears in the engraving at upper left instead of upper right.
4. ^Bedini, Silvio (2000). The Pope's Elephant. Penguin Books. pp. 143–144. ISBN978-0140288629. Retrieved 2014-01-24.
5. ^Kenneth Clark, Civilization, Harper & Row, 1969. p. 117.
6. ^'Vatican Courtyards'. Vatican City State. Retrieved 2014-01-24.

References[edit]

• James Ackerman, 1954. The Cortile del Belvedere (Vatican City: Biblioteca aspostolica vaticana) OCLC2786997.
• Roberto Piperno, 'Giardino e Casino Pontificio del Belvedere': the Cortile as seen by Giuseppe Vasi
• Hans Henrik Brummer, 1970. 'The Statue Court in the Vatican Belvedere' (Stockholm: Almqvist & Wiksell)
• Lowry, Bates (1957). '[Review of] James S. Ackerman, The Cortile del Belvedere,' The Art Bulletin, vol. 39, no. 2 (June), pp. 159–168. JSTOR3047705.
• Matthias Winner, 1998. 'Il Cortile delle Statue : Akten des Internationalen Kongresses zu Ehren von Richard Krautheimer' (Mainz : Von Zabern)

Further reading[edit]

• Piana, Marco (2019). 'Gods in the Garden: Visions of the Pagan Other in the Rome of Julius II'. Journal of Religion in Europe. 12 (3): 285–309. doi:10.1163/18748929-01203003.

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