The weekend of February 24th-25th, we returned to Florence, but this time without the bone chilling wind and freezing temperatures! After yet another morning of last minute gathering of toothpaste, glasses, etc., my roommates and I were out the door by 6:40, breakfast bar in hand, as we sped along to make the bus at Piazza Cahen, which would take us down the hill.
Once again, it was quite the arm workout just keeping one’s balance with thirty students and two professors crammed into this little short bus and trying to balance without a rail to hold onto. After a beautiful train ride, we arrived at the Stazione di Santa Maria Novella in Firenze and were off to meet Marco at Piazza della Signora, where the Palazzo Vecchio is located.
From here we rounded the corner past the copy of David outside the Palazzo Vecchio and headed to the Uffizi Gallery. While Marco was arranging something with the Museum officials relating to our group entry time, our group enjoyed watching the groups of Asian tourists be frightened by a living statue of a Pharoah move.
After a very prolonged wait for security to check our backpacks, we were finally admitted into the museum. While, there is no way to fully cover the entire art collection of the Uffizi, Marco focused his lecture on some key aspects of the pre-renaissance and renaissance art. Unfortunately we weren’t allowed to take pictures inside.
The Uffizi Gallery is one of the most important museums in the World, and one of the first in Europe to develop the modern concept of a museum with organized collections for public viewing. While the word ‘museum’ originates from the Greek term signifying a space dedicated to the muses, the Florentines changed this term to describe the space dedicated to housing a wide collection of sculptures, paintings, and precious objects.
The building was built around 1560, at the request of Cosimo Medici, in order to house further administrative and judicial offices. (The word “ufizzi” literally means offices.) Over time, the building was filled with the Medici family art collection. Marco explained that to powerful families of this time period, having an art collection did not consist of whatever paintings or statues tickled your fancy, but was validated by the possession of ancient Greek or Roman statues (even if they are copies). In this time period, having a copy does not make the artwork “fake”, as some would consider copies today. The manner in which copies were made were exercises to both duplicate and learn the artisan techniques in which the masters passed on their craft.
Marco started his tour in the East Corridor of the Gallery, which housed the “nucleus” of the Medici collection. This space was extremely well lit, with large windows letting lots of natural light into the space, reflecting off of the gray and white checkered marble floor and illuminating Alessandro Allori’s frescoes on the ceiling. Marco explained that these frescoes were painted to copy the typical frescoes seen in ancient Imperial Roman homes, such as Nero’s Domus Aurea, discovered during the 16th century. The style is the first that neither has a religious or political connotation, but is purely for decoration, depicting landscapes, real and fantasy animals, plants, cherubs, etc. They are called “Grotesque” not because they are odd or unnatural, but is rooted in the Latin word meaning “grotto”, describing the “caves” or rooms where these paintings were discovered.
Marco’s focused on the Altarpieces by masters such as Giotto, Duccio, and Cimabue, emphasizing the shift from the Byzantine style of art into the Early Renaissance style. We started in Room 2, which is dedicated to the works of Giotto and other 13th century masters. Beginning with Duccio’s Maesta (The Rucellai Madonna), Marco emphasized the Byzantine influence on this Siennese Painter’s work by telling us to focus on the Madonna’s face. The orthodox Byzantine art uses anthropomorphic representations of religious figures, but is adamant that the art not seem realistic, that these figures should remain other worldly and stoic.
Little by little (as Marco would say), more realistic tones were coming into these religious representations. Giotto’s Maesta (The Ognissanti Madonna) has a much more compassionate expression, and even in her clothes you can see that it is much more evident how he emphasizes the maternal aspect of the Madonna, even allowing the white tunic she wears to be slightly transparent. You also can note, that he paints the Madonna and Child as if they were a typical Italian mother and child.
In Room 3, we viewed the Siennese painting of the 14th century, focusing on Simone Martini and Lippo Memmi’s Annunciation. Looking at Mary’s face in this painting, you can see how much more realistic, expressionistic, and dramatic the scene is. The left panel of the altarpiece depicts St. Ansano, the patron saint of Sienna, holding the Siennese white and black flag. Another aspect of this painting is the presence of the gold background, symbolizing the divinity of the scene and extremely common in Byzantine art.
In Rooms 5 and 6 with the 14th Century Florentine paintings we saw Gentile da Fabriano’s Adoration of the Magi. Marco enjoys looking at this work, for there is so much going on, every time he looks at it, he finds something new. The painting depicts the different stages of the magi’s journey to Bethlehem and is filled with animals, people, flowers, and all sorts of intricate detail.
Room 7 housed the Early Renaissance works, such as Masaccio and Massolino’s Saint Anne Metterza, in which he paints Mary’s mother, Mary, and Jesus in very realistic terms, with Anne as an old woman, Mary as a young mother, and Jesus as a typical Italian baby.
We spent a good amount of time viewing two of Sandro Botticelli’s key works, the Birth of Venus and Primavera (Spring). Botticelli had two key periods in his life, his younger years where he focused on classical art, specifically Venus, but after a personal revelation only painted religious commissions in his later life. An interesting note, however, is the fact that the face of his Venus is the same as his Madonna later in life. He also departs from the classical depictions of Venus and adds multiple layers of meaning to Venus’ face. Not only is she the Goddess of Love and Beauty, but Botticelli’s Venus represents fertility, maternity, and intelligence. She has an innocent face, without any sexual connotation.
