Above the Arno

Florence, Italy: Day 3. What have we missed?

Florence from Piazzale Michelangelo. Tell that person she's blocking my view!

Our Uffizi visit was timed for the afternoon, so we had a few hours to fill in beforehand.  

Across the Arno on the south side of the city, a lovely drive winds its way under a canopy of leafy trees, past pretty villas and through olive groves to the panoramic terrace, Piazzale Michelangelo.  It is possible to walk it, but we took the bus instead.  The view is pleasant and a tad closer than Fiesole, so it's easy to make out the old city limits.  But it is quite busy. 

For some reason, a rather gauche statue of David (copy #2) with the allegorical figures from the Medici tombs (San Lorenzo and also copies) at his feet, takes centre stage.  Dotted over the terrace also, were some less than inspiring modern sculptures.   In a city resplendent with good taste & art, this was just a bit too “show pony”.  Or are we just becoming too old & grumpy?

View over the city and the Ponte Vecchio

A dormant Iris Garden lay below the terrace – May is the time to be in Florence if you want to see an international collection of blooms befitting the city’s floral symbol.  From here, we made our way up to San Salvatore al Monte.  It’s a tiny and somewhat plain church after all of Florence’s wealth and exuberance.  I’m sure it has a history but none of my books explains it, however our touristico-ing bus talk-fest told us that Michelangelo favoured it for its simplicity.

Wood carving (perhaps) in San Salvatore

San Miniato al Monte

After San Salvatore’s sparseness, San Miniato al Monte seemed like a dream.  It was built in 1018 over the shrine of St Minias, who was beheaded for his faith (3^rd c BC).  Holy relics were the drawcards of their time so the powerful Wool Importers Guild financed this Romanesque wonder.  Again, photos show far more than we could describe… here’s another generous serve then!!

Sinners beware!  San Miniato fresco

Interior San Miniato

Back down into the inner maze of Florence's streets, we put on our best museum/art gallery hats and headed off to the Uffzi.  That visit was sufficiently covered in the previous (large) post.  What, you want more?  No time, there's a train to catch...

Following our Uffizi visit, we had no time to linger…sadly.  It was late and we had to be back in Le Grazie by 8pm at the latest, or starve.  We made it to squeeze through the supermarket doors in the nick of time.  Then of course, it was back to the boat.  But not quite as easy as it sounds!  Let me set the scene.  Early evening is the start of passegiata, a wonderful time (and cooler temperature) of the day to walk about the town dock in your best gear and meet friends for drinks or a chat.  Some come to the dock to take photos, girlfriends pose or a new bike, boat, or scooter is shown to best advantage.  Now, we’d left WJ3 locked and lights on.  For added security, we had even tied Bruce to the stern – it was important to look as if we were home

Florence Graffiti - with a swimming theme. Was it a sign of  things to come?

Venus is swimming too!

And a Medici....

So, the Cap’n had to swim.  In the midst of fashionable passegiata and even a modelling session underway nearby, our Cap’n striped to his undies, dived into the bay and demonstrating a perfect Australian crawl (freestyle), made it to WJ3.  Dripping wet, he then motored back to collect GS and the groceries – all as if this happens every day.  At the dock, there wasn’t a murmur (even the model didn’t scream at the baggy Bonds!) but we knew that “those crazy visitors” will be spoken of for quite some time to come! 

All was well though; the other woman hadn’t strayed.  So we stayed a few days to recover and revise our exit plan.  Yes, that nasty Mistral was still blowing and we needed to cross to Corsica…

A final Florence reminder or three...

Campanile at night

Medici Lion

 

Stars Align

Florence, Italy: Day 3. A Life of Dreams... The Uffizi Gallery

Trying to keep up with our guide, I only took one photo of
this rather stunning passage, and only of the ceiling.

