INTROnUCTOR 1 ’. 
No art ever flies 
direct to its imagined 
goal. The Italian dream 
of the ideal garden was 
heavily weighted by the 
mass and profusion of 
the salvage of antiquity. 
Raphael even was de- 
flected from his school 
of painting to the cares 
and pursuits of a director 
of excavations. We cannot 
understand Italian villas 
and gardens unless we 
realise that the museum 
had yet to be disengaged 
from the lordly pleasure 
house. Whether architect 
or sculptor, the artist 
had perforce one eye and hand on the antique and the other on his own new creation, and 
this duality of interest is a great condition ot the work of the time. Vignola owed 
his start and development as an architect to investigations undertaken by a learned 
circle of Vitruvian commentators, for whom he acted as draughtsman Palladio’s 
measured examples of antiquity amount to a century of plates in one book alone. Pirro 
Ligorio was great in the special branch of ancient domestic architecture, and his conception 
4. — GARDEN PICTURE .VI' THE VILLA DI PAPA GIULIO. 
