This Cenacolo, or Last Supper, is situated the refectory of the former monastery of Sant’ Onofrio, also known as the Sisters of Foligno (yes, I am aware of the two spellings: Fuligno and Foligno), transformed into a “Conservatory for poor and honest girls” in 1980 after the transfer of the nuns. It was called Fuligno from the name of the Franciscan nuns from Umbria, who occupied it starting in 1419, while previously this space (1316) had been home to a group of Augustinian nuns.

The refectory was renovated and embellished in the 15th century with some frescoes by Bicci di Lorenzo. There were some noble women who became nuns here including Sister Onofria de’Conti degli Abruzzo and Sister Giovanna di Onofrio degli Onofri who gave great support to the convent. Many non religious noble women were actually connected to the convent as well. Il Magnifico, Lorenzo de’ Medici and the Lapaccini family both subsidized the cloistered sisters. One can tell from the number and quality of the artworks produced for this space that there were some pretty sophisticated patrons of the convent. The nun’s rooms were decorated in the period from 1480-85 by painters from the school of Perugino; in other words, some very fine painting was done here to enhance the convent.

It was suppressed in 1800, during the Napoleonic campaign to fill his coffers, and the former convent became a secular center for the education of girls.

The fresco (4.40 x 8 m) was only found in 1845! It was of such high quality it was initially attributed to Raphael.

Today’s art scholars agree that the work was probably created by one of the pupils of Pietro Vannucci, known as “il Perugino”(1445/50-1523). The work was painted around 1493-96. Raphael had in fact studied painting under Perugino and absorbed his luminous technique so well that his early paintings are hard to tell apart from his teacher’s. So, for almost a century after its discovery, the student got the credit for the master.

Critics have also suggested that the work replaces a previous fresco of the same subject painted by Neri di Bicci (1419-1491). The fresco is considered to be one of the most important examples of the Umbrian culture in Florentine Renaissance. The Refectory today also preserves also some frescoes by Bicci di Lorenzo (1429) removed from other parts of the convent.

What I love about this particular Cenacolo (and there are many fine Renaissance ones still extant in Florence) is that the artist didn’t just paint the usual table and seated figures, even if that is all the subject matter calls for. Behind Christ and the Apostles is a quiet glowing landscape with a second subject, The Agony in the Garden. The painter has therefore given us, the viewers, the whole night unfolding before our eyes.

Judas sits apart from the others, turned toward the viewer, as he often does in this genre of painting. One of the Apostles seems to have fallen asleep while sitting next to Christ.

Another aspect of this painting which I very much appreciate is the attention to the eating utensils. One assumes these instruments, including the common knife but also an item that looks a lot like one chopstick but seems to be used as a pick or a fork, were in common use in the mid 1490s, when the painting was created. I’ve not seen anything like it before and these are the kinds of details I adore!

Also, I have got to mention the painted architecture! What an elaborate system of piers, decorated in relief sculpture. The painter went above and beyond what was required to represent a Cenacolo, and I for one appreciate the attention to superfluous detail!

An unfortunate step sent me hurtling to the pavement yesterday as I tripped in a pothole. There were unfortunate consequences. I fell hard, landed on my two hands and broke one wrist badly.!

A good Samaritan saw me fall, helped me up, called an ambulance, got me an ice pack from a caffetteria and waited with me for the ambulance. It took 20 mins.

Thank you most sincerely to Leonardo who would accept no payment but was extremely kind and thoughtful!

I was delivered over Florence’s VERY BUMPY ROADS (you never realize it in a taxi with good springs, but with a sore limb and a van that has seen many days in service, you notice it all!) to the Pronto Soccorso at Santa Maria Nuova, the city’s oldest hospital founded in 1288 by a wealthy Florentine merchant, Leo de Ricovero Portinari (d. 1289). Coincidentally, it was his daughter, Beatrice, who was the unwitting muse for Dante’s Divine Comedy. Ah, Florence!

The naked eye could see things inside my arm were messed up and a set of Xrays revealed all the damages. I was told that I’d be put under and they would try to manipulate my shattered bones into place and put on a cast.

Then a 2nd xray was taken to see if the setting was adequate.

I was warned that surgery would likely be necessary because it was a bad break.

