Pietro Porcinai possessed a significant skill in identifying real problems and understanding appropriate procedures, consistently staying ahead of his time through a foresight grounded in well-tested technical foundations. In addition to his early and innate natural talent and professional intelligence, Porcinai had acquired specific training abroad, considerably ahead of others. Undoubtedly influenced by the landscaping culture of those countries, particularly Germany and Belgium, where he practiced horticultural techniques at specialized nurseries. In Italy, his educational journey intersected with a crucial period in the art of gardens: in 1924, Luigi Dami published “Il giardino italiano,” demonstrating Italy’s leadership in garden art.

The indigenous and distinctive nature of the Italian garden, reclaiming its primacy in a field that had become the subject of study by foreigners, especially Anglo-Saxons, culminated in the famous Exhibition of the Italian Garden in 1931 in Florence. Here, efforts were made to highlight a grand past without attempting to pave the way for the exploration of new modern forms in garden art. Ugo Ojetti, a supporter of monumental and stylistic architecture, served as the President of the Executive Committee of the exhibition. Within the event, ten ideal models of gardens were presented, representing a historical journey of Italian garden art. These were conceived as small scenic creations, including the English landscape garden, although deemed foreign to the national classical tradition.

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