Italian Trip Diary -- Day #6 -- Florence

Monday, June 18, 2001, Florence:

We started the day at the Bargello Museum, famed for its collection of Renaissance sculpture – especially masterworks by Donatello.  The museum spirals up three stories around a delightful open courtyard with a grand staircase leading up to an open loggia on the second floor.  

Courtyard and staircase of Bargello Museum, Florence.  Photo by Blomme-McClure

Second floor loggia of Bargello Museum, Florence.  Photo by Blomme-McClure

Interior of loggia, Bargello Museum, Florence.  Photo by Blomme-McClure

Donatello’s “John the Baptist”, “St. George”, and “David” are all magnificent examples of his lithe, elegant figures – usually in rather contemplative, static poses and all beautifully finished.  While lacking the weighty tension of Michelangelo’s finest works they are completely enchanting.  

'St. George' (in niche) by Donatello, marble, 1417,
from the church of Orsanmichele, Florence.  Donatello's 'St. John, the Baptist'
in foreground.  Photo by Blomme-McClure

'St. John, the Baptist' by Donatello, wood & polychrome, c. 1422.
Donatello's 'St. George' in background.
Photo by Blomme-McClure 

'David with the Head of Goliath' by Donatello, bronze, circa 1469.
Photo by Blomme-McClure

The Bargello has two 'Davids' by Donatello.  The other is wearing a hat or helmet which makes him look too effeminate.  

In addition to the Donatellos, the Bargello contains pieces by Micahelangelo and the della Robbia family, among many other wonderful works.

'Bacchus' by Michelangelo, marble, 1496-97. Photo by Blomme-McClure

'Madonna of the Architects' by Andrea della Robbia, glazed terra-cotta, 1475.
Photo by Blomme-McClure

After the Bargello, we walked to Piazza Santa Croce, where the lovely white, pink and green marble of the façade of the Basilica of Santa Croce stood out against swirling, grey storm clouds – it never really rained, but the sky was quite dramatic all day.

Basilica of Santa Croce, Florence.  Photo by Blomme-McClure

We stopped for lunch at the outdoor terrace of Ristorante Santa Croce (Piazza Santa Croce 11r, Firenze, 055/2479896) on the square.  It was fun to sit and watch the activity on the square – particularly a shrewish woman across the way arguing with two workmen who were erecting a scaffold that was going to block her window with the shutters permanently open.  We watched this little drama unfold and before we were finished with lunch the scaffold was coming down.

Statue of 'Dante' by Enrico Pazzi in Piazza Santa Croce, Florence.  Photo by Blomme-McClure

After lunch we went inside the church which (like all churches we visited) is filled with beautiful works of art – sculpture, painting, frescoes, carvings, and reliquaries.  

Chancel and altar of Santa Croce, Florence.

Altar of Santa Croce with frescoes by Agnolo Gaddi and others.  Photo by Blomme-McClure

'Annunciation' by Donatello, gilded stone, 1435, in Santa Croce, Florence.
Photo by Blomme-McClure

'Crucifixion' by Taddeo Gaddi, fresco, 1360, in Sacristy of Santa Croce, Florence.
Photo by Blomme-McClure

The Basilica of Santa Croce is also the site of the tombs of many famous Italians, including Michelangelo, Galileo and Machiavelli.

Tomb of Michelangelo designed by Giorgio Vasari.  Photo by Blomme-McClure

Tomb of Galileo Galilei in Santa Croce.  Photo by Blomme-McClure

Medici Chapel with 'Altarpiece (Coronation of the Virgin)' by Andrea della Robbia.
Photo by Blomme-McClure

Leaving the church, we stopped briefly to look at the Pazzi Chapel designed by Brunelleschi.

Brunelleschi's Pazzi Chapel in cloister of Basilica of Santa Croce.  Photo by Blomme-McClure

Then we crossed the Arno and walked along the river to the Pitti Palace and the Boboli Gardens. 

Motor scooters parked along the bank of the Arno.  Photo by Blomme-McClure

River facade of Uffizi Gallery from across the Arno.  Photo by Blomme-McClure

The Boboli Gardens are extensive, but somewhat unkempt.  They sweep up the steep hill behind the palace to a small rose garden with views across to the hilltop where San Miniato al Monte sits.  

San Miniato al Monte from upper belvedere of Boboli Gardens.  Photo by Blomme-McClure

From this high point they descend to an artificial lake with an island containing a sculpture of Neptune.  

Looking down from the top of the Boboli Gardens to the Pitti Palace and Florence beyond.
Photo by Blomme-McClure

'Giant Fractured Head' by Igor Mitoraj on a path in the Boboli Gardens.  Photo by Blomme-McClure

There is lots of sculpture scattered through the gardens.

Fountain?  Drainage?  These grotesque heads channel water down the hillside.
Boboli Gardens, Florence.  Photo by Blomme-McClure

Queen Anne's Lace framed against a dark archway.  Boboli Gardens, Florence.
Photo by Blomme-McClure

Hydranga and other flowers along a path in the Boboli Gardens, Florence.
Photo by Blomme-McClure 

View of Campanile and Duomo from the Boboli Gardens exit path.  Photo by Blomme-McClure

It was a lovely, if arduous, way to end the day as the sun danced in and out of the clouds.  After the gardens, we stopped for granites at a sidewalk café across from the entrance to the palace.

Flowers outside a florist shop near the Pitti Palace, Florence.  Photo by Blomme-McClure

Then we made our way back across the Ponte Vecchio to the hotel – always tempted to visit ‘just one more’ church along the way, but too tired to do it.

At the Duomo the space between the church and the baptistery had been cleared for a procession of the clergy celebrating something??  The gates in front of the baptistery had been opened and we were able to get unobstructed views of the wonderful bronze reliefs by Ghiberti that Michelangelo called “the gates of Paradise”.  

Ghiberti's East Doors of Baptistery, Florence.
Michelangelo called them the 'Gates of Paradise'
Photo by Blomme-McClure

We were too exhausted to stay for the parade (which we learned was still about an hour off) preferring a nap before dinner.

That evening we ate at Ristorante Buca Lapi (Via del Trebbio 1r, Firenze, 213.768, http://www.bucalapi.com/).  It is in a cellar.  We sat in a room with a large barrel arch papered over with hundreds of travel posters.  Unfortunately, the sound from a particularly loud, obnoxious American party carried directly to our table and spoiled the effect of the delicious food and good service.  Maybe the dining room nearer the kitchen would have been a better choice – certainly it would be worth a try.

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).