Very luckily for me the on-call orthopedic surgeon was talented and got the bones placed in order manually.

They took a second set of Xrays and said I was in good shape. I return to the hospital in a week for Xrays yo double check setting of bones.

On this first morning of my new normal I’m busy cancelling spectacular events I had planned for the entire month of October in Rome. So sorry to have to do it.

Bear with me, dear reader, as I accustom myself to to this new way of life for a couple of months. I suspect there will be many fewer blog posts, following my record year of daily blogs so far in 2026!

Oh! I do love autunno in Italy! The weather is absolutely perfetto!

Walking from my Borgo into the center, I pass by this piazza and on this crisp, clear day, the monuments of the city were stunning!

Later, as I was passing through the historic center, I noticed a couple of Clet designs I had not remembered seeing before.

I had occasion to be in the Piazza Santa Maria Novella, which is one of my favorite Italian spaces of all times, and the marble and brick structures stood out to me in splendid relief!

I passed by another favorite place, the Farmacia di Santa Maria Novella, but there was a long queue to enter and I decided to wait until later in the fall when the crowds will be thinner. This is one of the huge delights of living here. I can postpone and try again any old time I want to or need to. That is a luxury I can still hardly believe I possess.

The next 3 images are from the windows of the Farmacia. The vetrine sported views into what looked like elegant interiors, which were created in a way to look as though they were set outside in a field of wildflowers. It took a lot of words to describe these windows, but they are complicated and rich.

And lastly, a couple of really random images.

Speaking of random, the image above. I love it.

And finally, a new friend sent me this next image. It was taken from a drone over some place in Asia. I can’t take any credit for it, except as a happy recipient of the great image!

Moving all of one’s earthly possessions, one’s history, sacred and profane, from the USA to Italy is a lot of things. It’s a deep personal pleasure for me to really and truly make Italy my home, for this has been my heart’s desire since I was a young woman. But it is also a lot of work and not incidentally, it brings up a lot of emotions.

When packing up last summer in Colorado, I simply ran out of time before I had to leave the home I loved but finally sold and so I wound up shipping a lot of things that I might have culled.

But, one of the unexpected joys has been putting my hands on things long stored but almost forgotten, such as this little pink jewelry box I had when I was in elementary school. I see I was a documentarian even then, for I felt the need to record the accession! Haha! So cute!

I wrote in pencil, not pen, as a future curator of art might know to do. I’m disappointed I didn’t record the date. I guess that was a skill I would learn later.

I emptied the box and decided to use it again now, because perche no?

The bracelets you see are ones I wear now, but underneath you can see my inscription. Can you read it?

Besides my name, there are 6 words, 2 misspelled. I love this little girl!

First J e w l e r y Box I evey (every?) Got

I love the implied expectation that future jewelry boxes would appear, hopefully bigger and better! May all your heart’s desires come true, little dreamy girl.

Only in Italy!

I had an appointment at the Genius Bar for help with storage in my laptop/external hard drive. It won’t surprise you to learn that I take so many photos and videos that managing them is a huge headache and as I move into creating longer videos, it’s only going to get more dire.

So I went, got a great “genius” and he helped me. When I explained what my issues were and how I wanted to move my images and videos off my computer, but to store them safely with quick access, he opined:

Nothing in this world is safe. If I needed to have a safe storage, I needed more than external hard drive, maybe several more because “anything can happen.” Something could, he continued, get stolen or damaged and the. Then where would I be!

I protested a bit and he continued. Italians, he said, invented the world’s first back-up.

I took a second to catch up.

It was the medieval monks, he expounded, working away as scribes in monasteries, that made (sometimes multiple) copies of ancient texts. Ok, I said, I follow.

And still, he said, the world lost Aristotle and Sophocles because despite multiple medieval back-ups, they all were lost.

I don’t know if I caught all he was saying but that was the gist of it. I don’t know if factually speaking the world lost Aristotle and Sophocles, but I knew what he meant.

What, I replied, are you doing in an Apple Store. You should be teaching at a famous university!

He was planning on it, he replied. In a month he’s changing jobs.

At the lovely Giardino dell’ Orticultura, in my old neighborhood of Florence, one can enjoy the season’s finest weather and the greatest plant vendors in all of Florence!

