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built facing the view is on the same level as the front door on the other side of the house, which is reached by some gentle steps from the entrance courtyard. But below the loggia there is a considerable drop to the ground, and after a narrow garden terrace, another sharp drop to the next terrace
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on its narrow entablature. The volutes of the Ionic capitals of the entrance facade are repeated in the window surrounds between them: "The canonic orders here begin to be treated visually as independent from their structural purposes, and this liberation offered the architect new expressive
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Hill): "Hinc septem dominos videre montis et totam licet aestimare Romam" ("From this point you can see the seven hills and appreciate Rome in its entirety"). In fact this would be true of a number of points on the hill.
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Romano made the whole building suggest lightness and elegance to exploit the ridge-top position and overcome the rather small Roman footprint. The orders are delicate, with
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215:. Raphael would no doubt have been the architect if he had lived longer, and may have made plans for it before his death. The building repeats many features of the
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below. To the side of the house a larger garden on a flat terrace also gives splendid views; unlike the house itself this is open to the public.
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from there, or very close by, though he slightly adjusted the slopes at the sides to expand what is actually visible from there, as did
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pilasters above, whose presence is mainly conveyed by a different colour. Alternate loggia openings are heightened by arches above the
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294:, which is now inscribed on a tablet in the loggia, describes the view from his house (which in fact seems to have been on the
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Turini was a Papal official (the "datary") who was a close friend of
Raphael, and supervised the building of his tomb in the
278:(1522–23), and they were not completed until he resumed it in 1523. Other parts of the interior decoration, including the
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in the rooms, carried out by
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probably playing a leading part. These had subjects from Roman history designed to appeal to
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The view of the city was one of the most famous, and recorded by many artists.
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reliefs, date from a redecoration at the beginning of the 19th century.
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Hill, which here begins to slope steeply down terraces, and the large
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Portrait of Doña Isabel de
Requesens y Enríquez de Cardona-Anglesola
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Prospetto dell’alma città di Roma visto dal Monte
Gianicolo
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Prospetto dell’alma città di Roma visto dal Monte
Gianicolo
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View of Rome from the Villa Lante on the
Janiculum Hill
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136:(1765) of the view (click for lighter, expanded image).
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Talvacchia, Bette, "Giulio Romano." Grove Art Online,
543:, Oxford University Press, accessed March 30, 2016,
159:Hill (Gianicolo). It is a summer house designed by
234:in pairs on the main floor, and extremely shallow
459:. Strutt and Parker Estate Agents. Archived from
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366:, is thought to be modelled on the Villa Lante.
199:The site is on the edge of the flat top of the
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246:is already in evidence; the Doric here has
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510:: CS1 maint: location missing publisher (
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340:Ippolito Lante Montefeltro della Rovere
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40:Click on the map for a fullscreen view
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338:The villa came into the ownership of
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33:View of Villa Lante, entrance facade
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187:and the Embassy of Finland to the
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733:The Battle of the Milvian Bridge
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649:Portrait of a Young Woman
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457:"Castle Goring - Summary"
84:41.8930944°N 12.4606972°E
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767:Villa Lante al Gianicolo
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149:Villa Lante al Gianicolo
117:The view from the loggia
22:Villa Lante al Gianicolo
837:Rome R. XIII Trastevere
822:Giulio Romano buildings
268:Polidoro da Caravaggio
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89:41.8930944; 12.4606972
678:–1519) (primarily by
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545:subscription required
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105:The loggia side from
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486:Fiori, Nica (1994).
322:(1765) of the view.
258:There are extensive
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326:did a drawing with
177:Republic of Finland
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46:General information
749:Fall of the Giants
725:Madonna of the Cat
308:Grand View of Rome
262:and decoration in
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668:Small Holy Family
541:Oxford Art Online
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427:Book 4, 64, 11-12
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290:One of Martial's
181:Senate Properties
165:Baldassare Turini
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75:12°27′38.51″E
72:41°53′35.14″N
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465:. Retrieved
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775:(1524–1534)
769:(1520–1521)
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728:(1522–1523)
718: 1520
703: 1520
690:(1518–1520)
676: 1518
657: 1518
638: 1518
623: 1518
604: 1514
328:watercolour
240:entablature
87: /
62:Coordinates
816:Categories
741:The Lovers
531:0521624452
480:References
409:Talvacchia
391:Talvacchia
382:Talvacchia
272:Pope Leo X
107:Trastevere
760:Buildings
588:Paintings
506:cite book
418:Hall, 160
400:Hall, 160
330:in 1819.
306:made his
252:triglyphs
232:pilasters
201:Janiculum
157:Janiculum
687:La Perla
640:) (with
490:. Rome.
467:13 March
296:Quirinal
292:Epigrams
189:Holy See
179:through
51:Location
790:Raphael
783:Related
680:Raphael
661:Raphael
642:Raphael
608:Raphael
441:, 1819"
364:England
320:etching
260:frescos
250:but no
173:Martial
169:Raphael
155:on the
134:etching
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494:
360:Sussex
264:stucco
248:guttae
224:Tuscan
205:loggia
370:Notes
236:Ionic
109:below
527:ISBN
523:Rome
512:link
492:ISBN
469:2013
230:and
153:Rome
55:Rome
358:in
314:'s
226:or
128:'s
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