Since many years the activity of the Chini family represents the heart
of deep analyses and studies, in order to give to this activity a right
position in the artistic culture, matured in Italy between 1800 and 1900.
We do not want to dwell on here and go into the artistic dimension of
Chini ceramics, but we would like to go back over the roots and contents
of the activity of the Fornaci San Lorenzo. So this brief document will
represent a sort of travel in the artistic bent that this family is growing
up from decades, within an area purely Tuscan but at the same time in
a very important adventure for the development of modern style.
Till now anybody has examined and studied the production of Fornaci San
Lorenzo, a production that can be also studied from some models found
in the territory of Borgo San Lorenzo: the listing of this models allow
us to understand the importance this family has had in this territory,
leaving some objects with an elevate craft quality.
The presence of Chini family in Mugello dates back to the beginning of
1800 with Pietro Alessio, the progenitor of the family, who was a decorator
and who was followed in this activity by the most part of his descendants.
Chino Chini reminds in a note of 25th of July 1946 while observing a drawing
of his grandfather Pietro Alessio: "Era un autodidatta che con la
sua sola passione per l'arte e volontà fattiva, considerando i
tempi, era arrivato già a 26 anni (era nato nel 1800 e morto in
età di anni 75) ad essere un abile e pratico Decoratore, Maestro
ai figli che ben 5 (Tito mio Padre, Pio, Dario, Siro, Leto), seguirono
poi in Arte il suo indirizzo e la Tecnica da lui praticamente appresa.
Il piccolo disegno indica anche l'indole di conservazione di quanto andava
studiando e faceva in disegni e studi di lavori, libri che andava con
intelligenza acquistando e che a noi nipoti rivelano la grande e instancabile
passione che aveva di apprendere in ogni ramo di Arte fino agli ultimi
anni della sua vita e che trasmise ai figli per l'Arte, ed allo Zio Lino
per le ricerche storiche, ed a tutti, anche la passione per la musica!
in special modo ad Elio e Siro". (Pietro Alessio was an autodidact
and thanks to his passion for the art and his will, he became a very good
decorator when he was only 26 years old - he was born in 1800 and died
at the age of 75 - furthermore he transmitted his passion and capability
to his five sons - Tito the father of Chino, Pio, Dario, Siro, Leto -
who, then, followed him in the art of decorating. Pietro Alessio used
to study and read a lot and he usually bought many books, with intelligence,
showing the indefatigable passion he had in learning everything in the
field of Art until the last days of his life. This passion was also transferred
to his sons as well as the passion for music.)
The fame of Chini family was marked out to the territory of Mugello until
the end of 1800. The event which will give fame and importance to this
family is the foundation in Firenze, at the end of 1896, of a small ceramics
factory called "L'Arte della Ceramica", whose production represents
the main example of experimentation in Tuscany and in Italy for the development
of decorative arts. The artistic director of this factory is Galileo Chini,
who understands very quickly the precepts of the new aesthetics, already
asserted in the most part of Europe. At the "Esposizione di Torino"
(Exhibition in Turin) in 1898 the production of "Arte della Ceramica"
obtains an incredible success, dominating for its modern style. To the
undertake, initially founded by Galileo Chini, Vittorio Giunti, Giovanni
Montelatici and Giovanni Vannuzzi, then added some other members of the
Chini family: Chino, Guido and Augusto. The stormy events of this undertake,
already well known, led both Galileo and Chino to leave their activities
in the factory. But in 1906 they create, together with Pietro Chini, brother
of Chino, the ceramics factory "Fornaci San Lorenzo", situated
in Borgo San Lorenzo, in the mugello valley, from which this family takes
its origins. In the name of this new undertake, which is located in the
ex "tintoria" Tesi, the name of Chino does not appear, in fact
as he was technical director of the factory "Arte della Ceramica"
and so depository of manufacturing secrets, he would have had some troubles
with the members of the old undertake. Galileo Chini, become a very famous
artist, is the author of the first advertising for the manufactures of
Fornaci San Lorenzo; during the "Esposizione di Milano" (Exhibition
of Milan) in 1906, where he introduces his works as a painter, he understands
the importance to let know the manufactures of the new factory. For this
occasion, he does not choose an official presentation in a stand (probably
due to economical reasons) and in a letter dated 23rd of April 1906 he
writes to Chino: "Caro Chino, stamane sono ripartito per Milano.
