Upon Paul IV's death on 18 August 1559, Pope Pius IV took on the project, which had not yet been completed, and, turning to Pirro Ligorio, improved it. The complex, as it was completed in 1562, comprised an elliptical cortile, two free-standing portals, and the loggia with its fountain. Rich sculptural stuccos, once supplemented by some fifty ancient Roman sculptures, enliven the exterior (illustration).[1] A team of at least six major painters, including Federico Barocci, Federico Zuccari, and Santi di Tito and their assistants, frescoed the interiors.[2]
The Casina's rich and at times obscure iconographic programme, of the efficacy of baptism, the primacy of the papacy and the welcomed punitive powers of the Church,[3] seems to have been inspired by CardinalCharles Borromeo, nephew of Pius IV, who probably had it in mind as the headquarters for the Academy he was about to found, on 20 April 1562, called Accademia Noctes Vaticanae. Graham Smith[2] suggests that the interrelated iconography of the interior frescoes was inspired by Cardinal Marcantonio da Mula.
^They are not just as Pirro Ligorio designed them; Graham Smith, The Casino of Pius IV, Princeton, N.J., Princeton University Press, 1977, documents 17th-century restorations, replacements in 1824 and major renovations in 1931–35.
Losito, Maria (2010). The Casina Pio IV in the Vatican. Translated by Gabriella Clare Marino. Vatican City: Pontificia Academia Scientiarum. ISBN978-88-7761-099-7. OCLC955239788.
Smith, Graham (1977). The Casino of Pius IV. Princeton, N.J.: Princeton University Press. ISBN9780691039152. OCLC983924623.
Partridge, Loren W. (June 1978). "Review: [Untitled]". The Art Bulletin. 60 (2): 369–372. doi:10.2307/3049799. JSTOR3049799. An extended critical review, analyzing the iconographic program in detail.{{cite journal}}: CS1 maint: postscript (link)