LUXE CONTEMPORAIN
Its elegance follows the past times of elegance and unmistakable style.
The Villa consists of 6 rooms with a Master Suite, and each room has its own peculiarity, its own soul and its own style.
Each piece of furniture has been chosen over the years, researched and set to make the environment refined.
Villa Giuncheto has several works of art inside and we are always looking for new forms of art to be installed in the complex of the most beautiful Villa in the Sienese hills.
A Villa Rich in History and Tradition
The Giuncheto farm is a farmhouse that already existed in 1348 as proof of an ancient parchment containing a will in which Balduccio di Ben became the owner, fearing the plague epidemic, left all his property to his children:
“… Item habet unam petiam terrae positam in dicta Villa, loco dicto Gioncheto which former first side Rossus et Simone Bencivegnis …”
At the time, with other farms, it was part of the municipality of Stine and participated in the production of wheat, wine and oil. From the eighteenth century to a good part of the twentieth century it belongs
to the Marquises Ballati – Nerli, a prestigious Sienese family who takes part in the highest offices in the city, such as the Rectorate of the Studio (today’s University), the S. Maria della Scala Hospital and the Underground (the administration of the assets of the Cathedral). Over the centuries, the cottage has undergone changes that have considerably increased its already appreciable original charm by enhancing an evocative architectural structure that recalls the refined studies of great engineers of the past centuries.
The Polito family
The entrance to the Giuncheto is a sensory experience that completely envelops the guest and projects him into an environment where the quiet beauty of the landscape, the firm impression of the link with history, the simplicity of the architectural lines of the rural building are combined with the elegant simplicity of the whole. A presentation frame to which the perception of the interiors responds in full harmony.
You are wrapped in the suggestion of a domestic intimacy created by the agreement of the structure and the details that furnish it.
It is like becoming part of the life of its previous inhabitants, marked by the passage of time, which has contributed to making the building what it appears to the guest today. You breathe in the past times that give the house the charm of a place of the soul; not an aseptic, albeit comfortable, tourist facility, but a place that welcomes guests like “one of the family”.
It is not an artificially reconstructed intimacy, you can fully breathe what has already happened in the house, and still today it is repeated in the rituals of convivial dinners, breakfasts spent quietly in the outdoor courtyard where the blooms accompany the scent of traditional foods.
The interior is made up of rooms of singular charm, each enriched by a highly suggestive view of the countryside and, in some cases, of a horizon on which the harmonious profile of Siena stands out.
The furniture and furnishings that furnish them speak of the careful taste of those who conceived them in this way; not a jarring detail, not an object out of context. The styles alternate with vivacity, fruit of the passion for the singular object, for the detail chosen with care. Each piece of furniture reflects the Italian tradition for a wood craftsmanship that, historically, has been able to produce artifacts of great technical mastery and decorative taste.
A further charm is given to the rooms by the selection of paintings that animate each room; some of family tradition, others collected, with the curious and lively passion of the collector, following auctions and antique markets. The paintings that evoke the Neapolitan school of painting are noteworthy: marine, genre scenes, rural landscapes conducted with a realistic taste and attentive to the poetics of everyday life.
A beautiful series of neoclassical drawings marks the corridor, where portraits conducted with physiognomic acuity alternate with the cadenced rhythms of the decorations.
The choice of contemporary painters deserves particular mention, oscillating between attested personalities and talents yet to be discovered; among the first the series of Schifano, “televisions”, testimony of the experimental phase conducted by the artist in the seventies, fascinated by the potential of the images translated into color of the television medium. Other contemporary artistic figures interpret abstract or figurative themes with singular sensitivity for the chromatic sense of the
compositions: In every environment, pictorial exuberance and rigor of forms are altered in a very natural set.