Hercules in the Garden: Gender, Affect, and Impact at the Villa d’Este in Tivoli
Date
2022-08
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Abstract
Cardinal Ippolito II d’Este’s (1509-1572) display of Hercules statues in the gardens of his Villa d’Este presents a visual and affective form of gender performance and gender roles. However, this display of gender differs from other estates in the Renaissance as freedoms and fluidity for audiences occur due to Ippolito’s relationship and views on society and life. Here men could embody elements of femininity. The visibility of sexual freedoms and tolerance is present through Ippolito’s embrace of Hercules in his fluid totality. These observations deviate from current scholarly analyses on the reception of Hercules by viewing him as an affective vessel that portrays gender and sexual liminality to visitors of the garden—increasing tolerance and expanding one's understanding of the relationship between virtue and vice. These liminal elements in the garden are visible through two principal Hercules statues, the Reclining Hercules and the Lionskin-clad Hercules. Using a case study approach allows for the examination of nuanced tolerances and freedoms through the theoretical lens of gender and affect theory. Here, the select appropriation of classical culture and mythology, chosen by Ippolito’s upbringing, education, personal propaganda, and artistic ideologies, showcases the gender and sexual mentalities from the past reshaped and transported to the Villa d’Este through art. Further, since Ippolito differed from his contemporaries due to his holdover of pre-Counter-Reformation mentalities (lavish opulence and power inherent to a “Cardinal Prince”), presents the foundation for his artistic expression in the Villa d’Este. This foundation showcases that Ippolito’s deviations from normative gender and sexual ideals were true to his character and complement his appreciation for classical antiquity. Additional to the Herculean statues, the garden provides the pivotal context for Hercules as a liminal hero as the garden is a liminal space—wherein gender and sexuality likewise gain a degree of liminality. The two second-century Herculean statues present an ideal example of how classical culture affected audiences and allowed the moods and emotions created by the garden to interject into guests' minds. In turn, the garden space privileged the wealthy elite to engage with morphed gender and sexual ideals presented by Ippolito.
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Keywords
Hercules, Tivoli, Ippolito d'Este, Gardens, Renaissance, Ippolito d'Este's Villa d'Este, Italy, The Villa d'Este, Herculean statues, Hercules in a garden, Gender, Gender performance, Gender theory, Affect, Affect theory, Reception studies, Renaissance gardens, Cardinal Ippolito d'Este
Citation
Eveleigh, C. (2022). Hercules in the garden: gender, affect, and impact at the Villa d’Este in Tivoli (Master's thesis, University of Calgary, Calgary, Canada). Retrieved from https://prism.ucalgary.ca.