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Abstract The architectural character of Gamberaia and its garden during the seventeenth and the eighteenth centuries is inseparable from the vicissitudes of three Florentine families: the Lapi, the Cerretani and the Capponi (figures 1&3)1 Within Florentine society, as it had been reshaped by the...
Abstract Within the framework of a new and systematic research carnpaign on villas and gardens in Tuscany and Latium, the personality of the original patron of the Villa Gamberaia, Zanobi Lapi, whose nephews Andrea and Jacopo succeeded as owners upon his death in 1619, has been recently...
Abstract Attention to the seasons is common to villas and villa gardens from ancient Roman times to the present day — from the seasonal dining rooms recommended by Vitruvius1 to our own use of water and dense vegetation to create cool spaces for sunnner repose. In the Renaissance and Baroque...
Abstract What was the appearance of the Gamberaia at the time of the Lapi (1610–1718)?1 How were the spaces and sites it comprises organized, and what were the architectural components of a villa that, from the mid-eighteenth century, came to be celebrated as one of the most important in the...
Abstract Two entries under the heading ‘Ariel’ in the taccuino or notebook of Gabriele D'Annunzio dated 27 and 28 April 1896 describe what were probably the poet's first visits to the Gamberaia and the thoughts, images and sensations elicited by this very personal experience.1 Some two years...
Abstract The garden of Villa Gamberaia occupies a prominent place in the early twentieth-century historiography of Italian gardens, such that it even challenges the primacy of what Sir George Sitwell called the sacred triad of Villa d'Este, Villa Lante and the Giardino Giusti at Verona.1 As...
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