Un segreto nel lago (Treasure Hunters Vol. 1) (Italian Edition)

This type of decoration is also seen in Tuscany, Emilia-Romagna, Veneto, and Lombardy, but the examples from these regions do not 1 Cf. The central and northern Italian examples were limited within the sphere of the patronage of a single family, to non-recurrent sporadic manifestations, or to imitations following the trend in Rome. Consequently, our geographical focus will be primarily on Rome and Lazio, and relevant examples from other regions will be brought in as parallels as necessary.

The majority of the examples are in fresco, and relatively few are in mosaic or painted stucco, hence our emphasis on painting as the primary medium of these decorations. The study will also seek to shed light on garden furnishings and the art of treillage or trelliswork that played a significant role in the garden culture of the time.

As the depiction of the pergola would more or less have been modeled on real pergolas in contemporary gardens, it is necessary to consider the real pergolas alongside other ephemeral green architecture. It is appropriate to situate these three periods in the cultural context of sixteenth- century Rome. The first period corresponds to the antiquarian revival in Rome, when Raphael and his workshop dominated the artistic production.

From the early decades of the sixteenth century, a conscious adoption of antique forms and design principles was the dominant current in the artistic milieu of the papal capital. Artists studied and looked to antique architecture for ideas, and designed buildings and landscapes to emulate the grandeur of classical antiquity. This first manifestation of painted pergolas was short- lived, only a matter of about five years, and confined to the city of Rome. The commissions were mostly papal or from the papal entourage. After , we witness a period of relative inactivity in regard to the creation of illusionistic pergolas until around , when these pictorial fictions reappear, this time in the villas in the environs and the hilltowns around Rome.

From until , we see a number of painted pergolas created in the major villas in Lazio as well as in the palaces within the city. The patrons of this period were the powerful aristocratic families — the Medici, the Este, and the Farnese — as well as the cardinals and aristocrats in the ambit of these families, who had obtained a social base in Rome from the first half of the sixteenth century.

These were commissioned by the newly emerging families, who established themselves in the papal capital from the second half of the sixteenth century, the Borghese and the Aldobrandini among them. The story of the illusionistic pergola is inextricably related to the classical tradition and the culture of natural history. The pergola played an important role in the social and cultural life of Roman antiquity, as a dining pergola, a vine-covered pavilion, or a shady promenade. Renaissance Italy saw a strong revival of ancient forms, and antique motifs and notions were adopted and ancient customs reenacted in the decorated space of the illusionistic pergola.

The painted pergolas also reflected the introduction of new species of flora and fauna and the development of natural history studies. The painted pergolas are fundamentally about horticulture, and their depiction of various plant species in realistic manner make them a showcase of botanical collections and a reflection of the intellectual culture of the period.

Although its use and popularity waxed and waned according to cultural concerns, its revival in the period is suggestive of the timeless significance of the pergola, which continues to find a resonance in modern architecture and landscape design.

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By taking into account the middle ground of architecture and garden, the study explores the multivalence of pictorial fictions and ephemeral garden furnishings, opening up a new perspective on the sites examined, and attempts to see a resonance of the tradition in modern times. By virtue of their quantity, quality, and content, as well as their importance in the ornamentation of Italian Renaissance architecture, they deserve careful documentation, study, interpretation, and contextualization.

Her Garten-, Landschafts- und Paradiesmotive im Innenraum: Eine ikonographische Untersuchung provides a solid groundwork for the study of the depiction of nature, through its documentation of garden and landscape depictions and motifs of nature in interior decoration, as well as its wide chronological and geographical scope covering ancient Egypt and Mesopotamia to eighteenth-century Germany.

This work became the starting point for my investigation, and I owe much to it for the basic information on the major examples. The core of my ever-expanding list of illusionistic pergolas derives from the examples treated in her chapter on Renaissance and Mannerism. Negro identifies the sixteenth- century tradition of painted pergolas, and points out the use of the decoration in spaces immersed in nature and serving as mediation between indoors and outdoors. Negro cites examples of the so-called Madonna della Pergola, and also touches briefly on the connection of the painted pergola with the classical tradition.

These are excellent works in terms of the documentation and the descriptive analysis of the iconography and the interpretation of the illusionistic pergolas. She also identifies the origins of the illusionistic representation of nature in classical antiquity, the issue of the transition between indoors and outdoors, and the fusion of architecture and nature. Alongside works on painted pergolas, those relevant to real pergolas also need mention.

It contains a set of essays by garden historians, which provide a rough outline of the pergolas in ancient, medieval, and early modern Europe, as well as Victorian England and the modern and contemporary periods, and thus delineate a continuity of the pergola 4 Fagiolo and Giusti , A unique approach to pergolas is proposed in a chapter in a survey of decorative arts, Alain Gruber ed.

Renaissance and Mannerism Gruber, in the chapter on knotwork or interlace, approaches the topic from a broad perspective, and insightfully includes examples of painted trelliswork featuring knotwork. The examples discussed are the painted pergolas created in the cultural centers of northern Italy by Mantegna, Correggio, and Parmigianino. The possibility of situating them within the rich history of knotwork or interlace ornament opens up a fruitful avenue for us to pursue in our study of the painted pergolas. However, it still remains for us to consider the illusionistic pergolas for what they may have been, namely a cultural phenomenon of the Renaissance and a kind of formal and artistic code for the expression of cultural identity on the part of the patrons.

Given the lack of a systematic study on the illusionistic pergola that provides both concrete descriptive information and cultural context, my intention is to undertake a first attempt for such a comprehensive work. I am aware that the objective is far too ambitious to be accomplished within the scope of a dissertation. The main objective of this study is to interpret them within the framework of the classical tradition and the intellectual and garden culture, thereby situating them in the cultural context of early modern Rome.

It defines the illusionistic pergola as a Renaissance invention, a cultural phenomenon that started in Rome in the early sixteenth century. My ultimate purpose is not merely to characterize these exquisite pictorial fictions as cause and effect, but to excavate some of the emotional and intellectual impulses behind their emergence. The illusionistic pergolas are revealed to be a nexus of interrelationships between built structure, ornamented surface, garden and landscape, as well as multivalent embodiments of emerging ideas and sensibilities in regard to the experience of nature.

Bound into these ideas and sensibilities, however, are more fundamental values and strategies that reflect the cultural dynamics of early modern Rome. The two chapters following the Introduction, namely chapters 2 and 3, provide a historical survey of precedents and prototypes, and the background for the study proper of our illusionistic pergolas.

Chapter 2 focuses on the pergola in Roman antiquity; depictions of the pergola in ancient Roman and Late Antique art, archaeological remains of gardens in the Vesuvian region, as well as the treatment of pergolas in the agricultural literature will be discussed. Chapter 3 focuses on the depiction and treatment of the pergola in literary texts, painting and the graphic arts from the early medieval period to the seventeenth century.

Italy remains our main focus, but the countries north of the Alps — France, the Netherlands, and England — will also be covered. Early illustrated books, maps, prints and drawings represent the pergola as fully integrated in the pleasure garden, in some cases indulging fanciful designs. With the diffusion of printing and the wide circulation of printed illustrated books and prints, the pergola gains a significant presence in the world of garden prints and illustrations.

There, it starts to develop a virtual life of its own, independent of that of its real counterpart in the garden. Chapters 4 through 7 constitute the core of our study of the illusionistic pergola. The architectural context of the painted pergola, as well as its function as a space for the experience of nature will be taken into consideration.

Chapter 4 focuses on the first period of the proliferation of illusionistic pergolas in Rome, The popes and cardinals, the so-called princes of the Church, were the major patrons of these works. The chapter begins with an etymological survey of the loggia, as the loggia was the semi-interior space frequently decorated with nature motifs. It also includes a survey of quattrocento Roman loggias, and the discussion of the notion of the view, which was an important design concept in loggias.

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Giovanni da Udine, a painter trained in northern Italy and specializing in the depiction of nature, is credited as the inventor of the illusionistic pergola, in that he first applied the design in an architectural space of considerable scale. Chapter 5 focuses on the real pergolas in the villas and gardens of Rome and its environs in the sixteenth century. The design and the construction technique of the pergola, as well as its use in the larger system of circulation networks within the estate will be discussed. The villa was a locus of a lively interaction with nature and the sensuous experience of the outdoors, engaging the visual, aural, olfactory and haptic senses to the full.

A heritage of the classical tradition, the villa epitomized the values of the rus and otium, as an antithesis to the urbs and negotium. The informality of the villa extended beyond its material manifestations, and embraced the liberation and relaxation of the mind. Chapter 6 focuses on the second period of the proliferation of the illusionistic pergolas in Rome and its environs, The examples from this period constitute the finest examples of the illusionistic pergola, in terms of artistic quality, spatial effect, and scale.

