Tag Archives: Firenze

The Last Medici

18 Tuesday Feb 2020

Posted by in Art, Art history, Firenze

≈ 12 Comments

Tags

, , , ,

Anna Maria Luisa De' Medici portrait by Jan Van DouvenAnna Maria Luisa de’ Medici, the last descendant of the Medici dynasty died on February 18, 1743.  Her family of bankers had ruled Firenze on and off for over 300 years, and amassed countless art treasures. Fortunately for us, Anna Maria Luisa was a woman ahead of her time.  Knowing her family was on the verge of extinction, she made sure her family’s legacy was protected.Actress playing Anna Maria Luisa de' Medici at Palazzo Pitti

The middle child of Cosimo III de’ Medici and Marguerite d’Orleans, she was born in 1667 and had 2 brothers, Ferdinando and Gian Gastone.  Anna Maria Luisa’s parents could not stand each other.  Her mother returned to France when Anna Maria Luisa was 8 years old and never returned.

In 1691, at the age of 24, Anna Maria Luisa was married by proxy to the widowed Elector Palatine, a prince of Bavaria.  Her marriage, although arranged, was happy and she lived a comfortable life as ‘Electress Palatine’ in Dusseldorf, where she was a patroness of the arts. Anna Maria Luisa and her husband did not have any children.  It was thought until recently that he had given her syphilis.

Ferdinando and Gian Gastone were both in disastrous marriages and neither lived with his wife. Cosimo was worried about them both being without an heir.  He even had his Cardinal brother released from religious life to marry, but 2 years later, he died without children.  When Ferdinando died in 1713, Cosimo changed Tuscan law to allow a female heir, passing Medici rule to Anna Maria Luisa after Gian Gastone. He lobbied the European leaders, but they refused to accept this.

When Anna Maria Luisa’s husband died in 1716, she returned to Firenze, moving into a wing of the Palazzo Pitti.  Cosimo III died in 1723, leaving Gian Gastone to be a terrible Grand Duke of Tuscany until his death in 1737.  Despite the fact that Cosimo wanted the House of Este from Modena take over, it was decided the debt-ridden Lorraine (Lorena) family of the Austrian Hapsburg dynasty would take over the government of Tuscany.  Anna Maria Luisa had no say in the decision.

On Gian Gastone’s death, Anna Maria Luisa inherited all of the Medici personal property.  Knowing the Medici line ended with her, she was determined that her family’s possessions would not be sold off piece by piece to pay off Austrian war debts.  Anna Maria Luisa had to find a solution quickly, before the vultures swooped in!Anna Maria Luisa de' Medici signing the Patto di Famiglia

On October 31, 1737, she signed a legal contract, the Patto di Famiglia (Family Pact) leaving all of the personal property of the Medici, including the Uffizi, Palazzo Pitti and Medici Villas to the city upon her death.  It stipulated that none of the collection could be sold or removed from Firenze.  More specifically, it stated that the Medici collections:

‘esse rimanessero per ornamento dello Stato, per utilità del Pubblico e per attirare la curiosità dei Forestieri’  / were to be left as ornaments of the State, for use of the public and to attract the curiosity of foreigners.

If she only knew! She was unknowingly providing for her city’s future economy.

Anna Maria Luisa spent the rest of her life doing charitable work, cataloguing the inventory of her family collection and overseeing the building of the Cappella dei Principi in San Lorenzo where she was later buried. The Patto di Famiglia became active on her death February 18, 1743. In 2012 her bones were exhumed due to concerns of damage from the 1966 flood.  (Note…I am not sure why this took 46 years??).  She died of a breast tumour and there was no evidence of syphilis.