Spero che tu sarai a manopolare i vasetti e che tu divida le idee mie
ricevute in una lettera e cartolina che ti spedii costà. Allora
siamo d'accordo! tu spedisci a me presso la Segreteria Belle Arti Esposizione
Milano - Ricordati delle sigle esse sono la cosa che almeno io credo più
importante di tutto." (Galileo writes to Chino that he has left again
to Milan. He hopes that Chino is working with the manufactures and that
he agrees with the ideas Galileo had and which were sent by letter to
Chino. Furthermore Galileo asks Chino to send something by the Segreteria
Belle Arti Esposizione Milano and especially he marks the "sigle"
- initials, abbreviation of the new factory - which are thought to be
the most important thing).
As it is concerned with the initials of this new factory, we should say
that the distinguishing mark chosen for it represents a stylized grating,
to remind the martyrdom of San Lorenzo, patron saint of Borgo San Lorenzo;
this grating is accompanied by a small stylized lily. In the production
of Mugello, generally ideated by Galileo continuously until 1911, the
floral models of naturalistic type (normally present in the models of
"Arte della Ceramica") are abandoned, in this period more stylized
modules, often influenced by the "Secessione Viennese" , are
taken into account: in this way it has been possible to obtain some manufactures
representing a significant anticipation of Déco style.
As it is concerned with the chromatic tones, it is important to notice
that the delicate colors, typical of the "Arte della Ceramica",
disappear and they are replaced by more resolute colors, such as: blue,
red, green and ochre. These colors are, more or less, the same, used by
Galileo to realize his frescoes, and they are also livened up by covering
them with metallic "lustri". This technique is widely used by
Fornaci San Lorenzo and it becomes a main element of its production. Many
types of "lustro" are used, such as: gold, silver, ruby; the
latter is probably the most used.
As it is concerned with the materials, it is important to notice that
the grès had a dominating position. This material was already used
in the "Arte della Ceramica", the grey type, and decorated,
generally, with blue cobalt on a naturalistic background. The manufactures
made with grès, as well as for the ones made with majolica, represent
a wide range, which is characterized by very linear structure and decorative
solutions based on very stylized and geometrical models.
The decorative range is generally represented by slender gazelles, by
belts with geometrical forms or by small palms; normally the decoration
does not interest the entire surface of the manufacture: the decoration
represents only a portion of the manufacture and the background maintains
its natural color. In fact the manufactures made with grès have
normally a transparent gloss-paint covering and very rarely the metallic
"lustro" is applied.
Besides the potteries, the Fornaci San Lorenzo, were also involved in
the production of glass-doors; this production was sustained by Chino,
who made some attempts in this sector since some years. The glass produced
by the Fornaci San Lorenzo (this production won the second prize during
the contest for stained glass-doors realized for the church of San Paolo
fuori le mura of Rome in 1908) is influenced, even its high quality, by
a great difficulty in liberating from the traditional models, according
to a trend very common to the entire Florentine production of glass-doors.
The first great success is reached by the production realized for the
"Esposizione Torricelliana" of Faenza in 1908: even in this
occasion the manufactures of Chini are at the same level of quality of
the most important international productions. The joy for this success
also involves the inhabitants of Borgo San Lorenzo as it is possible to
understand from a telegram sent to Chini by the marchioness and marquis
Teresa and Gerino Gerini, the 1st of December 1908: "Il loro pensiero
gentile ci giunge graditissimo e mentre inviamo sentiti ringraziamenti
ci congratuliamo di cuore meritati festeggiamenti loro tributati da compaesani".
It is probably due to the fact that Chini obtained many prizes, that the
marchioness Teresa Gerini started to invest some capitals in the factory
of Chini, becoming one of the member. So in 1909 the "Società
Fornaci San Lorenzo Chini & Co. is established. The factory had a
period of big notoriety, since the first years of its establishment. After
the success of Faenza in 1908, the factory obtains some other prizes such
as the Grand Prix and the golden medal both at the Exhibition of Bruxelles
in 1910 and at the Exhibition of Turin in 1911.