Commissioned by the powerful aristocratic families who established themselves in Rome from the early sixteenth century, the Medici, the Farnese, and the Este among them, the illusionistic pergolas of this period were used in representational spaces as tools of dynastic display and visual encyclopedias of flora and fauna. They were decorations of semi-interiors — mediating spaces situated along the blurring boundary of indoors and outdoors, such as loggias, porticoes, and garden pavilions.

These pictorial fictions developed in parallel with ephemeral green architecture — real pergolas, walkways covered with vegetation, and tree houses — which were equally ambiguous spaces in terms of indoor-outdoor relationships. During the second period, real pergolas and painted pergolas were consciously used in combination within the same estate as aesthetic and semantic counterpoints. Chapter 7 focuses on the third period of the proliferation of the illusionistic pergolas in Rome and its environs, Created under the patronage of families who arrived in Rome from the second half of the sixteenth century — the Borghese and the Aldobrandini among them — the painted pergolas from the third period are characterized by the variety of the depicted flowers and birds, as well as a marked emphasis on elaborate design.

They also represented the new botanical and ornithological species introduced from the Orient or the Americas: The painted trelliswork reflected the practice of treillage, which was developing into a highly sophisticated art. The appearance of the painted pergolas in clusters, as outlined above, reveals the social competition and cultural emulation among prominent aristocratic families in early modern Rome.

Chapter 8 provides the context of the intellectual culture, the background of the illusionistic pergolas. It is by no means an exhaustive survey of relevant topics, but a selection of major issues that would highlight the intersection between the artistic manifestations and the cultural context, key figures among artists and scholars, displays of collections in gardens and museums, and horticultural treatises, among them.

Our story concludes with an epilogue on the meaning and legacy of the illusionistic pergola, ending with its revival in Europe and in the United States around the turn of the twentieth century. This chapter will cover the pergola in the Roman world from the Republican period to the Late Antique period. In antiquity, the pergola appears prominently in the following three areas: The first area consists of practical writings on viticulture, in particular by Columella, and the letters of Pliny the Younger, which include the description of pleasure villas.

The second area concerns the gardens of Pompeii and other centers of the Vesuvian region, as those are the sites that have been best documented so far. The third area covers a wide range of pictorial representations executed in fresco and mosaic. Among the examples treated are the more or less straightforward depictions of pergolas — the fresco from the Boscoreale luxury villa and the Nile mosaic of Palestrina.

Also included are the examples more evocative in terms of relevance — the vault decorations of Santa Costanza and late antique catacombs around Rome whose architectural and ornamental structure bears a formal similarity to the illusionistic pergolas of the Renaissance. Etymological review It is appropriate to begin our discussion of the pergola in Roman antiquity from the basic overview of the etymology and the lexical connotations of the word.

The connotation of movement in the first forms a contrast to the sedentary character of the second. The word arbor was also used with both meanings, thus interchangeably with pergola Oxford English Dictionary, The English pergola was derived from the Italian pergola, which in turn had its origins in the Latin pergula.

The primary meaning itself was a rather loose definition designating any kind of space that is attached to a main building, often of a temporary or flexible character. Rather than the aesthetic aspect of the design, the function of the structure and the space it constituted would have been its foremost characteristic.

Theogenis mathematici pergulam … ascenderat Ascended to the room of the mathematician Theogenes. Agricultural literature An essential component of Roman agricultural treatises is the section on viticulture in which vine-training is described in detail. While the earliest Roman agricultural manual by Cato B.

Quibus stat rectis vinea, dicuntur pedamenta; quae transversa iunguntur, iuga; ab eo quoque vineae iugatae. Pedamentum item fere quattuor generum: Inde enim aliquot colligates libris demittunt in tubulos fictiles cum fundo pertuso, quas cuspides appellant, qua umor adventicius transire posit. Quartum est pedamentum nativum eius generis, ubi ex arboribus in arbores traductis vitibus vinea fit, quos traduces quidam rumpos appellant. Likewise, there are, as a rule, four types of props.

The best for common use in the vineyard is a stout post, called ridica, made of oak or juniper. The second best is a stake made from a branch, and preferably from a tough one, so that it will last longer; when one end has rotted in the ground the stake is reversed, and what had been the top becoming the bottom. The third, which is used only as a substitute when the others are lacking, is formed of reeds; bundles of these, tied together with a bark, are planted in what they call cuspides, earthenware pipes with open bottoms so that the casual water can run out.

The fourth is the natural prop, where the vineyard is formed of vines growing across form tree to tree; such traveses are called rumpi. Iugorum genera fere quattuor, pertica, harundo, restes, vites; pertica ut in Falerno, harundo ut in Arpano, restes, ut in Brundisino, vites, ut in Mediolanensi. Iugationis species duae, una derecta, ut in agro Canusino, altera compluviata in longitudinem et latitudinem iugata, ut in Italia pleraeque.

There are two forms of trellising: In the treatise by Palladius fourth century A. Columella mentions the species that were coppiced for the provision of props, frames and withies for the vineyards — the osier- willow, the reed, and the chestnut. Vires sine adminiculo standi non sunt, velocitas pernix, levi umbra camaras ac pergula operiens.

Some people however prefer to start sowing gourds on March 1 and cucumbers on March 7, and to go on through the Feast of Minerva April 21, festival in celebration of the founding of Rome. These two plants both climb upward with shoots creeping over the rough surface of walls right up to the roof, as their nature is very fond of height. They have not the strength to stand without supports, but they shoot up at a rapid pace, covering vaulted roofs and trellises with a light shade. In short, by means of our hands we try to create as it were a second nature within the natural world.

The second nature is the cultural landscape agriculture, urban development, roads etc. In the Renaissance, humanist and historian Jacopo Bonfadio defined the garden as a third nature in , and and Bartolomeo Taegio also referred to the third nature, the garden, in his dialogue La villa Gregory of Nyssa c. Gregory of Nyssa, Letter 20 in Gregory in Silvas , Gregory of Nyssa, Letter But the native forest, in descending the hill-side meets at its foot the work of husbandry. Who could describe adequately in words the path under the overhanging vines and the sweet shade of the grapes and the new kind of wall made of lattices where the roses with their shoots and the vines with their trailers intertwine themselves together, making a wall fortified against attack from the sides, and the cistern of water at the summit of this course, and the fish being bred there?

Circa quem conveniunt in coronae speciem excelsorum montium pulcherrimae summitates, cuius ora praetoriorum luminibus decenter ornata quasi quodam cingulo Palladiae silvae perpetuis viriditatibus ambiuntur. The focus here is not the decorative feature of the vine and its potential for use in pleasure gardens, but rather the extraordinary character of this particular vine, capable of providing shade for the entire walkway as well as producing a large amount of grape juice yearly.

Although the kinesthetic experience of strolls in the shade of the vine is implied, the main focus remains the utilitarian function of the pergola as support for the vine. It is in the letters of Pliny the Younger that we find descriptions of spaces shaded by vine, which can be interpreted as intended purely for the enjoyment of the outdoors. The two letters by Pliny the Younger A. On the inner side of the path surrounding the garden was a shady walk of vines, soft and yielding to the tread even for barefoot strollers. But as an outdoor walkway made of vegetal materials, it would fall into the broader category of the pergola.

The description certainly conveys the agreeable sensation of walking through a covered walkway formed by vines and the coolness of the shade, perceived by the sense of the touch. At the upper end is a semicircular bench of white marble, shaded with vine supported by four small columns of Carystian marble. From the bench, the water, gushing forth through 34 Pliny the Younger, letter V.

Adiacet gestationi interiore circuitu vinea tenera et umbrosa nudisque etiam pedibus mollis et cedens. At supper, the heavier dishes are placed around the margins, while the lighter ones swim around in the form of boats and water birds. Opposite is a fountain which is constantly emptying and refilling; for the water, shooting high up in the air and falling unto itself, is received and elevated in connected basins. Pliny describes a garden room in his villa in Etruria where the walls were decorated by the depiction of foliage and birds perched among the branches,36 and another in which the vine climbs up to the roof and covers the entire building so that one would have the sensation of being in a wood.

In capite stibadium candido marmore vite protegitur; vitem quattuor columellae Carystiae subeunt. Ex stibadio aqua velut expressa cubantium pondere sipunculis effluit, cavato lapide suscipitur, gracili marmore continentur atque ita occulte temperatur, ut impleat nec redundet. Gustatiorum graviorque cena margini imponitur, levior navicularum et avium figures innatans circumit.

Contra fons egerit acquam et recipit; nam explusa in altum in se cadit iunctisque hiatibus et absorbetur et tollitur. Est et alium cubiculum a proxima platano viride et umbrosum, marmore excultum podio tenus, nec cedit gratiae marmoris ramos insidentesque ramis aves imitata pictura. Fonticulus in hoc in fonte crater; circa sipunculi plures miscent iucundissimum murmur. There is another room, close to the nearest plane tree, which enjoys the verdure and the shade; the podium is decorated with marble all over, and the wall above painted in imitation of boughs and birds perched among the branches, which has an effect non the less lovelier than the marble.