Originally designed by Giorgio Vasari for Cosimo I in 1560, the Uffizi, former administrative offices (uffici means offices) of the Medici and the Archivo dello Stato was opened to the public 16 years after Anna Maria Luisa’s death.  The Uffizi Gallery now has 16 million visitors every year. Galleria degli Uffizi

In Firenze Anna Maria Luisa is known as ‘La Principessa Saggia’, the wise Princess.  She is also known and recognized for her big hair. The city of Firenze honours her each year on Oct 31st to celebrate the Patto di Famiglia with free admission to the Uffizi and on February 18th the anniversary of her death with free admission to civic museums. There is often an actress playing her at the Palazzo Pitti.  The art loving world is forever indebted to Anna Maria Luisa de’ Medici.Anna Maria Luisa de' Medici sculpture Palazzo Pitti

Photos:

Portrait of Elettrice Palatina Anna Maria Luisa de’ Medici by Jan Van Douven, Dusseldorf, Wikimedia

Photos of actress playing Anna Maria Luisa de’ Medici at Palazzo Pitti from Filistrucchi, the manufacturers of the big-ass parrucca (wig) she is wearing!

Photo of actress playing Anna Maria Luisa de’ Medici signing the Patto di Famiglia ilreporter website

Sculpture of Anna Maria Luisa de’ Medici by Ivo Barbaresi 1945.  Donated to Palazzo Pitti by Fiorenza Bartolozzi 2011.

Ciao, Cristina

La Trinità di Masaccio

09 Friday Feb 2018

Posted by in Art history, Firenze, Italia

≈ 14 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.

Autunno in Italia

30 Thursday Nov 2017

Posted by in Firenze, Italia, Orsara di Puglia, Photography, Roma, Travel tips

≈ 29 Comments

Tags

, , , , , , , , , , ,

Returning from my short trip to Italia, as usual I was back to work the next morning.  This did not help with the cambiamento di fuso orario. I have so many posts to write, but now they will have to wait until after Christmas. Until then, here is a quick summary with some highlights from my viaggietto.  It was a bit of a blur….at 17 days, I think this was my shortest ever trip to Italia!

I had not been to Italia in autunno before. The fall weather was mostly clear and sunny, with a few days of serious rain. I envisioned myself having every piazza practically to myself….was I ever mistaken!  My first few days were in Roma the last weekend of October.  The Pantheon was packed with more people than I have ever seen in July! I could barely make it through the crowd to throw my coin into the Fontana di Trevi!  I found out that some European countries have their school midterm break around this time.  In Italia November 1st, All Saints’ Day, is a holiday and many Italians take ‘il ponte al primo novembre’, an extra-long weekend.  Even so, the guard at the Pantheon said ‘Qui non c’è bassa stagione’-there is no low season here.  My 2 partial weekends in Firenze were similar.  Smaller places, especially the seaside are quiet at this time of year, but the cities always have a lot of visitors, especially on the weekend.  Despite my utter shock at the hoardes of tour groups I was not expecting, Roma was glorious as usual. One day I want to spend a whole month in Roma.

Franco joined me for the first 9 days-this was only confirmed a week before leaving! He had not been to Roma in a very long time, so we decided to visit the Colosseo and Foro Romano.  I took way too many photos of this.  I was obsessed with the way the sunlight struck this green door on the Tempio di Romolo in the Foro Romano. The rest of the day involved a lot of walking. It was centered around a visit to Poggi to buy Fabriano Rosaspina paper for my art retreat, and meeting a friend in Monti.  We ended up doing everything on my Un Giorno a Roma itinerary and a few extras.

Monti

Spending just 4 days in Orsara di Puglia was a mad dash. This was not enough time to visit family and friends, so I greeted a lot of them in the street.  I heard the same phrase from anyone who was not expecting me ‘Ma sei fuori stagione!’. I guess I was out of season, but technically so were they!  It was hard to recognize people bundled up in their puffy piumini. November 1 is a holiday, and in Orsara also the festa Fucacoste e Cocce Priatorje.  In Italiano this would be Falò e Teste del Purgatorio (bonfires and heads from purgatory). Sometimes we simply call it ‘Tutti Santi’.  I wrote about the festa in this post, and now that I have been there myself, I will add photos or write a new post.  There were zucche and bonfires everywhere.  My balcony was decorated with zucche.  I took so many photos I am still going through them, but here are a few. 

Il fuoco e le zucche di Antonella e Domenico

The festa was absolutely amazing and also a moving, sprirtual experience-for me and 20,000 others. The weather was clear and crisp, but it was very cold at night.  My little casa has no heat, so I borrowed an electric space heater.  Brrrrr.

