Villa Medici

About

The Medici Villa of Poggio a Caiano, also called Ambra, is one of the most famous Medici villas and is located in Poggio a Caiano (Prato). Today it is state owned and it houses two museums: one of the historic apartments (ground floor and first floor) and the Museum of Still Life (second floor). The villa is perhaps the best example of architecture commissioned by Lorenzo il Magnifico, in this case to Giuliano da Sangallo towards 1480. It is no coincidence that this is a private building, where there are elements that later modeled for the future developments of the type of villas: internal and external penetration through filters such as loggias, symmetrical distribution of environments around a central salon ("Centrifugal" space), dominant position in the landscape, conscious recovery of classical architectural elements (such as the barrel vault and the ionic temple façade).

The villa is located in the middle of a hilltop, the last offshoot of the Montalbano mountains, in a strategic position, lying on the promontory towards the Ombrone river and the plain and dominating the road between Florence and Pistoia, which overwhelms the small heights here.

It was built by Lorenzo de' Medici after buying a rustic farm from Giovanni di Paolo Rucellai, who in turn had bought what was then a simple fortress from Palla Strozzi, built by the [Cancellieri family of Pistoia at the beginning of the fifteenth century.

After a period of intensive land acquisition by the Medici family, in the area of Poggio a Caiano and also on the other bank of the Ombrone river, at Tavola, between 1470 and 1474, Lorenzo commissioned Giuliano da Sangallo to build a villa that became the prototype of the country's noble residences in the following centuries. In fact, Lorenzo, through his favorite architect, was among the first to conceive of an agrarian space in which the territory was ordered and shaped according to the requirements of harmony. [ citation needed ] At that time it began to set the idea of the villa-fortress (like the Villa Medici at Careggi, more like a castle made only thirty years ago by Michelozzo for Cosimo the Elder, the grandfather of Lorenzo). This new aptitude was due to political issues, thanks to the period of peace and stability reached by Lorenzo's politics, and philosophical, according to the humanists.

Among the innovations of the era, the porch was placed on the ground floor (almost an interconnected area between the surrounding landscape and the villa), the classic porch and pediment on the piano nobile and the lack of a central courtyard. Gradually the villa was enriched with works in a 'continuum' between architecture, painting and sculpture. The fresco of Filippino Lippi dates back to the period under the loggia on the first floor and perhaps the glazed majolica pediment attributed to Andrea Sansovino (some historians refer to a second phase of construction).

Giuliano da Sangallo designed another building within the estate: It is a square and bastioned structure at the central court, called "Cascine" located on the other shore of the Umbrella and which, as a center of agricultural activity, built before the villa, was its ideal counterweight in the overall territorial design. [ citation needed ]

At the death of Lorenzo in 1492 the work at the villa was still largely unfinished and was halted between 1495 and 1513 because of the exile of the Medici from Florence. The villa was complete only for a third, the base (Ttura) with the already complete porch and the floor planks on the first floor of the vault covering the central salon.

Between 1513 and 1520, after the return of the Medici, the works were completed on the initiative of the son of Lorenzo the Magnificent, Giovanni, who had in the meantime became Pope Leo X. Giuliano da Sangallo, now an old man, was able to follow the work only occasionally and until 1516, the year of his death. However, the works continued according to his plan, probably also documented by a wooden model. The vault of the central hall on the first floor was made with the papal coat of arms (which was then referred to as Leo X's Lion ), under the direction of Andrea di Cosimo Feltrini and Franciabigio. From the beginning, the large barrel vault had caused concern to the buyers, who feared a collapse. This fear was allayed by Sebastiano Ximenes because of the work on his own Palazzo Ximenes da Sangallo in Florence.

Already in Leo X's day, the frescoes of the salon were started by the greatest Florentine masters of the time: Pontormo, Andrea del Sarto and Franciabigio himself. The paintings were completed some fifty years later by Alessandro Allori, with a rethinking of the original project in a more monumental key, giving more space to the figures than to painted architectures.