In this room is a small fountain, whose water, flowing through several small pipes into a basin, produces a most agreeable murmuring sound. Mox zothecula refugit quasi in cubiculum idem atque aliud. Lectus hic et undique fenestrae, et tamen lumen obscurum umbra premente. Nam latissima vitis per omne tectum in culmen nititur et ascendit. Non secus ibi quam in nemore iaceas, imbrem tantum tamquam in nemore non sentias.

Hic quoque fons nascitur simulque subducitur. Next one retreats to a small alcove in the same room but separated from it. There is a couch and windows on every side, but the light is dim and the room is in the shade. The dichotomy of indoors and outdoors, and house and garden has been used as a theoretical framework for the understanding of Roman garden spaces. However, for the psychological understanding of the architectural space of the ancient Roman house and garden, it is necessary to introduce the notion of a middle ground or in-between space.

I would propose that there is yet an intermediary space between the house and garden, which is neither the indoors nor the outdoors. The ambiguity of these liminal spaces would evoke various physical and psychological reactions on the part of the occupant. The atrium, the peristyle garden, the diaeta a garden room or pavilion — ambiguous spaces in regard to their physical characterization — abound in the ancient Roman architectural complex, and the pergola can be considered one of them.

Our survey of the etymology and the agricultural and villa literature suggests that the pergola, which presumably originated as a humble structure made of inexpensive materials and having a utilitarian function, acquired an independent architectural space and became an entity on its own from the turn of the first century A. Ancient Roman gardens The excavation of the gardens in the Vesuvian region by Wilhelmina Jashemski has shown that the pergola was a popular component of ancient Roman gardens.

The plots range from middle-class and upper-class residences, a public garden, a sacred precinct, to an inn. From these surviving examples, we see that the supports of and covers the entire roof. Here you can imagine yourself lying in a wood, except that you would be protected from the rain. Here, too, a fountain rises and instantly disappears. The upper framework, where the plant was to climb and form a vegetal ceiling, appears to have been in wood. According to their function, these pergolas can be classified into three types: The dining pergola and the arbored passageway may have dated from earlier times, but archaeological remains of pergolas of a purely decorative nature date from the first century A.

In pictorial representation, decorative pergolas go even further back, to the first century B. The majority 12 out of the 19 samples are pergolas that shaded a triclinium. The equivalent of the modern parasol attached to an outdoor dining table, these ancient Roman pergolas would have provided a pleasant shade for the diners enjoying an outdoor meal. From the mention of inns with pergolas in the written sources, we may assume that there were inns that were equipped with outdoor dining space shaded by pergolas.

The explicit mention of pergolas seems to suggest that inns with pergolas as part of the property were more prized than those without pergolas. The pergola, serving as an intermediary space between the interior and the exterior, may have extended the space of the inn to the public street. There is prohibition of building or any kind of activity that would cause damage or would invade the interests of individuals,41 but dining spaces 40 Mommsen and Krueger, The Digest of Justinian, , vol.

Pomponius libro trigensimo Sabinum. Cuilibet in publicum petere permittendum est id, quod ad usum omnium pertineat, ueluti uias publicas, itinera publica: Pomponius, Sabinus, book It is open to anyone to claim for public use what belongs to the use of all, such as public roads and public ways. English translation Alan Watson. IV, Book 43, 8, To prevent anything from being done in public places or ways Loca enim publica utique priuatorum usibus deseruiunt, iure scilicet ciuitatis, non quasi propria cuiusque, et tantum iuris habemus ad optinendum, quantum quilibet ex populo ad prohibendum habet, propter si quod forte opus in publico fiet, quod ad priuati damnum redundet, prohibitorio interdicto potest conueniri, propter quam rem hoc interdictum propositum est.

Ulpian, Edict, book Against what has been done I will grant no interdict. It seems probable that inns extended their dining spaces onto the streets in front of them. The familiar scene of dining tables occupying the street or piazza in front of the restaurants in Italian cities may even be a continuation of such an age-long tradition. More or less a temporary, makeshift structure, the pergola may have played an interesting role in the use of public streets by food vendors and restaurateurs.

As for the materials, columns would have been more expensive and affordable only to persons with resources. The wooden posts used in the dining pergola at the Caupona and the arbored passageways of the vineyards indicate owners of more modest means. In some cases wooden posts were considered temporary materials; they would have been easier to procure, faster to assemble, and less costly. In the Garden of the Fugitives, after the original masonry columns of the pergola fell down in the earthquake of 62 A. But the number may be due mostly to the durability of the masonry couches; they would be more likely to survive than wooden posts supporting arbored passageways.

Providing shade for a dining space would certainly have been a significant function of the pergola, but the arbored passageway and the decorative pergola are also important, especially in view of the later development of the pergola. The arbored passageway is documented only in three sites, and the decorative pergola in six sites. But again this may be so because they were more likely to have been made of perishable materials, or because freestanding, light structures of a certain height would have been difficult to survive in the aftermath of the eruption.

Here we must examine more closely one of these gardens, the garden of the House of Octavius Quartio II. Francesca Tronchin has studied the painting and sculpture collection of this house, most of which were displayed in the garden area. The garden on the south side of the house is disproportionately large in comparison with the modest size of the residential quarters, occupying approximately two-thirds of the property. It can be divided into two parts: The terrace garden, circa 20 meters long and 6. At the east end is an aedicula pedimented shrine preceded by a biclinium dining area with two masonry couches and flanked by paintings of mythological subjects left, Narcissus; right, Piramus and Thisbe.

The north wall of the terrace is decorated with paintings depicting animals. A narrow canal, 1. The interior of the canal was painted blue. Above the canal was a wooden vine pergola, supported by the house wall on the north and by eight masonry pillars on the south. Along the edge of the canal were placed a total of ten small marble sculptures including a Dionysus, a baby Hercules, a sphinx, a lion, a greyhound and a bearded river god. From the collection of statues, Zanker interprets the canal as a euripus a miniature watercourse evoking the Euripus, a canal near Alexandria in Egypt , a fashionable design element in Roman gardens of the time.

As there is no table, Richardson interprets the space as a place for conversation, reading, or 43 Cf. The appendix includes more than photographs, plans and diagrams; more than half of the photographs were newly taken by the author. I owe the reference to Rabun Taylor. The terrace garden was intended as a pinacotheca, a display space for paintings in luxury villas. The pergola in the terrace garden would have served two purposes: From the terrace garden, one descends a flight of steps into the planted garden, lower by circa 0.

From the triclinium on the terrace garden, one enjoyed an axial vista of the lower planted garden, the city, and the mountains beyond, the aedicula above the nymphaeum serving as a frame for the entire view. The long canal was interrupted by three structures along its way: As Zanker and Jashemski note, the interrupted canal resulted in a series of pools of varying size and depth, which were intended as fishponds, a well-known feature in luxury villas on the seaside.

Utilitarian because the vine covering the pergolas was intended for the production of grapes; the fishponds also required at least partial shade during the day. However, the pergolas shading the fountains were not the only ones in the planted garden. Jashemski found cavities along the long canal, which indicate that there had been arbored passageways on either side. Moreover, parallel to the vine-covered passageways were regular rows of root cavities.

The root cavities indicate that large trees would have been planted along the sidewalls of the property, while smaller trees or shrubs had been planted between them and the arbored passageways. The species of the trees has not been determined, but it is likely that they were fruit-bearing trees. Given the presence of fishponds and the vines that covered the pergolas and the passageways, the lower planted garden had a more productive character than the upper terrace garden.

The arbored passageways would have been used for promenades along the canal to enjoy the cool of the shade, and the fountains and the water basins would have provided visual and aural pleasure. At the same time they would also have been used for the inspection and maintenance of the trees and the fishponds.

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Fish needed to find shade and a respite from the heat of the day. Supplementary architecture was employed to shade exposed piscinae. Pergulae or vine arbors provided shade not only for dining areas but also for fishponds as well. I owe this reference to Rabun Taylor. In the House of Octavius Quartio, the components are all crammed together in a small space, causing a sense of confusion and crowdedness, while there was sizeable open space around. The planted area in the lower garden could have accommodated some of these components. The pergolas too were invested with a double function, the utilitarian and the decorative.

The pergola in the terrace garden covered with vine, provided a shade for the biclinium, the dining area, as well as for the pinacotheca, the display space of artworks. The pergolas shading the fountains in the lower planted garden were also covered with vine, as were the arbors over the passageways. To get back to our list of pergolas in Pompeii and Herculaneum, of the remaining decorative pergolas, three are freestanding structures in the middle of a garden.

