Tuesday, March 29, 2016

Florence Day 10: Palazzo Vecchio

Our last full day in Florence began with a tour of Palazzo Vecchio--the medieval fortress built from 1298-1314 as a home for the city government.


In the mid-1500s, members of the Medici family (yes, them again--you hear about them *everywhere* in Florence) lived in apartments here for a while before moving across the river to Palazzo Pitti.

photo: flickr.com/fotofilippo
The first thing to note is that you should learn from our mistakes and reserve a guided tour in advance. Somehow we hoped we could just show up and get in on the Secret Passages tour, but they had no openings all day. Bummer!

The first and most notable room to see in the palace is the Hall of the Five Hundred. This massive (174 feet by 72 feet) hall was built to house Florence's legislature.


 The walls are covered with these enormous battle scenes painted by Vasari...  


 Even the ceiling is covered with intricate gold molding and paintings.


From there we just wandered through the rest of the apartments. I feel like the Secret Passages tour would have been really amazing, but otherwise, we'd pretty much reached our limit in terms of being able to absorb or appreciate Renaissance art. Still, there were some interesting pieces of painted furniture and other extravagant furnishings in the apartments. 




The maps room, with a giant globe in the center and ancient maps of the world all over the walls, was fascinating:

Some of the most memorable art for me was in the Chapel of Eleonora. Eleonora of Toledo was a Medici duchess, and her private chapel (?!?) was painted by Agnolo Bronzino in the mid-1500s. What I appreciated about it was the way it seemed to recognize and celebrate the gospel in the Old Testament, the way the stories of Moses point to Christ. I loved seeing the centrality of Christ portrayed, seeing Old Testament scenes illustrated in an effort to magnify Him. When I read the  plaque in the room, there was this sense of, "Yes! They got it!":
"The dialogue between the altarpiece with its Deposition and the three walls with their stories of Moses presaging Christ's sacrifice and the mystery of the Eucharist, points to the link between the Old and New Testaments."
Deposition of Christ - Bronzino

Moses strikes the Rock

The people look to the bronze serpent for healing

After we'd seen enough, we set off for one last strenuous climb: 418 steps up to the top of the tower. It closes when it's raining, but we made it up just in time before the drizzle started! Amazing views of the Duomo and the rest of Florence. 




By the time we were done touring Palazzo Vecchio, it was pouring rain, so we ducked into the Bargello for one last Firenze Card admission and an opportunity to stay dry while sightseeing, hoping the rain would taper off for the afternoon.

Monday, March 28, 2016

Florence Day 9-10: Accademia & Bargello

Our sightseeing on Day 9 ended with a trip through the Accademia--home of Michelangelo's iconic David.


Of course I knew what this sculpture looked like, and yet seeing it in person is so much more impressive than any photo. I don't think I had realized just how huge it was: 17 feet tall! The great thing about the Accademia is that David is displayed on a high pedestal, meaning (unlike the famous paintings at the Uffizi) it's easier to admire it even with throngs of people crowding around it. As I understand it, this museum was essentially built specifically to house this one sculpture.

What an incredible gift Michelangelo had. To think this was carved from a single block of marble that had previously been worked on by two other sculptors already...astounding.


We continued our sculpture-tour on the morning of Day 10 with a visit to Museo Nazionale del Bargello.
photo: flickr/voodoox
The Bargello is the world's most important museum of Renaissance sculpture. A visit begins in the courtyard, which is lined with various pieces.


A few more Michelangelo works are here, including this small crucifix that has been attributed to him: 




This ivory carving was notable for how very tiny it was, yet how ornately detailed. It's French art from the late 1300s, a diptych with stories of Christ's childhood and Passion: 


One of the displays that most interested me was this side-by-side comparison of bronze panels by Ghiberti and Brunelleschi. 


The museum plaque explains:
"The competition for the second door of the [Duomo's] Baptistery...in 1401, is commonly reputed to have been the event that inaugurated the Renaissance. Among those taking part were Lorenzo Ghiberti and Filippo Brunelleschi, both declared equal winners even though it appears the latter decided not to take part in the assignment. The models to be submitted...had to portray the Sacrifice of Isaac... Ghiberti's composition [on the left] stands out first and foremost for the balance between the figures and the space divided diagonally by the rock, and the refined decorations on the altar which testify to this artist's exceptional talent as a goldsmith. ...Brunelleschi's relief instead shows a single space in which the figures, distributed on parallel planes, hardly fit into the frame. With the abrupt rhythm of the gestures the artist accentuates the dramatic sense of the action about to take place, demonstrating a more modern interpretation."

