Italian Trip Diary -- Day #2 (part 2) -- Rome -- St. Peter's Basilica

Monday, July 2, 2001 Rome (continued):

After the gelato break, we walked along the Vatican walls and on around to St. Peter’s Square (Piazza San Pietro).  The arms of Bernini’s colonnades are always impressively, grandly welcoming.  They really are a wonderful invitation to come inside the basilica.  

St. Peter's Square (Piazza San Pietro) as seen from the steps of the Basilica.  The piazza was designed by Gian Lorenzo Bernini between 1656 and 1667.  It consists of two semi-circular arcades of Tuscan columns four-deep bracketing an oval plaza centered by an Egyptian obelisk installed in 1586 and flanked by two granite fountains.
The Pope would be celebrating his last open air mass of the summer in the piazza before heading to
his summer residence at Castel Gandolfo.  Photo by Blomme-McClure

However, a note of caution to visitors – be properly dressed.  This is the one place in Italy where the “propriety police” are strictly enforcing the signs about proper dress.  People in shorts, tank tops, and tight clothes were being turned away.

Young man being turned away from the Basilica -- his pants are too tight and too short to meet the strict
dress code of the St. Peter's 'propriety police' (see the pictogram behind him).  Photo by Blomme-McClure

We saw women tying on wrap skirts over their shorts and people zipping on the bottoms of their convertible shorts.  Several people pulled out light weight trousers and tops similar to those worn in operating rooms to slip on (it was hot).

St. Peter’s Basilica is one of the grandest churches in Christendom.  Nearly every part of it is done on an enormous scale that is overwhelming and ultimately oppressive.  There is so little human scale to the place that the throngs of tourists seem like a busy ant colony. 

Nave of St. Peter's Basilica looking west from the altar.  Successive architects included Bramante,
Michelangelo, Carlo Maderno and Bernini.  The barrel vault is supported by four giant arched bays
with transverse barrel vaults over the side aisles.  Photo by Blomme-McClure

This is probably the impression that the Roman Catholic builders wanted to convey to “the faithful”, but for those of us simply interested in the art and architecture it is a building that you respect, not one that you love.  Michelangelo’s dome

The interior of the dome of St. Peter's Basilica designed by Michelangelo rises over the main crossing.
Photo by Blomme-McClure

sits grandly above Bernini’s baldaquin

The baldaquin designed by Bernini is reputed to be the biggest piece of bronze in the world.
The twisting columns are decorated with bees (the symbol of Pope Urban VIII) and laurel leaves.
Bernini's 'Cathedra Petri' which houses the 'throne of Peter' is visible on the back wall of the apse.
In front of the baldaquin, two marble staircases behind the balustrade lead down to the tomb of St. Peter.
Photo by Blomme-McClure

covering the altar over the tomb of St. Peter.  Tombs and monuments for popes and famous Catholics are scattered everywhere.

Monument for Pope Alexander VII designed by Bernini.  Photo by Blomme-McClure

Tomb of Queen Christina of Sweden, a devout Roman Catholic who abdicated the throne and moved to Rome.
Greta Garbo played her in a movie.  Photo by Blomme-McClure

Michaelangelo’s “Pieta”, kept behind bullet-proof glass, is a mob scene and virtually impossible to see. 

'Pieta' by Michelangelo, marble, 1498-99.  After a madman attacked the sculpture with a hammer in 1972
it was placed behind bullet-proof glass.  Photo by Blomme-McClure

We stood in a line   

Line (heavy on nuns) to view the sarcophagus of Pope John XXIII.
Photo by Blomme-McClure

to see the body of John XXIII which lies near a famous statue of St. Peter.

Body of Pope John XXIII in a glass coffin.  Photo by Blomme-McClure

Although everyone is dressed properly, the behavior of the mob seems more appropriate for a carnival than for the center of the Roman Catholic church.  Flash bulbs are going off everywhere – a young man takes a picture of his girl friend making a mock confession – nuns have their picture taken with the body of the Pope.

We left the church somewhat dispirited by the experience.  Fortunately, the sun on the square with the enclosing colonnades is somehow more inspiring. 