The pergola stood at the center of the peristyle garden, and was supported by four slender columns painted with leaves and scales. Another belongs to the House of the Centenary IX. The pergola stood in the middle of the peristyle garden, shading a pool which was the focal point of the garden. A third belongs to the garden of the Villa of the Mosaic Columns, northwest of Pompeii. A pergola supported by four columns decorated with floral and scale patterns in mosaic stood above a basin with a fountain jet.

The species of the plants covering these pergolas is not determined. Jashemski suggests the vine, as it was the most common plant to be trained over a pergola,55 but there is room for other possibilities. The east and west sides of the pool were also fashioned as strolling spaces. Along the west side of the pool, there was a Portico or colonnade 60 ; the marble columns of the colonnade were taller and more widely spaced in front of Room 69 , to allow for a transverse axial vista across the pool and beyond to the Lattari Mountains.

Along the east side of the pool was the Sculpture Garden 93 , where statue bases were found. Root cavities behind each statue base show that various species of trees, including plane trees, oleander, and lemon, were planted. Numerous sculptures of high artistic quality have been found in the large garden, including a satyr with a wineskin Herculaneum inv. The pergola was flanked by two small gardens on the terrace overlooking the sea, and commanded a magnificent view fig. Enjoying considerable visibility from the sea, it was a belvedere for taking in the seascape, on axis with the oecus, the garden and the triclinium.

From the triclinium on the north side, there is a magnificent view through the garden, the oecus, and beyond the pergola, to the sea. The pergola served as a framing device for the magnificent view of the Gulf to be enjoyed from an elevated viewpoint. The supports of the pergola were four sturdy pillars fig. The tiled roof is a modern restoration; originally a framework probably in wood covered by plants formed the roof. Jashemski found terracotta pots beside the pillars of the pergola that were more decorative than any she had found elsewhere and 56 Jashemski , On the contrary, it appears to have been a possible substitute, for those of more modest means, for what the affluent patrons would have constructed as architectonic structures.

Dining pavilions and promenades, which would have been constructed of more ephemeral materials elsewhere, were here substituted by real architecture. The Canopus and Serapeum complex is a grand dining space with garden-bordered porticoes along a monumental canal meters long and 18 meters wide fig. Colonnaded porticoes were built on either side of the canal, one with a double row of columns on the east side, another with a single row on the west side.

The Stadium 58 Jashemski , The northern section included a small pavilion with an impluvium and three basins: The central section was an open space, which Salza interprets as a space for the performing entertainers, but Franceschini suggests also the existence of plantings. The two pavilions, one in the northern section and the other in the southern, were dining spaces accommodating tricliniar couches. How to fulfill that need depended on the resources of the patron. In the garden of the House of Octavius Quartio, the owner, apparently not having the means to construct a full tectonic portico or a garden pavilion, would have decided upon the pergola, fulfilling the same functions, but easier to build and less costly.

Artistic taste set apart, it may be the wisdom of the modest class to invest more than one function to an object, a structure, a space, so as to draw maximum effect through minimum cost, amount of materials, and labor. The vine would grow and produce grapes, and at the same time, bring a bit of nature into the living environment, enabling one to experience on a reduced scale the luxury of the gardens of the wealthier class.

The result may be a mish-mash of disparate elements crammed together in a small space, causing confusion and conflict with each other, described as a Disney world by Zanker. The name is derived from its form; gardens in the form of a hippodrome or stadium were common in ancient Roman times, as Pliny the Younger describes one such garden in his villa in Etruria. For the wealthy, there would have been no need to think of combining two functions in one structure.

If one wanted a bit of nature in the living environment, one could simply construct a nymphaeum or introduce planters. If one wanted covered walkways, one could have porticoes, or even cryptoporticoes, which would be even more costly and would require more manpower. Hadrian could even order the making of underground galleries to keep slaves and other visually less pleasing elements out of view.

And because of its spatial ambiguity — a semi-indoor space in the outdoors and a convenient space to experience the outdoors while protected from its more unpleasant aspects, the pergola gained popularity among all ranks of society. And later on, if aristocratic property-holders such as those of the House of Stags found it elegant enough to serve as a belvedere and a visual focus, they would have started to see a new charm in its rustic simplicity, in line with their intrinsic taste for a bit of the countryside in their urban living, perhaps in a way comparable to Marie Antoinette and her entourage who found it amusing to play shepherdesses at the Hameau at Versailles.

A large number of these stylized depictions of the gardens survive in 65 Jashemski , Appendix II: Sometimes, oscilla are hung above the fences, disk-shaped elements that often denote boundaries. The trelliswork fences, pergolas and pavilions depicted in these paintings are the prototype for the treillage structures which would play a significant role in the gardens of the early modern age. The pergola was a common ornamental motif of the Fourth Style, along with the aedicula and the candelabra.

In the Pentheus Room of the House of the Vettii, unknown in the Renaissance, a pair of pergolas is depicted on either side of the central panel of the Punishment of Dirce fig. However, the most famous representation of a pergola in the entire corpus of ancient Roman painting is the decoration of the cubiculum M of the Villa of Publius Fannius Synistor at Boscoreale,67 frequently cited in works on Roman painting as one of the typical examples of the Second Style fig.

Publius Fannius Synistor was the name of one purported owner; the name was inscribed on a bronze vessel found in one of the rooms. The Villa was decorated around the middle of the first century B. The decoration of the north wall is composed of three panels separated by bright scarlet monolithic shafts.

The shafts rise from a calyx of gilded acanthus leaves and are crowned by gilded Corinthian capitals. Spiraling golden tendrils climb up the shafts forming circular whorls encrusted with gems. The panel on the right shows a grotto with a spring-fed fountain, overhung by ivy and inhabited by birds of various colors fig. For the Boscoreale frescoes, see Lehmann However, the depiction is not in the central panel where the mythological scenes are painted, but in the flanking panels with architectural elements of a decorative nature.

The depicted pergolas are of wooden construction. Beside the fountain is a statuette of the goddess Diana-Hecate. Above the grotto is a stone pergola overhung with vine, a stone wall with scale patterns in stereotomy, and the blue sky beyond. The panel at the center, the left part of which is disrupted by the real window, is a monochrome yellow picture.

It depicts a landscape with fishermen on a bridge and strolling figures on a hill. Above the picture is a glass bowl containing fruit xenia , a large bird perched on a curtain, an arcaded structure, and the blue sky beyond. The panel on the left, the right half of which is disrupted by the real window, forms a pendant to the panel on the right. A grotto with a spring-fed fountain overhung with ivy and inhabited by birds is depicted, and above it the pergola, the stone wall with scale patterns in stereotomy, a tree, and the blue sky.

The panels on the lateral walls of the alcove are mirror images of one another. In each panel, in the foreground is a red partition wall with an entrance at the center and a broken pediment supported by fluted columns with Corinthian capitals. A thymiaterion incense-burner is placed in front of the entrance, a votive twig on the gate, and fruit on the side pilasters in one, and pinecones and plane leaves in the other. Beyond is a black curtain suspended behind the partition wall, a tholos composed of rose-colored columns surrounded by a colonnade on three sides, and the blue sky.

Beyen characterizes the Second Style as a process of the opening up of the wall. A few decades later, in the Villa of the Mysteries B. The painted black curtain, hung between the wall in the foreground and the architecture in the background, thus obstructing the vista, becomes lower and lower and finally disappears. This development of the Second Style can also be 70 Beyen , Bd.

A succession of fictive planes opens up in the wall, creating an illusion of the expansion of space. The gradual opening up of the walls can be observed chronologically from the Villa of the Mysteries, the Oplontis Villa and to the Boscoreale Villa, and culminates in the garden paintings in the Villa of Livia at Prima Porta c. A comparison of the wall paintings of the cubiculum M at the Boscoreale villa with their parallels in the cubicula of earlier villas would illustrate this process of the opening up of the wall.

Cubiculum 16 in the Villa of the Mysteries B. In alcove A, the rear wall is painted with a high partition wall and columns supporting three barrel-vaulted ceilings. Bits of the blue sky are barely visible on the other side of the ceilings. Alcove B shows more of what is behind the partition wall. In the foreground, the partition wall with orthostats large stone slabs set vertically as a revetment at the lower part of the wall is still high, and the columns support architraves with an arch in the middle, in the manner of a serliana, avant la lettre. The partition wall does not have a door that would lead to the space beyond.

Behind the partition wall is hung a black curtain, beyond which is visible the upper part of a tholos against a blue sky. Cubiculum 11 of the Oplontis Villa B. In the left alcove, the left part has been lost, but the surviving part shows a columnar structure the intercolumniations of which are closed by a partition wall. The partition wall has an opening at the center through which is visible another columnar structure composed of squatter columns, in which is a standing female figure.

There may have been a black curtain below, but the lower part has been lost. In the right alcove, of which the decoration is mostly surviving, there is also a columnar structure closed by a partition wall, with an opening at the center. Through the opening is visible a trabeated structure supported by columns against a blue sky that occupies approximately half of the space of the opening.