I also appreciated this small marble relief, Crucifixion of Saint Peter by Luca Della Robbia (1439):

The Bargello was the last of our museums, and by this point I had definitely reached my absolute limit. It was an immense privilege to see so many great works of art in person, and yet my limited brain could only absorb and appreciate so much!

Sunday, March 27, 2016

Foods of Firenze and Tuscan Legends

If I'm actually going to get through Florence this month, I definitely need to combine some of my food posts :) As I mentioned earlier, we found that we did not enjoy the food scene in Florence quite as much as in Rome and southern Italy--whether that's because it was at the end of our trip, or simply because of the specific regional specialties, I don't know. Still, there were fabulous highlights (like the pasta and grilled meats in Rignana) and memorable experiences (like our dinner at Il Latini on the last night of our trip, which will get its own post next week).

Perhaps the most notable thing about Florentine food is the bread: They do not put salt in it. Have you ever tasted bread without salt? I have. Repeatedly. Every single time bread was set before us in a restaurant, we kept tasting it, thinking--"maybe this place doesn't hold to the tradition." Nope. Salt-less bread. SO WRONG.

Thankfully our guide on the wine tour explained this phenomenon to us before we experienced it firsthand, so we were prepared for it instead of surprised and horrified by that first bite. Apparently it goes back centuries, to the time when Italy was a non-unified collection of city-states. Florence and Pisa were big rivals--to the point that they have an old Tuscan proverb which roughly translates, "Better a death in the family than someone from Pisa on your doorstep."

I can't remember the details--either Pisa was the producer of salt, or maybe Pisa had control over the port where salt would come in--but however it went, Pisa was able to block Florence from getting salt. And whatever Florence did to make Pisa mad, the result was that Pisa refused to allow the salt inland...so, the Florentines began to make bread without salt. And they stubbornly stuck to it even when they were later able to get salt. Thus, pane toscano (Tuscan bread) was born.

photo: flickr.com/fugzu
Foodies may argue that it is uniquely delicious, especially appropriate for use in certain Tuscan soups or as a contrast to the super-salty cured meats. I say, bread needs salt. Amen.

One of the other fascinating stories our guide told us was about the Arno River. Pisa is downstream from Florence, and once upon a time, Ponte Vecchio (the oldest bridge) was the home of the meat markets. What did the butchers do with their rotten meat and scraps? Toss them in the river and send them along to Pisa. So you can just imagine how much Pisa loved Florence, receiving their smelly, spoiled meat all the time.

Not only did Pisa hate the butchers of Ponte Vecchio; one of the Medici grand dukes wasn't a fan either. In the 16th century, Cosimo I had built an elevated corridor from his offices (the Uffizi) to his home (Palazzo Pitti, which we did not get to visit) on the other side of the river. This way he did not have to mix with the commoners below as he traveled back and forth. Great guy, right? Reid's Italy explains the story
Not long after his corridor was complete, however, Cosimo found something else to complain about: The stench rising to his private skywalk from the butchers and skin tanners beneath, whose workshops had traditionally lined the Ponte Vecchio since at least the 12th century.
Cosimo summarily booted out the butchers, moved in the far classier goldsmiths—and, naturally, raised the rent.

Ponte Vecchio has been lined with of jewelry shops ever since--and in the end, Pisa got the last laugh. Supposedly, as the story goes, the river flooded in a really epic way and, well...Pisa just had no idea what happened to all the gold when the Florentines came looking for what had washed downstream :)

But I digress. Tuscan food! On the evening of our Chianti wine tour, we wandered down toward the Arno and ate a late dinner at Antica Osteria 1 Rosso, where we got an outdoor table...

...and a charming hand-written menu. Always a good sign!

Steve wanted a salad again after all the heavy food at lunch:


I, on the other hand, do not feel physically bad from lack of vegetables, and I did not go to Italy to eat salad. :P For me, it was tortelli mugellani al ragu di cinghiale: tortellini with meat sauce made from wild boar sausage. We'd already discovered earlier in the day that we really liked cinghiale, so this seemed like a good bet.


Buuuut...truthfully, it was too heavy after all the food we'd eaten earlier in the day. It was OK, but I didn't enjoy it as much as I might have if I'd eaten it a different time. Fine, maybe Steve wins this round. Don't tell him I conceded.
 

