Italian Trip Diary -- Day #4, Florence

Saturday, June 16, 2001, Florence:

We had an early (for us) breakfast at the hotel because we had 10:45 a.m. reservations at the Uffizi (Galleria degli Uffizi) that we had secured on the internet (http://www.uffizi.com/online-ticket-booking-uffizi-gallery.asp).  So after breakfast, we walked around the back of the Duomo

Campanile and South Facade of the Duomo, Florence, photo by Blomme-McClure

into the Piazza Signoria, past the Loggia di Lanzi with the famous Cellini bronze “Perseus with the Head of Medusa” 

'Perseus with the Head of Medusa' by Benvenuto Cellini in the Loggia di Lanzi, Florence,
photo by Blomme-McClure

and on to the Uffizi. There was a long line to get in, so we felt smug as we walked right up to the entrance with our internet receipt and started on a marvelous journey through the treasure house of mostly Tuscan art.  The early rooms feature powerful Italian Primitive paintings by Cimabue and Giotto.  These are followed by wonderful Bottecelli’s including the famous “Birth of Venus” and “Spring” – sensual overload!

'Birth of Venus' by Sandro Botticelli, Uffizi Gallery, Florence, photo from Uffizi.org

'Allegory of Spring' by Sandro Botticelli, Uffizi Gallery, Florence, photo from Uffizi.org

There is a natural break when you transfer from the east wing to the west wing through a corridor with windows looking out to the Ponte Vecchio crossing the Arno to the south

Ponte Vecchio viewed from windows of the Uffizi Gallery, Florence,
(the gallery directly under the red tiled roof allowed the Medici to go from the Uffizi to the Pitti Palace across the Arno without going outside), 
photo by Blomme-McClure

and on the opposite side down between the wings of the Uffizi to the copy of David in the Piazza della Signoria.

Palazzo Vecchio with dome of Duomo beyond from Uffizi Gallery, Florence,
photo by Blomme-McClure

We took advantage of this natural break to stop for lunch at the museum’s terrace café on the roof of the Loggia di Lanzi with the tower of the Palazzo Vecchio rising to our right and the dome and campanile of the Duomo straight ahead.

After lunch we resumed with the galleries containing the Michelangelo “tondo” of the Holy Family and other great art.  

'Holy Family' by Michelangelo, Uffizi Gallery, Florence, photo from Uffizi.org

This wing seems disappointing after the extremely high standard set by the east wing galleries, but certainly not by world art standards.

Leaving the Uffizi dazed and confused by art overload, we walked out to the Piazza della Signoria for a gelato break.

Equestrian statue of Grand Duke Cosimo I di Medici by Giambologna in
Piazza della Signoria, Florence, photo by Blomme-McClure

Then it was on to the Duomo.  The nave of the Duomo is extremely plain and very big – just four huge gothic bays. The two transcepts are the same size and shape as the chancel creating a symmetrical cluster around the crossing.  It was begun in 1296 by Arnolfo di Cambio and completed by Filippo Brunelleschi's dome in 1436 -- one of the largest domes in the world.

Nave of the Duomo (looking east from West Doors), Florence, photo by Blomme-McClure

The Vasari frescoes of the 'Last Judgement' on the dome above the crossing are extraordinary.  It was in this 'Last Judgement' that we discovered that the figures descending to hell were much more interesting than those ascending to heaven – greater sense of movement, more nudity (especially male) and engaging in more imaginative (sinful) activities.  

'Last Judgement' frescoes begun by Giorgio Vasari in 1568 on dome of Duomo, Florence,
photo by Blomme-McClure

We could only imagine how these images would affect the people of the Middle Ages struggling with their own sins!

'Resurrection' by Luca della Robbia above north door of Sacristy, Duomo, Florence,
photo by Blomme-McClure

North Transcept of the Duomo, Florence, photo by Blomme-McClure

Our hotel was just a short walk from the Duomo, so we went back for a nap.  

Basilica of the Most Holy Annunciation on the northeast side of the Piazza della Santa Annuziata,
our hotel was on the nothwest side of the piazza, photo by Blomme-McClure

The entrance to our hotel, Loggiato dei Serviti

Carl decided to go back and climb the campanile – from which he got some wonderful panoramic views of the city and the surrounding hills as well as fantastic close-ups of the dome, the Signoria and San Minianato al Monte.

In the evening we went to Enoteca Pinchiori (Via Ghibellina 87, 39 055 242777, www.enotecapinchiorri.it/), the best restaurant in Italy at that time, according to the Red Guide Michelin.  As we arrived we were fitted for jackets since we weren’t dressed “appropriately”.  Enoteca is a “wine bar” that serves wonderful food with grand serving flourishes – all of the entrees are placed in front of each guest at the table under large silver domes.  Suddenly enough staff members materialize at the table to uncover all of the dishes simultanesouly with a flourish.  The effect is both luxurious and intimidating.  Our meal unfurled at a leisurely pace and the food was delicious – as were the three types of wine that Carl ordered (and that we tasted).