[this is an email I sent to family when we were unable to post on this blog]
Greetings from the Tuscany Villa !!
Now this is the jewel of the trip. There is time to relax without the tourist schedule that can wear a traveler out. If you will remember the great big doors we took photos of in Rome and Florence, I can take you inside one of them now. For that is exactly the way of the Villa. A rather non-descript set of doors not unlike many of the others on the street. But once inside… man-o-man !! A huge dwelling of incomparable charm and comfort. One immediately feels right at home. There is something about the age of a place, that when counted in centuries, is simply not available to anyone currently living in the United States. We have no structures that were built in the 1300s.
Laurel & I are staying in the room called Garnaio. It was used to store olives, vegetables, and fruit prior to processing. Remember, this building used to be an olive pressing mill.
Okay, that’s it for now. I will post below the writings of the history from the current owner (an attorney in Seattle). We are using her dial up laptop, so cannot upload pictures just yet. Ciao!
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Villa Maddalena
The “Villa” is actually a compilation and melding of several structures from different eras. I will try to describe what I have been able to cobble together about this history.
When Signora Guazzi passed away in 1995, she bequeathed her residence and those of her long-time employees, Gigliola and Lisa, to her 6 nieces and nephews ~ 4 apartments, cantina spaces, garages, store rooms. The heirs were not quick to decide among themselves what they wanted to do with their inheritance. It seems that they apportioned the square footage equally among themselves and then put together the square footage of the 3 heirs who wanted to sell and offered that for sale. We became aware of it through my friend in the village, a painter, who had exhibited her work in one of the street-level spaces.
We toured it and peered into the neighboring buildings, which were not for sale. After a couple of months of working with the floor plans we declined to purchase, not being able to make the floor to floor elevations work relating to the garden, using the spaces well and working around Gigliola and Lisa. One has the right to occupy her apartment for life and the other has a long-standing low rent agreement. Displacing them was, for us, not an option.
A couple of weeks later, with nothing to lose by asking we asked to buy the other portion of the inheritance ~ only one apartment and all the miscellaneous spaces. They accepted our offer and we purchased with you now see, never having actually been into well over half of it.
What became Villa Maddalena in 2002 was actually 3 separate buildings or portions of buildings.
A ’slice’ of the house next door to the west. This house appears on a village map dated in 1225, so it was built sometime before that date. There are no buildings shown between this building and Mannuccio’s buildings to the east. This was a ’slice’ of a ‘fine house’ with terrazzo floors and frescoed rooms with coved plaster ceilings.
The main house, the stone building that is on the street has floors in the upstairs that have a chinaprese (sp?) finish. This was popular in the 1500’s. It involved following a Florentine style of decorating, this fad created a glistening, seamless floor finished in a Chinese red. The handmade terra cotta floor tiles which could have been laid a hundred years earlier were skim-coated with a fine cement-like material to hide all the joints. This was then stained with the deep red. It was then heavily waxed and continuously waxed and buffed to create the desired luster. This gives the hint as to when this house was built. It was a ‘fine house’ with frescoed walls, terra cotta stuffe (wood-burning heating stoves in each room) and details in the masonry at the roof edge typical of finer houses. The Madonna, a very large ceramic of the Holy Family, is mounted in a special brick niche in the front wall. This was made in San Quirico d’Orcia at a fornace which closed in 1678. The Guazzi family added their coat of arms in 1855, above the Madonna.
The living spaces of this ‘fine house’ were all on the second floor, along the north wall, overlooking the village street. The wall of the main hallway through which Granaio, Maddalena, the hallway to Giardino and Fresco, was the south wall of the house. The niche in the stairway and the doorway to the Giardino/Fresco hallway were open to the south, together with one other that is buried in the wall where the stair goes to the Girasole. So all spaces had windows – the stairs and hall and every bedroom. The garden was a combination farm yard and kitchen garden.
The ground floor was used for carriages, food storage (wine, cheeses, apples, oil, etc.). The cantina and kitchen were areas for the horses and a cow or two. The chicken and rabbit houses were in the garden in 2002. The Commune allowed their ‘volumes’ to be combined and that, together with the tool sheds was enough space to apply for the construction of the tettoio. (the tool sheds yielded all of the floor tiles for all the bathroom – some dating back to the middle 1800’s!!)
In approximately 1710 the ‘new addition’ was built. This was used, until 1967 as an agricultural building and olive mill. The stones are in the garden and the original fitting for the millstone is still in the arch in the dining room. The stones and the olive oil jar that pours water into the open cistern were all found buried under the old barn. This rudimentary shelter was built without mortar and stood where the limonaia now stands. When the barn was dismantled and the floor excavated the Brandini, the father and sons who did all the work on the house, discovered the jar in 3 pieces, together with all the stones. Over the years the cantina and kitchen areas were used for the village forge, the flues were still in place when I bought the house. Next to the refrigerator you can still see the accumulation from the bellows. The entry hall was, at one time a car repair shop, as we see the ‘pit’ still in the floor under the rug.
