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Expatriate Gardens in Tuscany: Planting Ideas of Nationality

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Expatriate Gardens in Tuscany: Planting Ideas of Nationality Expatriate Gardens in Tuscany: Planting Ideas of Nationality Jessica Brown B.A. in Art and Design Columbia College Chicago, 2013 Thesis Committee: Michael Lee Lisa Reilly Anatole Tchikine A Thesis Presented to the Faculty Of the Department of Architectural History In the School of Architecture At the University of Virginia In Partial Fulfillment of the Requirement for the Degree Master of Architectural History December 2017 2 Expatriate Gardens in Tuscany: Planting Ideas of Nationality An Evaluation of Three Gardens in the Anglo-American Creation of a Renaissance-Defined Nation 3 Contents Acknowledgements 4 List of Illustrations 5 1 Introduction 8 2 Villa Gamberaia 17 3 Villa I Tatti 26 4 La Foce 33 5 Conclusion 45 Bibliography 49 Illustrations 54 4 Acknowledgments First, I would like to thank my thesis committee for their guidance, support, and patience. To Michael Lee, for heading the charge and to whom I owe the due credit of bringing me fully into the landscape world; Lisa Reilly for keeping me grounded and hammering home the details; and Anatole Tchikine, for lending his landscape passion and archival investigation skills. These three made the entire process possible, graciously giving of their time and efforts to help me succeed, and for a prolonged period than originally planned. My eternal gratitude for their flexibility and willingness to continue the journey with me even when on sabbatical. A good thesis is nothing without research, and for that, I thank Rebecca Cooper Coleman and her invaluable library assistance and sanity maintenance. Without my academic family, and the support of my family at home, this would never have happened. There is a vary special thank you I hold in my heart for my mother, for always supporting my dreams. Even when she was sick, she wanted to make sure that I was giving school my all. I could not have made her proud without all of the help I received from my thesis committee and School of Architecture family. Thank you. 5 List of Illustrations 1. Villa di Gamberaia del Sig.r Marchese Scipione Capponi. Giuseppe Zocchi,. Vedute Delle Ville Della Toscana. Roma: D. Audino, 1744. 74. 2. Villa Gamberaia, Edward Lawson, c. 1917. James O’Day. Edward Godfrey Lawson: Continuum of Classicism, 2013. 22. 3. View of the villa from the water parterre, Nelly Erichsen, 1901. Osmond, Patricia J. Revisiting The Gamberaia. 2nd edition. Centro Di, 2014. 4. Western Garden from the Villa Balcony, Charles Latham, 1905. Patricia J. Osmond,. Revisiting The Gamberaia. 2nd edition. Centro Di, 2014. 5. General View from the Casino, H. Inigo Triggs and Aubrey Le Blond, 1906. Patricia J. Osmond. Revisiting The Gamberaia. 2nd edition. Centro Di, 2014. 6. The Bowling Alley, A Zielcke, 1973. Patricia J. Osmond. Revisiting The Gamberaia. 2nd edition. Centro Di, 2014. 7. The Bowling Green, Villa Gamberaia. Photo taken by author. 2016. 8. Princess Ghyka at Gamberaia. Patricia J. Osmond. Revisiting The Gamberaia. 2nd edition. Centro Di, 2014. 9. General View, Balthazar Korab, 1971. Patricia J. Osmond. Revisiting The Gamberaia. 2nd edition. Centro Di, 2014. 10. View towards the Casino, Villa Gamberaia. Photo taken by author. 2016. 11. Detail of the parterre garden, Villa Gamberaia. Photo taken by author. 2016. 12. Bernard and Mary Berenson in the garden at I Tatti, 1922. Ethne Clarke. An Infinity of Graces: Cecil Ross Pinsent, an English Architect in the Italian Landscape. 1st ed. New York: W. W. Norton, c2013. 58. 13. Sketch of the formal garden, Mary Berenson, 1911. Ethne Clarke. An Infinity of Graces: Cecil Ross Pinsent, an English Architect in the Italian Landscape. 1st ed. New York: W. W. Norton, c2013. 69. 14. View of the terraced garden, Villa I Tatti. Photo taken by author. 2016. 15. Statue in the garden, Villa I Tatti. Photo taken by author. 2016. 16. Double Staircase, Villa I Tatti. Photo taken by author. 2016. 6 17. Pensile garden detail, Ethne Clarke, 2013. Ethne Clarke. An Infinity of Graces: Cecil Ross Pinsent, an English Architect in the Italian Landscape. 1st ed. New York: W. W. Norton, c2013. 121. 18. Terraced garden detail, Villa I Tatti. Photo taken by author. 2016. 19. View from the bottom of the terraced garden, Villa I Tatti. Photo taken by author. 2016. 20. View of the terraced garden, Villa I Tatti. Photo taken by author. 2016. 21. Reflecting Pool, Villa I Tatti. Photo taken by author. 2016. 22. Lower garden, Villa I Tatti. Photo taken by author. 2016. 23. Hedges, Villa I Tatti. Photo taken by author. 2016. 24. Antonio and Iris Origo, Cecil Pinsent, c. 1923-31. Ethne Clarke. An Infinity of Graces: Cecil Ross Pinsent, an English Architect in the Italian Landscape. 1st ed. New York: W. W. Norton, c2013. 139. 25. The trebbiatura (threshing), Antonio Origo. Iris Origo. Images and Shadows: Part of a Life. 1st American ed. New York: Harcourt Brace Jovanovich, 1971. 