The Masone Labyrinth stands as a distinguished “cultural park” nestled near Fontanellato, within the province of Parma, Emilia Romagna. This unparalleled park was envisioned by Franco Maria Ricci, a publisher, bibliophile, designer, and collector, who passed away in 2020. It emerged onto the Italian attractions scene in May 2015, sprawling across seven hectares and boasting the world’s largest labyrinth.
Beyond its status as a captivating destination for exploration, the Masone Labyrinth presents an exquisite opportunity for a bespoke luxury retreat. Within the labyrinth’s heart lies a museum complex housing a curated assortment of artworks spanning from the 1500s to the 1900s. Moreover, two sumptuous suites await discerning guests, adorned with ornate decorations, notable artworks, and opulent furnishings. Designed for aficionados of refined indulgence seeking an unparalleled lodging experience, each suite features an expansive living area, a commodious double bedroom, and a twin bathroom replete with a spacious marble shower and a luxurious Jacuzzi bathtub. Quite enticing, isn’t it?
The Project of a Lifetime
The story behind the Masone Labyrinth epitomizes a tale of boundless passion and unwavering dedication. In the early 2000s, Franco Maria Ricci embarked on a journey to realize a vision – a place that would encapsulate his life’s work, his ideals, and endure beyond his time. This multifaceted endeavor envisioned an editorial sanctuary, a museum adorned with countless masterpieces spanning from the Renaissance to the modern era, and versatile spaces for eclectic and captivating temporary exhibitions. All nestled within the embrace of an extraordinary bamboo labyrinth.
In 1977, Ricci made a solemn vow to his dear friend and collaborator, Jorge Luis Borges, the esteemed Argentine writer whose profound understanding and portrayal of the labyrinthine essence resonated deeply. He pledged to erect the world’s grandest maze amidst the very fields they once traversed together. However, it wasn’t until the 1990s that Ricci’s words of commitment found tangible form, catalyzed by an encounter with Davide Dutto, a promising architecture student from Turin, who presented a captivating proposal.
Dutto’s visionary concept involved utilizing cutting-edge software (pioneering for its time) to digitally reconstruct the mythical island of Kythera and its architectural wonders as depicted in the Hypnerotomachia Poliphili – the earliest illustrated printed tome, hailed by many as a pinnacle of printing artistry. The resultant imagery sparked a revelation in Ricci, reigniting his long-held aspiration to create a labyrinthine marvel. Thus, with Dutto’s invaluable collaboration, the duo embarked on the arduous journey of crafting the initial blueprints for the expansive park, culminating in its triumphant unveiling in 2015.
The Masone Labyrinth
The path leading towards the center mirrors the classical labyrinth design, epitomized by the renowned seven-spiral Cretan labyrinth. Conversely, the square configuration of the traversable expanse pays homage to Roman labyrinthine layouts. Surrounding this intricate terrain lies a star-shaped perimeter reminiscent of the Forma Urbis, a hallmark of Renaissance city planning adopted by luminaries such as Vespasiano Gonzaga in Sabbioneta, the Venetian Republic in Palmanova, Friuli, and Vauban in his strategic fortifications.
Drawing inspiration from this rich historical tapestry, Ricci envisions his “citadel”, a bastion of culture comprising a central square and a sanctuary, ensconced within impregnable bamboo ramparts. Within the labyrinthine confines of the park, intersections and dead ends serve to confound visitors, compelling them to discern the correct path. Much like the labyrinth gardens of yore, the Masone Labyrinth beckons guests to relish the thrill of losing oneself amidst verdant foliage. The culmination of this odyssey lies at the exit – the heart of the labyrinth – marked by the presence of the Pyramid, a chapel that poignantly recalls the ancient symbiosis between the labyrinth and matters of faith.
Visiting the Labyrinth
Wandering through the labyrinthine corridors of bamboo, patrons embark on an enlightening journey, guided by informative panels strategically placed along the pathways. These panels unveil the captivating saga of labyrinths, tracing their lineage from the ancient myth of Crete through the annals of the Middle Ages and Renaissance, all the way to contemporary times. Similarly, a staged narrative unfolds, chronicling the inception and realization of the Masone Labyrinth, a testament to its creator’s fervent vision.