Meeting time for our Uffizi tour had finally arrived.  We gathered at the Piazza Signoria and smartly made our way inside this grand building, commissioned in by the Medicis (1560) as administrative and judicial offices.  The Gallery, included in designs for the second floor, is essentially a princely collection amassed by the Medici family over generations and in its time, as it is today, an essential Grand Tour stopover.  In 1737, the collection was bequeathed to the city (never to leave) by the last member of the dynasty, Anna Maria Lodovica.  In the 19^th c, rationalization of the collection saw sculptures and antiquities moved, leaving mostly paintings distributed throughout 45 rooms. 

This is the famous Tribune with favourite Medici pieces on show -
even for those fortunate to be on a Grand Tour in 1660 -1840's. 

We moved through at a smart clip, our knowledgeable and agreeable guide sharing his passion for the Renaissance with us.  Given that we could not repeat all that was explained to us, and as we saw an assembly of a large number of objects, a few more photos will have to suffice.  (Yes, it seems a blur now – thank goodness we were allowed to take photos; not especially good ones mind, given the crowds, but at least they jog those little grey cells!).  So, here you have it, an Uffizi overview!

Gothic Art: 13^th – 14^th c. Rooms 1-6.  We saw how Italian painters of the time began to move away from stilted conventions of Byzantine painting, striving for naturalistic detail and realistic portrayal of depth.  The highly decorative International Gothic best shown in a glittering piece by Gentile da Fabriano, who clearly liked a bit of the sparkly stuff.

Ognissanti Madonna by Giotto 1310; Room 2

Adoration of the Magi by Gentile da Fabriano 1423; Room 6 (close up)

Early Renaissance: 15^th c. Rooms 10-14.  Artists of the Early Renaissance explored perspective (space and depth) shown in these unusual side portraits by della Francesca.  Generally, it is believed her portrait was painted from her death mask, however our guide said he believed she was dressed in the fashion of the day (think of Queen Elizabeth 1).  Gradually artists, Botticelli included, dared to challenge established thinking by painting pagan subjects within the strict boundaries set for Christian religious themes. 

Portraits of Duke & Duchess of Urbino, by Piero della Francesca 1460; Room 7

Primavera by Botticelli 1480; Rooms 10-14

Birth of Venus by Botticelli 1485; Rooms 10-14. The first painting on canvas.

High Renaissance:  16^th c. Rooms 15-28.  This period established Renaissance masters who improved upon previous achievement; their work characterised by emphasized proportion, strong balance, and ideal beauty. Michelangelo’s vibrant colours and twisted poses were especially influential.  Titian was included in these rooms even though he was a most celebrated Venetian painter.  

Holy Family by Michelangelo 1456; Room 25

The Annunciation by Leonardo da Vinci 1472; Room 15

Madonna of the Goldfinch by Raphael 1506; Room 26

Venus of Urbino by Titian 1538; Room 28 
This one sent Mark Twain in an absolute spin!

 Mannerism: Rooms 29

Mannerism exaggerated the qualities of the High Renaissance often resulting in contorted anatomy, unnatural colours & strange composition, best seen in Parmigianino’s masterpiece.  (Mannerism exuberance was succeeded by Baroque, and we’ve thrown that word around a bit, especially in Sicily.  Baroque had its beginnings in Rome in 1600’s and was a theatrical mix of passion, drama and exaggerated movement.)

Madonna of the Long Neck by Parmigianino 1534; Room 29
Not a good photo but you get the idea of Mannerism.

 Later: Rooms 30-45

There were more rooms full of other wonders, masters of Northern European painting including Durer and Holbein, and even though our focus was a little more local, we finished up with quick glimpses of Rubens, Room 41 & 42 and Rembrandt, Room 44 then finally, Caravaggio.

Adolescent Bacchus by Caravaggio; Room 44

Medusa by Caravaggio 1596; Room 43

Oh my, that must be 50 art photos by now, all up & posted, but who's counting!  I’ve tried to included a few links to sites with much clearer photos - most of the artworks are behind glass.  So then, how was this Uffizi lesson in Art History? 