I encountered a lot of olives on this trip. It seemed every road near Orsara was full of parked cars and people with crates and olive nets.  I was not used to seeing the trees full of ripe olives!  I enjoyed spending a day at my Nonno’s olive grove. One evening we walked past the frantoio, the olive mill, which is always closed the rest of the year.  The divine smell of pressed olives lured me in.  I photo-documented the entire olive oil extraction process for a future post.  Then it was arrivederci Orsara until July.  Unfortunately, I missed my family’s olive harvest by one day, but I was able to pick olives in Gugliano.

Next was Firenze for 2 half days. I had not been for several years and it felt good to be back. A spectacular view was the reward for a long morning walk along and across the Arno to Piazzale Michelangelo. A torrential downpour started just as we arrived, so the return trip was very wet. I had to blow dry myself, then got back out in the rain to catch the train to Lucca.  We arrived in Lucca just as thousands of attendees were leaving the Lucca Comics and Games Convention.  For security reasons, the front of the stazione was closed off.  My ride was waiting out front, so by the time we got there, I looked like I had been through the spin cycle.  The imposing medieval walls of Lucca were barely visible through the rain and the mist.  Next came the bumpy half hour ride to Casa Berti near Gugliano for the Catalyst Art Retreat.

Casa Berti

Luckily a fire was waiting.  Franco was in charge of roasting castagne, then he caught the last train back to Firenze to fly home in the am. The retreat was wonderful and the location stunning.  My fellow artists were an inspiration.

My corner of the studio at Casa Berti, looking out over olive trees

Artist Mary Cinque working on a woodcut in the studio

The retreat ended with an exhibit at Villa Coloreda near Pietrasanta

I also found time to visit Lucca, pick olives and cachi, make limoncello cake with freshly pressed olive oil and finally try Bistecca alla Fiorentina.  Lots of material for future posts.

#cooldudesroma

So much for a ‘quick’ summary! I’ll end with a few notes about travelling to Italia in autunno:

-It may be ‘low season’ for airfares, but unless your destination is a small town or a seaside area, do not expect to be alone! This is especially true on weekends. In the cities, midweek hotel prices are lower, but they go up on weekends.

-Dancing around an almost empty Piazza Navona is possible……before 8am!

-The days are shorter.  It gets dark at 16:30 to be exact. Take this into account when making plans for the day.

-The weather can be variable. Even if the days are sunny, nights are cold.  Dress ‘a la cipolla’, in layers like an onion, and be prepared for rain too!

Il Ponte Vecchio 12 Novembre

Buon Viaggio, Cristina

San Gimignano

15 Friday Apr 2016

Posted by in Firenze, Italia, Photography, Travel

≈ 5 Comments

Tags

, , , , , , , , ,

Torri di San GimignanoSan Gimignano’s skyline looks like a Medieval Metropolis, complete with early grattacieli (grat•tah•chee•EH•lee = skyscrapers). It was known as San Gimignano delle belle Torri -San Gimignano of the beautiful towers. The site was an Etruscan settlement, then a castello called Silvia with a walled village built around it.  Silvia was renamed San Gimignano in 450 after the Bishop of Modena, who spared it from Attila the Hun’s troops.San Gimignano Torre

San Gimignano became an independent town in 1199. It was prosperous, being a stopping point on La Via Francigena, the medieval pilgrimage route from Canterbury to Roma, via France.  San Gimignano also traded in local zafferano (zaf•fer•RAN•noh = saffron) and wine from the white Vernaccia grape. The earliest mention of Vernaccia di San Gimignano is in the archives of 1276! In 1966, 690 years later, it was the first Italian vino bianco to receive DOC recognition.

The 13 and 14th Centuries saw San Gimignano caught in the Guelph/Ghibelline conflicts.  Read about this in Dante’s post. Wealthy San Gimignanesi built tower houses as symbols of power and wealth, as well as for protection.  The height of these torri kept increasing, up to 70m high, to keep up with the neighbors. There were originally 72 torri and 14 still stand today.

