![]() ![]() Prosperity of manorial culture in 18th century created prerequisites for the powerful development of manor centres. With its embellished exterior, the aviary was brought into foreground of the garden as an iconic feature of the patron’s self-representation. From around 1600, aviaries began to invade the realm of high design, and the most prominent architects of the time came to be involved in their planning and execution. It is from the turn of the seventeenth century that a radical change is observed in its architectural form. In the mid-sixteenth century, the aviary was still a rustic structure with more emphasis on the utilitarian than the aesthetic, and not much attention was paid to the ornamental aspect of its exterior appearance. Investigation into the origins of the Farnese aviaries’ architectural form reveals the genealogy of their design – a combination of a cubic block with an ogival roof, the former derived from the classical tradition and the latter from the Levant, highlighting the merging of the classical tradition and the influence of Ottoman culture in the architecture of Baroque Rome. This paper investigates the architecture of the aviary, an important component of early modern villas and gardens in Italy. “The Twin Aviary Pavilions of the Farnese Gardens on the Palatine: Roman Antiquity, the Levant, and the Architecture of Garden Pavilions.” Memoirs of the American Academy in Rome vol. Finally, the retrospective claims made on behalf of Kent, who actually left very little indication of his design thinking, are addressed. These are followed by Kent’s appreciation of parkland scenery, because he moved on from working ‘without line and level’ in the early 1730s to enhancing the sensual experience of the wider landscape in the 1740s. The themes examined are maxims concerning prospects and garden layout, Antique gardens, the rhetoric of the Rural, and history painting and theatre scenery in the design of gardens. ![]() This article looks at Kent instead from the standpoint of earlier and contemporary practice both in the formal garden tradition and at Chiswick House. They often look back at him from his later reputation. Conscious of greatness having been thrust upon William Kent by Horace Walpole and his generation, twentieth-century historians have pored over Kent’s own drawings and searched into the literature of the time – principally Alexander Pope’s poems, Joseph Spence’s anecdotes on painting, and Horace Walpole’s ‘On Modern Gardening’ – for the reasons why.
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