Exhausted?  Me too!

Monuments, Tombs & Tournaments

Florence, Italy: Day 2. So many churches, so little time...

Brilliant frescos inside Santa Croce (Capella Castellani)

Churches and views were obvious choices for further exploration.  Michelangelo’s Tomb and frescoes by Giotto drew us to Santa Croce, a Gothic church (1294) and although we didn’t have it entirely to ourselves, the ticket queue was minimal and the view from the piazza back to the church impressive.  In Renaissance times the piazza was used for tournaments and other public spectacles, including the lavish wedding of Lorenzo the Magnificent. 

Santa Croce

Chancel decorated within an inch of its life!

Inside, the space was breathtaking and artworks quite overwhelming - entirely as it was designed to be.  I’m not sure that Michelangelo would have been too pleased with his rather “ordinary” tomb, but at least he’s beside quite a few other greats and monuments to more of Florence’s talented citizens.  It is important to note that the Renaissance was more than just art & architecture - writers, politicians and scientist's too, number in those who made this period so significant.  Rather than a lengthy explanation of all the amazing detail, here’s just a photo or ten.  (I can hear those sighs from here, you know!) 

There are a vast number of chapels to explore too, including Capella dei Pazzi (Brunelleschi) off the outside cloister.  Nearby, a small museum is housed in the refectory.  By the time the Galley Slave had taken it all in, the Cap’n had seated himself in the shaded cloister, contemplated life and read several more pages of his latest book (a history of Rome, no less). 

Michelangelo's Tomb

Dante's Tomb

Fresco inside the Museum:
angels wings

Could this be the
Patron Saint of Cats?

It was time to make our way back to the hotel for sundowners - some traditions must never be ignored!  And given that we had been “stung” €15 at a gelato shop for 2 cups, the Cap‘n said we couldn’t afford dinner.  So moderation was the order of the day and we made do with a beer & sandwich (it was a huge helping of roast pork on crusty, herbed & salted focaccia) and that fabulous night view of the Duomo from our hotel room!   

Gelato, like art, is taken very seriously

Perhaps GS could just have her own David to take home.  But wait, there’s just so many to choose from… 

 

Walking & Talking (Part 2)

Florence, Italy: Day 2.  Getting to know all about you!

Capital of Abundance:
the only remaining feature
of the old square

After taking stock of the Duomo and admiring Giotto’s Campanile (Bell Tower), it was time to glide down wide streets to Piazza della Repubblica, once a central marketplace and Jewish quarter, demolished in 1860’s to create a public space befitting an Italian national capital. 

The mantle of capital was later reassigned to Rome, so now, other than a few reminders of those days such as the Triumphal Arch and a lone free standing pillar, the area is now assigned to glamorous cafes, exhausted shoppers and selfie-taking sightseers.  The square was once considered the "lounge" of Florence.

(For those interested in all things art, Futurist Movement ideologies were launched here in 1909 by intellectuals of the day from popular cafe, Guibbe Rosse.) 

You could be forgiven for not noticing the nearby Church of Unionists, Orsanmichele, for it looks remarkably “warehouse”.  It began life as a grain store but following a revamp in the 14^th c, its exterior was studded with 14 niches, each given over to a patron saint of a trade Guild of its time; John the Baptist (Textiles Guild), St George (Armourers Guild) and St Mark (Linen Drapers Guild) to name but a few.  Needless to say, most sculptures were completed by celebrated Renaissance artists.

This (left) is St Mathew, by Ghiberti for the Cambio Bankers.  So, even bankers and lawyers had patron saints.  I wonder if they still do!    

 

Trying to get a photo without someone's hand patting his nose or putting a
coin in his mouth was almost impossible. Clearly, we all subscribe to superstition!