Waves of plague and famine hit San Gimignano in the mid 1300’s. The ‘black death’ claimed almost half the population, and San Gimignano was now under the rule of Firenze.  Fiorentino control prevented any urban development that happened in other towns.  As a result, San Gimignano was preserved in a medieval ‘time warp’, retaining its original atmosphere and appearance.  Little changed until the 19th century when it became a tourism destination. Today the population is 7800 and it does have 1 traffic light! To protect San Gimignano from the effects of mass tourism, strict rules prevent modification to the appearance or intended use of buildings.

Bancomat Medievale/Medieval Bank Machine!

Bancomat Medievale/Medieval Bank Machine!

In 1990, the Historic Center of San Gimignano became a UNESCO World Heritage Site for its outstanding examples of medieval architecture and original urban layout.Piazza della Cisterna

The Cattedrale know as La Collegiata, has Masterpieces of 14th and 15th Century art.  Inside the front façade is the Fresco of Last Judgement, Heaven and Hell by Taddeo di Bartolo (1393). The Cappella di Santa Fina with frescoes by Domenico Ghirlandaio (1475) was featured in the 1990 Franco Zeffirelli film ‘Tea with Mussolini’.

In the Palazzo Comunale is the Sala di Dante where Dante Alighieri spoke as an ambassador for the Guelphs in May 1300. The Pinacoteca has treasures by Filippino Lippi, among others.  Climb the 218 steps of the adjacent 54m Torre Grossa for views of San Gimignano and the Val d’Elsa.  Admission is €6.View from Torre Grossa

Piazza della Cisterna is triangular with a well on an octagonal pedestal in the center, surrounded by medieval buildings. It is named for the underground cistern built in 1287 which was the main source of water for the San Gimignanesi.  Piazza della Cisterna is the meeting point of the Via Francigena and the road from Pisa to Siena, so it was a happening place in medieval times.

Piazza della Cisterna, seen from Torre Grossa

Piazza della Cisterna, seen from Torre Grossa

San Gimignano is an easy daytrip on the bus from Firenze, Siena or Poggibonsi. There is no direct train. The train route is to change trains at Empoli to Poggibonsi and then bus from there. It’s also nice to be there in the evening or overnight when all of the daytrippers have left.

Like Alberobello, no matter how many hordes of tourists it is overrun with, San Gimignano is incantevole (een•can•teh•VOH•leh = enchanting) and definitely worth a visit. I need to go back to do ‘research’, since I have a drawer full of unfinished sketches, monotypes and etchings!

Buon Viaggio, Cristina

Viste di Firenze

29 Sunday Nov 2015

Posted by in Firenze, Italia, Photography, Travel

≈ 11 Comments

Tags

, , , , , , ,

OLYMPUS DIGITAL CAMERA

When I travel I seem to be attracted to the view from the tallest thing I can find.  Maybe it’s because I’m ‘vertically challenged’?  It does lead to some spectacular views.  Here is a collection of my favourite scatti (shots) of viste(views) of Firenze .

La Terrazza degli Uffizi

La Terrazza degli Uffizi

Il Duomo di Santa Maria del Fiore from la Torre di Giotto (Giotto's Tower)

Il Duomo di Santa Maria del Fiore from la Torre di Giotto (Giotto’s Tower)

La Torre di Giotto vista dal Duomo

La Torre di Giotto vista dal Duomo

'Santa Maria sotto restauro'

‘Santa Maria sotto restauro’

Vista dalla finestra degli Uffizi/View of the Ponte Vecchio from a window in the Uffizi Gallery

Vista dalla finestra degli Uffizi/View of the Ponte Vecchio from a window in the Uffizi Gallery

Vista di Santa Croce dalla Torre di Giotto

Vista di Santa Croce dalla Torre di Giotto

Firenze vista dal cimitero San Miniato al Monte/Firenze seen from the cemetery, San Miniato al Monte

Firenze vista dal cimitero San Miniato al Monte/Firenze seen from the cemetery, San Miniato al Monte

Vista da Piazzale Michelangelo

Vista da Piazzale Michelangelo

Ciao, Cristina

Dante Alighieri

31 Sunday May 2015

Posted by in Firenze, Italia, Italian language

≈ 19 Comments

Tags

, , , , , ,

Statue of Dante in Piazza Santa Croce, Firenze

Statue of Dante in Piazza Santa Croce, Firenze

Auguri Dante!  2015 is the 750th anniversary of the birth of Dante.  His actual birth date is unknown, but he does provide clues in ‘Paradiso’ that he was born under the sign of Gemini.  In 1265, Gemini was mid May to mid June, a bit earlier than it is now.

