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

Our Fourth Day In Florence

No mercato today, oh well.... But we will be there tomorrow.

Today was our day for the Uffizi Gallery. I was curious if I was going to finally succumb to Stendhal syndrome, but I did not.

Remembering the long lines we had viewed yesterday, and the dire warnings that the Uffizi is at times booked a month in advance, we were happy to have tickets in hand for 11 am.

We were not sure if there might be a line up, so we arrived early and strolled about a bit. Entering the queue, we managed to enter 30 minutes before our appointed time. We picked up an audioguide, then climbed the long steps up to the exhibit, stopping at times to admire the Roman busts that adorned the staircase.

The Uffizi Gallery does hold an impressive collection of artwork. It traces art's medievel roots, into the flowering of the Renaissance that started in Florence, and then moved on to the rest of Europe.

Universally familiar paintings like Boticelli's Birth of Venus and Allegory of Spring are held here, as well as Da Vinci's Annunciation and his unfinished Adoration of the Magi. Michelangelo, Raphael and Titian also can be found here. Even so, I felt a bit let down.

So close to home, we walked back for a quick luncheon before heading out again.


We headed to the Medici Chapels, the final resting place of most of the Medici's. The new sacristy was designed and executed by Michelangelo. The Medici's were more than his patrons, they were his adopted family. They basically adopted the young Michelangelo, and he grew up in their household. The new sacristy holds the earthly remains of four Medici's, three of whom Michelangelo knew personally.

Again, I felt a bit let down, as I expected more from Michelangelo. His Pieta at the Vatican felt real, with flowing gowns, emotions permeate the work, and one can not but resonate with it. While the four sculptures representing Dawn and Dusk, Night and Day, seemed brutish.

The Medici chapels is part of the Church of San Lorenzo. As our custom, we entered the church, and lit a candle. While we spent much less time here, I appreciated the church more than the Medici Chapels.




After a brief rest on the steps ot the Church, we headed towards via del Tornabuoni. A street that holds the houses of Gucci, Armani, Dior, Prada, et al. Would I spend 130 Euro for a simple key chain? Probably not. But it still was fun to window shop.




A bit tired, we found an outdoor restaurant at Piazza della Signoria. We each ordered a beer, but with such a lovely view of the Palazzo Vecchio, we ordered a simple Margherita Pizzea and another glass of beer.




On a few occaissions, I commented how Florence was reminiscent of Prague. Surprisingly more so than of Rome. Probably because of the small winding streets.


Cheers,

Anthony & Hera

Our Third Night In Florence

Supper tonight was a fresh Tonnarelli pasta in a porcini cream sauce with a fresh mixed salad dressed with the delightful olive oil I previously wrote about, accentuated with some balsamic vinegar and spices.

Well fed, and well rested, we headed back out for a Florentine walk.


Florence at night is quite different. The hectic crowded bustle of tour groups are no where to be seen at night. The streets, though relatively quiet, is still alive with strollers, diners, and street musicians.




We walked our now familiar walk towards the Palazzo Vecchio, through the Uffizi Galery, onto the banks of the Arno river gazing at the iconic Ponte Vecchio. The bridge itself is quiet at night, but we were amazed at how the gold shops are closed up. Wooden panels cover the windows, the top half by day is hoisted up as an awning, while the lower half falls forwards, and convers the front in a decorative manner.

Gelatos are everywhere, and we decided to have another. We could not help resist a chuckle when we came across a place announcing Gelato Festival, reminding us of the Quebec film, "Le Grand Seduction."


Walking along the streets aimlessly, we came across a church offering a free organ recital. We entered, and sat. Hera again felt a sudden wave of Stendhal syndrome, as we listened to the moving music of Bach and gazed at the artwork of the church.


Back home, we had a late night snack of cheese, bread and the delicious olive oil.

Contented, we will sleep well.

Photographer's note: All the night shots here were shot hand held on manual mode, between 400 ISO nd 1600 ISO.

Cheers,

Anthony & Hera

Our Third Day (Florence)

We again started our day at the Mercato Centrale. Tastings are part of the experience at the market, and we sampled some cold cuts, picking up three, along with some cheeses (Piquante Provolone, Pecorino Rustica and a Tuscan Pecorino), as well as a black ruffle. Our most expensive food acquisition so far at 25 Euros. This year, apparently they had a bumper crop, and the prices are depressed. Apparently the one we bought would normally sell for 50 Euros.


The variety of meats and produce at the market is amazing. The colorful chickens, while smaller, looked delicious, the quail eggs were tempting, while other organ meats, brain and testes and ...... were not high on our must try list.


We had heard that one should reserve sometimes a month in advance for the Uffizi Gallery. Getting there, we were greeting by a sign map stating that gate 3 was for reservations and information. We soon found out that the long line at gate 3 was for those who made reservations to pick up their tickets, before going to another long line at gate 2 to enter.


Asking directions, we were instructed to go to gate 1, were we easily bought tickets for the next day, and it seemed we could even get in later this same day. Perhaps it was good we did not make reservations in advance.

One reason we wanted to go in person, was to try to get a photo permit. Most museums allow photgraphy, some require a permit for a nominal charge. Here in Florence, most museums do not allow any photography. A pity.


With our tickets arranged, we once again walked along the Arno river admiring the Ponte Vecchio with the throng of tourists. Florence is a city of tourists.


Crossing the Arno River, we once again strolled the quaint small streets of the Oltrarno. The area here has a more authentic Florentine feel, with the small winding streets, and the occaissional remaining family tower. Romeao and Juliette were not from Florence, but these family towers and feuding families surely had their own stories of star crossed lovers.




Gelatos are always an enjoyable treat, and we each had ours as we sat in a small park, resting, and simply enjoy the sense of place.

We headed back towards the river, and was amazed how still it was. The reflections and sky was spectacular, and once again, Hera seemed to briefly exhibit some symptoms of Stendhal syndrome. Thus far, I seem to have not been affected, but we will have to see tomorrow at the Uffizi galleries.


Wine, food, pastry is everywhere in Florence. As we past a chic looking cafe, Hera spied some awesome looking Cannolo Mignon. We each had one of these bite sized deserts. They were wonderful. Deliciously sweet, with a long pleasant after taste. All too often such deserts are overly sweet, but these were just perfect.


We meandered back home, and entered our now familiar neighborhood. Passing Santa Croce church, we crossed some streets that reminded us of both Prague and Rome.

As I write, the apartment is parfumed with the Porcini cream sauce Hera is preparing for our pasta. We sip our Lagioiosa et Amorosa Verduzzo Frizzante wine, a delightful slightly effervescent white wine, refreshing and crisp. At 2.60 Euro, it was cheaper than our gelato. (Back home, the SAQ charges us $9)


One of the shops we had crossed earlier today, had handwritten bookmarks with various quotes. One of them had said... "If you keep thinking of all the things you do not have, think of the things you do not want to have, and be thankful for not having them..."

Photographer's notes: So far I have so many amazing images. I am saveing them all for my audio-visuals. All you see here are tiny teasers. I hope you are enjoing them so far. Don't be shy, contact us in private or in comments section here.

Cheers,

Anthony & Hera