Italian Trip Diary -- Day #17 -- Venice to Rome

Friday, June 28, 2001, Venice to Rome:

On the last morning in Venice we took the elevator to the top of the campanile.

Campanile on Piazza San Marco with the Basilica on the left.  The tower rises 323 feet.
It was originally built in 1514, but collapsed in 1902 and was rebuilt in 1912.
Photo by Blomme-McClure

The views of the city are splendid and just as we reached the viewing platform the sun began to break through the clouds.  The domes and spires of San Marco below bathed in early morning sunlight,

Domes of the Basilica of San Marco from the top of the Campanile.
Photo by Blomme-McClure

La Salute rising across the Grand Canal,

Punta della Dogana (left) and Basilica of Santa Maria della Salute (right) at junction of the Grand Canal (foreground) and the Guidecca Canal with the Church of Santissima Rendatore in the left background.
Photo by Blomme-McClure

and San Giorgio Maggiore

San Giorgio Maggiore by Palladio was begun in 1566.  The facade was under restoration in 2001 when we were in Venice.  Photo by Blomme-McClure

perched on its own island in the lagoon

The island of San Giorgio Maggiore in the Venetian Lagoon with a corner of the Ducal Palace (left)
 and the Piazzetta with the twin columns topped by the Venetian Lion and 
St. Theodore Slaying the Dragon.
Photo by Blomme-McClure

were all splendid sights and reminders of the delightful days we spent in Venice.

Palazzo Ducal from the top of the campanile showing the rhythmic facade on the exterior 
and the more haphazard facade in the interior courtyard.  
Photo by Blomme-McClure

Piazza San Marco from the top of the campanile.
Photo by Blomme-McClure

The evangelist St. Mark preaching from the highest ogee arch of the facade of the Basilica of San Marco,
with angels climbing up the arch toward him amid the spires.  Most of the sculpture on the facade dates from 1414 to 1419 and is by  Paolo di Jacobo delle Masegne and Nicolai di Pietro Lamberti, although some that fell in an earthquake in 1511 were later replaced by Giorgio Albanese in 1618.
Photo by Blomme-McClure 

The campanile rises above the facade of a building along the Piazetta.
Photo by Blomme-McClure

Santa Maria della Salute across the Grand Canal.  Photo by Blomme-McClure

At noon we took a water taxi to the airport,

A favorite gondolier who worked from the basin near our hotel.  Photo by Blomme-McClure

Traffic jam on the way to the airport.  Photo by Blomme-McClure

crossing the lagoon along San Michelle

The cemetery island of San Michelle in the lagoon between the city and the airport.  Photo by Blomme-McClure

and arriving at a dock right next to the airport terminal.  The flight to Rome was uneventful, but then the fun began.

We took a taxi from the airport to the Jolly Hotel (where we had stayed at the start of our trip) -- but in the confusion of getting out of the taxi one bag was left in the trunk (warning to travelers #1 -- always count your luggage during transfers).  It happened to be the bag that had all of our prescription drugs in it (warning to travelers #2 -- always carry your prescription drugs in you backpack).  Frantic calls to our doctor in New York were followed by a trip to the Farmacia Internazionale (Piazza Barberini 49, Rome) where the pharmacist spoke little English and was reluctant to give us many of the prescriptions (warning to travelers #3 -- always carry copies of your prescriptions and a list of prescriptions with generic names as well as brand names).  Fortunately for us, a proctologist from Baltimore who spoke Italian was in the store and was able to intercede on our behalf.

When we got back to the hotel, there was a phone call from the taxi driver saying that he had found the bag in his trunk and that he would drive back into the city to return it -- if we would pay him for the round trip fare.  We agreed and eventually he arrived with the bag all ripped open with the contents rifled through.  We gladly paid him an excessive 'ransom' to get the prescriptions back, but then found ourselves the laughing stock of the hotel staff for paying off 'Al Capone, the bandito'.

Exhausted from the journey and subsequent events, we stumbled across the street for pizza at Il Pomodorino (Via Campania 45e, Rome, 06/42.011.356) where we requested a table served by our friend, Emmanuela.   

