greatly annoyed Giorgio Vasari, an admirer of Michelangelo and enemy of Ligorio. The second architect on the project was Giacomo Vignola. Together they accomplished little progress on the church, and were eventually released from their duties under the new pope. Imprisonment Ligorio's employment at the Vatican was briefly interrupted in the summer of 1565 when he was imprisoned for one week. Allegedly, he had committed fraud by stealing building materials during several of his papal architectural projects. He was investigated extensively and had his writings removed. He was released with little incident, aside from having medallions worth six thousand scudi removed from his possession. Accusations like these, however, did not help Ligorio's already controversial fame and earlier allegations of forgery against him. Pope Pius V (1566–1572) Unlike his predecessor, Pius V had little to do with Ligorio; this was mostly due to the two popes' deep-rooted ideological differences. He tasked Ligorio with some minor woodworking and design projects; Ligorio held on to his title of Palace Architect until possibly as late as June 1567. During the final years of his tenure, he actually returned to Ferrara for work. Ferrara Ippolito II d'Este In September 1550, before his employment at the Vatican and during his study of classical antiquity, Ligorio was hired by the Cardinal of Ferrara (Ippolito II d'Este) to accompany him to Tivoli. There, while the Cardinal served as governor, Ligorio managed his antique collection and served as a top advisor. The area was rich with remains of old villas and temples, allowing Ligorio to further his research of Roman antiques and the governor to add to his own personal collection. Villa d'Este Upon arriving to Tivoli, Ippolito II d'Este decided to turn an old monastery into his own luxury villa. Building would be stalled for the majority of the decade due to changes in Ippolito's duties, but fully resumed in 1560. Giovanni Alberto Galvani served as the main architect, but Pirro Ligorio took charge of the villa's extensive and intricate gardens. These gardens included many waterworks and fountains (utilizing Ligorio's knowledge of aqueduct engineering), as well as a collection of ancient sculpture. Ligorio designed both a larger public garden and a smaller private garden. The latter can be accessed directly from the palace, and utilizes shaded walls to maintain a private retreat. As described by David Coffin, Ligorio's most prominent biographer, Ligorio employed three major themes in these