Category Archives: Art history

Caffè con Caravaggio a Roma

09 Tuesday Oct 2018

Posted by in Art, Art history, Italia, Roma, Travel tips

≈ 15 Comments

Tags

, , , , , , , , , ,

Caravaggio spent 14 years in Roma, and lucky for us, he left behind a lot of work. There are 23 capolavori-masterpieces by Caravaggio at 9 different sites in Roma, including 6 works that can be viewed for free! Si!  Free, gratis, senza pagamento. These 6 paintings are not in museums, they are still in the 3 churches they were originally painted for and have been hanging for over 400 years.  No entrance fee, no reservations or pre booking required, and usually no lineups!  The best thing about seeing artwork ‘in situ’-where it was created to be viewed- is that you can walk in and see the work where it was meant to go, just like someone in the 17th Century did.

It is possible to do a walking tour, visiting all 3 churches in a few hours.  As a bonus, along the way, this walking tour also makes 2 or 3 caffè stops.  If you missed my last post on the life of Caravaggio, read it here.

***Important Note before we start– the 3 churches on this wonderful passeggiata are primarily places of worship, so please be respectful.  Dress appropriately, speak quietly-if the artwork does not render you speechless, and avoid Mass times, especially on Sundays.  It may not be possible to visit during Mass.  There is no charge to visit the churches, but I always like to light a candle when I visit (€.50-€1).  You can also put €1 in a box to turn on the brighter lights if you need them to take a photo.

Andiamo!  Our passeggiata starts at Piazza della Rotonda, in front of the Pantheon.  It can also start at Piazza Navona, but I never miss the opportunity to visit the magnificent  Pantheon especially while there is still no entry fee.

Tazza d’Oro, Via degli Orfani 84

Facing away from the Pantheon, cross the street diagonally to the right and arrive at Tazza d’Oro, Via degli Orfani 84, known for their bitter roast caffè.  I seriously recommend ordering the granita di caffè!

Next, a short walk to the Baroque church of San Luigi dei Francesi, the national church of France in Roma.  San Luigi is open 0930-1245 and 1430-1830 daily, except Sunday the morning hours are 1130-1245.  Walk to the front of the church and on the left side is the Cappella Contarelli-Contarelli Chapel. Here you will find Caravaggio’s 3 paintings on the life of San Matteo-called the St Matthew Cycle in english. When 2 of the works were installed in 1600, they made Caravaggio an instant success. Roma had not seen painting with such intense realism and drama before.

The dark and mysterious Martyrdom of St Matthew is on one side of the altar.  I say mysterious because it is not clear who the murderer is.  Is it the slave offering his hand, the man fallen on the ground, or the shadowy figure lurking in the background with the face of Caravaggio?  Hmmm.  The Calling of St Matthew is on the other side, and originally a sculpture by another artist was to go above the altar in between them.  Since all other work seemed inferior between these 2 masterpieces, an altarpiece was commissioned from Caravaggio in 1602. This painting, San Matteo con l’angelo-St Matthew and the angel, is a ‘redo’.  The first version was rejected as it portrayed San Matteo as an old peasant with the angel moving his hand, as if he could not write.  The painting was destroyed in Berlin during WWII, and only black and white photos of it remain.

My favourite of the series is on the other side of the altar, The Calling of St Matthew.  This painting has the best ever use of shadow and light in a work of art.  A group of men are counting money in a dingy tavern room.  A brilliant beam of light coming from an unseen window symbolizes the light of God.  The shape of the shadow is in line with the finger of Jesus, pointing at Matthew the tax collector.  He is the one who has a ‘huh, who me?’ look on his face while he points at himself.  The pointing finger may be a reference to that other Michelangelo, looking like the iconic finger of God in the Sistine Chapel Creation of Adam. I always leave San Luigi in an overwhelmed but contented state of ‘Wow’.

Leaving San Luigi we go left and walk ~200m turning left at the brown sign for Sant’Agostino.  This was the first Renaissance church in Roma at Piazza Sant’Agostino, close to Piazza Navona.  It is open 7:45-12 and 16:30-19:30.  Here you will also find works by Raphael, Guercino and Andrea Sansovino.  In the Cappella Cavalletti, the first chapel on the left, is Caravaggio’s magnificent Madonna dei Pellegrini-Madonna of the Pilgrims (1605), sometimes called the Madonna di Loreto.

The Madonna is usually portrayed dressed in fine fabrics, seated and surrounded by cherubs and clouds.  In this painting, she is a beautiful but ordinary woman answering the door of an ordinary house in bare feet and holding a rather large baby Gesù.  The kneeling pilgrims have dirty feet.  If the Madonna looks familiar, she is the same model from the Madonna dei Palafrenieri (1606) discussed in my Galleria Borghese post. She is thought to be Maddalena ‘Lena’ Antognetti, a well-known prostitute, and possibly Caravaggio’s lover at the time.  These details were all quite scandalous at the time.  I was mesmerized by the beauty of this painting.  My Roman friend recently came with me to Sant’Agostino and I found out this is his favourite painting.  To quote  his comment  …..‘Questo è il collo più sensuale nella storia dell’arte‘-‘This is the most sensuous neck in the history of art’!

Our next stop is Caffè Sant’Eustachio a few blocks away in Piazza Sant’Eustachio 82. Operating since 1938, their caffè is pre-zuccherato.  They whip in a spoonful of sugar while making the caffè and it always tastes perfect.  A sign states that if you do not want sugar added, let them know in advance!  My favourite beverage is un marrone-usually called un marrocchino everywhere else. Every bar in Italia makes un marrocchino differently, but it is always delicious. Sant’Eustachio ties with the Aeroporto Capodichino, Napoli for the best!

The last church on this Caravaggio passeggiata is a father walk.  There are 3 streets leading to Piazza del Popolo, but I usually get back onto Via del Corso, the long shopping street that leads straight there.

If you are not yet sufficiently caffeinated, turn right on Via dei Condotti, Roma’s most expensive shopping street and, before reaching Piazza di Spagna, stop at #86, Antico Caffè Greco. Roma’s oldest and Italia’s second oldest coffee bar, it has been around and frequented by literary types since 1760. Byron, Keats, Stendahl and Goethe are among those who have enjoyed caffè here.  In my photo below, Caffè Greco is on the left, approximately below the flag.  Caffè Greco is in danger of closing due to the exhorbitant rents on Via dei Condotti!

