HISTORICAL INTRODUCTION 19 



capable of nuuii \-aricty in their design, also formed an excellent nioti\-e for a central decorative 

 feature, and were introduced at a very early date ; the one here illustrated is now in the Victoria and 

 Albert Museum, London ; it is a Romanesque example from Murano. 



Towards the latter part of the thirteenth century the interest in jrardenincr commenced to be 

 revived. In the glorious period of the yuattrocento, after a dormant state of close on a thousand 

 years. Italian art awoke and resun^icd all its ancient energy and knowledge. A return was made to 

 the study of nature. A close study of the plant-world gave many new and varied forms of decoration, 

 and even amid the tumult of wars and insurrection the spirit of grandeur that belonged to the ancient 

 classic villa was re\-i\-ed in the opulent gardens that surrounded the pi'ivate houses of the Renaissance. 

 It is the opinion of I^urckhardt ' that the private houses of the Renaissance period were built as they 

 were 'because the love of fresh air was so great that people preferred to expose themselves to the risks 

 of warfare by living out of doors, rather than remaining in safety behind the city walls.' This is no 

 doubt to a certain extent true; but. as Dr. Romualdo Pantini has pointed out/ ' There were other 

 reasons besides the simple love of fresh air, and the traditions of Roman case and grandeur. The 

 construction of these suburban houses and gardens was the natural consequence of the spirit of 

 independence which sprang into being spontaneously as the natural conditions of life among the 

 merchants and tradesmen allowed them to indulge it. Too much importance, therefore, need not be 

 attached to the instinct to preserve, not only one's property, but one's health, in an age when forays 

 and fighting were frecpient.* 



In the latter half of the thirteenth century first appeared the great work of Pietro Crescenzi, 

 the lawyer and agronomist. This was by far the most important treatise upon agriculture produced 

 during the middle ages, and throughout tlie whole of the fourteenth and fifteenth centuries It stands 

 alone in the literature of gardening. It was first published under the title of ' Opus Ruralium 

 Commodorum," and was founded upon the works of the ancient agronomists, Cato, Varro, Palladius, 

 and Columella, and also on the author's own personal obser\'ation. It was printed fur the first time 

 in 1471, though the \\-ork had existed in manuscript copies for more than a century previously. 



Crcsccn/i was born at Bologna in 1230 and had devoted his youth to the study of science, 

 medicine and law; owing to disturbances he Avas forced to leave las nati\'c city, and did not 

 return for a period of thirty years, during which time he says he 'read and studied many ancient 

 and modern ])ooks, and saw and learnt a great number of st}les of cultiwition.' Returning to 

 Bologna, he connneneed to Avrite his famous treatise, which was dedicated to Charles II., King of 

 Sicily. The book was originally written In Latin, but was afterwards translated Into Italian, 

 French, and German. In the eighth book the author treats of the laying out of gardens, which he 

 divides into three classes. Firstly, he deals with small herb gardens, under \\-hich term he includes 

 small orchards, and gardens of fruit-trees and herbs pleasing to the sight. After gi\'ing minute 

 directions as to the preparation of the soil, he recommends that the garden be square and so 

 wide as to be sufificicnt for those who will dwell in it. In Its borders should be planted every 



' Geschkhte der Rrnaissance in Itafien, 1891, Jncob T^urcthardt. ' Sec .Trticle in the Studio, .\|Hil 1902. 