Dante is known as the ‘Father of the Italian Language’.  His most famous work La Divina Commedia (The Divine Comedy) is considered a masterpiece, the first and also the greatest work of literature in the Italian language.  In the late medieval period, Latin was the only language for education, literature and religion.  La Divina Commedia was the first major work written in a language of ordinary speech, the way people actually spoke at home. Dante combined Tuscan and other dialects and some Latin, establishing the modern Italian language.  Even though La Divina Commedia was written in 1308-20 the language is understandable today.

La Divina Commedia is a long poem in 3 parts, emphasizing the importance of salvation and Divine love. It outlines Dante’s imaginary trip to Paradiso (Heaven), passing through L’Inferno (Hell) and Purgatorio (Purgatory) to get there.  It is also a critique of famous figures of his time. The work is filled with historical references and discusses politics, religion, ethics and love. La Divina Commedia has no jokes and is not funny.  The reason it is called a commedia is because it is not a tragedia (trajedy) and it has a happy ending.

Dante was born in Firenze (Florence).  He studied philosophy, poetry, and was also a pharmacist because nobles in public office had to belong to one of the city’s guilds.  This isn’t as strange as it sounds because books were sold by pharmacies at the time. Dante’s family was involved in the Guelfi/Ghibellini (Guelph/Ghibelline) conflicts.  The Guelfi supported the Papacy and the Ghibellini supported the Holy Roman Emperor -although there wasn’t actually one at the time.  The Guelfi split into 2 groups because the Pope at the time kept interfering with internal matters in Firenze.  The Guelfi Bianchi (White Guelphs) did not want the Pope involved in city politics and the Guelfi Neri (Black Guelphs) supported complete Pope authority.  Dante’s family were Guelfi Bianchi.  In 1302, Firenze was occupied by the Guelfi Neri and the Guelfi Bianchi, including Dante, were exiled. The other Guelfi Bianchi in exile were pardoned a few years later, but not Dante.  He was kind of a badass in exile and burnt his bridges by writing many nasty letters, so he stayed in Roma.  Dante was offered amnesty in 1315, but there were strings attached and a heavy fine which he couldn’t pay. He wrote La Divina Commedia while in exile and managed to write all of his opponents to eternal damnation, imaginatively making up all sorts of horrible existances for them in l’Inferno.  He obviously put a lot of effort into coming up with all of the horrible details! If Dante were alive today I think he would be writing political satire in Paris.

Dante never returned to his beloved Firenze.  He moved to Ravenna, where he completed Paradiso and died in exile in 1321.  He is buried in the the church of San Francesco. Firenze regretted what had happened and repeatedly asked for Dante’s remains. A tomb was built in 1829 in Santa Croce but the requests were refused. In June 2008, Firenze passed a motion rescinding his sentence and exile. Meglio tardi che mai/Better late than never!

Piazza Santa Croce with statue of Dante on the left.

Piazza Santa Croce with statue of Dante on the left.

Val d’Orcia Daytrip

03 Sunday May 2015

Posted by in Firenze, Italia, Travel tips

≈ 13 Comments

Tags

, , , , , , , , , , ,

CappellaMadonnadiVitaleta

I wrote an email a while ago about my daytrip from Firenze to the Val d’Orcia with my amica Shannon.  I have sent that same email so many times to friends planning a visit to Toscana that I thought it would make a great blog post.