Italian Trip Diary -- Day #7 -- Florence to Siena

Tuesday, June 19, 2001, Florence to Siena:

We were so enamored with Florence that we asked the concierge if we could to delay our departure from the hotel as long as possible.  She allowed us an extra hour – until 1:00pm.  So we were able to visit the museum of the Duomo (Museo dell'Opera del Duomo) in the morning.  It is a wonderful museum which presents many of the treasures of the Duomo, the campanile and the baptistery in a beautiful, modern manner.  There were several restored panels by Ghiberti from the baptistery doors (the originals which were deteriorating from the atmospheric conditions). 

'Story of Esau and Jacob' panel by Lorenzo Ghiberti, gilded bronze, 1425 to 1452.
Restored original from East Doors of Baptistery.  Photo by Blomme-McClure

'Story of Cain and Abel' panel by Lorenzo Ghiberti, gilded bronze, 1425 to 1452.
Restored original from East Doors of Baptistery.  Photo by Blomme-McClure

(The entire set of original panels have now been restored and reassembled in this museum, displayed inside a giant 'casket').

There are also relief panels from the walls of the campanile.

One of the original relief panels from the Campanile.  Photo by Blomme-McClure

And original statues from the façades of the cathedral, the campanile and the baptisery are all displayed.

'Baptism of Christ'  originally above the East Doors of the Baptisery (replaced by copies).
Figures of Christ and John, the Baptist, begun by Andrea Sansavino and completed by Vincenzo Danti, 1501 to 1503.  Angel completed by Innocenzo Spinnazi in 1752.  Photo by Blomme-McClure

'Saint John, the Evangelist' by Donatello, marble, 1408-15, from facade of Duomo.
Photo by Blomme-McClure

'The Prophet Jeremiah' by Donatello, 1423-1427 from Campanile.
Photo by Blomme-McClure

Also there are lots of precious reliquaries and similar items.

Reliquary of gold and crystal containing chains.  Photo by Blomme-McClure

These fragments from an arch were beautifully displayed.  Photo by Blomme-McClure

But the most prized object is an unfinished (by now we are not surprised) 'Pieta' by Michaelangelo which supposedly includes a self-portrait and was intended for his own tomb.  Compared to other Michelangelo works that we saw in Florence, it seems rough, heavy and mournful – the figures each seem to be in a different scale and don’t relate easily to one another, creating great tension and requiring work from the observer to understand this grouping.

'Pieta' by Michelangelo, marble, 1547-1553.
 The hooded figure at top is thought to be a self-portrait -- this grouping was meant for
Michelangelo's tomb before he abandoned it.  Photo by Blomme-McClure

There is also a rather terse wood carving of “The Penitent Magdalene” by Donatello.

'The Penitent Magdalene' by Donatello, carved poplar, 1453 to 1455.
In this work Donatello may have conflated Mary Magdalene with Saint Mary of Egypt
 who lived as a hermit in the desert.  Photo by Blomme-McClure

In one room there are two white marble cantori (choir galleries) -- one by Donatello and one by Luca della Robbia – that are masterpieces of relief sculpture.

Choir Gallery with relief sculptures by Donatello, marble, 1433-39.  Notice how the figures continue behind the columns.  Photo by Blomme-McClure

Choir Gallery with relief sculptures by Lucca della Robbia, marble, 1431-1438.  
Photo by Blomme-McClure

Additional Relief Panels by Lucca della Robbia, marble, 1431-1438.
Photo by Blomme-McClure

We left Florence with reluctance, climbing up over the hills past the Piazzale Michaelangelo and San Miniato al Monte and savoring the views of the city for the last time.  The Autostrada to Siena runs through high green hills, many capped with hill towns or monasteries silhouetted against an increasingly cloudy sky.  Our arrival in Siena was inauspicious since we had incomplete directions to our hotel and proceeded to get lost in the maze of streets leading to the center of the city. Fortunately, signs to our hotel, the Jolly Hotel Siena (now the Hotel Excelsior, Piazza La Lizza, Siena; 0577 288448, http://www.nh-hotels.com/nh/en/hotels/italy/siena/nh-excelsior.html), appeared about the time we were getting a little frantic.

Our welcome at the hotel was chilly.  We were informed that due to a street fair the following morning we would have to park in a lot down the hill behind the fortress.  Carl accompanied the luggage up to the rooms, while George & I took the car down the hill to a crowded, but free, lot.  Returning to the hotel, we found that the hallways were dark and low-ceilinged, the rooms were tight and the whole place was pervaded with the smell of a sour cleaning solvent.  Fortunately, our corner room had a wonderful view over the stadium to the cathedral.