Interwoven within this intricate tapestry of exposition – comprising textual elucidations and evocative imagery – is an exploration of Ricci’s multifaceted career. From his nascent foray into design during the Sixties to his pivotal transition into publishing, the narrative accentuates seminal milestones, influential collaborations, and cherished friendships. Masters such as Italo Calvino, Umberto Eco, Roland Barthes, Octavio Paz, and an array of other luminaries from the realms of art, culture, and fashion are prominently featured.
Ensuring the comfort of visitors, amenities including a cafeteria, restaurant, Parmesan gastronomic enclave, and a bookshop stocked with an array of rare editions from the illustrious Franco Maria Ricci’s oeuvre are at their disposal, completing the immersive experience. For more info, have a look at the official website.
The Choice of Bamboo
The Masone Labyrinth stands as a monumental testament to human ingenuity, boasting the distinction of being the largest worldwide, meticulously crafted from an astonishing array of bamboo specimens. A veritable forest in its own right, this labyrinth comprises approximately 300,000 bamboo plants, spanning an impressive spectrum of species and soaring to heights ranging from three to fifteen meters. As visitors traverse the labyrinthine corridors, they are enveloped by enchanting botanical vistas, each corridor adorned with alluring plant galleries that impart a sense of otherworldly immersion.
When queried about the unconventional choice of bamboo as the labyrinth’s primary constituent, Ricci recounted the genesis of his affinity for this remarkable plant. His fascination blossomed when a Japanese horticulturist suggested adorning the garden of his Milanese abode with a bamboo grove. Impressed by the outcome, Ricci resolved to replicate the experiment, cultivating a similar expanse within the grounds of his countryside estate in Fontanellato.
In stark contrast to the customary employment of boxwood, bamboo offers a plethora of advantages. Its rapid growth rate defies expectations, ensuring swift labyrinthine maturation. Moreover, bamboo exhibits exceptional resilience, remaining impervious to disease and retaining its verdant foliage throughout the year. Furthermore, its voracious appetite for carbon dioxide facilitates the absorption of substantial quantities of this greenhouse gas, thereby fostering an environment rich in oxygen – a testament to the labyrinth’s harmonious integration with nature’s delicate balance.
The Art Collection of Masone Labyrinth
Distinguished by its eclectic and inquisitive nature, the art collection housed within the labyrinthine confines of the Masone Labyrinth reflects the discerning tastes of Franco Maria Ricci, spanning five centuries of artistic evolution from the sixteenth to the twentieth century. Encompassing an expansive expanse of 5,000 square meters, this curated anthology comprises approximately 500 works – ranging from paintings to sculptures and various objets d’art – painstakingly amassed by Ricci over five decades.
Commencing its journey through time in the 16th century, the collection features masterpieces by luminaries of the Mannerist movement, including Girolamo Mazzola Bedoli, Luca Cambiaso, and Ludovico Carracci. The subsequent century emerges in full splendor, with an array of captivating paintings and sculptures by esteemed figures such as Valentin de Boulogne, Philippe de Champaigne, Gian Lorenzo Bernini, Giambattista Foggini, and Lorenzo Merlini. The 18th and 19th centuries command ample attention, boasting captivating canvases by Francesco Hayez and Giovanni Carnovali, delicate pastels by Rosalba Carriera and Jean-Étienne Liotard, vibrant watercolors by Giuseppe Pietro Bagetti, and exquisite marble sculptures by Antonio Canova, Lorenzo Bartolini, and François Joseph Bosio.
Notably, the collection celebrates the artistic contributions of native Parma talents and those who left an indelible mark on the city’s cultural landscape, including Pietro Melchiorre Ferrari, Giuseppe Baldrighi, and Jean Baptiste Boudard. The modern era finds representation through the sculptural prowess of Adolfo Wildt and Demetre Chiparus, the evocative paintings of Antonio Ligabue and Alberto Savinio, and the intricate tempera works of Erté.
In addition to traditional artworks, the collection boasts an array of captivating art objects, including intricately detailed wooden models of the Milan Cathedral and the Ulm Cathedral. Notably, it also houses the original tables from the Codex Seraphinianus by Luigi Serafini – a testament to the collection’s breadth and diversity.