It is because, in the modern revival of gardening, so little attention has been paid to these first principles of the art that the garden-lover should not content himself with a vague enjoyment of old Italian gardens, but should try to extract from them principles which may be applied at home. He should observe, for instance, that the old Italian garden was meant to be lived in—a use to which, at least in America, the modern garden is seldom put. He should note that, to this end, the grounds were as carefully and conveniently planned as the house, with broad paths (in which two or more could go abreast) leading from one division to another; with shade easily accessible from the house, as well as a sunny sheltered walk for winter; and with effective transitions from the dusk of wooded alleys to open flowery spaces or to the level sward of the bowling-green. He should remember that the terraces and formal gardens adjoined the house, that the ilex or laurel walks beyond were clipped into shape to effect a transition between the straight lines of masonry and the untrimmed growth of the woodland to which they led, and that each step away from architecture was a nearer approach to nature.
The cult of the Italian garden has spread from England to America, and there is a general feeling that, by placing a marble bench here and a sun-dial there, Italian “effects” may be achieved. The results produced, even where much money and thought have been expended, are not altogether satisfactory; and some critics have thence inferred that the Italian garden is, so to speak, untranslatable, that it cannot be adequately rendered in another landscape and another age.
Certain effects, those which depend on architectural grandeur as well as those due to colouring and age, are no doubt unattainable; but there is, none the less, much to be learned from the old Italian gardens, and the first lesson is that, if they are to be a real inspiration, they must be copied, not in the letter but in the spirit. That is, a marble sarcophagus and a dozen twisted columns will not make an Italian garden; but a piece of ground laid out and planted on the principles of the old garden-craft will be, not indeed an Italian garden in the literal sense, but, what is far better, a garden as well adapted to its surroundings as were the models which inspired it.
This is the secret to be learned from the villas of Italy; and no one who has looked at them with this object in view will be content to relapse into vague admiration of their loveliness. As Browning, in passing Cape St. Vincent and Trafalgar Bay, cried out:
“Here and here did England help me: how can I help England?”—say,
so the garden-lover, who longs to transfer something of the old garden-magic to his own patch of ground at home, will ask himself, in wandering under the umbrella-pines of the Villa Borghese, or through the box-parterres of the Villa Lante: What can I bring away from here? And the more he studies and compares, the more inevitably will the answer be: “Not this or that amputated statue, or broken bas-relief, or fragmentary effect of any sort, but a sense of the informing spirit—an understanding of the gardener’s purpose, and of the uses to which he meant his garden to be put.”
FLORENTINE VILLAS
FOUNTAIN OF VENUS, VILLA PETRAJA, FLORENCE
I
FLORENTINE VILLAS
For centuries Florence has been celebrated for her villa-clad hills. According to an old chronicler, the country houses were more splendid than those in the town, and stood so close-set among their olive-orchards and vineyards that the traveller “thought himself in Florence three leagues before reaching the city.”
Many of these houses still survive, strongly planted on their broad terraces, from the fifteenth-century farmhouse-villa, with its projecting eaves and square tower, to the many-windowed maison de plaisance in which the luxurious nobles of the seventeenth century spent the gambling and chocolate-drinking weeks of the vintage season. It is characteristic of Florentine thrift and conservatism that the greater number of these later and more pretentious villas are merely additions to the plain old buildings, while, even in the rare cases where the whole structure is new, the baroque exuberance which became fashionable in the seventeenth century is tempered by a restraint and severity peculiarly Tuscan.
VILLA GAMBERAIA, AT SETTIGNANO, NEAR FLORENCE
So numerous and well preserved are the buildings of this order about Florence that the student who should attempt to give an account of them would have before him a long and laborious undertaking; but where the villa is to be considered in relation to its garden, the task is reduced to narrow limits. There is perhaps no region of Italy so rich in old villas and so lacking in old gardens as the neighbourhood of Florence. Various causes have brought about this result. The environs of Florence have always been frequented by the wealthy classes, not only Italian but foreign. The Tuscan nobility have usually been rich enough to alter their gardens in accordance with the varying horticultural fashions imported from England and France; and the English who have colonized in such numbers the slopes above the Arno have contributed not a little to the destruction of the old gardens by introducing into their horticultural plans two features entirely alien to the Tuscan climate and soil, namely, lawns and deciduous shade-trees.
Many indeed are the parterres and terraces which have disappeared before the Britannic craving for a lawn, many the olive-orchards and vineyards which must have given way to the thinly dotted “specimen trees” so dear to the English landscape-gardener, who is still, with rare exceptions, the slave of his famous eighteenth-century predecessors, Repton and “Capability Brown,” as the English architect is still the descendant of Pugin and the Gothic revival. This Anglicization of the Tuscan garden did not, of course, come only from direct English influence. The jardin anglais was fashionable in France when Marie Antoinette laid out the Petit Trianon, and Herr Tuckermann, in his book on Italian gardens, propounds a theory, for which he gives no very clear reasons, to the effect that the naturalistic school of gardening actually originated in Italy, in the Borghese gardens in Rome, which he supposes to have been laid out more or less in their present form by Giovanni Fontana, as early as the first quarter of the seventeenth century.
It is certain, at any rate, that the Florentines adopted the new fashion early in the nineteenth century, as is shown—to give but one instance—in the vast Torrigiani gardens, near the Porta Romana, laid out by the Marchese Torrigiani about 1830 in the most approved “landscape” style, with an almost complete neglect of the characteristic Tuscan vegetation and a corresponding disregard of Italian climate and habits. The large English colony has, however, undoubtedly done much to encourage, even in the present day, the alteration of the old gardens and the introduction of alien vegetation in those which have been partly preserved. It is, for instance, typical of the old Tuscan villa that the farm, or podere, should come up to the edge of the terrace on which the house stands; but in most cases where old villas have been bought by foreigners, the vineyards and olive-orchards near the house have been turned into lawns dotted with plantations of exotic trees. Under these circumstances it is not surprising that but few unaltered gardens are to be found near Florence. To learn what the old Tuscan garden was, one must search the environs of the smaller towns, and there are more interesting examples about Siena than in the whole circuit of the Florentine hills.
BOBOLI GARDEN, FLORENCE
The old Italian architects distinguished two classes of country houses: the villa suburbana, or maison de plaisance (literally the pleasure-house), standing within or just without the city walls, surrounded by pleasure-grounds and built for a few weeks’ residence; and the country house, which is an expansion of the old farm, and stands generally farther out of town, among its fields and vineyards—the seat of the country gentleman living on his estates. The Italian pleasure-garden did not reach its full development till the middle of the sixteenth