On Tuesday night, after our full day of sightseeing at the Duomo, San Lorenzo, Mercato Centrale, Santa Maria Novella and the Accademia, we headed to Trattoria Nella. 


This place had come highly recommended by an acquaintance who spent a semester of college in Florence and insisted we MUST try Nella.


It was full and we didn't have reservations, so we weren't sure we'd be able to get a table (it was a tiny restaurant, and we were actually eating on Italian time for once--after 8PM), but we didn't have to wait long to be seated. I thought this little note in the menu was charming:

For our antipasti, bruschetta (of course!), every bit as good as it looks:


...and Steve wanted to finally try something we'd seen in almost every single restaurant: prosciutto e melone. I hate cantaloupe, but the prosciutto was delicious. Steve thought the sweet-salty combination was quite satisfying.

Our friend had recommended a dish with walnut pesto, but it just didn't sound good to me at the time. I figured ordering a dish named for the restaurant was probably a good choice, and I enjoyed my penne Nella (pasta in a tomato and cream sauce with herbs). 


Our secondo was arista con patate--roast pork with potatoes. It was fairly unremarkable as I recall.


Our final experience with Tuscan food came on our last night of the trip, when we tried three different kinds of traditional soups. More on our dinner at Il Latini next week.

Saturday, March 26, 2016

Florence Day 9: Santa Maria Novella

Having learned our lesson the hard way by cramming our itinerary too full on our first day in Florence, we took a break in the midst of the Duomo and San Lorenzo sightseeing to head back to our B&B for a nap. Once we'd rested a bit, we stopped in to Santa Maria Novella, just down the street.

photo: flickr.com/Patrick Hayden
The main crucifix at the front of the church, painted by Giotto, dates to 1290:

photo: flickr.com/kotomi-jewelry

photo: flickr.com/johndonaghy
This basilica was the home of my favorite frescoes and also some fascinating art lessons.
First is Masaccio's Trinità, painted in 1424-25 and said to be one of the very first Renaissance paintings to use perspective in a mathematically calculated way.


What I didn't notice until after we got home and I was looking up information about this painting was the memento mori (reminder of mortality--a common practice in medieval times) underneath. Below the crucifixion scene is a cadaver tomb with the epigram "Io fui già quel che voi siete e quel che io son voi ancor sarete"
I was once what you are, and what I am you will become. 
photo: Wikipedia
This is meant to be a morbid, ominous reminder that the viewer of the painting will one day be as dead as the cadaver portrayed over the tomb. Yet in light of the Easter season and the sermons our pastor has recently been preaching from 1 Corinthians 15 on the resurrection, I read this epigram as wildly, beautifully hopeful. It's not merely an accompaniment to the cadaver tomb, it's also an appropriate caption to the portrayal of Jesus, who says to His followers: I was once what you are (clothed in human flesh)--and what I am now (resurrected in glory to live forever), you will become!

It's so strange to think that there was a time when artists did not understand or use perspective correctly. But one of the other notable paintings in the back of the basilica, Pietro di Miniato's Annunciation, is a striking example. 


Painted in the late 1300s, it feels "off" somehow when you look at it. Steve drew me a little diagram to explain exactly what was wrong with it .


The main chapel next to the central altar, known as Tornabuoni Chapel or Cappella Maggiore, was painted in 1485-1490 by Domenico Ghirlandaio. 


photo: flickr.com/kotomi-jewelry
These frescoes are among the best preserved/most complete frescoes in Florence; the wall portraying scenes from the life of John the Baptist was probably my favorite of all the frescoes we saw in Italy.


I was also struck by a couple of scenes in Bonaiuto's Spanish Chapel (1365-67) that were particularly beautiful or interesting. First, Jesus pulling Peter up after his failed attempt to walk on water:



And then The Descent Into Limbo from The Passion and Resurrection of Christ:

Outside you find the cloisters--

 

many with ancient frescoes or beautifully painted detailing:


The Cloister of the Dead was used for burials especially in the 13th and 14th centuries:

I was particularly struck by this heartbreaking epitaph. Roughly translated, it says, "After giving 16 days of happiness to her parents, she died January 14, 1843. She flew to the heavens."

A Flickr user I discovered has a whole album of wonderful Santa Maria Novella photos worth checking out--I've posted a few here, but she has many more to enjoy.