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Abstract
The expressive content deduced from the style and form of Vignola's unusual cortile is set within the context of previous circular courtyards. While the meaning shared by all such courtyards dovetails closely with the common concerns of their patrons, the unique features of the Villa Farnese courtyard reveal the special interests of its patron, Cardinal Farnese. Our understanding of his outlook is much enlarged by consideration of the porticoes' decoration and the conceit of the courtyard's central cistern, which suggests phallic and colpic symbolism. The essay demonstrates that the courtyard represents the culmination of the villa's entire decorative program.
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Notes on contributors
Loren Partridge
Loren Partridge has published numerous books and articles (several in collaboration with Randolph Starn) on Italian Renaissance art. He is currently writing a monograph on the Villa Farnese at Caprarola and a general survey of Italian Renaissance art [Department of History of Art, University of California at Berkeley, Berkeley, Calif. 94720-6020].