Finally, the north wall of the Boscoreale Villa B. This yellow picture almost seems a remnant of the partition wall, as though it were a last resistance to the entire opening up of the walls onto the illusionistic exterior. Masks and oscilla that usually denote boundaries71 are largely absent, but the xenia,72 the curtain, and the birds seem to function as markers of boundaries in this context. The dove, on the foreground in front of the raised platform, the bowl of fruit placed on the partition screen, and the long-tailed green parrot perched on the curtain seem to indicate the various cognitive thresholds ranging between the real and the illusory.

Within the Boscoreale cubiculum, the process of the opening up of the walls towards the exterior is also observable through the comparison of the lateral panels and the north wall fig. Looking, in sequential order, at the lateral walls of the procoeton, at those of the alcove, and finally at the rear wall, we may observe a gradual diminuendo of the partition walls, which tend to become lower and lower until they eventually disappear. The black curtain is hung lower in the lateral panels of the alcove than in the middle panels of the lateral walls of the procoeton.

The rear north wall is almost completely open towards the landscape, but for the partition screen. But the screen itself, although it obstructs the view, has a different character from the regular partition walls. It is in the form of a tableau of monochrome landscape painting, which makes it far more evocative of the real landscape outdoors than the regular partition screen. Another step forward and this screen will be completely eliminated, as we see in the garden paintings from the Villa of Livia at Prima Porta.

The pergola depicted on the right panel of the rear wall is a solid structure, asserting its presence against the blue sky. The stone pillars support a segmental arch, 71 For depicted masks in Roman painting, see Allrogen-Bedel ; Gallistl For oscilla see Taylor The three pillars on each side are held together by wooden beams. The vine, growing on the right side of the pergola, climbs up and covers the trellis, heavy with ripe fruit. Gifts of bountiful nature, the grapes are the symbol of abundance and exuberance, as well as an allusion to the Dionysiac pleasures of life.

The structure depicted in the middle panel of the rear wall fig. Then what was the function of this structure built so close to the pergola? The pergola on the left panel, although it may have been intended as a pendant to the one on the right, is not so, strictly speaking; no vine covers its trellis roof. If we reconstruct in imagination the cut-out part by the real window and presuppose that the depiction were intended to be a real landscape viewed from openings framed by the depicted red columns — French windows on either side and a regular window in the middle, all thrown wide open — too many contradicting details make the presupposition improbable.

The depicted landscape is not in any way an accurate representation of the real landscape. Rather, it is more of a compilation of images of the countryside stored in the memory and an idealized representation of nature. The grotto with a fountain offering a cool shade to the wayfarer is a locus amoenus, frequently associated with the worship of a deity.

The statuette of Diana-Hecate, goddess of nature, evokes the sacral setting of the grotto. The overhanging ivy leaves allude to Dionysos, the deity associated with the sensuous pleasures of life. The spring-fed fountain brimming with water is yet another image of abundance. Birds of various colors are present, perched on the solid rock, on the rim of the fountain, or maintaining a precarious balance on the ivy. In addition to vision, the sense of the ear and the touch, namely the aural and the haptic are called into motion.

More than any other wall in the cubiculum, the north wall evokes a sensation of animation and movement. In stark contrast to the absence of human figures and the relative quietude of the cityscapes depicted on the lateral walls, we are confronted by an enlivening landscape animated by birds, rippling water, green foliage, ripe fruit, lit by bright sunshine. It is as though, all of a sudden, everything has come alive, inviting the viewer to participate in the pleasures of life, to enjoy the bounties of nature, and to celebrate its animating exuberance.

It is tamed nature we are looking at, an idealized nature that is adapted and embellished to the needs and taste of man. The emphasis is on the beautified and idealized aspects of rural life rather than on the reality of its rustic frugality and hard labor. Depicted in frontal manner, the pergola shows the other side of the tunnel structure, as though inviting the viewer to walk through it. The connotation of movement is present.

The painting presupposes the real and the illusory worlds and the boundary between them, and the pergola seems to invite the viewer to cross the boundary and to enter the other world, namely the fictive world created by the illusionism of painting. The blue sky visible through the pergola structure, the Durchblick so to speak, suggests the depth of the world beyond. The Durchblick of the blue sky through the pergola also finds a parallel in the real window, which would have allowed for a view of the real agrarian landscape with Mount Vesuvius in the distance. The mosaic was known in the Renaissance, as it was mentioned in works by antiquarians and travelers that date from the late fifteenth to the early sixteenth century.

Biondo, Italia Illustrata, , fol. Eam vero civitatem dicit Strabo habuisse insigne templum Fortunae a Sulla aedificatum, a quo petebatur oraculum. Additque Plinius simulacrum id Fortunae adeo fideliter fuisse inauratum ut crassissimae inaurationes dicerentur Praenestinae. Et alio loco de pavimentis tractans, dicit lithostrota acceptavere iam sub Sulla, parvulis certe crustis, quod in Fortunae delubro Praeneste coepit. Strabo says that the city had a remarkable temple to Fortune built by Sulla, where oracles were once sought. Pliny adds that the statue of Fortune there had been so durably gilded that the thickest kind of goldleaf was called Palestrina leaf.

English translation by Jeffrey White. The treatise can be dated between and from its dedication to Cardinal Recanati, Girolamo Basso della Rovere. Templi pavimentum litostratis Sylla ornavit quorum tempestate nostra licet intueri monumenta. Sunt lytostrata e parvulis crustis et tessellis pavimenta picturae ratione variata. Erat quoque videre columbam bibentem et aquam capite inumbrantem, aliamque quae escam subripiebat, sedentem aliam in labro cantari. Alias vero apricantes a sese scabentes. Non minus variam picturam in pavimentis Praenestiae Fo[r]tunae intueri licet, quae non situs, non aetas, non tot ruinarum iniuriae violarunt.

Sulla decorated the floor of the temple with mosaics, examples of which one may inspect in our own time. There are mosaic floors made of very small inlays and cubes and arranged in the pattern of a picture. There is also a plan by Giuliano da Sangallo of the apse, the original location of the mosaic. Contrary to the general understanding that the mosaic was rediscovered in ,79 there is ample evidence that it was well-known to antiquarian scholars and architects who engaged in the study of the antique from the late fifteenth century. The mosaic has had a complex history from the early seventeenth century.

Around , watercolor copies of the various sections were made for Cassiano Dal Pozzo. Upon arrival in Palestrina, the packing boxes were crushed and the pieces were damaged. One may also inspect the equally varied picture in the floor of the Fortune at Palestrina, which has not been spoiled either by the place, or by the time or by the large amount of damage to the ruins. Patricia Fortini Brown mentions that it was first recorded at the end of the sixteenth century. Magalotti kept one piece, which was replaced in the mosaic by a copy. Cited in Whitehouse , 6. Whitehouse also cites a Da Pozzo note published by Lumbroso in Cited in Whitehouse , 93, chap.

Its present state in the Archaeological Museum of Palestrina, the former Palazzo Barberini, is an assemblage of authentic parts and restored parts put together. The section of the mosaic that concerns us is section 19, which depicts a banquet scene under a pergola fig. We found it to be an excellent break from the bustle of cities we had visited as it is fairly remote and quiet.

All of the staff were very friendly and went out of their way to make us feel welcome. Highlights for us were taking meals in the beautifully restored stone church as well as relaxing in the pool overlooking the valley. The food was always fresh local produce which make our stay one of the best experiences in Italy. This is in a lovely location with spectacular views from the garden, and only about 5k from town. So peaceful and in such a gorgeous, remote location. Claudia was so helpful and accommodating even meeting us in the local town to help us find the house first time!

We may have to come back again! Our stay at claudia's house was perfect! Really great space for a small family and Claudia was really lovely and helpful! Un posto caldamente raccomandato. Davvero bellissima la casa di Claudia e Ivan! Arredata con gusto e cura dei dettagli.

Immersa nella magnifica campagna umbra per un soggiorno di relax, ma anche vicina ai luoghi di interesse storico e artistico della alta valle del Tevere: Claudia e Ivan padroni di casa perfetti. On peut aussi utiliser la maison comme base pour rayonner et visiter Assise, Gubbio et Perugia mais il faut accepter de prendre son temps car les routes ne sont pas toutes bonnes aux alentours.

Coccolati con discrezione da Claudia e Stefano. Tutto ben curato e confortevole. Il luogo bellissimo e ricco di pace. It was a pleasure and an honour staying at Beatrice's family apartment in beautiful Montone. We were celebrating a special weekend, and could not have wished for a more authentically Italian welcome - from Beatrice's friendly professionalism, meeting us exactly on time, with clear information on various aspects of our arrival; to the apartment which is very spacious much bigger than it looks in the photographs , and full of character; to the most incredible view of rooftops and the surrounding countryside from each window.

