Our Seventh Day in Florence

Today was supposed to be a rainy day.

While it did rain when we got in last night, we awoke to lovely puffy clouds in a brilliant blue sky.

Today our plan was to visit the Church of Santa Maria Novella. It is Novella (new) because when the Dominicans were assigned the area in 1221, they decided to built a new church on the site of a 9th century oratory of Santa Maria delle Vigne. (On the other side of town, the Franciscans had their Santa Croce Church.)

Architecturally, there is a trompe l'oeil effect, where the nave appears much longer than it really is. This was achieved by having the columns getting slightly closer, the aisle slightly narrower, with the floor rising slightly as well. Architects seemed to have mastered the 3-D effect much earlier than artists were able to apply it to their paintings, until Masaccio came around.

Massaccio's, "The Trinity," gives the effect that one is looking inside a small chapel, with the walls receding away. It would take another generation or two before such perspective became standard in paintings.

There are numerous other aspects of this painting that are firsts. No such barrel vault had yet been constructed since the Roman times, and Mother Mary is not the typical virginal faced girl, but an older more stern looking woman.

Most chapels held the remains of a dearly departed, and under this painting/chapel lies a skeleton with an inscription that reads, "I was once what you are, and what I am you will become."

Other important works can also be found here, Giotto's "Crucifix" hangs in the middle of the church (originally over the main alter), while Brunelleschi's wooden "Crucifix" depicts a realistic man crucified.

Brunelleschi was competing against his friend Donatello's crucifiction hanging at the Santa Croce church. Santa Maria Novella was of the Dominican Order, more intellectual, and in a sense, more noble, and so is Brunellschi's Christ. While Santa Croce was of the Franciscan Order, simpler, of the common man, and Donatello's Christ is much more a common regular man.

Also impressive are the several chapels that competing families hired artists to decorate. Each family trying to out compete each other. In one of them, the young Michelangelo worked as a teenaged apprentice before he was discovered. While another seems purposely effaced, and I wonder if the family had fallen out of favor in town.

The pulpit here, was also where the heretical words of Galileo were first condemned. "How can the earth move around the sun?" As the experts of the day all knew that everything revolves around the earth. They even refused to look into his telescope at Jupiter where they would have clearly seen Jupitor's moons revolving around Jupiter, but then they would be wrong and Galileo right. Better not to look, after all, they know the truth.

Although not a typical destination, around the corner at 16 Via della Scala is an ancient perfume shop that is defintely worth the visit. Originally part of the Domincan herb garden for their own private stock of medicine, it later offered it services to the neighborhood. Medicinal herbs as well as fragrances made the old fashioned way can be bought here.

While the web allows one to share, thoughts, images and even sounds, it cannot yet share the wonderful fragrances we enjoyed.  The shop girl sprayed fragrances onto a paper sniffing wand, and after sampling several, Hera decided upon a seasonal room fragrance entitled "Summer."

The night before we had sampled some micro brewery beer, and one that we had enjoyed was nearby. Mostodolce can be found at 114/r Via Nazionale. If you enjoy unique flavors that can only be had by smaller productions, this place is worth the visit. Besides, it allows one to rest, and people watch.

This was a new neighborhood for us. Less touristy than most, and we walked the streets, entered some shops, then headed back for home.

Cheers,

Anthony &  Hera

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

Our Fifth Day In Florence

We believe that a vacation, is a exactly that, a vacation. And that can mean at times taking our time, sleeping in a bit before picking up some groceries, then loitering at our apartment in with a long brunch. We really are never in a rush, and takes things as they present themselves.

That being said, it is always good to check the hours that sites are open.

On our first day at the tourist office, after a local toursit map, the next item I picked up was a hand out on all the opening hours of the various museums. It lists the hours they are open and the days they are closed. That first day, we learned from the helpful tourist agent, that the David was going to be "free" tonight, from 7-9 pm.

Our general plan for the day, was to walk past the Academia, where the David stands, then visit the museum of San Marco a bit further north, head back and enter the Palazzo Medici Riccardi, meander back and take a break back at our apartment, then go back out to see "David."

We wandered along now familiar streets, around the Duomo, and then turned up via Ricasoli. Passing the Accademia, we once again saw the infamous line ups. Would we really see "David" for free tonight?