26. Long-horned maremmani oxen reaping wheat, Antonio Origo. Benedetta Origo, ed. La Foce: A Garden and Landscape in Tuscany. Penn Studies in Landscape Architecture. Philadelphia: University of Pennsylvania Press, 2001. 28. 27. Building retaining dams to prevent erosion. Benedetta Origo, ed. La Foce: A Garden and Landscape in Tuscany. Penn Studies in Landscape Architecture. Philadelphia: University of Pennsylvania Press, 2001. 25. 28. La Foce aerial view. “La Foce.” Accessed December 7, 2017. https://www.lafoce.com/en/. 29. Lavender Border, Morna Livingston, 1997-99. Benedetta Origo, ed. La Foce: A Garden and Landscape in Tuscany. Penn Studies in Landscape Architecture. Philadelphia: University of Pennsylvania Press, 2001. 123. 30. Antonio and Iris Origo among the flower beds in the lower garden, 1935. Ethne Clarke. An Infinity of Graces: Cecil Ross Pinsent, an English Architect in the Italian Landscape. 1st ed. New York: W. W. Norton, c2013. 141. 31. Formal garden set against the crags of the Val d’Orcia, Ethne Clarke. An Infinity of Graces: Cecil Ross Pinsent, an English Architect in the Italian Landscape. 1st ed. New York: W. W. Norton, c2013. 146. 7 32. Wisteria Arbor, Morna Livingston, 1997-99. Benedetta Origo, ed. La Foce: A Garden and Landscape in Tuscany. Penn Studies in Landscape Architecture. Philadelphia: University of Pennsylvania Press, 2001. 82. 33. The Garden. Iris Origo. Images and Shadows: Part of a Life. 1st American ed. New York: Harcourt Brace Jovanovich, 1971. 34. Monte Amiata and the Garden at Sunset in June, Morna Livingston, 1997-99. Benedetta Origo, ed. La Foce: A Garden and Landscape in Tuscany. Penn Studies in Landscape Architecture. Philadelphia: University of Pennsylvania Press, 2001. 72. 35. The Garden from Iris’ Study in Late Afternoon, Morna Livingston, 1997-99. Benedetta Origo, ed. La Foce: A Garden and Landscape in Tuscany. Penn Studies in Landscape Architecture. Philadelphia: University of Pennsylvania Press, 2001. 91. 36. The House. Iris Origo. Images and Shadows: Part of a Life. 1st American ed. New York: Harcourt Brace Jovanovich, 1971. 37. Paths and lawns edged with narrow floral ribbons, 1935. Ethne Clarke. An Infinity of Graces: Cecil Ross Pinsent, an English Architect in the Italian Landscape. 1st ed. New York: W. W. Norton, c2013. 146. 38. Dolphin Fountain at Sunset, Morna Livingston, 1997-99. Benedetta Origo, ed. La Foce: A Garden and Landscape in Tuscany. Penn Studies in Landscape Architecture. Philadelphia: University of Pennsylvania Press, 2001. 76. 39. Grotto in the Lower Garden, Morna Livingston, 1997-99. Benedetta Origo, ed. La Foce: A Garden and Landscape in Tuscany. Penn Studies in Landscape Architecture. Philadelphia: University of Pennsylvania Press, 2001. 109. 40. Switchback Road. “La Foce.” Accessed December 7, 2017. https://www.lafoce.com/en/. 8 Introduction The Italian villa is no stranger to the world of literature, thanks greatly to its continued appeal to the literate elite of the ages. Indeed, from their origins to the Grand Tour, the villa proves resilient as both a social and literary topic. In the early twentieth- century, Tuscany is in the spotlight with an overwhelming presence in both the social scene and the body of publications and writings coming from its own hills. Over the previous few decades, villas in and around Florence were receiving new life thanks to the inpouring of wealthy Anglo-Americans. Growing fascination with garden studies at the turn of the century coincided with that arrival of numerous foreign writers, artists, diplomats, and intellectuals to Florence and its surrounding country. While the early patrons made some renovations, the defining of what should be considered as Italian villas and gardens began in rural Tuscany at the cusp of the century. At Villas Gamberaia, I Tatti, and La Foce, the patrons combined their own mixed lineage and upbringings with their perceived ideals of the Italian Renaissance, making a visible display of the confluence. Viewed together, they create the timeline of power given to formal gardens to express and influence the understanding and defining of Italy by foreign expatriate elites. Anglo-Americans peppered themselves across the hills: At Maiano, English writer Vernon Lee (pseudonym of Violet Paget 1856-1935) at Il Palmerino; Janet Ross (1842- 1927) and her husband at Poggio Gherardo, not far from Bernard (1865-1959) and Mary (1864-1945) Berenson, the couple making I Tatti the home of a great library and collection of Renaissance art; Lady Sybil Cutting (1879-1943) at the Villa Medici in Fiesole; Charles Augustus Strong (1862-1940) building Le Balze; and Arthur Acton 9 (1873-1953) with his American-born wife, Hortense Mitchell (1871-1962) taking on the Capponi villa of La Pietra. Many of these new expatriate patrons took an active role in restoring and renovating their properties. Often they called on each other, exchanging advice and gossip about architecture, gardening, architects, gardeners, and their neighbor’s villas and gardens.
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