In 1911 the Fornaci co-operate with the architect Ugo Giusti for the decoration
for the Pavilion of Tuscany at the International Exhibition of Art in
Rome, and it carries out the glass-doors and a grès floor for the
Pavilion, similar to the one in the Cathedral of Pisa. In 1911 Galileo
Chini leaves Borgo San Lorenzo to go to Siam to make frescos for the Palazzo
del Trono in Bangkok, leaving, but only temporarly, the artistic direction
of the factory. Galileo allows the factory to obtain the contract for
the ceramic covering of the Palazzo del Trono, but this order can not
be accepted by the factory due to a serious disease of Chino.
But the factory will carry out another involving work: the covering in
ceramic grès of the thermal establishment "Lorenzo Berzieri"
of Salsomaggiore. The building was ideated by Ugo Giusti, before the beginning
of the First World War, and it was ended in 1923. The rich ceramic decoration,
whose realization sees the co-operation of the sculptures Guido Calori
and Aristide Aloisi, covers almost the entire building and the decoration
integrates perfectly with the monumental architectural structure. Galileo
(who made the frescos of the main stairs' walls) probably transmitted
to Guidi some influences of the eastern style assimilated during his stay
in Siam from 1911 to 1914. The decoration of this building means a great
involving work for the Chini factory, so that the ovens have to be widened
and the entire structure of the factory is employed for the realization
of this big work; the lathe production is stopped in order to give more
space to the molding of the various kinds of covering for the Terme Berzieri.
For this reason at the Exhibition of Pesaro in 1924, the Fornaci San Lorenzo
introduces an entirely mould-die production. The restoration of manufactures
made with lathe happens for the Exhibition of Paris and Monza in 1925,
by purchasing the building of the factory (ex factory) Florentia Ars,
situated in Firenze in Via Bernardo Tanucci. In the chronicles related
to these exhibitions it is possible to note that: "La produzione
del 1925 presentata quest'anno a Monza ed a parigi accanto ai tipi divenuti
ormai tradizionali segna un risorgimento notevole nella famosa fabbrica
toscana che negli ultimi anni s'era appartata dalle esposizioni, occupata
dalla decorazione sontuosa delle terme di Salsomaggiore. Pezzi bellissimi
espone Galileo Chini specialmente nei grès e nelle maioliche a
gran fuoco: il gusto della decorazione s'è mantenuto austero, con
quel disegno netto, con quella colorazione sobria che conoscevamo. Ma
i motivi si sono arricchiti. La tecnica s'è fatta più matura
ed ardita, le vernici hanno assunto smalti ed iridi preziosi." (This
is a chronicle of 1925 related to the participation of the Fornaci San
Lorenzo to the Exhibition of Monza and Paris: Galileo introduces very
beautiful manufactures - especially grès and majolica - thanks
to the decorative style, the clear drawings, the sober colors and a more
mature technique).
After the Exhibition of Paris Galileo leaves the artistic direction of
the factory, which is taken by Tito, son of Chino. It is quite a long
time that Tito co-operates with the factory and even if he is influenced
by the work of Galileo (the glass-doors of the Hotel Roma in Firenze
are a significant example), he tries to renew the models and forms of
the manufactures of Fornaci. It is important to notice the decorative
solutions based on geometrical divisions with vivid polychromy, or some
manufactures whose decorations are characterized by great formal simplifications,
which show a certain attention to the pottery of Gio Ponti, especially
in the painting of the human figure. In the factory there are two other
sons of Chini: Elio and Augusto. Elio is chemist, so that he works on
the technical aspects of the factory, while Augusto is sculpturer and
he works, especially, on the modeling.
We do not have enough documentation concernign the activity of the sons
of Chino in the factory, so that it is not possible to talk about their
works inside the factory. We have some news from the chronicles of vain
exhibitions, like the one of Anversa in 1930, where Augusto carries out
the decoration for the portal of the Pavilion of Colonie, while Tito decorates
the cupola for the Italian Pavilion, which was designed by the engineer
Chevalley from Turin. We do not have any traces of these works, as for
the most part of the preparations for exhibitions, because the pavilions
were destroyed when the exhibition ended.