Piazza del Popolo can be reached by Via del Babuino, Via del Corso or Via di Ripetta. Santa Maria del Popolo, Piazza del Popolo 12, was designed by Bernini and is in the north-east corner of the piazza.  It is open 0930-1230 and 1630-1900, except for Saturday when it is open 0730-1900.  At the front, left side of the church is the Cappella Cerasi-Cerasi Chapel where we find the last 2 Caravaggio works on our passeggiata.  Both painted in 1601, on the left is The Crucifixion of St Peter and on the right The Conversion of St Paul on the way to Damascus.  The work above the altar between them is by Annibale Caracci.  Both paintings have dark backgrounds with awe-inspiring light and colour on the figures, which take up the whole canvas.  In the Crucifixion, you can feel the pull and weight of gravity even pushing out past the borders of the canvas.

The second painting captures the moment from the Acts of the Apostles when Saul-whose job was to persecute Christians, heard the voice of God and was blinded by the light, falling from his horse.  In case the name is confusing, he later slightly changed his name and became the apostle Paul.  This painting was often criticized for the ‘horse’s ass’ taking up so much of the picture plane.

This is the end of the Caffè con Caravaggio for free walking tour.  Scusi for the poor quality map!  I will replace it as soon as I figure out how to imbed one.If you want to see more Caravaggio works—no problem!  This passeggiata can be extended from both ends!  From Piazza del Popolo, Galleria Borghese room VIII has 6 Caravaggio works and is an uphill walk or short bus ride away.  Unfortunately it is not free, and reservations must be booked in advance. Read about the booking process here. Galleria Borghese can be visited either before or after this walk-my recommendation is before. In the photo below, Santa Maria del Popolo is to the left of the gate, under renovation.  Via del Corso is straight ahead, and past the gate is the walk to Galleria Borghese.

Piazza del Popolo

Walking back down Via del Corso, just before Piazza Venezia, stop at #305, Galleria Doria Pamphilj. Here you can see 2 Caravaggio works, including his only landscape painting Riposo durante la fuga in Egitto -Rest on the flight to Egypt (1597). Galleria Doria Pamphilj also has an entry fee of €12 but does not require a reservation. Galleria Borghese, followed by the free Caffè con Caravaggio tour, then the Galleria Pamphilj will take up most of a day and leave you in a wonderfully warm and fuzzy ‘Caravaggio coma’! I hope you all have the opportunity to take this passeggiata some day.

Ciao e buon viaggio, Cristina

Caravaggio

23 Sunday Sep 2018

Posted by in Art history, Roma

≈ 11 Comments

Tags

, , , ,

Caravaggio is one of the most brilliant and influential painters that ever lived. He pioneered chiaroscuro-dramatic use of light on a dark background and went for the ‘shock’ factor, really testing the boundaries for his time.  His life was as dramatic as his paintings and he was always getting into trouble with the authorities, drinking, gambling, brawling, sword fighting.  I have a few Caravaggio centered posts planned, so I will start with one about the Baroque bad-boy himself.

Michelangelo Merisi da Caravaggio (1571-1610) was born and studied in Milano. His family was from the town of Caravaggio.  He fled to Roma at the age of 21 after wounding an officer in a fight.  He found employment in the studio of Cavaliere D’Arpino, the Pope’s painter, and spent all his time painting ‘fiori e frutta’.  There is record of him being in hospital for 6 months early on in his time in Roma.  One of his earliest paintings is a self-portrait called ‘Bacchino Malato’ -Young Sick Bacchus.  His pale, yellowish complexion and bluish gray lips do not look healthy. He may have had malaria.  Caravaggio then went to work on his own and quickly developed a name as an artist, earning commissions from wealthy patrons.

Bacchino Malato (1593)

Caravaggio’s work was powerful and dramatic. Unlike other artists of the time, he worked directly from life onto the canvas without any working sketches.  Caravaggio worked quickly and produced a lot of work in his 14 years in Roma. Besides his use of light, dark and shadow, he also came up with dramatic compositions and intense realism…sometimes too intense.  He usually chose to paint the realism of the moment-the exact moment the action is happening. He showed life how it was, but his realism was often seen as graphic, vulgar and shocking.  He pushed boundaries and made people uncomfortable. Caravaggio used live models most of whom he found on the street, including 2 well-known prostitutes. He was frequently disputing with clients who refused to pay or insisted he redo a painting.

100,000 Lire Caravaggio banknote with his works ‘Buona Ventura’ on the front and ‘Canestra di frutta’ on the back

Caravaggio was always getting into trouble, but his name and wealthy clients protected him. In 1606, during a late night street brawl at a tennis court, he killed Ranuccio Tomassoni in a dispute over a prostitute.  Even having big-time patrons like Cardinal Borghese could not save him this time. He fled Rome with a death sentence and a price on his head.  He arrived in Napoli, where his influence and style defined painting in the city for the next few centuries.

In 1607 he went to Malta, hoping that the patronage of the Grand Master of the Knights of St John would help him receive a pardon from the Pope. He was welcomed and produces a lot of incredible art there.  Caravaggio was even inducted as a knight, but in 1608 seriously wounded another knight in a brawl and was imprisoned.  He escaped, was expelled as a ‘foul and rotten member’ and fled to Sicilia where he had a friend.  His behaviour grew increasingly bizarre.  He destroyed paintings at the slightest criticism and slept in his clothes fully armed. Caravaggio returned to Napoli after 9 months, to wait until he could return to Roma to receive a pardon.  In 1609 his dangerous lifestyle cought up to him.  There was an attempt on his life in a violent brawl and his face was disfigured.  There were even rumours of his death.

Davide con la testa di Golia (1610) Galleria Borghese

In 1610 he sent one of his last paintings Davide con la testa di Golia –David with the head of Goliath to his former patron, Cardinal Borghese, hoping he could convince his uncle the Pope to issue a pardon.  Caravaggio painted his own portrait as the gory severed head of Goliath, in a plea for mercy.  Soon after, he got on a boat heading north and ended up on the coast of southern Tuscany waiting for his pardon for the murder.  The pardon came too late.  He died in a tavern in Porto Ercole of a fever, infection from his wounds and heat exhaustion.  There were rumours he was poisoned, but Caravaggio likely also had lead poisoning from the lead in his paints. The homicidal genius was only 38 years old.