Moments from the central square, we very much felt a part of a relaxed community, and enjoyed listening to the sounds of village life with the windows open in the evening. Once closed, the shutters provide incredible soundproofing and black out capabilities. We ate often and with great pleasure - at local restaurants, the cafe on the square, and by preparing meals in the very well equipped kitchen.

Montone has a small grocery, as well as a shop for newspapers and everything for the essentials of life - a short drive away was a the larger town of Umbertide for a larger variety of grocery stores and amenities. For us, Montone was the star of the show, and Airbnb is about being able to feel welcome, stepping into a local experience - for this Beatrice's family home was absolute perfection!

Thank you very much: We have visited Montone a couple of times before but this was our first time staying in this special little town. And Beatrice and her family were perfect hosts We would love to stay again. Emanuele and his mum are very welcoming and kind. Mama cooked for us home made bomboloni: Location is fantastic and very quiet.

The apartment is perfect, very clean and well furnished. I strongly suggest Emanuele's home if you want to relax. Gubbio is only 20 min away which is very convenient. We had a great stay at Emanuele's place! Both he and his mum are very friendly welcoming and helpful! The house is conviently situated to visit the beautiful Umbrian cities around Gubbio, Perugia, Assisi.. The apartment was very clean and brand-new. The landscape around the house is really beautiful and can be admired while taking a swim in the big swimmingpool We recommand it warmly!

Grazie e a presto ;. Se volete immergervi, fisicamente e mentalmente, nelle campagne umbre, staccare il telefono ma connettervi solo con la natura, non esitate a venire in questo posto semplice ma genuino. Appartamento molto pulito, con l'aria condizionata, cucina molto grande. Anche il bagno molto grande, comodo e super pulito. Il posto in generale ha una vista incredibile: Emmanuele e la sua mamma ci hanno accolto molto bene con meravigliosi biscotti fatti in casa!!!!! Emanuele e sua mamma sono stati molto ospitali, cordiali e premurosi.

Un'oasi di relax in uno scorcio bucolico di pace. Appartamento immenso e pulito. No wifi e strada di accesso bianca non percorribile da supersportive. Con la no problem. Valeria welcomed us warmly and did her best to accommodate us and our large volume of luggage. The Torre apartment is very quiet and peaceful and once you have opened the shutters and let some light in it is charming with lovely views. Its a comfortable place but not suitable for travellers with heavy luggage or issues with privacy as the top bedroom needs to access the only bathroom which is inside the main bedroom and on the middle floor.

The bathroom is tiny but adequate and clean. The staircases are very steep, narrow and somewhat dark so hauling yourself and luggage up and down is a challenge. The outside eating area on the patio and the enormous pool are both fantastic and were welcome amenities during our stay. The wifi has limited range downstairs, inside only so I would suggest that a repeater is installed to give guests a wider range of use.

Besides this we enjoyed the quaint charm of this ancient property. Thank you for having us stay. Like other guests have said, this place is stunning in location! It is definitely off the beaten track and you need to pay attention to her directions. The weather was very hot, but because we were in the hills, the evenings were much cooler. The pool is large and very clean. As for meals, we happened to be able to have one evening meal the first day we arrived, but there was no mention of any other available meals, even though we had inquired.

Fortunately we had brought some food with us. Towels and linens cost extra and there was no soap or any cleaning supplies. We did have to make a trip into town to pick up supplies. I would definitely stay here again, but maybe with some translation help to understand more about how the place works. The place is very unique and we had a great holiday with 2 kids. The pool is nice and clean and the landscape is stunning. Just make sure you bring everything you need like salt, a wine opener and such things. Also, there is no oven, so don't buy a frozen Pizza as we did.

You can visit places like Gubbio or Perugia in about 40 Minutes. Twice we had no water in the evenings, which was a bit annoying since we wanted to shower after a hot day, but Valeria was always helpful. The price performance ratio is good. This is the one place I really don't want to write a review about, because I'm afraid if people find out how awesome the Palazzo del Castaldo is, it'll be constantly booked out and I'll never be able to return, which I absolutely intend to do. I guess it depends on what you are looking for.

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For me it was exactly that and then some. I've been coming to Umbria for over thirty years. I have friends there, I speak the language, I know the place. This time was the first time for my teenage daughters though and I really wanted them to experience, what I have come to love about Umbria: It couldn't have been any more perfect.

My kids literary asked me, why we would possibly waste our time in Rome and Venice, when we could have spend more time in Montelovesco instead! So, if you are looking for the real Umbria, look no further. The place is years old and Valeria's cooking is as authentic umbrian as you'll be able to find anywhere. Wonderful place to stay. Very cool experience in a beautiful part of Italy. It was a little difficult to get to, but we did so at night which may have been the problem. Also, the wifi was not great but then again you don't need wifi to enjoy the fresh air. Location immersa nel verde panoramica e suggestiva.

Bellissimo e molto particolare l'alloggio nella torre. Disponibile piscina, comoda e ben tenuta, fantastica per il relax. This place is a hidden gem in the lush hills of Umbria in Central Italy. It is a couple of hours drive away from Rome and we used it as a home base to tour the beautiful medieval cities in the Area Perugia, Assisi, Gubbio, Todi, Spoleto.

Once we got at the Palazzo del Gastaldo, we were seriously tempted to give up visiting the historic town and just enjoy the peace and beauty of its location. Located on a hilltop at Phone number hidden by Airbnb ft above sea level it is significantly cooler than the neighboring locations, which is a great plus in the summer months.

The place is an historic location in itself as the construction is several centuries old although the rooms have all comforts and it features a swimming pool It is easy to reach once you enter Palazzo del Castaldo on Hidden by Airbnb maps. We also took advantage of the half board possibility Mezza Pensione in Italian, i. The food was great and it was very pleasant and relaxing to dine and rest there in the evening after a day of sightseeing.

The apartment was great and stayed nice and cool when it was hot outside. One of the draws of this place was the pool, which did not disappoint and we had a great time relaxing next to it. The area is amazing and it's a really beautiful selection of buildings on the estate. There is a restaurant there which serves locally grown set menu, although we wished afterwards that we had asked about the price before hand as it was a fair bit more than we were used to paying.

We would definitely come back to stay at this place. We arrived very late and had nice welcome and the cooked a delicious Italian dinner for us. The appartement was large and we had a beautiful view. The communication with they owners was very good and easy. Nice place to stay!

We loved our stay here. Quiet country surrounding, beautiful old buildings, great pool. Great value for a family. Just remember you need to bring the basics: But we were aware of this so no problem. Purtroppo il tempo non ha reso merito alla bellezza del posto. Abbiamo soggiornato in quattro al Palazzo del Gastaldo, nell'appartamento Fienile.

A poca distanza dal centro di Umbertide e a 30 minuti da Gubbio. Grazie e arrivederci presto! La vue de la piscine est splendide. Spectacular vieuws from a beautiful old renovated castel up on a mtr. Valeria and Paolo are a warm and welcome Italian couple and serve dinner and breakfast if requested. You need to provide everything except linen and cooking utensils. The fridge is very small and the nearest shopping is at least half an hour away. The cats are a delight. And if you are there in autumn, black figs on the trees. We had a very good bottle of wine from the area.

Dear Valeria, We had a great stay at your beautiful Palazzo del Gastaldo. The location is perfect, away from the busy and touristic part of Italy. We enjoyed the swimming pool and the fantastic view from the hill. Thank you very much for your professional support during our stay!

The place was fairy tale like, 'fuori del mondo'. It would be really nice with good weather. Unfortunately, we had rain. But it was still located centrally to visit places like Assisi, Arezzo, Gubbio, etc. We stayed at the La Legnaia appartment situated very close to the pool. The appartment was large, very clean, and it was equipped with everything we needed.

Valeria is a great and very nice host. She is very polite, helped us with useful sightseeing tips and maintained good communication for any issues we had during our stay. We hope to visit this gorgeous place and meet her again next year. This is a lovely place to spend a few days or even a week if you want total rest and relaxation away from the noise and bustle of city life. Great place to unwind and enjoy nature. It is very beautiful countryside. Great for bike riding and trekking. Beautiful place to take a picnic and lie around in the sun daydreaming or reading. Very authentically restored accommodation and kind thoughtful hosts.

Paulo speaks great English having spent time working in Australia. Central to explore the northern part of Umbria. Super place also if you have young children as plenty of space for them to roam around. I would recommend taking some basic food supplies with you to cook for yourself such as some good pasta and some Truffle sauce. The restaurant was satisfactory the house wine superb as was the home made grappa. We stayed at the La Legnaia appartment situated close to the pool. The apartment was large and clean and perfect for a family of four.

