Latin poems by Egidio Gallo and Blosio Palladio, set within a cluster of other verses, literary allusions and archival documents, let us grasp what might have been seen before the villa was complete, and how Chigi’s circle imagined his projected works. Using lost material brought to light in Chapter 3, plus legal records, visitors’ accounts of the building, overlooked details from sixteenth-century views of Rome, and neglected evidence still on the grounds, this chapter will correlate extant remains and poetic tributes, building an extensive picture of the estate as a multiplicity of buildings integrated into the landscape garden. Common themes unite painting, sculpture, architecture and topography. I recognise literary conventions and hyperboles, but I also argue for considerable insight and visual acuity in these authors; Blosio was so impressed that he later asked Peruzzi to design his own town house and the gardens of his ambitious villa, where he commissioned frescoes that echo the exterior paintings of the Farnesina – some of them still in situ (Figs. 4.1, 4.2).