Piazza San Pietro (St. Peter's Square) with canopy and chairs for outdoor papal mass.  Photo by Blomme-McClure

This is in spite of the fact that much of the square and the steps leading up to the church are obliterated by chairs, barricades and a temporary stage which we learn will be used for the Pope’s final mass of the summer before his retreat to Castel Gondolfo. 

Tourist seeking directions from a member of the Swiss (papal) Guards.
Photo by Blomme-McClure

We found the taxi line on the far side of the square and headed back to the hotel.

Piazza San Pietro with trees on the Janiculum Hill rising behind. 
 The colossal statue of St. Paul from 1847 is in the foreground.  Photo by Blomme-McClure

After a nap break, we took a taxi to Trastevere.  It’s advisable to carry a good map of the area because most taxi drivers will not take you into the maze of narrow streets which are often for pedestrians only.  By trial and error and with the help of an Italian couple with a map who spoke some English we found Ristoranti Sabatini in Trastevere (Piazza Santa Maria in Trastevere 13, Rome, 065812026, http://www.ristorantisabatini.com/
) where we dined outside with the lively street life of the square as entertainment and the church of Santa Maria in Trastevere as a backdrop across the square.  The food was delicious, but our waiter was the most obnoxious we encountered on our trip.  He seemed to be the only surly waiter in Italy, including all of the others at Sabatini and we decided that it was just bad luck.  We did manage to beg him to call us a taxi at the end of the meal.  The taxi could only come to the edge of the square and then had to back up several blocks before he even had enough room to turn around.

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 #5, Florence -- 'Michelangelo Day'

Sunday, June 17, 2001, Florence:

Today was 'Michelangelo' day.  Before heading to the Accademia, though, we stuck our heads into Santissima Annuziata on our hotel's piazza where we found a lovely fresco by Pontormo in the cloisters and a wonderful, large crucifixion in the 'Cappella del Crocifisso'.

'Visitation of the Virgin and Saint Elizabeth' by Pontormo in the cloisters of
Santissima Annuziata, Florence.  Photo by Blomme-McClure

'Crucifix' in Cappella del Crocifisso, Santissima Annuziata, Florence.

After that we went to the Accademia Gallery just on the other side of the block from our hotel to start our Michelangelo immersion course.  Michelangelo's  'David' is displayed under a skylight at the end of a long (and overcrowded) gallery.  

Michelangelo's 'David' at end of gallery in Accademia Gallery
with three of his unfinished 'Captives in Stone' and large crowd.
Photo from internet.

The 'David' is breath-taking, but the hordes of tourists – mostly in large groups with obnoxious guides – really detracted from our enjoyment.  The same gallery contains several of Michelangelo's 'Captives in Stone' and a 'Pieta' -- all of which he left unfinished.  Leaving things unfinished seems to have been a personal idiosyncrasy of this artist.  

The Accademia Gallery also contains many wonderful Florentine and Sienese paintings.  The galleries where these works are displayed offer a welcome respite from the hubbub of the 'David' gallery and we were able to enjoy them in relative serenity.

Painting gallery at the Accademia Gallery, Florence
with plaster model 'Rape of the Sabine Women' by Giambologna in center.
Photo from internet.

After the Accademia, we walked over to the Piazza San Marco in hopes that the monastery where Fra Angelico’s frescoes are preserved would be open.  

Church of San Marco on Piazza San Marco, Florence. The neo-classical facade is from 1778.
The monastery attached to the church has cells decorated with frescoes by Fra Angelico.
Photo by Blomme-McClure

Unfortunately, San Marco was closed, but we stopped at a lovely outdoor restaurant on the piazza for tramezinni (sandwiches) and cold drinks.  

After lunch we went to the Medici Chapels attached to the church of San Lorenzo.  The 'old' chapel (Cappella dei Principi) is quite large – octagonal with walls in shades of grey marble inlaid with Medici coats of arms done in semi-precious colored stones.  The frescoes on the dome are unattributed in the guidebooks we were carrying, but they are a dramatically colorful cap above the sobriety of the walls and floor.  