Two large bedrooms and a large living room suites us well. The pool was clean with good wooden sunbeds. The garden was very nice and well kept by the hosts. The hosts was very friendly and discrete. Wir waren 14 junge Erwachsene, die genau das gesucht haben. Find Places to Stay in Camporeggiano on Airbnb. Discover entire homes and private rooms perfect for any trip. Vacation Rentals in Camporeggiano. Places to stay in Camporeggiano. All around is full of silence and peacefull in the deep green of umbrian Website hidden by Airbnb extraordinary experience for people who loves nature,they can enjoy the beauty of wonderful landskape,walking,trekking and relaxing sorrounded by nature.

Easily rechable by car street E 45 exit Gubbio-and connected by public transports, the place is just few kilometers from Gubbio,Assisi,Perugia,Montone,Cortona,Lago Trasimeno,beautiful towns of historical interest and rich in artistic treasures. However,guests equipped with their own car are favourite. Arlene And David T Regenereted in Umbrian Countryside3. Old late Nineteenth century's house recently renovated and divided in two apartments,placed in the heart of a Farm immersed in the greenery of sweet hills of the Eugubino region the North-East part of Umbria.

The 2 apartments are on the same level but with indipendent entrances. This one is APT 2: Living room with sofa bed. One double bedroom decorated in rustic style,bathroom with shower,kitchen equipped,Tv,microonde warm. An extraordinary experience for people who loves nature and its products,they can enjoy the beauty of the wonderful landskape,walking,trekking and relaxing sorrounded by nature.

Easily rechable by car street E 45 exit Gubbio-and connected by public transports,the place is just few kilometers from Gubbio,Assisi,Perugia,Montone,beautiful towns of historical interest and rich in artistic treasures. I highly recommend this area and these accommodations MaryAnn T This is an automated posting. Regenereted in Umbrian Countryside2.

Mini appartamento in casale di campagna, composto da cucina con divano, bagno e camera da letto matrimoniale. Ampi spazi esterni e piscina attrezzata. Si vive immersi nella natura vera.. La nostra posizione geografica consente di essere piuttosto vicini alle maggiori mete turistiche umbre. Jo And Anita T Bella esperienza Laura T Casa colonica a Gubbio Appartamento Aria B is a graceful apartment located on top of a small hill. It sleeps two people. From Appartamento Aria B you will have a pleasant view of the Umbrian countryside and of the greenery. Appartamento Aria B is 70 square meters square feet.

You will be roughly 3 km 1. You will find a grocery store at 5 km roughly 3. Appartamento Aria B is located on the first floor of an ancient farmhouse. To stay at Appartamento Aria B you will need a car.

You will be able to park it on the premises, in a private parking lot. Please note that access to Appartamento Aria B is along an meter half-a-mile unpaved road. Appartamento Aria B is tended by two caretakers, who reside in an annex on the premises. Appartamento Aria B is one of the holiday homes available in a small complex. Please find a general description of the complex below, and please scroll further down for a description of Appartamento Aria B.

The Aria apartments are 4 apartments that are part of an old farmhouse at the foot of the medieval village of Montone, relaxing in the picturesque Umbrian countryside. An oasis of peace and tranquility. Comfortable, elegant apartments with fireplaces, antique furniture and fully equipped kitchen, surrounded by vineyards and olive groves with a large garden and swimming pool. The property also has a restaurant open only for guests, living and communal dining room where you can taste the local products. The property is located in a strategic place to visit the beautiful cities of Umbria and Tuscany.

A wonderful place, where history and nature to forget the stress of every day and enjoy the peace of Umbria Website hidden by Airbnb Swimming Pool The swimming pool is 7 meters 23 feet large by 15 meters 50 feet long, 2. The swimming pool area is equipped with a table, chairs, sun umbrellas, sun loungers and an external shower. From the swimming pool you will have a pleasant view of the greenery and of the hills.

You will share the pool with the other guests staying at the complex. It is open from mid-May until mid-October Website hidden by Airbnb Garden The garden is square meters square feet large. It is partly shaded by a pergola and by trees. It is equipped with a table, chairs, sun umbrellas and a sun lounger. Here you will also find a brickwork barbecue.

From the garden you will have a pleasant view of the valley. You will share the garden with the other guests staying at the complex Website hidden by Airbnb Living Room The living room is paved with ancient terracotta tiles. The furnishings are warm and elegant. The furnishings include a sofa. There is a big fireplace. The dining table can accommodate four guests. From the living room you will be able to enter a small balcony with a view of the garden and of surrounding countryside through a French door.

The room has a window with a view of the garden. Kitchen You will be able to enter the kitchen from the living room. It is equipped with a four-burner gas cooker, an electric oven, a small refrigerator with freezer and an Italian-style coffee-maker. The kitchen has a window. Bedroom You will be able to enter the bedroom from the corridor.

Bathroom The bathroom is equipped with a washbasin, a toilet and a shower. You will be able to enter the bathroom from the corridor.

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E' un annesso di 60 mq adatto per coppie che vogliono visitare la nostra regione. Non abbiamo piscina ma abbiamo la tartufaia, il torrente, i caprioli, istrici, cinghiali, i nostri 3 gatti e la cagnetta Gina,. Casa etica in Umbria. Appartamento Aria C is a welcoming apartment surrounded by meadows and by green hills. From Appartamento Aria C you will have a pleasant view of the Umbrian countryside. Appartamento Aria C is 80 square meters square feet. Appartamento Aria C is located on the first floor of an ancient farmhouse.

To stay at Appartamento Aria C you will need a car. Please note that access to Appartamento Aria C is along an meter half-a-mile unpaved road. Appartamento Aria C is tended by two caretakers, who reside in an annex on the premises. Appartamento Aria C is one of the holiday homes available in a small complex.

Please find a general description of the complex below, and please scroll further down for a description of Appartamento Aria C. You will share the garden with the other guests staying at the complex Website hidden by Airbnb Living Room The furnishings of the living room are simple and comfortable. There is a big fireplace made of bricks. In the living room you will also find a cooking area. The kitchenette can be closed in a cupboard and is equipped with a four-burner gas cooker, a small refrigerator without freezer and an Italian-style coffee-maker.

The dining table can accommodate six guests. The room has two windows with a view of the garden. The room has two windows. Bathroom The bathroom is spacious and equipped with a washbasin, a toilet and a bathtub with shower wand. Old late Nineteenth century's house recently renovated and refined, devided in two apartments, placed in the heart of a Bio-Farm Organic Farm House "Le Vaglie" immersed in the greenery of the sweet hills of the Eugubino region the Notrh-East part of Umbria. The 2 Apartments are on the same level but with independent private entrances.

This one is APT 1: Large living room with fireplace. Two bedrooms both available with double bed and two single beds. The rooms are confortable and decorated in rustic style. Bathroom with shower ,kitchen. If interested,guests can enjoy to be part of the daily farm activities and the processing of agricoltural products oil and wine pruning olive harvesting etc.. An extraordinary experience for people who loves nature and its products. Otherwise they can simply enjoy the beauty of the wonderful landskape,walking,trekking and relaxing sorrounded by nature.

Easily reachable by car-street E45 exit Gubbio-and connected by public transports,the agritourism is just few kilometers from Gubbio,Assisi,Perugia,Montone,beautiful towns of historical interest and rich in artistic treasures. Regenerated in Umbrian Countryside1. An eclectic mix of comfortable furnishings.. With easy access to the beautiful medieval town of Montone 5 mins drive or 15 min walk with restaurants and all amenities PO Bancomat. We have amazing views of the Umbrian countryside as we are elevated. The E45 main high way is 10 minutes and we have easy access to many beautiful Italian hill top towns.

In the countryside between Umbria and Tuscany, lies an ancient estate that has been owned, since , by a noble family. The estate has a winery which houses this spacious apartment. This beautiful, elegantly furnished apartment is on the first floor. The striking terracotta floor and cosy fireplace contribute to the apartment's characteristic atmosphere. The small terrace gives a view of the mansion. The apartment can be heated by radiators fees apply. In the large garden below the apartment you can have a lovely breakfast, cosy dinner or simply enjoy the sun.

The beautiful pool is of course a great place to cool down. The apartment is an ideal base for visits to beautiful cities with lots of attractions. Take a day trip to Assisi with its famous Basilica of San Francesco, the medieval city of Siena, with its cathedral and the famous Piazza del Campo and the lively university city of Perugia. Pienza, Gubbio and Cortona are well worth seeing, too. Are you a water sports enthusiast? Then you can indulge yourself at Lake Trasimeno. On the 1st floor: Large kitchen fireplace , bedroom double bed , bedroom bunk bed , bathroom shower washing machine shared with other guests , heating central , terrace, garden, garden furniture, BBQ shared with other guests , swimming pool shared with other guests, 14 x 7 m.

Spacious apartment located on a property with pool between Umbria and Tuscany. This apartment, situated in an old farm house, will guarantee you a wonderful holiday. You are staying on the Agriturismo Vigne di Pace estate. In the kitchen there is an authentic terracotta floor and the typical brick ceiling. There are plenty of options around the house for you to sit outside.

