

Source: https://www.eater.com/2018/5/10/17338990/starbucks-milan-backlash-italians-mad

Diana Nixon in a pleated dance dress by Maggy Rouff.
Photo by Georges Saad, 1960

The Italian Garden Guide is a bilingual guide (Italian and English languages) to discover the most beautiful gardens created in Italy.
Inside the guide you can find updated informations on opening hours and services offered by 130 gardens of the network Grandi Giardini Italiani, that is present in 14 regions of Italy, in addition to Vatican State, Switzerland and Malta.
The Italian Garden Guide 2018 is enriched by more than 250 beautiful photos of gardens and from the section dedicated to ”Designers, creators, and plantsmen at Italy’s top gardens”. Their biographies and works reveals the full richness of the history of the art of gardens over the centuries, and casts a little light on the mistery of the beauty of every
A fascinating journey through history, art and nature in a pocket guide!
The Italian Garden Guide
Pag. 288 + color images
Publisher Grandi Giardini Italiani
Language Italian and English
Edition February, 2018
Size 13×21 cm
ISBN Code: 978-88-909861-7-8
Price € 14,00
The Italian Garden Guide can be purchased with payment by bank transfer of euro 14,00, the beneficiary Grandi Giardini Italiani, Intesa San Paolo
IBAN: IT 71 H 07601 10900 001036565974
News
The guide is now also available on the Amazon e-commerce portal. To purchase your copy click here.
http://www.grandigiardini.it/lang_EN/sponsor.php?id=18

Are you a fan of camellias? I am.
Discover the Gardens in Italy where you can admire them!

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Today, beautiful specimens of Camellias can be admired in many gardens. Between Italy and the Canton of Ticino, from the first weeks of March and throughout April, it is possible to get lost among the colors and the scents of the Camellias in bloom. In Switzerland, in Locarno, a few miles from Lugano, is the Parco delle Camelie, inaugurated in 2005, to fascinate you with its 850 varieties of camellias cataloged, to which are added 70 still unidentified camellias , planted at the southern end of public paths, and 130 double camellias, which form a dividing hedge and are used primarily to provide cut flowers for the annual show held in spring.
In Tuscany the wonderful Viale delle Camelie of the Giardino della Villa Reale di Malia (Capannori, LU) is waiting to give you an unforgettable walk, while in Florence in spring the flowering of the camellia grove of the Giardino Bardini , placed behind the wonderful belvedere on the city.

You can find more info here: http://www.grandigiardini.it/lang_EN/articoli-scheda.php?id=77
Originally it was an arrangement of walled orchards near Mozzi Palace covering the whole of the hill behind it.
In the 18th century Giulio Mozzi, who loved gardens, enriched the property with a long fountain wall with a multi-material mosaic at the bottom. In the mid-19th century the baroque garden was enlarged through the purchase of the adjoining Anglo-Chinese garden of Villa Manadora, created by Luigi Le Blanc at the beginning of the nineteenth century.
In the second half of the 19th century the Carolath Benten princes acquired the whole property and enriched the garden with Victorian details.
Bardini acted unscrupulously, constructing an avenue to travel by car from the Arno to the villa, destroying the walled gardens of medieval origin, and joining the two existing buildings on Costa San Giorgio.
The death of his son Ugo in 1965 gave rise to a long episode concerning inheritance.
This ended in 1996 thanks to the then minister Paolucci who arranged for the conditions set by the deceased person to be met.
In 2000 the Ente Cassa di Risparmio di Firenze (Florence Savings Corporation), acting through the Fondazione Parchi Monumentali Bardini e Peyron (Bardini and Peyron Monumental Parks Foundation), began the restoration of the complex. It took almost five years to restore the garden’s identity and wealth in terms of composition and plants.
In the agricultural park, in which fruit trees in the Tuscan tradition have been planted, there is a circular viewpoint from which one enters a tunnel of wisteria and comes upon no less than 60 varieties of hydrangea.
The baroque flight of steps is the most picturesque part of the garden, with its viewpoint over the city and the six fountains with their multi-material mosaic bottoms.
Bourbon roses and remontant irises have been planted along the flight of steps. In the lowest part there is a garden with herbaceous and graminaceous borders and the grassy theatre that makes use of a cavity in the garden.
In the English-style wood, which formed part of the Anglo-Chinese garden, there is a lawn with azeleas where one can also see ferns, vibernums, camellias, and a collection of citrus fruits. From Via de’ Bardi the route winds up towards the villa, offering views of both the garden and the monuments of Florence.
On reaching Villa Bardini you go out into Costa San Giorgio and in a few minutes you reach the Boboli Garden, from which you can descend back towards the city, covering 7 kilometres altogether amid greenery. It’s possibile to book a personal service at a special price, with a shuttle from 7, 16 or 28 seats, which connects the two Great Italian Gardens of Villa Bardini and Villa Peyron.

Before Charles Eliot Norton had become Harvard’s first professor of that discipline, art history had, in general, been considered, not a field of study, but a matter of craft and technique to be taught by painters to other painters.
Scholarship about art, and especially about Italian art, entered a new era as the German universities began developing large-scale historical studies like those of Swiss scholar Jacob Burckhardt, whose Civilization of the Renaissance in Italy was published in English in 1878.

In Great Britain, tastes were influenced by the work of Norton’s close friend Ruskin in books like The Stones of Venice (1851–1853) and The Seven Lamps of Architecture (1849).

Following Ruskin, Norton loved best in Italy the powerful moral uplift of Dante and of Italy’s medieval Gothic architecture. In Norton’s art history courses, the Renaissance was the unhappy termination of the Middle Ages, which had been the last great era of spiritual unity and well-being.
There was a joke current among Harvard undergraduates that Norton had died and was just being admitted to Heaven, but at his first glimpse staggered backward exclaiming, “Oh! Oh! Oh! So Overdone! So garish! So Renaissance!”
“Norton,” Bernard Berenson commented drily years later, had done what he could at Harvard to restrain “all efforts toward art itself.”
Rachel,Cohen. Bernard Berenson (Jewish Lives) (p. 45). Yale University Press. Kindle Edition.
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