Poste Italiane 1960 stamp commemorating the 350th anniversary of the death of Caravaggio

In 2010, 400 years after his death, scientists think they may have cracked this ‘cold case’.  They are 85% sure that bones found in the cemetery in Porto Ercole belong to Caravaggio.  DNA evidence shows the age, height and date of death match, and they also did DNA testing of some long time residents of the town of Caravaggio and found there was DNA similarity.  The suspected bones also contained high enough levels of lead to drive someone mad.  More recent dental evidence shows that the main cause of death for the owner of these bones was a Staph infection, likely from the Napoli swordfight.  Sounds convincing to me!  Ciao, Cristina

*Image-Ottavio Leoni ‘Ritratto di Michelangelo Merisi da Caravaggio’ ca 1621. Biblioteca Marucellaria, Firenze.  Wikimedia Commons

Visiting Galleria Borghese

26 Sunday Aug 2018

Posted by in Art, Art history, Roma, Travel tips

≈ 27 Comments

Tags

, , ,

La Galleria Borghese was an opulent 17thCentury suburban home of Cardinal Scipione Borghese, nephew of Pope Paul V.  It was also home to his amazing personal art collection.  In 1808, Prince Camillo Borghese was forced to sell the Roman sculpture and antiquities collection to his brother in law Napoleon, for below what it was worth. 340 or so pieces, including the Borghese Gladiator from Ephesus are now in the Borghese collection at the Musée du Louvre.  The Borghese estate in Roma was sold to the Italian government in 1902 and turned into a museum and urban park.

Even though I go to Roma every year, I had yet to visit la Galleria Borghese. It requires booking tickets in advance, which is something I really do not like doing.  Prebooking interferes with my spontaneity!  I tried to book online 2 and 3 years ago when I had a longer time in Roma, but kept getting forwarded to secondary resell sites charging double the price, which really annoyed me.  This year, I decided to try booking a few days before my departure for Roma.

The Galleria is not that easily accessible. It is at the far end of Villa Borghese, a large (200 acre) urban green space. Buses #92, 217, 360 and 919 from Stazione Termini stop at the Galleria. The other most direct route is to take the Metro A line (red) to Flaminio, just outside of Piazza del Popolo. Enter Villa Borghese by the unmistakeable big gates and walk about ½ hour to Galleria Borghese.  Keep right until the bike rentals then left.  It is an uphill walk.  An alternative ….to avoid being late and losing the reservation, is to take the Metro to Flaminio and then take bus #61, 160, 490, 491, or 495 to the Galleria, or even a taxi if you are running late.  It will not cost much, then walk back to Piazzale Flaminio, as it is downhill or take a bus down.  Do not follow the ‘Villa Borghese’ signs at the Spagna Metro station.  These lead to a long underground walk, and then up an escalator to a random forested area in Villa Borghese-the park, nowhere near the museum!

Piazza del Popolo

Tickets must to be reserved. The price of admission is €13 plus €2 for the reservation fee, and if booking online, another €2 for the online booking site-Ticket One.  If using the RomaPass for admission, a reservation is still required. Domenica al Museo, the first Sunday of every month, admission is free, but a reservation is required and the €2 fee.  This is the website for Galleria Borghese.  Reservations can be made by emailing info@tosc.it or calling 39 06 32810 (dial 011 before this number if calling from North America).  I booked online, but had to register for an account with Ticket One, and enter my codice fiscale, which most visitors will not have. Ticket One charges an extra €2 booking fee, so my total cost was €17. I think booking by email is easier! Tours can also be booked with the reservation, but I prefer to wander on my own.  There are also independent tour groups that you can book, which include admission.

Bookings are Tuesday to Sunday for 2 hours, from 9-11am, 11-1pm, 3-5pm and 5-7pm.  The ticket office is in the lower floor-the central lower door in my photo- and you need to arrive 30 minutes before the reservation time or risk losing the spot.  This is not a convenient location to just show up and see if there are any last minute cancellations.  Security is strict and all bags, backpacks, helmets and selfie sticks must be checked before entering.  This includes purses.  Cameras are ok, and photos are allowed.  To rent the 90 minute audioguide (€5), make sure to pay before checking bags or carry pocket cash.

There are 360 reservations per 2 hour time slot. To spread everyone out over the 22 rooms, half of the ticketholders are directed to the Pinacoteca (picture gallery) upstairs and half to the main floor sculpture gallery.  It does not feel too crowded unless you happen to be in a room with more than one tour group.  I was worried about being rushed with a 2 hour limit, but I found it was enough time to see all of the works  It is not enough time to sit and sketch though. Do not forget to look up and admire the ornate painted ceilings and tromp l’oeil painting in every room. 

Cardinal Borghese considered himself an amateur architect and had an eye for art.  He was an early patron of Bernini and collected Caravaggio works.  He also had a knack for unscrupulously swooping in and getting a bargain.  For example, he acquired the Madonna dei Palafrenieri from Caravaggio in 1606 for a pittance when the patrons, the Papal grooms, immediately rejected it.

Madonna dei Palafrenieri. Photo Wikimedia

The painting is also known as Madonna and Child with Serpent or Madonna and Child with St Anne. Why did the Palafrenieri reject this incredible painting?  They did not like that their patron, St Anne, appeared as a passive old woman, nor did they like the Madonna’s ample cleavage, or the fact that Jesus was a naked older boy. There are 5 Caravaggio paintings in Galleria Borghese, all in one room! Some of you may know that I am a huge Caravaggio fan!

Gianlorenzo Bernini is also well represented in the Galleria Borghese with 4 early sculptures.  His Baroque masterpiece David capture the intense moment just before hurling the stone from his slingshot, while his body is twisting and he has a look of fierce determination on his face. 

Bernini’s realism is incredible, he has the ability to turn marble into flesh, as with Hades grip on Proserpina/Persephone’s back and thigh.

Bernini’s sculptures are so lifelike, he is known for attention to detail, such as sculpting the inside of his figures mouths and their tongues! This is really apparent on the figure of Daphne in the sculpture Apollo & Daphne seen below.  I love the way he portrays her fingers growing leaves and branches, roots growing from her toes, and her hair becoming leaves as she turns into a laurel tree.  Stay tuned for a post about this work.

There are countless other fabulous pieces in the Borghese collection, such as Paolina Bonaparte as Venus by Antonio Canova.  The upper floor has paintings by Raphael, Titian, Rubens and Antonello da Messina, to name just a few. I left the Galleria Borghese in a Caravaggio/Bernini art coma!  What did I do before going to have a rest?  Well, I stopped in at Santa Maria del Popolo after my walk down from Villa Borghese to see the 2 Caravaggio paintings there! Then I walked to Piazza Navona to meet a friend. We went to Sant’Agostino to see the Madonna dei Pellegrini then stopped to have a caffè freddo and had an hour long discussion about Caravaggio!  By that time, I was really in a stupor-a happy one, and I did go and have a much needed rest!