The 'Sagrestia Nuovo' in San Lorenzo is, of course, designed by Michaelangelo and contains sculptures that he created for the tombs of two of the Medici -- Lorenzo, Duke of Urbino and Guiliano, Duke of Nemours.  The chapel was under renovation when we were there with a huge work shaft going up through the center.  It was impossible to enjoy the balanced proportions of the architecture, but the sculptures remained available and are very powerful.  They include full-size portraits of the two Medici brothers, 'Night' and 'Day' (below Guiliano), 'Dawn' and 'Dusk' (below Lorenzo), and a wonderful 'Madonna & Child' flanked by Saints Cosma and Damian.  It was intriguing to note that Michaelangelo had left the madonna’s feet unfinished.  In fact, he left the entire chapel unfinished -- leaving for Rome and the Sistine Chapel ceiling before this commisson was completed.

Leaving the Medici Chapels we walked across the Ponte Vecchio (always crowded with American tourists) and climbed the hill to the Piazzale Michelangelo.  The piazza was filled with tourist buses disgorging hordes of tourists.  If you can ignore the Japanese tourists crowding each other for the best view point for snapping pictures of one another, the view down and across the Arno to the domes and turrets of the city and the mountains beyond is breathtaking.  

View of Florence from Piazzale Michelangelo with (left to right) Ponte Vecchio over Arno,
Palazzo Vecchio, San Lorenzo, Campanile and Duomo,. Photo by Blomme-McClure

Like everyone else, we took pictures of one another and also pictures of the copy of Michelangelo's 'David' in bronze on a pedestal with bronze replicas of 'Night', 'Day', 'Dawn', and 'Dusk' from the Medici Chapels clustered below.  (If you aren't allowed to take photographs inside the Accademia and San Lorenzo, this is the next best thing.)

Bronze copy of Michelangelo's 'David' surrounded by copies of figures from
his Medici tombs, Piazzale Michelangelo, Florence.  Photo by Blomme-McClure

Then, unlike nearly everyone else at the Piazzale, we climbed further up the hill to the church of San Miniato al Monte.  It is a Romanesque jewel built into the hillside with a lower nave and raised apse.  The façade is in the Florentine style with green and white marble in geometric patterns – five Romanesque arches surmounted by a high pediment with inset mosaics and topped by an eagle (symbol of the cloth merchants guild -- responsible for the upkeep of the church). 

Facade of San Miniato al Monte, Florence.  Photo by Blomme-McClure

There are several lovely mosaics, frescoes and statues inside.

Interior of San Miniato al Monte, Florence.  Photo by Blomme-McClure

Freestanding 'Chapel of the Crucifix' by Michelozzo, San Miniato al Monte, Florence.
Photo by Blomme-McClure

Romanesque mosaic of Christ with the Virgin and saints above the apse from 1297 A.D.
Photo by Blomme-McClure

The view out over Florence from the terrace at the top of the long staircase is even better than from the Piazzale and nearly deserted -- in contrast to the chaotic tourist crowds on the Piazzale.

View of Florence from San Miniato al Monte with (from left to right): tower of Palazzo Vecchio,  dome of San Lorenzo, Baptistry, Capanile, and Duomo.  Photo by Blomme-McClure

After pausing in the relative peace of the terraces above the old cemetery we walked down to a café midway between the church and the Piazzale for granitas on a terrace overlooking the city.  Then we took a different route down a long sloping ramp into the city then back across the Arno to our hotel.

Since it was Sunday, the restaurants that we knew from our guidebooks and friends were either closed or already booked.  So we asked the evening concierge to make a reservation at a comfortable, moderately priced spot.  He suggested with Osteria 'Natalino' (Borgo degli Albizi 17r, Firenze; 055/289404; http://www.ristorantenatalino.com/) which turned out to be a real gem.  The food was delicious and we all fell for our waiter – a tall, handsome, well-built young man with a short black beard framing a delightful smile and dancing black eyes.  As we ate dinner in the outdoor café, we became aware that all of his customers, male and female, were equally enthralled.  It was a delightful end to a lovely day.