La Scarzuola stands as a quaint rural town nestled in the heart of Umbria, specifically situated in the Montegiove hamlet within the municipal boundaries of Montegabbione, part of the province of Terni. It gained renown not only for its historic convent, which is believed to have hosted Saint Francis of Assisi, but more prominently for the extraordinary villa crafted by the architect Tomaso Buzzi, which takes on the unique form of a “theatre city” and stands as Buzzi’s personal interpretation of an “ideal city”.
Sacred and Profane
According to medieval chronicles, the site gained historical significance in 1218 when Saint Francis of Assisi erected a humble hut on the very spot where he had planted a rose and a laurel, miraculously giving rise to a flowing fountain. Constructed from the marsh plant called scarza, the hut lent its name to the place, hence the derivation of Scarzuola.
To commemorate this event, the counts of Marsciano commissioned the construction of a church and subsequently a convent, both entrusted to the Friars Minor. The church’s apse still preserves a fresco from the early 13th century, depicting Saint Francis in a state of levitation.
In the latter half of the twentieth century, precisely in December 1957, the entire complex came under the ownership of the Milanese architect Tomaso Buzzi. Buzzi transformed the area into an “ideal city” that reflected his personal vision – an eschatological allegory of existence. This endeavor adopted the hermetic language characteristic of the Masonic aristocracy of the eighteenth century.
The Ideal City
La Scarzuola embodies the surreal, dreamlike, and elusive vision conceived by Tomaso Buzzi. Between 1958 and 1978, this visionary architect dedicated himself to designing and constructing an expansive theatrical scenography behind the convent. Buzzi aptly referred to this creation as “an anthology in stone”, rooted in the esoteric language of alchemy. This approach facilitated the revival of visual experiences reminiscent of historical landmarks like Villa Adriana, Villa d’Este in Tivoli, and Bomarzo for the sense of play and wonder.
The compound comprises a collection of 7 theaters, unfolding within a symbolic spiral that represents an initiatory journey. Starting from the skeletal statue of Pegasus, a series of terraces leads to the Acropolis – a mountainous ensemble of structures, each embodying various archetypes. Hollowed out and equipped with numerous compartments resembling a termite mound, these buildings reveal multiple perspectives.
A paradoxical, hermetic relationship emerges between the ancient convent and the intellectualistic theaters, laden with symbols, secrets, and diverse references. These range from allusions to pagan and Christian divinities to echoes of Pliny’s Villas, the Hypnerotomachia Poliphili by Frate Colonna, and the unrealized ideas of Francesco Borromini and Filarete.
Buzzi’s complex symbolism allows for a second interpretation of his ideal city. The intricate initiatory path signifies a confrontation with the unconscious, culminating in encounters with archetypal figures, following Carl Jung’s model. These symbolic figures, representing different facets of the psyche, guide visitors towards heightened self-awareness. The metaphorical journey descends into the deepest recesses of the unconscious, ultimately reaching the Acropolis – a symbol of complete self-realization.
The architectural license employed by Buzzi finds its best expression in neo-mannerism, characterized by stairs in all directions, the deliberate disproportion of certain elements, the presence of monsters, and the piling up of buildings or monuments. This style evolves into surrealism, exuding labyrinthine, evocative, geometric, astronomical, and magical qualities.
Upon Buzzi’s passing in 1981, the “ideal city” was only partially constructed. However, thanks to the sketches left behind, his nephew and heir, Marco Solari, undertook the task of completing the work we can now appreciate. La Scarzuola is undeniably a destination worth exploring if you find yourself vacationing in Italy’s enchanting region of Umbria.
The Man Behind the Ideal City
Tomaso Buzzi (1900-1981) emerges as a luminary of profound humanistic and literary culture. His prominence extends across various domains as a leading figure in Italian design throughout the twentieth century. Buzzi distinguished himself as a garden architect, restorer, inventor, and decorator of notable noble palaces. Holding the esteemed position of professor for “Life Drawing and Furniture” at the Polytechnic of Milan, a chair he shared with Gio Ponti, Buzzi’s influence was far-reaching.
Maintaining close ties with the Novecento Milanese group, including luminaries like Muzio, Cabiati, and De Finetti, Buzzi fostered a lasting and fruitful collaboration with Gio Ponti. This partnership spanned architecture, urban planning, and design. Buzzi played a central role in pivotal artistic events of the era, assuming key organizational responsibilities in national and international applied arts exhibitions such as the Milan Triennale and the Amsterdam International Exhibition.
Beyond his academic and collaborative pursuits, Buzzi held the position of artistic director for Venini in Venice. Actively engaging with figures like Paolo Venini, Pietro Chiesa, and Giulio Rosso, along with leading artists in the realm of glass, he left an indelible mark on the field. Buzzi’s creative imagination found ample expression in the applied arts, influencing the design of furniture, ceramics, lace, lamps, clocks, and an array of furnishing objects.
In a significant turn of his life’s narrative, Buzzi chose to retire to the Scarzuola convent in 1956. Within this dreamlike sanctuary, seemingly detached from the constraints of time and space, the man with the tie shed his metaphorical mask. Here, he unveiled the essence of the naked and pure man, restoring the freedom of the child and elevating the madness of genius to the realm of work. The Scarzuola convent became a unique canvas for Buzzi’s exploration of the profound intersection between creativity, freedom, and the unbridled spirit.
Practical Information for Your Visit
Your guide for the visit will be Marco Solari himself. The duration of the tour is approximately one hour and thirty minutes, conducted in a group setting as individual visits are not accommodated. Please note that the convent and the church, being private residences, are not open to visitors.
It is advisable to reconsider your visit in the event of rain, as the experience may be compromised. The ticket cost is €10, and payment is accepted only in cash due to potential network issues – electronic payment options are unavailable. Lastly, be aware that there are no refreshment points on-site, so plan accordingly for your visit. For more information and booking, visit the official website.
