Villa Guicciardini Corsi Salviati
Arte e Storia
A cura di Luisa Capodieci e Maria Grazia Messina
La Villa Guicciardini Corsi Salviati a Sesto Fiorentino costituisce un complesso di architettura, decorazione di interni, giardino con arredo scultoreo, di estrema rilevanza per la storia delle ville dell'' aristocrazia fiorentina. Questo volume, frutto di un'' innovativa ricerca seminariale svolta a partire da competenze multidisciplinari, ne approfondisce i plurimi aspetti con l'' obiettivo di offrire, oltre alla ricostruzione storico-critica, un modello esemplare d'' intervento per la visibilit? e valorizzazione del nostro patrimonio artistico.
Stefania Salomone. The "Sesto factory" of the Marquis Corsi: villa and farm architectures
The Villa Corsi in Sesto Fiorentino is, in its present aspect, the result of repeated interventions on the late fifteenth-century "casa da Signore" that the family, in 1503, bought together with lands and annexes. At the center of a vast network of farmhouses, equipped with well-organized constructions dedicated to agricultural use, the main residence is enlarged, enriched with works of art, adapted to the needs of the family and to changing tastes. In addition to numerous local artisans, the construction site employed renowned artists and architects such as, in the 1630s, Gherardo Silvani and, a century later, Ferdinando Ruggieri. The transformations however, also thanks to owners both cultured and thoughtful, take place in the continuity of usage and respecting the historical stratifications: the result is an harmonious cohabitation of the original nucleus of the late fifteenth century with the ''reasonable'' additions of Silvani and the incisive revision of Ruggeri''s exteriors.
Luisa Capodieci. The villa in the iconographic maze of the grotesque Camerino
The Camerino of the grotesque is the only space of the villa in which the sixteenth-century decorations have been kept. Decorated between 1582 and 1585 by Tommaso di Battista del Verrocchio, a Grotesque painting specialist active at the Medici court, this Camerino was very probably Jacopo Corsi'' s "work place". On the vaulted ceiling ancient gods, sphinxes, harpies, satyrs, animals and gargoyles, from the rich repertory of the late sixteenth-century Florentine grotesque, swarm over the white background in an apparent chaos prone, in reality, to a precise, symmetrical partition of the pictorial space. Although it is impossible to "imprison" all these elegant little figures inside a rigid semantic grid, the choice and the disposition of the main characters are not entirely meaningless.In such a colorful kaleidoscope are embedded the only two references to the Renaissance features of the villa: The rear fa?ade and the courtyard with the now lost, Miseno fountain, sculpted by Stoldo Lorenzi, are inserted into a dense network of relations and correspondences between Heaven-Phanes and Earth-Cibele. At the central vault, Eros and Psyche bestow a Neoplatonic inflection to the decoration.
Claudia Maria Bucelli. The Guicciardini Corsi Salviati'' s garden at Sesto Fiorentino
"A garden amongst the most beautiful and delightful of those created in the XVIIth Century indicated Carocci in 1906; Representative of the Baroque manner at its best would confirm a few years later Donaldson Eberlein. Actually, this garden in Sesto was returned to its historical layout during the first two decades of the XXth Century by Count Giulio Guicciardini Corsi Salviati, one of the active proponents of both identity and stylistic revival of the Italian Garden in a context - the city of Florence at the beginning of the Nineteenth Century - dominated by Anglo-American personalities. The Count'' s resolute intervention, as owner, upon the restoring renewal of a garden dense with historical stratifications, allowed the re-adaptation of classical formalism to the original purism of the "Giardino all'' Italiana". Before that, Count Giulio had taken a similar challenge in two family estates, Lucignano and Gargonza, recreating there two formal gardens...
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