Have you been to the Galleria Borghese? What did you think?  Let me know in the comments.  Ciao, Cristina

La Trinità di Masaccio

09 Friday Feb 2018

Posted by in Art history, Firenze, Italia

≈ 12 Comments

Tags

, , , , , , , , ,

La Trinità di Masaccio is one of the most important paintings in art history…..and it came very close to being destroyed!  The fresco is on the wall of the left aisle in Santa Maria Novella, opposite the entrance through the cloisters. La Santa Trinità is the Holy Trinity; the Father, Son, and Holy Spirit.  It was commissioned by unknown donors, probably from the Lenzi or Berti families, since they had tombs close by.

La Trinità, completed in 1427, is the earliest known example of one point linear perspective.  It is painted on a flat wall, but gives the illusion of space, appearing to be a 3 dimensional chapel. This is the start of early 15th Century Humanism, when Italian painting moved from flat, idealized art to a more natural, realistic style.

To create a sense of depth and space, Masaccio uses linear perspective with a vanishing point, chiaroscuro, foreshortening and directional light. This was all new at the time. The figures are life-size, emotional, and so realistic they look sculpted. Jesus is especially realistic looking, with his body affected by gravity.  God is portrayed as a standing man holding up the cross, with foreshortened feet firmly planted on the ground.  He is usually portrayed by a hand or as an old man floating in the clouds.  Mary looks mournfully at the viewer, pointing up to Jesus as if to say ‘this is your answer to eternal salvation’. The praying witnesses are likely the unidentified donors, placed outside the ‘chapel’.

Inspired by Brunelleschi’s newly rediscovered classical principles, Masaccio creates a convincing architectural space, especially the barrel vaulted coffered ceiling. The composition is magnificent, with many triangles further emphasizing the theme of ‘trinity’.   The vanishing point is right at eye-level, guiding the viewer’s eye upwards and emphasizing the perspective of the ceiling.  Masaccio apparently inserted a nail at the vanishing point- the ledge below the cross. He tied strings to this nail which left imprints in the wet plaster.  He used these lines as a guide for the perspective.

My quick sketches of the vanishing point, perspective lines and triangular composition. The colour image is my entry ticket from 2004!

Masaccio was praised in Giorgio Vasari’s 1550 bestseller ‘The Lives of the Artists’.** Masaccio was born Tommaso Cassai. ‘Maso’ is short for Tommaso and with the superlative ‘accio’, it meant ‘big messy Maso’.  According to Vasari, this was ‘because of his complete lack of concern’ for worldly affairs or even how he dressed himself’. He was only concerned with his art.  Masaccio’s most famous work is the Cappella Brancacci in Santa Maria del Carmine.  In 1428, at the age of 27, he died suddenly of unknown causes.  Many, including Vasari believed he was poisoned by a jealous rival.  When informed of Masaccio’s death, Brunelleschi commented ‘Noi abbiamo fatto una gran perdita’-we have had a great loss. Masaccio did not live long enough to be well known in his lifetime, but his work inspired Fra Angelico, Fra Filippo Lippi, and Filippino Lippi.  The Cappella Brancacci was completed by Filippino after Masaccio’s death.

Back to La Trinità…In 1568, Vasari was commissioned by Cosimo I de Medici to ‘modernize’ Santa Maria Novella. Cosimo ordered all of the frescos to be plastered over and replaced with new ones!  Aaaaaahhhh!  Well-lucky for us, Vasari admired Masaccio and could not bear to destroy La Trinità.  He secretly built a false wall in front, effectively preserving the work for almost 300 years.  On the new wall Vasari installed an altar and painted the Madonna del Rosario.

In 1860 Santa Maria Novella was undergoing renovations and workers, noticing an irregularity in the wall, discovered La Trinità. Unfortunately, it was detached from the wall, transferred to canvas and moved to the another wall inside.  Detaching a fresco is done with the ‘strappo’ technique, which is complicated and fascinating. Italocanadese fresco artist Liana Tumino demonstrates the technique in this video.

The bottom part of the fresco was either not noticed or ignored. It is a cadaver/ skeleton on an open tomb.  Painted to look carved in the stone is written ‘Io fu già quel che voi siete, e quel chi son voi ancor sarete’ –I was what you are and you will be what I am.  This is a Memento Mori, a reminder of our eventual death, like poor Yorick’s skull.  The message can be interpreted as both ‘Do not take life for granted, live life to its fullest’ and ‘Prepare now for eternal salvation’.  The second interpretation was more likely in the 15th century.

Both parts of the fresco were reunited in the original location in 1952. Death below, and the hope of salvation above.  It suffered some damage from being transferred to canvas and then back to the wall.  I am not the biggest fan of Vasari’s work, but in this case…yeah Giorgio!  We can almost forgive him for the gaudy tomb he designed for Michelangelo… Almost.

Ciao, Cristina

**The full title is ‘The Lives of the Most Excellent Painters, Sculptors and Architects’, in italiano ‘Le Vite de’ più Eccellenti Pittori, Scultori e Architettore’ often simply called ‘Le Vite’, first published 1550, updated 1568. Read more about Vasari in this post.

La Grande Cacata

17 Wednesday Jan 2018

Posted by in Art history, Firenze, Italia

≈ 29 Comments

Tags

, , , , ,

As I entered Piazza della Signoria in November, I was surprised to see it occupied by a massive excremental aluminum sculpture. Big Clay #4 is the actual title of the 12 meter high work by Swiss artist Urs Fischer.

The sculpture is actually an enlargement of pieces of clay that the artist modeled with his hands.  He took 5 small pieces of clay and squished them around in his hands, then piled them up.  Then it was ‘supersized’ to 12 meters high.  The artist’s fingerprints and palm creases that were impressed onto the surface of the clay were also reproduced. An interesting idea…. too bad it came out looking like poo.

The installation of this sculpture is not a successful pairing of contemporary and Renaissance/Classic art. If I sound like a harsh art critic, let me say that I am not one of those people who just dislikes contemporary art.  In fact, one of my favourite musei in Firenze is the Museo Marino Marini, housed in the deconsecrated ancient church of San Pancrazio. Marini’s 20th Century sculptures are elegant and classic and his melding of the historical and the contemporary is extremely successful.

In my determined quest to find a positive angle on this work, I looked at the photo below and wondered if the artist was trying to (unsuccessfully) mimic the spiraling vortex of Giambologna’s Ratto delle Sabine.  This is not the case, since I found out the sculpture was not made for this site.  It was previously displayed outside of the Seagram Building in Manhattan, where it was known as the ‘Big Turd’.