Also the ceramic panels for the thermal building of Castrocaro, due to
the work of Tito at the end of 1930, have not received yet particular
attention, but this work, which can be defined the last great work of
the Fornaci San Lorenzo, would deserve a deeper study.
The study we have presented here, made by recording some manufactures
found in the territory of Borgo San Lorenzo, is surely a significant tribute
to reconstruct the activity of Fornaci between the two world wars; the
sons of Chino have had a significant role in the factory during this period.
The factory had a crisis around 1936, due to a slackening in the production
of architectural decoration materials, probably caused to a change in
people taste, but after this crisis the activity goes on continuously
until 1943, when it was bombed. Chino notes down this terrible event,
which beats him heavily after two serious losses: the death of his son
Elio in 1942 and the death of his wife Teresa the 26th of August 1943:
" Il 30 Dicembre 1943 a ore 12.40. Incursione su Borgo San Lorenzo.
Ha colpito la zona a nord del Paese recando molti danni a fabbricati e
tantissime vittime. Per vero miracolo io, mia figlia Lina, mio figlio
Augusto, mia nuora aurelia e le sue due bambine riccarda e Anna Rosa siamo
rimasti salvi. Per la grazia ricevuta rimarremo in ogni giorno della vita,
che vorrà ancora concederci, vivamente riconoscenti al miracolo
del S.S. Crocifisso di Borgo San Lorenzo. E' rimasta offesa La casa di
abitazione nel Viale IV Novembre e la Manifattura da me creata, e tutto
frutto del Lavoro che Iddio mi ha permesso fare e che ora mi ha tolto.
Sia fatta intera la Sua Volontà Amen. Chino Chini." (In this
note Chino Chini talks about the raid on Borgo San Lorenzo happened the
30th of December 1943 at 12.40 a.m.. This raid destroyed many houses and
killed many people, and within the houses destroyed there were the house
of Chini and the factory; fortunately nothing happened to Chino Chini,
his daughter Lina, his son Augusto, his daughter-in-law Aurelia and his
two nieces Riccarda and Anna Rosa).
In another note dated 1944, Chino Chini writes down about the events following
the destroy of the factory, when many things (the ones which could be
saved) were transfered to Villa Pecori Giraldi:
"La sera del 29 Settembre ho portato al Convento delle R.R. Madri
quanto era rimasto di sopravvissuto a Villa Pecori Giraldi e vi sono rimasto
anche io con P. Labardi e con vitto e alloggio. Vi è poi in seguito
trasportato anche quanto è rimasto della Produzione di Fabbrica."
(The 29th of September in the evening Chino Chini brought to the convent
of R.R. Madri the things which had been transferred to Villa Pecori Giraldi
after the raid of Borgo San Lorenzo, previously mentioned; Chino Chini
found lodging and food in the convent and he stopped there together with
P. Labardi).
After these terrible events the Fornaci San Lorenzo are not able to start
again a regular activity, because of the lacking of funds. Even the agreements
that Tito tries to reach to establish a factory in Milan are not successful,
because Tito dies in 1947. Even the activity is stopped, the factory represents,
in the mind of Chino, a recurring thought until his death. In fact he
notes down the 14th of January 1953: "Stanco di riordinare tante
carte che dopo! anderanno al fuoco, e che ho tenuto quale memoria della
mia attività, svolta con l'aiuto della Divina Provvidenza e per
La Famiglia, per il mio Paese nativo e per l'Italia perché rimanga
a ricordo ai miei cari nipoti." (Chino says that is tired to reorganize
so many documents that will be, in a future, probably destroyed; he adds
that he has written so many notes as a memory of his activity, which has
been carried out with the help of the providence for his family, for Borgo
San Lorenzo and for Italy, these notes will represent a souvenir for his
nephews).
Text written By Gilda Cefariello Grosso for the
City Hall of Borgo San Lorenzo
Translated by Gianna Toni
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