ABSTRACT
Charles V’s own knowledge of new designs being employed in contemporary Italian palatial architecture, based on his trips throughout the Italian peninsula, undoubtedly influenced his resolve to renovate ancient Castilian royal residences. The association of ambitious works of Italian provenance was visually fixed in Vista de los jardines de la Casa de Campo con la estatua de Felipe III, which belongs to the Museo Nacional del Prado. In the case of Sormano, it should be kept in mind that he would have had to do it before 1575, which seems too early a date, and does not coincide with the creation of the piping. Subsequent investigations, which brought to light new documentary data about the works in the Casa de Campo, such as the arrival of pieces of Italian marble destined for the decoration of this recreational villa, contributed to the diffusion of the attribution to Sormano.