The work is supposed to be thought provoking.  The only thought that came to me was ‘Now I know what it would it look like if a brontosaurus took a big dump in the middle of Piazza della Signoria!’ The sculpture is up until January 21st, so you only have  4 more days to see it here.  My title may sound a bit harsh, but many other colourful, scatologically oriented comments were heard in the piazza and around Firenze. I don’t think many Fiorentini will be sad to see it go!

Ciao, Cristina

Hairstyling in Ancient Roma

31 Tuesday Jan 2017

Posted by in Art history, Italia, Roma

≈ 18 Comments

Tags

, , , , , ,

villa-of-the-mysteriesOn a recent visit to Palazzo Massimo alle Terme, I walked the corridors lined with ancient Roman busts and was struck by the variety and realism of sculpted hairstyles. Many of them are so detailed, the hair looks like it is moving. Roman women originally wore their hair in simple styles with a circular band around the head, a bun at the nape of the neck or on top of the head. In Imperial Roma (1st -3rd C AD), hairstyles were always changing. Archeologists are actually able to identify and date coins and busts based on the hairstyle, which was often worn by the empress of the time.vibiasabina3

During the reign of Emperor Augustus elaborate updos for married women became fashionable, and really got big and complex in the Flavian and Trajanic eras. Clothing styles for women were simple, and unlike men, whose status could be reflected in their clothes, there was no special dress code to distinguish status. Women could only display their status, wealth and age via their hairstyles and jewellery. A natural hairstyle was considered barbarian, and implied a lack of both wealth and taste.  For Roman noblewomen, complex, unnatural hairstyles requiring hours of daily attention showed wealth and culture to the max. It was the job of slave hairdressers called ornatrice and their assistants to put hair up and take it down. Scenes of hairdressing and mirror-gazing were popular subjects in portraiture and reliefs, such as the 50 BC fresco from the Villa of the Mysteries in Pompeii.

Reticula (hairnet) of finely woven gold, found on Via Tiburtina, Palazzo Massimo. In behind is the poet Sappho wearing a hairnet, from a Pompeiian fresco.

Reticula (hairnet) of finely woven gold, found on Via Tiburtina, Palazzo Massimo. In behind is the poet Sappho wearing a hairnet, from a Pompeiian fresco.

Ornatrice curled hair in ringlets by wrapping it around a tapered bronze rod called a Calamistrum, which was heated in hot ashes or open flame. Hair was twisted, braided, curled, teased, wrapped and tied with cords or ribbons to bind around the head. Carefully arranged styles, braids and buns were stitched up with blunt bone needle and wool thread, held with wire, painted bone, ivory or jeweled hairpins and combs, and hairnets called reticulae of finely woven gold wire. Beeswax pomade was the only styling product available-the closest thing to hairspray they had!

My similated 'Ornatrice Toolbox' containing blunt needle and wool thread. hair piece and hair bodkin, leaf spring scissors, camel bone comb, beeswax and a 'calamistrum' which is actually my ring mandrel, but it is the right shape!

My similated ‘Ornatrice Toolbox’ containing blunt needle and wool thread. hair piece and hair bodkin, leaf spring scissors, camel bone comb, beeswax and a ‘calamistrum’ which is actually my ring mandrel, but it is the right shape!

Fanciulla Dormiente, Palazzo Massimo

Fanciulla Dormiente, Palazzo Massimo

Romans dyed their hair with everything from herbs to yucky potions. Hair was lightened with lemons, chamomile, henna, saffron, turmeric, baking soda, ammonia, and even pigeon poop. Hair was reddened with henna from Egypt or animal fat mixed with wood ashes. According to Pliny the Elder, hair could be dyed black by applying leeches that had been rotting in red wine and vinegar for 40 days. Yuck! Hair was also darkened with lead oxide, copper filings, or burned walnut shells and leeks. A paste of herbs and crushed earthworms was applied at night to prevent gray. Che schifo!

Women kept their hair as long as it grew, so styles were done with very long hair. Over time, all of this pulling, pinning, colouring, and frequent curling at high temperature led to hair thinning and damage. The only ‘hair products’ available were olive oil, honey and eggs.  As they got older, women often had to use hairpieces, extensions and wool pads to make their hair look thicker or longer. These were braided into existing hair, pinned, or sewn in with wool thread, twine or wire and a blunt bone needle. In extreme cases, a capellamentum or full wig could be worn. Busts were sometimes even made with detachable marble hairpieces so the style could be updated without the expense of commissioning a new bust.

Lucilla wearing a palla, Palazzo Massimo

Lucilla wearing a palla, Palazzo Massimo

Most adult Roman women wore a palla when they left the house. This was a long cloth wrapped around the body and draped over the back of the head as a veil.  A woman wearing her hair uncovered and loose in the street could be mistaken for a prostitute!

Bust of Livia, Palazzo Massimo

Bust of Livia, Palazzo Massimo

The ancient Nodus hairstyle was worn by Livia Drusilla, wife of Augustus and also his sister Octavia. The hair was parted in 3 sections. The side hair was tied into a bun at the back and the middle section looped back on itself like a pompadour and then braided to join the bun.

Plotina Pompeia, wife of Trajan, Palazzo Massimo. Her nodus is a high cascading ponytail.

Plotina Pompeia, wife of Trajan, Palazzo Massimo. Her nodus is a high cascading ponytail.

Fanciulla Romana, young woman with Hercules knot, Palazzo Massimo

Fanciulla Romana, young woman with Hercules knot, Palazzo Massimo

Roman women even tied their hair in knots.  Above  is a Hercules Knot, also called a reef knot or square knot.  Left over right, right over left!   Roman brides often wore a belt with a Hercules knot, which is where the phrase ‘to tie the knot’ comes from, but the hairstyle was not associated with marriage. Vibia Sabina also wore this style.

Agrippina Minor, Palazzo Massimo

Agrippina Minor, Palazzo Massimo

This partial bust of Agrippina Minor (15-59 AD), mother of Nero, found in Ostia has tightly curled short front hair with a diadem (tiara). We have to imagine the rest of the hairstyle, with a bun and ringlets in the back, coming over her shoulders.

Poppaea Sabina, Palazzo Massimo

Poppaea Sabina, Palazzo Massimo

Poppea Sabina (31-65 AD) the wife of Nero had a talented, hardworking ornatrice!  Her bust features two rows of interesting looped tight curls under the diadem and ringlets down the back.  Look at those fine little curlicues around her face.  They were probably held in place with beeswax pomade.hadrianicturban-copy

The Hadrianic Turban or tower hairstyle was like a turban of parallel braids that were sewn together on top of the head. This style was often worn by Vibia Sabina (88-137 AD) wife of Emperor Hadrian and can also be seen on the Egyptian Mummy portrait at the end of this post.