Next to the pool, you have a lovely view of the surrounding hills, covered with grapevines, olive trees, sunflowers and, partly, forests. From the estate, you can take wonderful hikes through the surrounding nature. The Vigne di Pace estate is centrally located in Umbria, just across the border with Tuscany. Umbria's cultural cities such as Perugia Assisi and Gubbio, are within easy reach of the estate; other villages in the immediate vicinity include Pietralunga and Monte Santa Maria Tiberina. From the estate, you can also easily visit the east of Tuscany. Sitting room TV satellite , Large kitchen dining table , bedroom double bed , bedroom single bed, double bed , bathroom shower washing machine shared with other guests , heating central , swimming pool shared with other guests.

Attractive apartment in old farmhouse on the estate with pool. Estia apartment is located on a beautiful estate in the hills near Gubbio. The estate has a beautiful location in the Umbria region near Tuscany and Marche. It is an oasis of calm in nature, ideal for a relaxing holiday. On the estate are two rustic houses with a total of five apartments. It was once an antique mill and the owner has completely restored preserving its original architecture. The apartments feature exposed beams and terracotta tiles. The decor is rustic and the atmosphere is friendly and cozy.

Each apartment has a private terrace with garden furniture. There is a spacious garden with a swimming pool and a Jacuzzi. It is a wonderful place for children because of the large garden and swimming pool where they can play. The estate is an ideal starting point to visit the cities of Todi, Perugia, Assisi, Orvieto, Spoleto. Nature, art, history and gastronomy can be found here. Living room double sofa bed, TV satellite , open kitchen coffee machine filter , oven, fridge-freezer , bedroom double bed , bathroom shower, washbasin, toilet, bidet jacuzzi shared with other guests, outside, paid , garden shared with other guests, m2 , BBQ, parking, swimming pool shared with other guests, 14 x 6 m.

Estate with 5 apartments, swimming pool, large garden. Great house and its owner. Intero appartamento con giardino in pieno relax. Ristorante interno,Piscina scoperta e Parcheggio gratuito. Un antico mulino trasformato in una Villa hotel finemente arredata e decorata vi accoglie con ogni comfort. Soggiorno rilassante tra le verdi campagne umbre e vacanza attiva all'insegna della scoperta dei vicini centri ricchi di storia e fascino.

Consiglio a tutti un soggiorno al resort Poggiomanente Elona T The palace, located on a hill at s. The property consists of a main building where you find the accommodation of the owner and the others apartments that have been restored in respect originality of the buildings. The apartments are furnished with rustic furniture and antiques; Each has a private outdoor area with garden furniture. Private and equipped courtyard.

Couldn't recommend more Andrea T Palazzo del Gastaldo - La Scuderia. Charming detached cottage for exclusive use made of stones in a park over a hill 5 km to Gubbio and surrounded by colorful flowers and old trees, consisting of a bedroom for 2, a living room with fireplace and a super comfortable sofa bed, a bathroom with shower and a recently renewed and fully equipped kitchen.

Outside there is a private area furnished with wooden table, umbrellas and deck chairs, barbecue, hammock and bowling pitch with night lighting. The success and pleasantness of your stay is my mission. You will taste the typical Italian country hospitality together with a special attention to details and comfort. This is one of the most charming, beautiful and exclusive property of Gubbio. This is not an extremely luxurious place - this is a country house- but still a very comfortable one.

Gubbio is a medieval town rich in arts, a simple tour in her narrow streets is amazing. Gubbio is also plenty of extremely good restaurants. A unique opportunity to taste the real spirit of the Italian countryside. Milions of places to visit within 1 and 2 Hours approximately: Roma is just 2,5 hours. This is the perfect place to stay if you plan to visit the most interesting places in Italy, full of history and art.

Gubbio is well known for food and great restaurant. We couldn't recommend Susanna and her place more highly Murray Alexander T Country House La Panoramica in Gubbio. Sulle alture a sud-ovest di Gubbio, adagiato su una terrazza naturale che domina la Valle dell'Assino che congiunge Gubbio ad Umbertide, sorge Niki's Resort un antico borghetto del composto dalla Chiesa, dalla sua fortezza e da una villa amt. Con tale bolla il pontefice ribadisce che alla canonica appartengono varie Pievi sparse in tutto il territorio della diocesi, tra cui quella denominata "Plebem Santctae Mariae de Algnana".

Il logo della Niki's Resort rappresenta un Agnello che sorregge una croce. Tale basso rilievo oggi si trova in custodia presso la Chiesa di Camporeggiano sita ai piedi della valle sottostante il complesso da noi gestito. Il Restauro Il restauro degli edifici sono avvenuti sotto la direzione della Sovrintendenza dei Monumenti dell'Umbria, attenendosi scrupolosamente all'architettura dell'epoca intervenendo con opere di normale manutenzione sugli esterni e in modo radicale all'interno ripristinando anche gli affreschi.

E' stato effettuato anche un radicale restauro ambientale mantenendo la vegetazione originale, il lay out dei giardini e le storiche vie di accesso. Sulle alture a sud-ovest di Gubbio, adagiato su una terrazza naturale che domina la Valle dell'Assino che congiunge Gubbio ad Umbertide, sorge Niki's Resort un antico borghetto del composto dalla Chiesa di Santa Maria di Agnano, dalla sua fortezza a difesa del territorio, costituita da un corpo centrale con una torre che fungeva da posto di avvistamento sulla valle sottostante, oltre ad un altro edificio.

Il Caseto, antico casolare in pietra. Agriturismo Montelovesco si trova in aperta campagna ma a soli 3,8 km dalla strada statale Gubbio-Pian d'Assino che porta a Gubbio e alla E Sono stati ricavati 4 appartamenti da 2 a 10 persone e 4 camere. Recentemente abbiamo completato la nostra offerta con una piscina con solarium a disposizione di tutti gli ospiti. La romantica suite Le Lavande ha un ingresso privato dal giardino che la rende totalmente autonoma. L'ampia camera ha il letto a baldacchino matrimoniale ai cui piedi si trova la vasca da bagno a pavimento Website hidden by Airbnb Il bagno con doccia e l'angolo cottura la rendono adatta per un relax totale.

Nel patio esterno si trovano un tavolo con sedie e 2 poltrone per romantiche cene sotto il meraviglioso cielo stellato. Accesso ospiti Gli ospiti hanno accesso oltre al loro appartamento ai servizi e alle aree esterne dell'Agriturismo Montelovesco: Materiale informativo e guide turistiche Animali: Per ragioni igieniche non sono ammessi in piscina Interazione con gli ospiti Stefano ed io ci occupiamo a livello familiare di gestire il nostro agriturismo e curiamo personalmente l'accoglienza, mettendo al centro del nostro lavoro il relax e il benessere dei nostri ospiti.

Per ragioni sanitarie non sono ammessi in piscina. A pochi chilometri da Gubbio, Perugia e Assisi, Montelovesco era antica roccaforte e teatro di battaglie medievali. Montone is a picturesque village in Umbria, full of music,history, parties and warm people. Our house is next to the piazza main Square. It is a big ancient house on the third floor, with all furniture. It has a kitchen, a big living room, 2 bedroom, 1 bathroom and 1 free room. Our house forms part of the history of Montone. From the window you can have a perfect panorama of the valley. In the 80's it was reconstructed. Our house is in the centre of Montone, right behind the main Piazza.

Come and enjoy a wonderful stay in our beautiful village, completely surrounded by nature! Our one bedroom apartments are an average of Website hidden by Airbnb and come with a private bathroom with shower, wifi, air conditioning and heating, a kitchen and a TV. In our borgo you will have at your disposal a restaurant, two swimming pools and one fitness room. Borgo Pulciano - 1 bedroom apartment for 2 people. Villa Pavone C is a welcoming two-story apartment surrounded by the greenery.

It features a shared swimming pool, a private terrace, a shared patio, a shared garden, winter heating and WI-FI Internet access. It sleeps four people. From Villa Pavone C you will enjoy a broad view of the valley and of the surrounding countryside. Villa Pavone C is 60 square meters square feet. You will be roughly 5 km 3. Villa Pavone C is located on the first floor. You will reach it from the main entrance of the building along an external stairway which consists of approximately 20 steps.

To stay at Villa Pavone C you will need a car. You will be able to park it free of charge on the premises. Villa Pavone C is one of the holiday homes available in a small complex. Please find a general description of the complex below, and please scroll further down for a description of Villa Pavone C. Villa Pavone is in the middle of a hectare agricultural farm which stretches over a verdant valley at the same height of the secure medieval hamlet of Montone, a small village which is listed as one of the most beautiful hamlets in the world.

Almost the whole land of the farm is actually pasture or range, being used to breed cattle of the famous Chianina breed. Cultivations and breeding of animals are developed with organic methods.