It was also apparent how much artists of this time period depended on the sponsorship of wealthy families. In Botticelli’s Adoration of the Magi, he paints the three main men of the Medici family along with the Holy family.
In the room of Leonardo da Vinci (15), Marco emphasized the attitude Leonardo took towards religious art. While not in the least a spiritual man, Leonardo used art as a way to examine further study. In his Annunciation, you can see him studying the landscape and flora through the intricate detail of the flowers at under the angel’s feet. You could also note, that this painting is the only homage Leonardo ever makes to classical architecture, by painting the Roman table at which Mary is seated. You can also see how Leonardo’s perspective of human beauty and that of the hermaphroditic face.
We then traveled to Room 25 to view the only painting Michelangelo ever really did, the Doni Tondo. (Frescoes don’t count). This work was a wedding gift given to celebrate the union of the Doni and Strozzi families, two very influential families of this period. This medallion of sorts was to be hung in the couples’ bedchamber as a wish for fertility and a fruitful life. The symbolism of which being the ultimate family, Joseph, Mary, and Jesus. You can also see how Michelangelo’s distaste for women as well. In his females, you can see how similar their build is to that of the young man.
After Marco released us, the group headed back down to the lobby to meet our 1:30 appointment time to get our backpacks out of the coatroom. Once we’d collected our things, I treated myself to an Uffizi guidebook, which is mainly why I was able to remember most of Marco’s lecture and find the names of these paintings. The inability to take pictures greatly hinders my recall abilities.
Now free for the weekend, Lana, Cammie, and I headed out to find our hostel in the north part of town. It’s name is Hotel Sampoali and I would greatly recommend it, for it was clean as well and Yvonne, the kind woman at the front desk was greatly helpful in pointing out where good places to eat and things to see were on our complimentary map.
We took a brief break to wash our faces and drop our things off, then set off to find some lunch. Walking towards the Duomo, we found a pizzeria, which offered to-go pizza. This of course presented a wonderful opportunity, so after each of us ordered our own pizza (I got pizza “melanzane” eggplant), we walked with our pizza boxes to the Duomo steps to enjoy the afternoon sun. As the sun set, rays of light illuminated the gold of the Baptistery and the façade of the Duomo, creating a spectacular peaceful atmosphere amidst the bustling activity.
It’s amazing how much joy I find in people watching. The Piazza del Duomo definitely is a key meeting place for the many visitors of Florence, students, and families alike. We also enjoyed playing “Guess that Nationality”, listening to the mix of Italian, French, Australian, British, and I’m sure others I couldn’t distinguish.
A group of our classmates then called Cammie and met up with us at the steps. While half of them climbed the Cupola of the Duomo of Santa Maria Novella; Cammie, Nathan, and I bought tickets to go inside the Baptistery. The interior is extremely striking, walking into a very symmetrical space, but looking up to the gleaming gold mosaic dome depicting the stories of Genesis, Joseph, John the Bapstist, Mary, and the life of Jesus, with Jesus enthroned, arms outstretched as the focus. My neck became very sore as we spent a good deal of time deciphering the Bible stories depicted. You can see a clear Islamic influence in the floors with the ornate designs of the marble floor.
Unfortunately a large group of young high school kids came in, so it became very crowded, disrupting the peace of the baptistery. After a while, Cammie and I wanted to meet the others at the top of the cupola, but arrived at the ticket office five minutes too late. We took this as an opportunity to wander the city until our designated meeting time.
Looking at the map, we decided to head towards a large green square, hoping to find an interesting park. On our way we discovered Via dell’Ariento, a shopping street filled colorful goods at every stand and people milling about everywhere. With vendors shouting out to us in English, I sometimes wonder how they can tell that we’re American, whether its by our looks or clothes or demeanor.
We passed the Basilica San Lorenzo and headed up Via Nationale, when we discovered a small paper store, which apparently was one of the home made paper stores we had been told to look for by other members of our group on our last Florence Trip. Cammie found a beautiful sketchbook, with a dappled, light blue leather cover.
Our green swath turned out to be a fairly simple park, nothing too special, but we were glad to see that the locals, sitting at park benches and gathering at the playground, were utilizing it. We then looped back to meet back up with the others, passing the Palazzo Medici, where Cammie learned that even when crossing the street, look both ways, then look again. Let’s just say I’m glad It was a bike that surprised her rather than a car.
Meeting up with the others as we’d planned, we then decided to find some gelato, for dinner of course, and wander the streets of Florence. Returning to Via della Studio, Lana and I guided the others to Zecchie to peruse through the wonderful art store we’d found on our last trip.
Walking back towards Piazza della Republica, the sky was now dark, but a merry-go-round lit up the piazza. As is to be expected from seven college students, many of them decided to ride it, while the rest of us enjoyed playing with long exposure on our cameras and holding their things.
Going through the arch, we found ourselves on a very high fashion shopping street, with stores such as Ferrari, Dolce and Gabbona, Fendi, etc. We passed the Palazzo Strozzi, a massive structure that we’d studied back in Freshman Year. It was getting late, so Lana, Cammie and I parted ways with the others and began our trek back up to Hotel Sampoali, guided by my ever handy map and myself. Stopping at a supermarket, we picked up food for breakfast, and were in bed rather promptly after that. Being in charge of the itinerary, I stayed up a little while looking up opening and closing times of our various points we wished to see the next day.