We arrived at San Marco around 13:30. Doors are often closed, but then looking at the adjoining sign, it read that it closes at 13:50. Most museums close their doors for admittance 30 minutes before closing. I should have read my handout on museum hours.

At least we explored two new streets that we had yet to walk, as we walked back down on via Cavour towards the Palazzo Medici Riccardi.

The founder of the Medici's, Cosimo the elder, rejected Brunelleschi's design for being "too sumptuous... liable to stir envy...," and decided on Martolomeo's much more austere design, which then became the prototype of Renaissance civic architecture.

The star attraction, is the family's private chapel, the Chapel of the Magi, magnificantly painted by Benozzo. If you do not have any written material about the place, the 1Euro information brochure is definitely worth the cost for this chapel alone.

While the chapel does demand attention, what I most enjoyed were the rooms. It gives a real sense of place. While elaborate, it still feels that it was a real home, albeit for one of tremendous wealth. One of the rooms called the Gallery, again sumptiously decorated, with mirrors along one side, reminded me of Versailles, but in better taste.

The rediscovery of the classic world "is" the Renaissance. We often forget, that this appreciation started here. The basement rooms hold a collection of their Roman and Hellenistic scultures that they collected.

Hera had her mind on a particular unconventional design for a purse. With time in hand, we walked over to the Leather School behind Santa Croce. A quiet comfortable garden leads onto an unobtrusive entrance to the Leather School created by the Franciscan monks to give orphaned boys of WWII a trade. Their exceptional craftmanship is a delight to behold, with reasonably priced items.

We then entered and toured Santa Croce itself. One of Florence's oldest churches, it holds the remains of many illuminaries from Michelangelo to Galileo, Rossini to Donatelli. The artwork is lovely, but what captivated me was the elegant ribbed wood ceiling, In such places I find that it is important to simply sit, and enjoy. There is always more to see, but it is important to stop, and appreciate.

Santa Croce also holds part of St. Francis of Assisi's tunic, and a museum in the monks' old dining hall, housing several other pieces of artwork.

One of Santa Croce's stories is the devasting flood of 1966 that it and the city of Flroence suffered. The Arno River flooded its banks, and the water rose midway up the doors. And when the water's receded, it left behind an enormous amount of mud. Much art was horribly damaged, but the outpouring of support, and meticulous restoration, has fortunately restored much of it.

Florentine's are known as the "bean eaters," but so few restaurants seem to have such traditional Florentine fare on their menu's. When in Rome, do as the Roman's, when in Florence, eat as a Florentine... So Hera cooked up a delicious Cannellini Rustica dish. (White beans in a seasoned tomato sauce with shavings of Parmigiano cheese.)

Well fed, and rested, we headed back out, wondering if we were really going to see "David" for free. As we approached, we saw the typical line. Were we supposed to get our tickets in advance? The line started to move, and we entered the Accademia. I knew the "David" was just in the room to my left, where everyone was headed, but I took my time in the first room to appreciate the works of art.

When I did enter, and look down the corridor, I caught my breath. David is indeed a sight to behold. Perfectly exhibited, perfectly lit, it is captivating. Walking down the corridor, one's eyes are fixated on the changing perspective of this magnificient sculpture, totally oblivious to the other works of Michelangelo that line the corridor.

Why is it so wonderful? I am really not sure. Critically, I do not find it a really pretty sculpture. Even though I know it was designed to be placed high above the southern roofline of the Duomo, and thus purposely has a larger head, I still find it's hands to be to big too, nor am I really enamoured by his legs. But looking at it as a whole, I am still amazed at how beautiful it is.

We lingered, and enjoyed the other pieces of wonder art at the Accademia, only to return and once again gaze upon David. Thus far, I must admit, despite all the magificient art I have seen in Florence, this piece has been the only piece that has impressed me so much.

Enjoying another gelato, we meandered about, window shopped, and ended up again at the Piazza della Signoria, where we noticed a few musicians setting up in front of the Palazzo Vecchio. We found a place to sit, watched the crowds, and enjoyed a free outdoor concerto.

Florence is a lovely city.

Cheers,

Anthony & Hera