Here I am walking across the little bridge into this pretty zone where I was lucky to live before, during, and after-Covid. I love these passerelle over il Mugnone, the creek or torrente that runs along this section of Florence. It once demarcated the northern edge of the city, but no more.

Entering the garden:

I got there early, not a big crowd yet, just how I like it! And I love the little boy’s excitement at entering!

I was immediately arrested by the intensity of this rose!

And equally drawn to the gentle pale color of this one.

You can find artisan made ceramics here and other things associated with outdoor living, even some natural fiber clothing and accessories. But never have I ever seen this southern Italian symbol of hospitality and good fortune, the pine cone, in such an intense shade of blue!

Then I realized that the tabletop, some dishes and vases are also made by this ditta or business and I had to take a pic of the larger scene. But that blue!! I can’t get over it.

Always my favorite part of the fall show is the grouping of fruits. It takes me back to my childhood visits to our state fair. But, back where I come from we never had such a selection of fruits to grow. The plants would have died in their first month in that inhospitable climate. The Great Plains of the American West. Best for buffalos and buffalo grass.

We are definitely not in Kansas anymore (Kansas was not my home state, but it’s pretty much the same thing).

Bulbs are on offer here. Many of them and many types! I chose a few. I don’t really have the right kind of space for planting bulbs on my terrace, but as usual, I couldn’t help myself from buying a few.

I bought some anemone and ranucoli (ranunculus) opportunities. You can’t really call them bulbs. And you can’t guarantee they will grow and produce the flowers you yearn for. When you buy a plant or bulb, I contend you are purchasing a dream. I hope my little dreams come true next primavera. I certainly will do my part. The vendor told me plant them in Novembre. Lo farò.

Hard to believe these dry little nubs have life in them. Can you imagine harvesting these? Painstaking work.

But I chose some paper whites as well to grow indoors at Christmastime. These are easier and more likely to perform as hoped. Fingers crossed.

Here’s my haul.

I’ll catch the #13 bus that will take me home to my new neighborhood and terrace where I have pots and soil waiting to house the new additions to my collection.

These plants will grow just fine outdoors in the Tuscan winter, giving me something green (the color of hope) and pretty to look at on my terrace during the dull gray days of inverno.

The bulbs I bought are inside the bags but not visible to the naked eye.

Buon autunno!

Today as I was walking briskly through the center of Florence, I was arrested by this image pasted upon an exterior wall. It stopped me in my tracks and I hurried back to make a photo.

This is a very unusual usage of the dome, and I highly approve! Bravo or brava, to whomever this idea first occurred!

I realize the shape of the time is not fresh in everyone’s mind, so here’s a refresher:

I’d happily wear a skirt made in its shape!

I do already have an umbrella in the shape of the dome!

Alla prossima!

In the heart of the historic center of the city there are lots of these bucchette del vino, or wine windows embedded into the walls of buildings you pass on the sidewalks. They were built in the medieval age of the citta, allowing passersby to purchase a glass of wine as they walked by.

Some of them are operational again.

I spied a wine transaction going on recently and stopped to film it. First you ring the bell over the window to show your interest. Someone on the other side will great you, ready to offer you a selection of red, white, or rose wine, typically tailored to the season (it is Italy after all!). You pay, and presto! you are given your wine! That’s all there is to it to enjoy a Florentine tradition that dates back 700 years or more.

It you’ve been fortunate enough to travel to Italy, chances are good that you have been through the Stazione Termini in Rome. If you think about the name of the station, it would seem to be named Termini because it is the final stop or terminus of a journey.

But in fact, contrary to popular belief, the name for Roma Termini does not come from its being a train terminal or terminus. Instead, the name originates directly from the ancient Roman baths that stand right across the piazza from the station’s main entrance.

Here’s how the name evolved through a linguistic journey over the centuries:

• The ancient Latin word for public baths is thermae.
•  In 306 AD, the colossal  Baths of Diocletian (Thermae Diocletiani) were completed in this area. They were the largest public bath complex in the entire Roman Empire.
• Over time, the Latin thermae evolved into the Italian word terme. The neighborhood built up around the ruins gradually became known as the Termini district.

Consequently, everything discovered or built on this specific hill, from the ancient residential complex (Villa di Termini) to the Renaissance estate (Villa Peretti Montalto) and finally the 1862 railway hub, adopted the Termini name simply because of its proximity to the ancient baths or thermae.