Turn the corner and Logge del Mercato Nuovo, a covered market (revamped in 1574), greets visitors with a variety of stalls, nowadays all bulging with souvenirs.  Beside it though, is the tourist magnet, Fontana del Porcellino, Florence’s famous porker.  Rub his brass nose to return to Florence or put a coin in his mouth for good luck.  Either way, you just can’t help but get into the spirit of these things, and like the Lottery or even the Fountain of Youth, it’s a case of good hope.

Giambologna's
Rape of the Sabine Women

Cellini's
Perseus triumphs over Medusa

Palazzo Vecchio

After a quick chat with the pig, we made our way to the decidedly interesting Piazza Signoria, its odd shape arrived at after a period of “political instability”.  Houses of a defeated faction were demolished and families banished - well, those that weren’t annihilated in the course of settling the dispute!  The dominant feature of this space considered Florence’s political stage, is the vast bulk of Palazzo Vecchio impaled by its medieval, almost slender, bell tower.  Various sculptures dot the open space, including copy #1 of David, Neptune looking decidedly WWF wrestling material and a few newer, brassy ones.  These we suspect were part of a “contemporary” exhibition installed at Palazzo Vecchio. 

To one side, the Loggia della Signoria shelters other statuary of such significance it seems amazing that it’s left “outside”.  Hercules energetically subdues a centaur (Giambologna), Perseus triumphantly holds aloft a severed head (Cellini) whilst in front of the Palazzo, another Hercules (can you ever have enough?) by Bandinelli subdues Cacus.  The square, the buildings and statuary were symbolic of the Republic’s victory over tyranny and civic solidarity; a not so subtle reminder of a ending of fate befalling anyone considering a bit of competition with Florence. 

"Hercules Slaying the Centaur" by Giambologna under
the Loggia della Signoria. The message is quite clear...

By now, our minds were beginning to glaze over and we regretted (Well, GS did for sure!!) such a short stay.  We had hardly walked any distance at all and there was so much to see, do and learn.  I knew I should have offered that porker at the market more money!  Still, on we charged into the Uffizi forecourt lined with statues of Florence’s greats.  The Uffizi is a huge complex and mostly given over to a collection of paintings considered Italy’s best.  That was tomorrow’s excursion, so on we continued to Ponte Vecchio.

Ponte Vecchio over the River Arno

Cellini

We could have been in Venice back in those days!  Ponte Vecchio spans the Arno now in the same form that it did in 1345 – a triple arch, loaded with shops.  Although in its day, the proprietors were butchers, fishmongers, tanners and the like who needed access to lots of water.  Today, those same establishments are home to goldsmiths and jewellers - since 1593 no less! 

A top corridor, over the shops on the bridge, links the Uffizi with the Palazzo Pitti,  constructed so that Cosimo (or maybe it was Mrs Cosimo) did not have to mingle with the plebs to get across the street.  Actually, it was Mrs Cosimo who purchased the very grand and spacious Pitti as she found Palazzo Vecchio too cramped for her taste; the lions (caged at the back of the palace) too smelly and the Swiss Guards too noisy!  The lions were a symbol of Medici might; Mrs Cosimo must have been quite an authority too! 

So ended our tour, fighting off those seeking a selfie opportunity at the bridge next to Cellini’s bust and a perfect view down river.  The Cap’n managed to keep a close eye on the First Mate as she surreptitiously cased all the shops with their sparkling gold trinkets on offer.  Although we may not have covered everyone’s list of top ten (actually twelve!) sites in Florence, our tour did rather well, particularly for us.  The big decision now, was what to do in our free time before the following afternoon’s Uffizi tour.

 

Perhaps we could just gaze out the window (overlooking the Duomo and Bell Tower) from our hotel room.  Yes indeed, that view was really something!!!

 And finally, for those truly obsessed, below are just a few of the statues of important personages lining the Uffizi Courtyard.

Giotto: Medieval Period

Donatello: Early Renaissance

 

Michelangelo: High Renaissance

 "Lump the whole thing!  

Say that the Creator made Italy from designs by Michael Angelo!"

Mark Twain, 1869 in "Innocents Abroad"