Shannon was studying printmaking at Il Bisonte in Firenze for a year and I went to visit her for a week . We decided to rent a car for a day and go exploring. Our start time was delayed and by the time we drove off it was almost mezzogiorno (noon). No plans were made regarding where to go, we just drove away from Firenze then headed south, towards Siena. We passed a sign for Monteriggioni, which neither of us had been to, so that was our first stop. Monteriggioni is a small 13th Century medieval walled village. Besides the intact 10m high walls and 14 square towers, Monteriggioni’s claim to fame is a mention from Dante in his Divina Commedia: Inferno, canto xxxi lines 41-42:

‘Come in su la cerchia tonda, Monteriggioni di torri si corona’

‘Like a circling round, Monteriggioni crowns itself with towers.’

Monteriggionicollage

Hunger set in, but we did not want to take time from our adventure to sit in a restaurant. At the Generi Alimentari (grocery/deli) we picked up some local goodies…prosciutto, finocchione (Tuscan fennel salame), pecorino di Pienza, fresh bread, and 2 glasses of Chianti—all for 11 €! They put it all in a cestino (basket) for us and we ate outside in the piazza. It was the best lunch ever.  See for yourself…..

Monteriggionilunch2

We got back in the car and headed towards the Val d’Orcia. When you see photos or postcards of the classic Toscana landscape with gentle rolling hills, vineyards and cipressi (cypress trees)…this is it!

ToscanaThe entire Val d’Orcia is a UNESCO World Cultural Landscape.  When we stopped in Montalcino, there was a sign for the Abbazia Sant’Antimo. I had recently read about this beautiful Romanesque Abbey, so we drove to Castelnuovo dell’Abate, parked the car and walked down.

Sant'Antimo1Sant’Antimo is a heavenly place, in a valley surrounded by vineyards, olive trees and cypresses. Parallel to the bell tower stands a striking single cypress tree. A powerful monastery in the middle ages, Sant’Antimo was abandoned for a short period of about 500 years! Local contadini (farmers) apparently used the crypt as a wine cellar!

Sant'Antimo2Restoration work was done in the 1980’s and now it is home to a small Canonical order. 7 times a day there are vespers and Mass with Canto Gregoriano (Gregorian chanting). Sant’Antimo is worth going out of the way for. Next time I am there, I want  to walk the 10.5 km from Montalcino and take the bus back from Castelnuovo.

Castelnuovo dell' Abate

Castelnuovo dell’ Abate

Between San Quirico d’Orcia and Pienza the scenery was breathtaking, including one of the most photographed places in Italia, La Cappella della Madonna di Vitaleta. It is on private property so we weren’t able to visit, but we did lots of admiring from afar.

Cappella della Madonna di Vitaleta-unfinished mixed media painting

Cappella della Madonna di Vitaleta-unfinished mixed media painting

There were cipressi (chee•PRES•see) everywhere! I have a fascination with cipressi  and love to paint their ‘flame’ shapes and shadows. My nipotine have always called them ‘Zia’s trees’ and they love to paint them too. We came across some random sculpture among the cipressi with signs ‘Si prega di non appogiarsi alle sculture’ (Please don’t lean on the sculptures).

sculture

Pienza-formerly called Cortignano was the birth town of Pope Pio (Pius) II. In 1489, he rebuilt it to be an ‘ideal town’ according to Renaissance Humanist design concepts and renamed it after himself. He was a humble man! Because of this early vision of urban planning, the Centro Storico (historic center) of Pienza is a UNESCO World Heritage Site. I could have spent weeks sketching in Pienza!

Pienza Collage copy

After a brief visit to Montepulciano we had to start heading back towards Firenze. Our final stop was Castellina in Chianti to have pappardelle al lepere (thick ribbon pasta with wild rabbit sauce) which was so yummy! The ride to Castellina was spectacular.  We somehow ended up on a back road, the sun was setting and everything was sparkly and lavender! Just before mezzanotte (midnight) we arrived back in Firenze and dropped off the car. Our Val d’Orcia adventure lasted exactly 12 wonderfully unplanned hours.