In 1860  Pope Pius IX decided to build Rome’s Central Railway Station in what was then the sprawling gardens of the Renaissance-era Villa Peretti Montalto. I wonder how he and his advisors chose this neighborhood for rebuilding the city? The whole concept just seems so foreign to me. Can you imagine Pope Leo XIV waking up one morning and saying he was going to install a new airport in a settled section of Rome?! But, times have changed since the 1860s. Prior to that, the popes and Roman rulers had dictated the shape of the city.

In 1862, while workers were clearing the massive earth embankments that had buried the ancient Servian Wall, they discovered ancient structures. What else is new? It is Rome after all!

After the annexation of Rome to the Kingdom of Italy in 1870, the new government decided to make the new railway Stazione (di) Termini a key element in the design of a “modern” capital and in 1888 the Casino of Villa Peretti and the long sequence of low buildings on its northern side were pulled down to make room for a large square.

When we walk over that square, which is called the Piazza dei Cinquecento, we are treading over two Roman insulae (multi-story apartment buildings in ancient Rome that housed the city’s common working and middle-class populations; the Latin word literally translates to “island,” likely because these large buildings stood isolated like islands surrounded by streets) and a later stately building form the Antoinine period (c. 2nd C AD).

These discoveries were made in 1947-49, during the construction of Rome’s first underground transit system (Metro B line), when archeologists initiated a systematic dig. They found a sprawling wing from the Antonine period, uncovering an entrance hall, an advanced thermal bath suite, a decorated nymphaeum (fountain room), and a massive apse-shaped hall. This phase yielded even later art, including 4th-century frescoes depicting bathers wearing loincloths.

Unfortunately, the original villa structures were demolished during the rapid urban expansion and railway construction of late 19th-century, early 20th-century Rome.

But we are extremely fortunate because the surviving decorations and frescoes from that ancient site are preserved and exhibited on the second floor of the Palazzo Massimo alle Terme, part of the National Roman Museum about which I have been going on and on about for several posts.

The detached fresco panels show elaborate perspective designs, delicate architectural frameworks, and decorative pavilions. The artwork represents the rich interior decoration styles used in high-society Roman residences during the peak of the empire. The gallery also exhibits geometric floor mosaics and black-and-white plant motifs recovered from the same Termini archaeological zone.

The frescos are outstanding because they illustrate the development of pictorial styles in the full Imperial Age. They represent refined examples of Roman painting, often characterized by illusionistic perspectives and fantastical settings typical of sumptuous urban residences.The paintings are very refined.

I found this source very helpful in understanding the timeline: (https://exhibitions.kelsey.lsa.umich.edu/galleries/Exhibits/Empire2/objects/termini.html),

And I found this video fascinating: https://www.youtube.com/watch?v=y00HVpFlDSk

If you watch the first minute of this video, you’ll see what the earlier,1860s, train station looked like in Rome: https://youtu.be/mCgmaiR5sVY

The current Stazione Termini was finished just after WWII. see it here: https://youtu.be/S7q49xdVPfM

And, if you’ve got time, try this 1950s movie! Bet you’ve never seen it! https://youtu.be/_ZJbqmKE16k Imagine, an entire film set pretty much within the Stazione Termini.

Here’s a postscript about the film:
Terminal Station (Italian: Stazione Termini, released in the United States as Indiscretion of an American Wife) is a 1953 romantic drama film directed and produced by Vittorio De Sica and starring Jennifer Jones, Montgomery Clift and Richard Beymer. Truman Capote was one of the screenwriters. It tells the story of the love affair between a married American woman and an Italian/American academic. The title refers to the Roma Termini railway station in Rome, where the film takes place. The film was entered into the 1953 Cannes Film Festival.

Terminal Station was the first Hollywood film by Italian director De Sica, as an international coproduction with American mogul David O. Selznick. The collaboration was fraught with constant and severe creative differences that resulted in two different versions of the film, an 89-minute Italian version and a 72-minute American recut version with a different name. After this experience, De Sica never again worked with a Hollywood producer, although he later directed English-language films with American actors.

The Eternal City, with its endless stories to tell.

Alla prossima!