Vibia Sabina, wife of Hadrian, Vienna Kunsthistorisches Museum. Photo, Wikimedia commons

Vibia Sabina, wife of Hadrian, Vienna Kunsthistorisches Museum. Photo, Wikimedia commons

This back view of one of Vibia Sabina’s hairstyles is an absolute masterpiece- un capolavoro.  This sculptor wins the best stone hairdressing prize.  You can feel the weight of that massive coil of knotted braids on her head. The details are amazing, like the tendrils on the back of the neck, and that little curl beside the ear.

Faustina Maggiore, Musei Capitolini. Photo Wikimedia Commons

Faustina Maggiore, Musei Capitolini. Photo Wikimedia Commons

The hairstyle of Faustina Maggiore (the Elder) is another work of art.  It is like a French roll made with braids, then rolled into a coiled bun at the top of her head like a Jackie-O pillbox hat.

During the Flavian and Trajanic eras (late 1st, early 2nd C AD) the ‘orbis comarum’ or circle of hair with really big, tall front hair was in fashion.  A shorter fringe of tall tight curls or ringlets was piled high in the front, and braids wound into a big wreath bun in back. The big front hair was often curled, teased, and then sewn in place and supported by wires and padded with a wool pad or hairpiece.fonsecabust

The Fonseca Bust in the Musei Capitolini is a portrait of an unknown Flavian woman with the Orbis Comarum.  The front ringlets are sculpted using a hand drill.  Can you imagine making a mistake drilling one of those fine deep holes!  The back view of the bust looks like a straw hat on the head. That big front hair looks mega-teased.  It is amazing this was possible without hairspray! The side view is my favourite.  I love how you can see the origin of all the braids.

Fonseca bust, side and back view (the back view is of a plaster cast ) Photos Wikimedia Commons

Fonseca bust, side and back view (the back view is of a plaster cast ) Photos Wikimedia Commons

Flavian Woman, Museo Nazionale Venezia. Photo Wikimedia Commons.

Flavian Woman, Museo Nazionale Venezia. Photo Wikimedia Commons.

On this bust of an unknown Flavian era woman (75-100 AD), the small tight ringlets are sculpted with a hand drill. They almost look like fusilli!  The big front hair looks like it is being propped up by the ropes of braids, wound high on her head.

Giulia Domna, Glyptothek, Munich. Photo Wikimedia Commons

Giulia Domna, Glyptothek, Munich. Photo Wikimedia Commons

Giulia Domna (170-218 AD) the Syrian wife of Emperor Septimus Severus had a very distinctive hairstyle-and a nose similar to Lorenzo di Medici.  Great sculpted eyebrows too!  Her hair was twisted loosely in strands and draped around her face, then brought up the back of her head and sewn into a long, flat bun, which you can see in the side view.  I guess she didn’t have to move around much! juliadomna2

Female portrait, Centrale Montemartini

Female portrait, Centrale Montemartini

This lovely late 2nd C, early 3rd C AD partial Roman woman’s head was discovered in 1933, while Mussolini was constructing Via dei Fori Imperiali. Her front hair is twisted in small strands almost like Rastafarian corn rows to frame the face, and the back is twisted in a large, loose bun. She now sits in Centrale Montemartini in front of a caldaia -a giant boiler.

Exquisite mummy portrait in encaustic wax on wood panel, Hawara, Middle Egypt, 120 AD. Photo National Museum of Scotland

Exquisite mummy portrait in encaustic wax on wood panel, Hawara, Middle Egypt, 120 AD. Photo National Museum of Scotland

I hope you enjoyed this tour of Ancient Roman hair.  To see some of these styles recreated by a modern hairdresser, visit the youTube channel of Janet Stephens.  Ciao, Cristina

L’Elefantino di Bernini

20 Sunday Nov 2016

Posted by in Art history, Italia, Roma

≈ 8 Comments

Tags

, , , , ,

berninielefantinoLast week, one of my favourite monuments in Roma was vandalized.  Gianlorenzo Bernini’s Elefantino had one of his zanne (tusks) broken off by unidentified vandals.  I think I called them ‘stronzi maleducati’ in my instagram post.  I was being polite.  A Spanish couple found the broken piece and reported it to the authorities.  The ‘stone surgeons’ have reattached the zanna (ZAHN·nah) and reinforced it with wooden splints.  A nice €2000 bit of plastic surgery. The process is shown in this video.  Along with everyone in Roma, I’m so glad my favourite little pachyderm is on the mend that I had to write a post about him.Elefantino

In 1665, the Dominican friars of Santa Maria Sopra Minerva found a 5.5 m Egyptian Obelisk while working in their garden.  It is one of 13 in Roma.  For some reason, Pope Alexander VII decided to install it in the Piazza outside the church, Piazza della Minerva. To design a base to support the obelisk, he had architects put in their proposals for the commission.  One of the Dominican friars, Domenico Paglia put in a horrendous proposal which involved mounting the obelisk on 6 small hills, with a dog at each corner.  The 6 hills are part of the Pope’s family coat of arms, and dogs the symbol of the Dominicans, referring to their fidelity.  The word Dominican comes from ‘Dominis canis’ meaning dogs of the Lord.piazzadellaminerva

Luckily, the Pope chose Bernini’s proposal to mount the obelisk on the back of an elephant, a symbol of strength.  Bernini was inspired by a woodcut in a 1499 book by Francesco Colonna.  Padre Paglia was very unhappy that his design was not chosen.  He convinced the Pope that Bernini’s design was flawed and would not be supportive unless a cube was sculpted under the elephant’s belly to support the obelisk.elefantino2

Bernini did not like this suggestion.  He wanted his elephant to stand on its four legs, but he had no choice in the matter.  He tried to hide the extra marble by adding an ornate, floor length gualdrappa or saddle blanket on the elephant’s back.  This had the effect of making him look pudgy and stout like a baby elephant rather than strong and fierce.  When the statue was installed in 1667, Romans referred to it as ‘Il Porcino della Minerva’ or ‘Minerva’s piglet’ because it had the dimensions of a maialetto more than an elephant.  This eventually morphed into ‘Pulcino’ or ‘Purcino’ which means chick in italiano and in dialetto Romano. Most monuments in Roma have a nickname.

