Dating back to the third quarter of the 16th century, the villa of the Parensi family is a compact, quadrangular block. The almost flat front of the building includes a portico and a loggia above with three arches on Tuscan columns; both are covered by a vaulted roof. By comparing the current building with a fine 17th century drawing by Domenico Checchi, its is possible to see the changes that ahve been made and how the villa stood at the centre of a vast agricultural estate.
Outside the enclosure walls, the public oratory has maintained the 17th century form as drawn by Checchi, with square pilasters supporting the entablature and the gable, and with curved stone cornices that enanche the openings in the facade.
The garden below it is borderted by the lemon houses and the olive mill.
The villa passed from the Mansi family in 1791, when Camilla Parensi, the last descendent of the family, married Raffaele di Luigi Mansi.
Australian author Lisa Clifford’sDeath in the Mountains is a true story about the murder of a peasant farmer in the mountains of Casentino in north eastern Tuscany. The murder took place in the winter of 1907, it happened to the great-grandfather of Lisa’s Italian husband and it was never solved – until now.
Detailing the crime, Death in the Mountains also looks at what life was like a hundred years ago. The story paints a very real picture of the struggles, the poverty and the mezzadria farming system that engulfed seventy percent of the Tuscan farming community. Back then, families had to give half of everything they produced to the land’s owners.
The other half was barely enough food for survival. Only one or two generations ago, peasants lived in grinding poverty.
Clifford describes the stark living conditions, snow blowing through roof tiles into bedrooms, the backbreaking nature of the daily work, the lottery of good or bad weather for crop and ultimately family survival. Only one or two generations ago, peasants lived in grinding poverty.
Clifford describes the stark living conditions, snow blowing through roof tiles into bedrooms, the back breaking nature of the daily work, the lottery of good or bad weather for crop and ultimately family survival. The reader feels the cold, the damp and grimness of everyday existence, but also the determination and spirit of that generation.
The quest to solve this murder opens Lisa’s eyes and ultimately our eyes to how people thought back then. A murder was something to be ashmed of not for the murder but for the family of the person murdered. There is much insight into the culture, superstitions, religion and taboos of the times.
After three years of research Lisa solves the murder. She discovers a cousin who holds the key to the mistery and reveals the killer and why it happened. he gives his permission to write the book on the proviso that all the names be changed.
About writing the book, Clifford says, “In an emotional sense, writing Death in the Mountains gave more than I had bargained for. The killing of Grandpa Artemio was a big event in the family village… When I talked to the old people, cousins, and the ederly farmer folk who still live nearby, they recalled with great clarity what their past relatives had said about the famous murder of Artemio Bruni.
In 1907, almost everyone who worked the land was illiterate, so there was a lot of gossip, but no letters or journals to refer to. It was only by talking with people that I could figure out what happened in the onths leading up the murder”.
Death in the Mountains (2009) is published by Pan Macmillin Australia.
It’s available in Florence at the Paperback Exchange for 15,00 euro – www.papex.it, on www.amazon.com
Church of S. Quirico at Guamo, called “in Casale”
The small church of San Quirico is built in stone from the nearby quarry at Guamo. It is built like a cottage and it has a nave and fairly small apse. The door in the facade is surmounted by a lintel resting on two brackets.
Both the layout and the size of the stone bosses in the facing suggest that it is quite old and probably dates back to 1023, when it was first mentioned in documents. During the restoration work of about 1930, some 16th and 17th century sepulchral slabs were found and new altar was made from a single stone.
An unusual altarpiece of the Giotto school, a triptych incorporated in a quadrangular structure and surmounted by an inflected-arch lunette, comes from this church; now in the Villa Guinigi museum in Lucca, it depicts the Vergine in Trono con Bambino (on the central panel), and Maddalena and San Michele Arcangelo (on the side panels).
. FRANCESCO PIU
. SERGIO MONTALENI BAND
. GENERAL STRATOCUSTER & THE MARSHALS
. CEDRIC BURNSIDE & LIGHTNIN MALCOLM
. THE ROBERT CRAY BAND
. JIMMIE VAUGHAN feat. LOU ANN BARTON
Villa Grabau at San Pancrazio
Villa Grabau is one of the first forms of villa settlement in the hills north of Lucca. Recent research has shown how the villa owes its origins to the unification of severl properties carried out by the Diodati family from the 15th century. The information confirms that from this period the hills of Lucca were the subject of a series of land rearrangement operations, the use of the land, building work, expressions of new architectural layouts and new agricultural arrangements.
It is not yet known when the villa was transformed in the Reinaissnce style which is characterised by the portico in the facade, now closed in with glass. Important from the point of view of the landscape is the view which starts at the old Lucca road (now a country lane), follows the avenue leading to the park, crosses the villa and ends in the exedra of the garden behiand the villa. The transformation in neoclassical style, which took place at different times, is modelled on the nearby villa Principessa at Marlia.
The portico was closed in with large windows and dcorated internally with trompe l’oeil curtains. The park which is probably the same age as the villa, consists of several gardens. Its current form dates back to 1836 and the time when it was owned by the Cittadella family.
The botanical gardens extended along two sides of the central lawn and boasts a collection of plants from all parts of the world. Because of its rare exotic vegetation, the most extraordinary ection is the “English Garden”, dating back to the 19th century, where some majestic species can be admired. At the beginning of the 20th century some additions were carried out in the “Art Noveau” style which was popular at that time.
Along the west side of the villa, near the kitchens and stables, there is a small “Teatro di Verzura“, probably, inspired by the theatre at the nearby Villa Reale in Marlia; it was created during the 19th century with box hedges forming the wings of the stage; a spherical niche hides the prompt box. The entrance is guarded by two Renaissance lions in marble.
The garden behiand the villa, with the beautiful scenery of the hills in the background is a wide, semi-elliptical parterre, edged with tall hedges to form a green exedra with statues of Ceres, venus, Pomona and others.
The mosaics, made form rock crystals, quartz and tufa, cover the Matraia stone and white marble balustrade which separates the two levels. Shady paths connect the various areas of the park. Of particular interest is the large 17th-18th century lemon house, one of the most important and beautiful in the Lucchesia, which is still used to house the citrus plants during the winter.