Siena Cathedral (Santa Maria Assunta) viewed from our room at the Jolly Hotel Siena.
Photo by Blomme-McClure

After a brief pause at the hotel, we decided to walk to the Piazza del Campo in the center of the city – the famous square where the Medieval horse race, the Pallio, is run once each summer.  

Piazza del Campo, Siena.  Photo by Blomme-McClure

It is a wonderful space – a huge fan shaped bowl that slopes down from the entrances to the stunning Palazzo Pubblico (the town hall) with a tall tower (Torre del Mangia) at the end of its façade.

Palazzo Pubblico (City Hall) of Siena begun in 1297.  The Torre del Mangia (bell tower)
was added in 1325 to 1344 with the crown designed by the painter, Lippo Memmi.
Photo by Blomme-McClure.

At the base of the Torre del Mangia is the Cappella di Piazza -- an al fresco chapel.
It was added in 1352 to thank the Virgin Mary for those who survived the Black Plague,
which dessimated Siena in 1348.  Photo by Blomme-McClure

Opposite the town hall is a beautiful fountain of gleaming white marble.

'Fonte Gaia' (Fountain of Joy) designed and built in 1419 by Jacopo della Quericia.
Photo by Blomme-McClure

'Madonna and Child' at center of 'Fonte Gaia' by Tito Sirrocchi, 1866.
The orginal sculptures by Jacopo della Quericia are now in a museum elsewhere in Siena.
Photo by Blomme-McClure

We found a table at Bar Manganelli on the square and had barely settled when an enormous thunder storm swept over the city.  It lasted for nearly 45 minutes, but we stayed comfortable and dry and enjoyed a nice, late afternoon lunch.  When the rains calmed down we made our way back to the hotel.

That evening we went out to dinner in a light rain to Antica Osteria da Divo (via Franciosa 25-29, Siena; 0577/284381; http://www.osteriadadivo.it/eng/chi-siamo.htm) a delightful restaurant in an ancient building tucked behind the cathedral.  The translation of the menu into English was hilarious and gave us all a case of the giggles, but the food and service were seriously wonderful.  During the course of our dinner the waiter dropped by to show us several desserts as they were being served to other customers.  Needless to say, we all had dessert.  The courses were interspersed with small “gifts” from the chef and the whole meal was capped off with a complimentary lemon liquor, Limoncello, which we all found refreshing.

Italian Trip Diary -- Day #3, Rome-Orvieto-Florence

Friday, June 15, 2001, Rome to Florence via Orvieto:

The next morning we searched high and low for the Hertz office; finally finding it deep within the parking garage under the Borghese Gardens.  With our Opel station wagon loaded down with (too much) luggage we drove out of Rome, getting lost on our way to the Autostrada to Florence and getting an unexpected tour of a Roman residential neighborhood filled with apartment buildings, shops and schools.  It's always interesting to see the places where a city's middle classes actually live. 

We stopped in Orvieto – a beautiful old walled town perched atop a mesa – for lunch right across the square from the Gothic cathedral (Santa Maria Assunta). 

Orvieto Cathedral, Santa Maria Assunta, west facade from our lunch table. Photo by Blomme-McClure

The exterior is horizontally striped white travertine and blue-grey basalt except for the elaborate three-door Gothic west front, considered a masterpiece of the middle ages.  The colorful mosaics show scenes from the life of the Virgin, with her coronation depicted in the top center gable.  The bas reliefs depicting Old Testament scenes on the piers between the doors are among the finest 14th century sculptures anywhere.  

Orvieto Cathedral, Rose Window in west facade created by Orcagna between 1350 and 1380 AD.
Statues of the 12 Apostles in niches across the top; statues of Old Testament prophets in double niches
on each side;  four 'Doctors of the Church' in mosaic corner spandrels; head of Christ in center.
Photo by Blomme-McClure 

Bronze statues of an Eagle, symbol of the Evangelist John, and an Ox, symbol of the Evangelist Luke,
by Lorenzo Maitani on west facade of Orvieto Cathedral.  Photo by Blomme-McClure

The interior is also striped in the same black and white stone and seems very high, although after visiting the great gothic cathedrals of France and England, the round arches and exposed wooden roof beams are a bit disappointing.  

