Behind the pavillion lies the Hortensia Avenue:

The renaissance references ad the inspiration of the Medici villas is strong in this avenue which extends beneath a thick pergola supported by substantial round terracotta columns. A century-old banksiana tree with its clear, scented flowers shades the walk with is bordered by flourishing, colourful hortensia blooms. At the end stands a fine old cast iron well.*

*From the Villa Cimbrone guide leaflet

The Tea-room was constructed as an open pavilion.

In the area before it we can see and old stone well, four beautiful columns from roman times, carved in the middle ages with multiple figures in relief, two elegant bronze deer, a square seat with little columns and a stone seashell with sea monsters. Recent studies date it from XIIth century, probably a holy relic from England (more or less identical Baptism fonts can be found in St. Peter’s Church, Cambridge). The esoteric connotations, much in vogue at the beginning of the last century, are clear, particularly in the choice and layout of the architectural elements. This is another place, conceived as a space to be lived in close harmony with the surrounding nature, which often saw representations of the Bloomsbury Group of rebellious intellectual reunited.*

*From the Villa Cimbrone guide leaflet

Here within an arabesque balustrade, mindful on an old and absolutely English badminton court, in geometric flower beds, from May to October, ancient varieties of beautiful, scented French and English roses flower. In the middle stands a light stone meridian, on the outer edges, four ornamental statues: Flora, goddess of Flowers and Spring, Leda with Swan, and two wrestlers, Damosseno and Greucante.*

Near this last, as a further invitation to rest and meditation, a seat bearing a poetic inscription by the Persian Omar Khayam: “Oh moon of my delight which know sno decline, the moon in the sky is rising once more, thus as it rises again in future, peeping through this very garden, it shall seek us in vain.”*

*From the Villa Cimbrone guide leaflet

The bronze statue of David was produced by the Neapolitan sculpter Gioachino Varles, in imitation of the one by Verrocchio kept at the national museum in Florence.

Situated among holm oaks, alder trees and chestnuts lies a natural cave displaying a statue of Eve.

Eve appears to turn, surprised, while her posture and that shy bringing of the hand to the face, communicate feelings of expectation and uneasiness. The technical skill of the sculptor is clear in the softness of the body, in the smooth, almost translucent surface of the white stone and becomes virtuosity in rendering the single locks of hair which, adorned with flowers, flow voluptuously over her naked shoulders. And the magic is renewed at every glance.*

*From the Villa Cimbrone guide leaflet

The Temple of Bacchus is supported by eight Doric columns:

On the decorated traveation we can read the following inscription by Catallus: “Oquid solutes est beatius curis mens onus reponit ac peregrine labore fessi venimus larem ad nostrum desiteratosque acquiescimus lecto” (what is finer than, when work is done, with a mind free of every worry and tired from the effort on behalf of others, than when we return to our homes and lie down to rest on the bed we so desired).*

In the centre, on a pedestal, there is a fine bronze statue; liberating and proprietary music and dance, with a Satyr supporting Bacchus with his inevitable bunches of grapes. Highly figurative the temple was probably conceived by Lord Grimthorpe as the place where his memory could be preserved. His ashes, upon his express wishes, were buried at the foot of the pedestal.*

*From the Villa Cimbrone guide leaflet

We proceed on our visit with our hearts full of joy and our spirits refreshed, down a steep lane which leads us to the Seat of Mercury, winged messenger to the gods, where we find a XVIIIth century bronze copy of “Hermes at rest”, a statue from the old school of Lisippo on display at the national museum in Naples.”*

To one side, as an invitation to pause, in the shade of an oak tree, Mercury’s Seat, with an inscription in English on the parapet erroneously attributed to the writer and poet D. H. Lawrence who found such inspiration here for his works, while we know today that the quotation is from Catullus: “Lost to the world of which I desire no part, I sit alone and speak to my heart, satisfied with my little corner of the world, content to feel no more sadness for death.*

*From the Villa Cimbrone guide leaflet

From “a Course of Miracles”

The spectacle which thus splendid, incomparable natural balcony, adorned with eighteenth century marble busts opens before the incredulous eyes of visitors truly comprehends something infinite but, any adjective to try and somehow describe this miracle of nature is ineffective. Casting your eyes down as far as the mountains of Cilento and the tip of Licosa, over this sparkling sea, over the varied and multi-coloured Coast of Amalfi with its lemon groves, the little houses clinging to the hills, dazed by the scent of fruit and furze, the passing of time does not matter to us, bewitched by such beauty, such Divine generosity.*

*From the Villa Cimbrone guide leaflet

At the end of the picturesque terrace stands the Temple of Ceres, goddess of the Harvests. The pavilion marks the entrance to the Terrace of Infinity. On account of its location the Terrace of Infinity has earned the title of ‘the Doorway of the Sun’.*

You will have to wait until my next post for my views of the Terrace of Infinity.

*From the Villa Cimbrone guide leaflet