Our Sixth Day In Florence

Today had us once again south of the Arno River.

We meandered across Piazza della Signoria, watching the tourists more than the square itself. It reminded us of our time in Prague and its famous old square.

Reaching the Arno River, we again looked at the multitudes of locks that had been purposely locked together. It was another reminder of Prague, where lovers would leave their locks, in a perpetual locked embrace.

As we crossed the Ponte Vecchio we examined how ingeniously they have used the decorated wooden protectors. At night, they protect the shop windows, during the day, the lower half adds adornments below the shops' windows, while the upper half is hoisted up as a lovely awning.  (If you click to enlarge the image below, you will see an unintentional cameo of me in the centre of the photo.)

The crowded narrow winding streets are a joy to traverse. One can only imagine how the Florence of old must have been. Apparently, Florence was so built up, torches were needed during the day, and that when it rained, one could walk the streets, and not get wet.

During its time, Florence was the centre of the Western world. A couple a centruries earlier, it was Prague, while a couple of centuries later it would be Paris, followed by London, then New York. Where will the centre shift in the coming years?

As we approached Santa Maria del Carmine Church, we came across its ugly square still used a parking lot. It is hard to imagine that most European squares where as abandoned and forlorned as this poor square, until someone realized the revenues that could be had if they removed the cars, an allowed cafes to spring up for tourist dollars.

We came here to see the Brancacci Chapel, more specifically, the frescoes of Masaccio.

This chapel is also a great example of the intrigues of Florence, the evolution of art, and how artists are affected by other artists.

The Brancacci were prominent silk merchants, who opened part of the wall of the church, and commisioned the well know artist of the day, Masolino to decorate the chapel with stories of St. Peter's life. The 40 year old established artist Madolino, engaged the young 23 year old Masaccio to help him.

They worked side by side on separate panels, but rarely, if ever together. The older Masolino, an expert in the International Gothic style that was all the rage at the time, painted overly detailed elaborate outfits, in a flat, medieval style. While the younger, experimental Masaccio, placed emotion and perspective in his work. Masolino's outfits look painted onto the people, while Masaccio's outifts hangs, folds and flows like real clothes.

There are two scenes of Adam and Eve. The older Masolino's depiction of the devil tempting the couple is rather flat, serene, with little emotion, while Masaccio's depiction of the couple's expulsion from the garden is full of emotion. Adam covers his face in shame, while Eve wails in anguish next to him.

Massaccio not only had command of perspective, but also of chiaroscuro, the play between light and shade, that added depth and realism, and the copied by the greats who would follow. Later, Leonardo da Vinci would say there were only two real artists of note, Giotto and Masaccio, while Michelangelo too would use Masaccio as his base for some of his works, particularly in the Sistine Chapel.

That is not to say that the older Master Masolino had no influence. In his scene of the temptation, he depicted the devil as a serpent with the same face as Eve. A motif that others would copy in years to come.

The older Masolino was in such great demand. Leaving for Hungary for a new commission, he left the rest of the chapel in the hands of the younger Masaccio, who within a year or so would die in Rome, probably posioned, at the age of 27.

The official opening of the church was such an grand event. All the important dignitaries in attended. The young Massaccio executed a wonderful work that forever captured the moment.

Years later, a fire destroyed most of the church, but the chapel, miraculously survived. Unfortunately, during the restoration of the church, this important piece of art was lost. But so influential was Massaccio, with so many artists copying his work, including this particular piece, we are able to reconstruct the painting almost as he originally painted it.

Politics is politics. The Brancacci family fell from favour, and were expelled from the city. So vehement was their expulsion, that parts of Massaccio's frescoes were effaced to remove traces of the Bracacci.

A 20 year old Carmelite, brother Philip was so inspired by these works, that he went on to an impressive painting career himself, believing that art was a form of prayer. At the age of 50, he fell in love, and his son, Filippino Lippi (Little Philip) was equally impressed by these works, that he restored parts of Massiccio's frescoes that were defaced. In particular the scene of "Peter Resurrects the Son of Theophilus."

But to this day, one can see one can see traces behind the alter of at least one, if not two paintings. Just small glimpses of edges... One wonders.... what did they show?

After being awed viewing the chapel, we watched and equally impressive 40 minute film about the chapel and the works of art. It was amazing. While the chapel is the attraction, and must be seen, I would say that this film must be seen as well. It adds so much to what one sees. So much so, that Hera wanted to go back and look once again at the chapel. Only then, did I see some of the details I had missed.

The only disappointment, was that the rest of the church was roped off for viewing. What could be seen, was impressive. Perhaps not as much as the chapel, but I would have liked to be able to view and appreciate the rest of the church.

Remaining south of the Arno, we came across the pastry shop were we had the delicious cannolo mignon a few days earlier. Once again, they were delicious.

Then we walked up, to Piazzale Michelangelo for some impressive views of Florence. The Duomo dominates the skyline, but we could also see Santa Croce, and pointed midway between them, where our apartment lay.

While the view of Florence is indeed impressive, Hera once again felt that flutter of Stendhal Syndrome not from a piece of great art created by man, but by art, created by nature herself, as she photographed several grottos.

Almost home, a beer festival was underway, so we walked about and sampled some excellent beer.

Back home, Hera made a sumptious dish of fresh Tortellini stuffed with Porcini mushrooms, that were covered in a savory buttery rose sauce with muchroom overtones. Delicious.

Cheers,

Anthony & Hera