Bernini did get revenge on Padre Paglia.  There is a reason Elefantino’s head is turned away from the church with a cute mischievous grin.  Bernini had the statue placed with its rear facing the Dominican monastery.  His muscles seem tensed and his tail is shifted to the left, exposing his bum as if he is about to drop a load!  Bernini was also protesting the way Galileo was treated here, where he was interrogated by the Inquisition in 1633. I don’t know if the second point is true or just Leggenda Metropolitana dell’ 700 – 17th Century urban legend!

View from the roof of Grande Hotel de la Minerve across the street. The black open door is the Dominican Headquarters.

View from the roof of Grande Hotel de la Minerve across the street. The black open door is the Dominican Headquarters.

elefantino3Piazza della Minerva is right behind the Pantheon.  L’Elefantino was also included in my post ‘Un giorno a Roma’. Ciao, Cristina

Madame Gautreau

18 Friday Mar 2016

Posted by in Art, Art history, Art projects

≈ 15 Comments

Tags

, , , , ,

Madame Gautreau Drinking a Toast. After John Singer Sargent. Cristina Pepe 2016Finalmente!  An unfinished painting after John Singer Sargent’s ‘Madame Gautreau Drinking a Toast’ was propped up on my bookshelf for 4 years.  She is finally finished!  I started it as part of an assignment for a painting course involving taking a drawing and turning it into a painting.  I got as far as the background and basic shape of the figure and glass.  My images tend to be landscapes, architecture or food.  Figures, especially ones in colour and with faces aren’t really my thing.  This was the first time I painted skintone. Scary! My painting was actually starting to look kind of like a human….. then I was afraid to work on it any more.  So it sat untouched for a few years.

Recently, with some coaching from the amazing Val Nelson, I completed the painting!  Below are the various stages. I didn’t think to photograph them all in the same place at the same time of day, so the lighting is not consistent.  You might notice she had a nose job, facelift, forehead enhancement, and ear repositioning.Madame Gautreau Drinking a Toast, Cristina Pepe 2016 www.unpodipepe.ca

John Singer Sargent is one of my favourite artists.  He was born in Firenze to expat American parents.  They lived off his mother’s small inheritance and he had a very Bohemian upbringing.  Sargent is mostly known as a formal portrait painter.  I love his acquerelli, the watercolours he painted of friends and family while on vacation.  They are so fluid, spontaneous, and bathed in light.  He could do so much with each brushstroke.  This painting was an oil sketch but has same spontaneity as his acquerelli.  It was a study in preparation for ‘Madame X’.

Madame Gautreau is the same subject of ‘Madame X’, a very famous, or shall we say ‘di cattiva fama’, a notorious Sargent painting. The subject, Virginie Avegno Gautreau was an expat American socialite married to an older Parisian banker.  Sargent thought a painting of her unusual features would bring him increased portrait commissions.  Madame Gautreau thought being painted by Sargent would elevate her social status and add a dash of celebrity.  Perhaps she is related to the Kardashians?She posed for the portrait wearing a slinky black velvet dress with an impossibly fitted bodice, her skin powdered in lavender.  While posing, the jeweled right strap of her dress slipped from her shoulder, and Sargent painted it that way.

When the painting premiered at the Paris Salon of 1884, it caused an outright scandal.  We could call it ‘Strap-Gate’.  ‘Madame X’ was considered sexually provocative and in extremely bad taste.  A humiliated Madame Gautreau retreated to the country and she refused to buy the painting.  Sargent was critically panned by the Salon.  He moved to London soon after the controversy and poor critical reception.

Sargent in his studio with Madame X. Image www.metmuseum.org

Sargent in his studio with Madame X. Image http://www.metmuseum.org

Sargent eventually repainted the strap back on the shoulder, and ‘Madame X’ was kept in his studio for 30 years. After the death of Madame Gautreau, he sold it to the Metropolitan Museum of Art in Manhattan for a pittance.  There is also an unfinished version with a single strap at the Tate Gallery in London.  I was lucky enough to see this one in person in 2001 at the Seattle Art Museum.  Madame Gautreau finally did get the fame and attention she craved.

'Madame X' Metropolitan Museum of Art and 'Unfinished Madame X' Tate Gallery. Images Wikimedia Commons

‘Madame X’ Metropolitan Museum of Art and ‘Unfinished Madame X’ Tate Gallery. Images Wikimedia Commons and jssgallery.org.

‘Madame X’ has been the subject of several books including ‘Strapless’ by Deborah Davis and ‘I am Madame X’ by Gioia Diliberto.  Just last month the one act ballet ‘Strapless’ premiered in London.

‘Madame Gautreau Drinking a Toast’ lives at the Isabella Stewart Gardner Museum in Boston.  The Gardner Museum has a large Sargent Collection including many of his acquerelli di vacanze and the amazing gypsy dance ‘Il Jaleo’.

At the moment, I have no plans for a new career as una falsaria d’arte-an art forger.  Studying and reproducing a Master painting is a valuable learning experience. They don’t call them ‘i Maestri’ for nothing! I think I will tackle Vermeer’s ‘Girl with a Pearl Earring’ next.  Or maybe my own scandalous full size version of Madame X? Che pensati?

©2016unpodipepe.ca

Il Pantheon

08 Monday Feb 2016

Posted by in Architecture, Art history, Italia, Photography, Roma

≈ 13 Comments

Tags

, ,

Piazzadellarotonda500 years ago, Michelangelo entered the Pantheon and stated that it looked more like the work of angels than humans. The Pantheon is an architectural masterpiece and the most well-preserved building from Ancient Rome.  This is probably because it has been in continuous use since it was built.  The original use of the Pantheon is not known.  Many think it was a temple to all the gods, since ‘Pan-theos’ is Greek for ‘all gods’, although Ancient Roman temples were dedicated to single gods.  ‘Pan-theos’ might also refer to the heavens, the territory of the gods.  According to legend the site is where Romulus, the founder of Roma ascended to the heavens.  IlPantheonMarcus Agrippa, Augustus’ commander in chief built the original Pantheon on his own land, so it may have been a private building.  This building burned down in 80 AD and then was struck by lightning and burned again in 110 AD! The Pantheon standing today was completed around 126 AD by Emperor Hadrian.  He kept the original inscription under the pediment ‘M.Agrippa.L.F.Costertium.Fecit’ (Made by Marcus Agrippa, son of Lucius in his third time as Consul) which caused confusion about the construction date.  The Pantheon was given to the Pope in 609, and it has been the Church of Santa Maria dei Martiri ever since, but it is usually still called the Pantheon.Pantheonfontana