Nave of Orvieto Cathedral looking west from the altar.  Photo by Blomme-McClure

Apse and Altar of Orvieto Cathedral.
Gothic frescoes on three sides of Apse depicting scenes from the life of the Virgin were created
 by Ugolino di Prete Ilario with help from others circa 1370.  
They restore the frescoes once every 100 years.  Photo by Blomme-McClure

There is a lovely crucifix in the second chapel on the north aisle and lots of other wonderful art.  

The views from the walls of Orvieto out over the surrounding countryside striped with vineyards and dotted with villas is captivating. 

View from the walls of Orvieto.  Photo by Blomme-McClure

The highlight of the day, though, was arriving in Florence and being escorted to our room (#305) at the Loggiato dei Serviti (Piazza SS. Annunziata 3, Firenze; 055 28.95.92 or 055 28.95.93). It must be the original “Room with a View” – a corner room on the top floor.  In one direction we had a view over tiled rooftops to the Duomo and Campanile bathed in the glow of the late afternoon sun when we arrived.  From another window we could see the bell tower of San Marco rising above the skylight over Michaelangelo’s “David” in the Accademia.  The concierge confided to us the next morning that it was the best room in the hotel and that she tried not to give it to those who requested it (the Loggiato had recently been featured in an article in one of the airline magazines which mentioned this room by number).

View of  the Duomo and Campanile from Room #305 of Loggiato dei Serviti, Florence.
Photo by Blomme-McClure

Carl’s room was two floors lower with no particular view, but with a lovely 4-poster iron bed with white gauze draperies.  We all loved the hotel and found the staff to be both efficient and very kind and friendly. 

The Loggiato sits on the square directly across from the  Ospedale degli Innocenti designed by Brunelleschi.  The entrance is on a loggia that mirrors the more famous one of the Ospedale with its medallions of infants – each one different – by Andrea della Robbia between each arch.  On the north side of the square sits the lovely church of Santissisma Annunziata which we visited on Sunday morning.  It contains lovely frescoes and a “miraculous” painting of the Annunciation which was “completed by an angel” when the painter fell asleep in front of the unfinished work.

The beauty of the square was somewhat marred by an outdoor café with a stage backed by a large movie screen and an adjoining photo exhibit in a big white tent. Latin American music blared from the stage almost every night as we went to and from the hotel, but none of the din penetrated to our rooms.  They continued to offer the serene calm of the old city – especially the Duomo spotlit against the dark sky viewed from our “room with a view”.

Looking down Via Dei Servi toward Duomo, Florence.  Photo by Blomme-McClure

After settling at the hotel, we walked out to the Duomo where the light of the setting sun on the west front and campanile created a warm rose and gold aura, then on to the bustling Piazza della Republicca and the Piazza della Signoria. 

Evening light on west facade of  the Duomo, Florence.  Photo by Blomme-McClure

Lorenzo Ghiberti's 'Gates of Paradise' -- the east doors of the Baptistry, Florence with
our friend, Carl, in the foreground.  Photo by Blomme-McClure

Detail of the 'Story of Joshua' panel of Lorenzo Ghiberti's east doors of the Baptistry, Florence.
Photo by Blomme-McClure

Baptistry, Duomo and Campanile in setting sun, Florence.
Photo by Blomme-McClure

They were just setting up a stage in front of the Palazzo Vecchio for a brass band concert as we wandered through.  

Palazzo Vecchio on Piazza della Signoria at sunset, Florence.  Photo by Blomme-McClure

We strolled over the Ponte Vecchio, always packed with tourists and unfortunately a heavy police presence, and into the neighborhood of Oglisanti on the far bank of the Arno, before turning back to search for a place for dinner in the Piazza della Signoria and the Piazza della Republicca.  

Twilight on the Arno, seen from the Ponte Vecchio.  Photo by Blomme-McClure

We finally settled on Ristorante Il Bargello in the Piazza della Signoria, but the only table was inside – so we couldn’t hear the band concert very well.  The food wasn’t good, the service was lousy, there were little flies buzzing around everywhere, and they proceeded to begin closing up before our meal was finished.  An unforgettably awful meal to end an otherwise lovely day.