The figure of Melusine, at the 16th century sculpture garden. The Sacro Bosco, colloquially called Park of the Monsters (Parco dei Mostri in Italian), in Bomarzo in the province of Viterbo in northern Lazio, Italy. [5472 x 3648]

The Sacro Bosco colloquially called Park of the Monsters (Parco dei Mostri in Italian), also named Garden of Bomarzo, is a Mannerist monumental complex located in Bomarzo, in the province of Viterbo, in northern Lazio, Italy.

The park’s name stems from the many larger-than-life sculptures, some sculpted in the bedrock, which populate this predominantly barren landscape. It was commissioned by Pier Francesco Orsini, called Vicino, a 16th-century condottiero, and patron of the arts, greatly devoted to his wife Giulia Farnese. When Orsini’s wife died, he had the gardens constructed to cope with his grief.

During the 19th century, and deep into the 20th, the garden became overgrown and neglected, but after the Catalan painter Salvador Dalí made a short movie about the park and completed a painting actually based on the park in the 1950s, the Bettini family implemented a restoration program which lasted throughout the 1970s. Today, the garden, which remains private property, is a major tourist attraction.

The park of Bomarzo was intended not to please, but to astonish, and like many Mannerist works of art, its symbolism is arcane: examples are a large sculpture of one of Hannibal’s war elephants, which mangles a Roman legionary, or the statue of Ceres lounging on the bare ground, with a vase of verdure perched on her head.
The many monstrous statues appear to be unconnected to any rational plan, and appear to have been strewn almost randomly about the area, sol per sfogare il Core (“just to set the heart free”) as one inscription in the obelisks says.

Allusive verses in Italian by Annibal Caro (the first one is of him, in 1564), Bitussi, and Cristoforo Madruzzo, some of them now eroded, were inscribed beside the sculptures.
The reason for the layout and design of the garden is largely unknown; Liane Lefaivre thinks they are illustrations of the romance novel Hypnerotomachia Poliphili. Perhaps they were meant as a foil to the perfect symmetry and layout of the great Renaissance gardens nearby at Villa Farnese, and Villa Lante. Next to a formal exit gate is a tilting watchtower-like casina, the so-called Casa Pendente (“Leaning House”).