The work, which was part of a triptych comprising two other paintings, The Park and the Park Fountain, was made to commemorate the expansion and restructuring of the Manifattura Arte della Ceramica di Fontebuoni, to whose original name was added that of the locality to which, at the behest of the new partner Count Giustiniani, the entire complex was transferred. However, not agreeing with the commercial direction that Giustiniani intended to give to production, Chini abandoned the company as early as 1904, which was forced to close three years later. Pictured in the foreground, against the backdrop of an industrial landscape, are Chini's wife Elvira, the artist himself with palette in hand, his cousin Chino Chini and an unidentified figure.