Pienza

Pienza

Val d'Orcia daytrip

Val d’Orcia daytrip

Buon Viaggio! Cristina

‘Il Gigante’- Michelangelo’s David

27 Sunday Apr 2014

Posted by in Art, Art history, Culture, Firenze, Italia

≈ 11 Comments

Tags

, , , , , ,

Davide
The sculpture of David by Michelangelo Buonarroti is one of the most recognizable pieces of art in the world. David was in progress from 1501-1504, carved from a ginormous piece of ‘flawed’ Carrara marble. It weighed over 6,000 kilos! 2 other sculptors had previously attempted to use it, and there was a big gaping hole going right through it-between where the legs were going to go. It was nicknamed ‘Il Gigante’ and was sitting in the Opera del Duomo (the works yard of Santa Maria del Fiore) for over 30 years. Several other artists had been to see it, but it was considered useless; too tall and too thin on one side for a figure…and then there was that hole.

Michelangelo was already a bit of a minor celebrity, having just completed his first ‘capolavoro’ (masterpiece), La Pietá, in Roma at the age of 25. He convinced the Operai to let him have the marble. He decided to use it for the originally intended subject; David, the boy who killed the Philistine giant Goliath with his slingshot, 1 rock, and a lot of help from God.  Michelangelo strategically planned his figure in contrapposto, with most of the weight on the right leg, so that it would fit precisely around the large hole in the marble. He even had to leave some of the chisel marks on the chest area made by Simone da Fiesole, one of the previous sculptors because it was such a tight fit. David was supposed to go on one of the pedestals at the end of the buttresses on the roofline of Santa Maria del Fiore (often referred to simply as Il Duomo) with 12 other Old Testament sculptures.

David was originally planned for one of these pedestals on the buttresses of Santa Maria del Fiore

David was originally planned for one of these pedestals on the buttresses of Santa Maria del Fiore

When David was completed in 1504, he was so big-9 arms lengths or 3 times human size, it became apparent they were not going to be able to hoist him up to the roofline of Il Duomo! He was so magnificent that it was also thought to be a waste to put him so high up where no one could see him. According to the original art historian, Giorgio Vasari,  ‘To be sure, anyone who sees this statue need not be concerned with seeing any other piece of sculpture done in our times or in any period by any other artist’. Not everyone was a fan though-some said he didn’t look like a boy, he looked like a grown man, others thought he should be wearing armour-or at least something, and there was no head of Goliath at his feet. This David was captured in the moments before slaying Goliath. His right hand is starting to tense, and the contrapposto stance makes it seem like his body could twist to the left to be in line with his head.

A committee was formed to decide where David should live. Members included Leonardo da Vinci, Sandro Botticelli, and Filippino Lippi. They decided to place David on a pedestal outside the Palazzo Vecchio, the town hall of Firenze in the Piazza della Signoria. This was partly a political statement. David was the ‘little guy’ who defeated the giant. He became of symbol of the new Republic of Firenze, democratic ideals, and a warning to enemies. It was not an accident that his eyes faced Roma. Moving ‘Il Gigante’ took 40 men 4 days to move the distance of less than 1 km from the studio. David was suspended in a sling in a tall cart and rolled over 14 greased logs. The men would take the back log and move it to the front as the cart moved along.

In 1527, during an anti-Medici protest, David’s left arm was broken in 3 pieces by a bench thrown out the window of the Palazzo Vecchio to ward off the protesters. The pieces were picked up by 2 boys who braved the mob. I’ve read in a few places that one of these boys was Giorgio Vasari, who would have been 16 at the time. He doesn’t mention this in his 1560’s bestseller ‘The Lives of the Most Excellent Painters, Sculptors and Architects’, which makes me think this might just be Renaissance urban legend. The 3 pieces were eventually reattached with copper nails, and the 2 joint lines are visible. In 1873, David was moved to his present home in the Galleria dell’Accademia to prevent further environmental damage.

'Galleria dell'Accademia' 2004. My preferred view of David.

‘Galleria dell’Accademia’ 2004. My preferred view of David.

In 1910, ‘Falso Davide’, as I like to call the replica, was installed outside the Palazzo Vecchio where the original stood for 369 years.

'Falso Davide' as I like to call him, outside the Palazzo Vecchio in Piazza della Signoria

‘Falso Davide’ as I like to call him, outside the Palazzo Vecchio in Piazza della Signoria