From the outside, the Pantheon looks like a Greek temple. It is actually a round building (rotunda) with a portico of eight 12m (39 ft) high granite Corinthian columns up front and 8 more in behind. These columns are each a single 60 ton piece of stone quarried in Egypt.  Imagine the journey these huge stones made to get here….they were dragged through the desert, barged down the Nile to Alexandria, shipped across the Mediterranean to the port of Ostia, barged down the Tevere to Roma and then hauled overland to the site of the Pantheon!Pantheon oculus

Enter into the Pantheon and it is immediately clear what Michelangelo meant. Overhead is the largest unreinforced concrete dome in the world-still after almost 2,000 years! The Romans invented concrete, using a mixture of volcanic ash and soil from Pozzuoli, lime and rocks, but they did not have rebar, so this is amazing! The 8 m wide hole in the roof is the oculus and the shaft of light coming in from the sun moves slowly throughout the day like a sun-dial.  When looking up, the dome feels like it could rotate. The oculus and front door are the Pantheon’s only sources of natural light.  Concrete walls 6m (20 ft) thick support the dome, which is 6m thick at its base but narrows to 1.2m (3.9 ft) around the oculus.  Lighter materials, such as tufa, pumice and even broken terra cotta pots were used towards the top to further lighten the load.  The oculus also lightens the load at the very top, acting as a compression ring where the roof would be its weakest. Rainwater coming in through the oculus is drained off through holes and a drainage system under the slanted marble floor.

Is it a mask for Carnevale? No, these are drainage holes in the floor right below the oculus!

Is it a mask for Carnevale? No, these are drainage holes in the floor right below the oculus!

The height of the oculus is 43.3m (150 Roman feet) and the diameter of the building is also 43.3m. A perfect 43.3m sphere would fit inside the building. For another visual, if the dome was flipped upside down, it would fit perfectly inside the rotunda.

The perfect mathematical proportions of the Pantheon invoke harmony and symbolize the earth and the heavens. The Pantheon has provided inspiration to architects including Brunelleschi and Michelangelo for almost 2,000 years.  Public buildings throughout the world are modelled on the Pantheon’s ‘portico and dome’ design.Pantheonchapel

In the 17 the Century, the Barberini Pope Urbano VII removed the bronze ceiling from the portico and melted it down to make cannons for Castel Sant’Angelo. The outrage prompted the saying ‘Quello che non hanno fatto i barberi hanno fatto i Barberini’ (What the barbarians didn’t do, the Barberini did), implying that the Pantheon had survived numerous barbarian invasions, only to be looted by the Barberini family. In addition to functioning as a Classical Masterpiece and a Church, many notable Italiani are buried in the Pantheon.  Some of these include Vittorio Emanuele II, Umberto II and his wife Margherita di Savoia, Rafaelle Sanzio da Urbino (Raphael) and his fiancée Maria Bibbiena.

Il Pantheon from Il Vittoriano

Il Pantheon from Il Vittoriano

‘La Pioggia delle Rose al Pantheon’ (the rain of roses) is on my list of things to see. This takes place on Pentecost Sunday, 50 days after Easter.  At noon, right after Mass, Roma’s Vigili del Fuoco (fire fighters) climb to the top of the dome and drop thousands of rose petals through the oculus as choirs sing.  The rose petals symbolize the Holy Spirit coming down to earth.  Even Michelangelo would be impressed!

The dome and oculus, viewed from the roof of Grande Hotel de la Minerve

The dome and oculus, viewed from the roof of Grande Hotel de la Minerve

Il Pantheon from Piazza de la Minerva

Il Pantheon from Piazza de la Minerva

Il Pantheon is also featured in my post ‘Un Giorno a Roma’.

©2016 http://www.unpodipepe.ca

 

Museo Diocesano, Orsara di Puglia

29 Saturday Aug 2015

Posted by in Art history, Italia, Italian life, Orsara di Puglia, Photography, Puglia

≈ 7 Comments

Tags

, , , , ,

museodiocesanoorsaraThe last time I was in the Museo Diocesano di Orsara di Puglia was about 1980. It looks as if hardly anyone else has been there either! The Museo is right around the corner from my casa, and it is not usually open. To visit, you need to ask for the person who has the key.  Last week I was walking by and noticed it was open as there was a photo exhibit in one of the rooms. As I walked up the stone staircase it was like stepping through time.

My accidental selfie

My accidental selfie

The Museo occupies part of the upper floor of the Palazzo Varo, a 16th Century building that was part of the Abbazia dell’Angelo. The famiglia Varo sold the palazzo and it became a convent for the ‘Monache Bianche’ or white nuns. When the sisters moved in the 1960’s it became the Scuola Media until a new school was built. In the 1970’s, some of the rooms became a depository for archeological relics and museum items. The bottom floor was recently remodelled into a very nice meeting/conference area.  The upper floor has a separate entrance and is in an elegant state of decay, to match the artifacts it is housing.museodiocesanocollage2

The collection is actually really impressive and reflects the history of the area.   Most of the artifacts, except the sacred items formerly used in the parish, have been donated, collected and collated by volunteers. The Museo encompasses a time span from Neolithic to mid 20th Century. That’s a really long time! The bronze and selce (flint) tools and utensils, earthenware vessels, lamps, tomb decorations and even fragments of a 10th Century pavimento (mosaic pavement) were dug up by contadini (farmers/peasants) while plowing their fields.

Roman lucerne -oil lamps

Roman lucerne -oil lamps

Ascia e lancie in Bronzo (bronze hatchet and spears)

Ascia e lancie in Bronzo (bronze hatchet and spears)

There are also farm implements, tools, utensils and household items used by local contadini in daily life. The lack of formal organization and cataloguing of the items makes the place so much more interesting. The crumbling, aging plaster walls of the formerly grand Palazzo provide a beautiful, yet ironic backdrop for the crumbling rusted work and field implements used by contadini Orsarese.

Museodiocesanocollage3 copymuseodiocesanosellaThe Museo is definitely worth a visit-you need to ask at the Parish or Comune (Town Hall) for someone to let you in.  Let me know if you need more info on this, and read Benvenuti ad Orsara di Puglia!

A piattaia, called a 'scudular' (scoo.doo.lahr) in Orsarese. I have one just like it, made by a friend of Papà's. My plates are quite a bit newer though!

A piattaia, called a ‘scudular’ (scoo.doo.lahr) in Orsarese. I have one just like it, made by a friend of Papà’s. My plates are quite a bit newer though!

museodiocesano3