The villa was the place where foreign brides of the family members in Florence were welcomed. Here, among other events, were the weddings of Alessandro de' Medici and Margaret of Austria (1536), between Cosimo I and Eleanor of Toledo (1539), Francesco I and Bianca Cappello, already his lover (1579). Bianca and Francesco also found death in this villa, for causes not fully clarified and suspected of poisoning.

In 1661 Marguerite Louise d'Orléans, cousin of Louis XIV and wife of Cosimo III came to Florence. The princess, profoundly different from Cosimo's dark and ultra-religious character, and at odds with the Grand Duke's mother Vittoria della Rovere, was never happy in her marriage or in Tuscany. She wanted to return to France, and after years of strife went to live at Poggio a Caiano in 1672 or 1673, under guard to prevent her leaving for France. In order to alleviate the "captivity", in addition to the follow-up of some 150 people, Cosimo III built the theater on the ground floor. Marguerite Louise lived at the villa before returning permanently to France in 1675.

There were often comedies in the theatrical theater and here he had assembled a unique collection called the Cabinet of Works in Small of All The Most Famous Painters. It was a picture gallery set in a single room of the villa, which contained 174 paintings of as many different painters, the largest of which measured 100x75 cm, and which included works by some of the most important artists, Dürer, Leonardo da Vinci, Raphael, Rubens and so on. Today it is no longer present, because it was dispersed in 1773 by Leopold I. The Cabinet Room was frescoed by Sebastiano Ricci with an Allegory of the Arts, but this work has also been lost in subsequent renovations. The monumental organ of the Roman Lorenzo Testa (1703), already in Palazzo Pitti and today in the theater, is the result of Ferdinando de' Medici, Grand Prince of Tuscany 's deep interest in music.

The necessary maintenance work and periodic restoration were carried out, though, according to their economic strategy, they intended to resize their landholdings: they began to no longer use some villas (such as the Ambrogiana and Lappeggi), bringing the furnishings into Palazzo Pitti and the surviving residences. Poggio a Caiano did not suffer this fate, and only a few furnishings testify to that period, such as the small wooden chest of drawers with inlays depicting views and landscapes. The architectsGiuseppe and Giovan Battista Ruggeri cared for a general restoration, with the renovation of the theater and the affixing of a clock on the façade.

At the time of Ferdinand III of Tuscany, the park in front of the villa was equipped with some fun facilities: a "flying arcana", a swing, a "donkey rider" and a "carousel of horses", which are still stored today by the museum.

Concerts held at the theater of the villa included Giovanni Paisello, Etienne Nicolas Méhul and Gaspare Spontini. The frescoes of neoclassical Luigi Catani are in this hallway in the entrance hall on the first floor and in seventeen rooms of the villa, to which various guided artists collaborated Always from Catani.

Commissioned by Elisa Bonaparte in 1811, Giuseppe Manetti designed new English Gardens, featuring irregular avenues, a pond, and small neoclassical pavilions, such as a conical glacier and a temple of Diana. The project was only completed later and partially.

With the restoration (1819) repairs and restoration work continued (especially in the garden where the lemonaia was built, solemn work by Pasquale Poccianti, and English park was completed.

In the 1828 the sundials were arranged on the sides of the building. While following the unification of Italy the interior of the villa was updated with fine furnishings from the royal palaces of Modena, Piacenza, Parma, Turin, Lucca and Bologna and used as a residence by the House of Savoy.

During the Second World War, the villa was used as a haven from bombing for important works of art from all over Tuscany, such as the statues of Michelangelo or Monument of the Four Moors of Livorno, etc. In addition, during the Allied invasion of Italy, the villa was used as a shelter for the displaced population, who took refuge in the large underground basements and tunnels.

In 1984 it became a national museum and since then has begun an important restoration cycle, where thanks to a precious inventory dated 1911, the interior of the villa was re-constructed as much as possible, recovering all the objects, furniture and artwork scattered among the various museums and state depots.