The upper floor was used for agricultural storage ~ granaio. In 2002 the only way to get into the Granaio and Maddalena spaces was up a ladder through a hatch in the ceiling. At some point in the past the area of the Fresco and Giardino bathrooms, the Giardino bedroom, spaces in the 1710 addition, were incorporated into the apartment in the building to the south, using a long hallway. When this was done, perhaps in the late 1800’s the ceiling of what was now the living room was rebuilt with a system of iron I-beams, into which arches of brick were built. You can see this style in many buildings to this day. The arches were filled, from above with clay, tightly packed. Over this the terrazzo floor tiles were laid in the rooms above. When the work was begun in 2002 the clay had begun to break down. Rather than remove the clay, replace with concrete and relay the tiles, we opted to restore the original chestnut beam ceiling, which raised the ceiling height of the original height. This is also, indirectly, the reason that the windows in the Giardino bedroom are taller and more slender than others in the house. The Commune architect allowed the highest and lowest header and sill to be used for the new windows.
As I got acquainted with the house, its history, its spaces, its sunlight, its faces in the seasons, bringing it together to create the Villa flowed. It was not a struggle. So many things you see were ‘given’ by the buildings that make up the house ~ cues if you can see them in the sizes of rooms, the heights of ceilings, the way that existing spaces can be crafted to meet new needs. Infusing into this old architecture the systems that give it comfort was a challenge but the hands of knowledgeable craftsmen and technicians were here to create the transformation.
A word about regulation in restoration. Villa Maddalena was fortunate to have a geometer, a kind of architect/planner/surveyor, who was creative and has an excellent rapport with the Commune (sub-county) architect. None of the permits took more than a week. The only thing that we wanted that we didn’t get was an in-ground pool. But these are never allowed in private homes in historic districts, unless the house has 10 hectares of land under cultivation and is a certified Agriturismo, which the Villa is not. The style of the limonaia, with its arched doors, the tettoia, the loggia off the Maddalena bedroom, the French doors in the living room and dining rooms, all new features, I credit to the finesse of the geometer Danielle Monachini and Anna Maria Redi. Anna Maria was the estate agent with a keen eye and sense of design working on our behalf during the sale and the negations with the Contrada San Martino and the first half of the restoration work. Her connections with fine local craftsmen and suppliers were invaluable in achieving the end result. Between them we have the lovely home and garden you see. The regulation of renovation in this area has been the safeguard that makes this beauty of the old villages sustainable while allowing changes and new housing. A tough balance. Not always perfect, but for us, for this home, a process that worked well.
The Brandini family, father Giuseppe and sons Claudio and Paulo, were the heart and soul of the Villa. They arrived every day at 7.30 and worked, with only a lunch hour until 5.30. No coffee breaks, no ‘disappearances’. They kept up this pace for months on end; working hard, doing heavy, straining work. Because they have been together since the boys were born they form a unique, by American standards, team. They grew up knowing that they would always be together. Their relationships were not based upon leaving home at 18 and only being together for holidays. It was always a fact that they were together now and would be, working and living, always. This created a wonderful subtext to everything. Their days were laced with geniality, consideration, a deep understanding of each person’s strengths, weaknesses and preferences and tolerances. Each stepped in at the right moment with a hand or a tool. It was almost choreography. Watching them work together was one of the greatest gifts of this entire experience. I learned so much about life, respect, family and tradition from these 3 men. Lessons that I will always treasure. What you see is the result of these wonderful men and the family they are. And the pride they take in their work, throughout the village, they are transforming the past into the future one house at a time.
Everything in the house came from this area. All the craftsmen have their workshops within a few kilometers except Dario, who built the fireplace fronts. His studio is in Asciano. All the furniture came from Arezzo or a shop near Attigliano, 45 minutes south. All the beds are handmade mattresses made in Torrita di Siena. Many of the staples come from Ikea, either in Rome or Florence. The piano was in a barn under a sheet of plastic, and piled with stuff.
The stone in the baths and in the kitchen all came from Buonconvento, a stone yard and shop run by a man and his son who take enormous pride in their art. Thanks to Anna Maria this man worked his magic in almost every room of the house. The iron work all came from a bottega in San Giovanni d’Asso with the central craftsman a native son of Montisi. The doors, windows, shelves and kitchen fittings came from a bottega you can see from the garden, in Castelmuzio. Run by a man and his son, the Perugini have built fine woodwork for this area for 50 years. Even Mrs. Perugini works in the bottega assisting with the hand-rubbed finishes. The heating system was installed largely by the other Brandini, Franco, who lives in Montisi. All of the intricate electircla systems and the sound wiring and the eventual hardwire LAN is due to the attention of Stephano, who lives in Montisi and is the capitano of the Torre Contrada. His wife, Silvia and a couple of other ladies who live in Montisi keep the house tidy and clean.
This house was a labor of love for me and could not have happened with out the talent and good will of all of these people. They have made me and Madelyn feel welcome. They have, I think, finally understood that this is more than a house for us. It is a home which one day will become all of that and more.