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Villa La Petraia by Giusto Utens. Giusto Utens or Justus Utens (died 1609) was a Flemish painter who is remembered for the series of Medicean villas in lunette form that he painted for the third Grand Duke of Tuscany, Ferdinando I, in 1599–1602. [1] He moved to Carrara about 1580, where he married, and where later he returned and died.
Giusto Utens painted a series of lunettes depicting the main Medici villas in the 17th century, which are now held by the Villa La Petraia. The last Medici villas were the Villa di Montevettolini and the Villa di Artimino, bought in 1595/6 by Ferdinando I while he was expanding the Villa di Castello, Villa La Petraia and Villa dell'Ambrogiana.
The villa was depicted by Giusto Utens in a series of lunettes portraying the Medici villas. The building was frequently used by Ferdinand I; his grandson Ferdinand II sold it and its surrounding lands in 1650 to the Bartolomei family. In 1871 it was acquired by prince Marcantonio Borghese, who was also owner of the Villa Medici di Cafaggiolo ...
Villa Medicea di Careggi, the first of the Florentine villas, was also created for Cosimo de' Medici by Michelozzo from an existing castle.. During the 15th and 16th centuries, the Tuscan aristocracy, who had forsaken their medieval castles for the political expediency, comfort and greater security of town life, developed an aesthetic awareness which necessitated the seasonal occupation of a ...
In the first half of the sixteenth century, the villa became the property of the Salutati, who then sold the villa to Cosimo I de' Medici in 1544, who gave it to his son, Cardinal Ferdinando in 1568. Then from 1588, there was a decade of extensive excavation works which transformed the "stony" nature of the place (hence the name in Petraia ...
[3] [4] Giusto Utens included a view of the southern half of the villa and its gardens [4] among his series of lunettes containing bird's-eye views of the Medicean villas painted in 1599. Stefano Della Bella made six etchings of the Pratolino's gardens in the mid-17th century, [4] the picture is rounded out by further 18th century descriptions.