The landscape of the Siena area

The landscape is an “integral part of the territory in which the character derives from nature, human history and their reciprocal interaction. Endeavours in the field of care and appreciation have the purpose of safeguarding the values that they express and the related values of cultural identification”. (Code for Cultural heritage and the landscape– D.Lgs. 22 January 2004 n. 42).

As this definition outlines, the landscape is a fundamental part of the cultural heritage of a town, an expression of the values that identify it and its history and traditions. These characteristics are clearly present in the landscape of Siena that still represents a unified territory, an environment rich in history and culture and one of rare beauty where the relationship between man and his natural surroundings coexists in harmony displaying unity that is comlete and well-conserved.

The landscape of Siena derives from the sum of human experience and includes the art, traditions and architecture together with the natural spaces.

Share-cropping

Numerous factors contributed to the conservation of the landscape over the centuries. Of these, share-cropping has had a particular effect. This type of agriculture also resulted in the rise of a tradition of construction that strongly characterizes the area and can be seen in the parishes, castles, farms and villas that demonstrate a highly particular union between the architecture and nature.

Share-cropping, common in Tuscany and the area around Siena since mediaeval times, indicates a particular contract, according to which the tenant or share-cropper, cultivator and beneficiary of the land is obliged to give half of their produce to the land-owner.

Architecture and the landscape

Such a system contributed to the development of a particular type of settlement: farms or ‘poderi’ were spread out over a wide area and connected by a network of local lanes. The ‘podere’ constituted a single unit consisting of a habitation and a piece of terrain large enough to support a family. Such settlements demonstrate the development of a rural architecture of great value that was often inspired by the work of Siena’s great architects such as Baldassarre Peruzzi (1481-1536) or Florentines such as Bernardo Buontalenti (1536-1608). Constructed in brick, the buildings offered diverse solutions; they often had large external loggia and characteristic towers for the breeding of doves. They also frequently included a number of outbuildings such as barns, tool sheds, henhouses and pigsties that were located around a closed courtyard that served also as a defensive feature against potential attackers.

The huge process of appoderamento (establishing the poderi) was carried out, not only by the noble classes but also by ecclesiastical organizations and the Ospedale di Santa Maria della Scala that was extremely wealthy at the time due to legacies and donations that it received; its influence extended across the province of Siena and organized a network of agricultural outposts consisting of twenty two fortified farms that were administered by a farm manager that followed a centrally planned system for the harvesting of agricultural products (granaries) which served also as a reference for the poderi of the share-croppers.

The landscape and painting

The importance of the landscape of Siena, both as an expression of its civilization and as a source of inspiration has been illustrated by the works of numerous painters and photographers, poets and authors both Italian and foreign, and by travellers that ever since the Grand Tour have chosen Siena as a significant point of interest.

One vision of the Sienan countryside from XIV is offered by the celebrated fresco Buon Governo (1338) di Ambrogio Lorenzetti found in the Palazzo Comunale di Siena that, aside from its celebrative intent, provides a realistic portrayal of the incomparable beauty of the city of Siena and its surroundings, castles, farms, watercourses, gardens, vines, fields of fruit trees and fenced-off animals in their pastures and farmers at work.

The history of painting in Siena also includes important representations of the landscape used as a background for sacred scenes, by Simone Martini in the Beato Agostino Novello, by Giovanni di Paolo, in Maestro dell’Osservanza, Benvenuto di Giovanni, Sano di Pietro, Sassetta, Francesco di Giorgio Martini or as subject matter in itself such as in the suggestive works of Dario Neri.

Care and Conservation

Still today, following the inevitable transformations that history has imposed, the landscape of Siena has retained a distinct character that is recognized all over the world. Its conservation is derived from its capacity to reconcile the history of this extraordinary scenery with the requirements of development that include architecture and the adoption of modern land management techniques.

The use of the territory must not, therefore, be interpreted as the indiscriminate exploitation and impoverishment of its cultural values but must give priority to the objectives of protection and appreciation of the landscape ahead of economic concerns.

Open for restoration aims to stimulate debate and offer instruments for the comparison of experiences in the sector of restoration and conservation of the landscape.