Last month I revisited Orvieto. What a delight. I enjoyed the interior as practically the only visitor and, fortuitously, the clergy was preparing for Christmas services, so I got to hear the magnificent organ playing holidays hymns. I will remember this visit for a long, long time to come. Lucky for you, you get to enjoy them too!
Above the entrance of the Chapel of the Corporal stands the cathedral’s large organ, containing 5,585 pipes and originally designed by Ippolito Scalza and Bernardino Benvenuti in the fifteenth century before being redesigned in 1913 and 1975.
Gentile da Fabriano, Madonna Enthroned with Child. It is overlooked by a fresco in International Gothic style of the “Madonna Enthroned with Child”, a Maestà painted by Gentile da Fabriano in 1425. This is the only fresco saved when the stucco altars were added to the nave chapels in the late 16th century. These altars in turn were destroyed in the 19th century and only fragments of the other 14th- and 15th-century frescoes reappeared. Some of these frescoes are ascribed to Pietro di Puccio (who also painted frescoes in the Camposanto in Pisa).
The apse:
The large stained-glass quadrifore window in the apse was made between 1328 and 1334 by Giovanni di Bonino, a glass master from Assisi. The design was probably made by Maitani. Above the altar hangs a large polychrome wooden crucifix attributed to Maitani.
Construction of the Gothic wooden choir stalls was begun in 1329 by Giovanni Ammannati together with a group of Sienese wood carvers. They stood originally in the center of the nave but were moved to the apse around 1540.
Behind the altar are a series of damaged Gothic frescoes dedicated to the life of the Virgin Mary, occupying the three walls completely. They were created around 1370 by the local artist Ugolino di Prete Ilario and a few collaborators such as Pietro di Puccino, Cola Petruccioli and Andrea di Giovanni. It took them about ten years to finish. This series of frescoes were the largest in Italy at that time. They have been restored every hundred years for several following centuries. Two scenes, the Annunciation and the Visitation, were redone by Antonio del Massaro at the end of the 15th century.
The apse end of the church was cordoned off while I was there, so I couldn’t get a good look or pictures of the paintings. The fresco cycle was beautiful and I longed to get up closer. Alas, these photos will have to suffice.
When I was in Orvieto, the Chapel of the Corporal was cordoned off and I could not view it at all. Since it is the duomo’s raison d’être, I thought I should at least mention it here:
The Cappella del Corporale lies on the north side of the main crossing. It was built between 1350 and 1356 to house the stained corporal of the miracle of Bolsena. It is from this chapel that the reliquary with the corporal is carried in religious processions through the town on the Feast of Corpus Christi. In this Chapel you will find relics from the eucharistic miracle in Bolsena. Some people refer to this miracle as the miracle of Bolsena, because that is where it actually happened. However the relics are kept in this cathedral in Orvieto, because this is where the Pope was at the time. Therefore people can also refer to this miracle as the miracle of Orvieto.
And now, in closing, enjoy some Christmas music in this amazing duomo.
Scalza’s other major contribution to the church is the large Pietà he sculpted in 1579. it took him eight years the carve the four figures in this imposing marble group.
Last month I paid a visit to this incredible church. I spent the night in Orvieto, with a room with a view of the church, so I could see it in all times of day. The bonus was I was there in December, so I also got to view it through the prism of Christmas lights.
Orvieto Cathedral (aka the Duomo di Orvieto and/or Cattedrale di Santa Maria Assunta) is a large 14th-century Roman Catholic cathedral dedicated to the Assumption of the Virgin Mary.
The building owes its existence to a 13th century miracle. It was constructed under the orders of Pope Urban IV to commemorate and provide a suitable home for the Corporal of Bolsena, the relic of miracle which is said to have occurred in 1263 in the nearby town of Bolsena, when a traveling priest who had doubts about the truth of transubstantiation found that his Host was bleeding so much that it stained the altar cloth. The cloth is now stored in the Chapel of the Corporal inside the cathedral.
Situated in a position dominating the town of Orvieto which sits perched on a volcanic plug, the cathedral’s façade is a classic piece of religious construction, containing elements of design from the 14th to the 20th century, with a large rose window, golden mosaics and three huge bronze doors, while inside resides two frescoed chapels decorated by some of the best Italian painters of the period with images of Judgment Day. The cathedral has five bells, dating back to Renaissance, tuned in E flat.
The construction of the cathedral lasted almost three centuries with the design and style evolving from Romanesque to Gothic as construction progressed. The flagstone of the cathedral was laid on 13 November 1290 by Pope Nicholas IV, and construction was entrusted to chief-mason Fra Bevignate di Perugia using a design by Arnolfo di Cambio (the architect of the cathedral of Florence).
The cathedral was initially designed as a Romanesque basilica with a nave and two side aisles. However, when Giovanni di Uguccione succeeded Fra Bevignate, the design was transformed into Italian Gothic forms.
Construction continued slowly until, in 1309, the Sienese sculptor and architect Lorenzo Maitani was commissioned to solve several issues concerning the load-bearing capabilities of the building, especially of the choir. He substantially changed the design and construction of the building, increasing the similarity of the building to Siena Cathedral. The architecture of both buildings sometimes is classified as a substyle of Gothic architecture: Siennese Gothic style.
Maitani strengthened the external walls with flying buttresses, which proved later to be useless. These buttresses were eventually included in the walls of the newly built transept chapels. He rebuilt the apse into a rectangular shape and added a large stained-glass quadrifore window.
Starting in 1310 he created the current façade up to the level of the bronze statues of the symbols of the Evangelists. He also added much of the interior. He died in 1330, shortly before the completion of the cathedral, succeeded by his sons.
In 1347 Andrea Pisano, the former Master of the Works of the Florence Cathedral, was appointed the new Master of the Works. He was followed in 1359 by Andrea di Cione, better known as Orcagna. The beautiful mosaic decoration and the rose window are attributed to him.
The rose window is the most important stained glass window of a cathedral made in the Gothic era. This once octagon-based design was replaced by Orcagna with the new 22-sided polygon. This type of geometrical base is uncommon in Gothic architecture. Due to the windows unusual shape, statistical and geometric techniques were used to achieve a symmetrical design.
The Sienese architect Antonio Federighi continued the decoration of the façade between 1451 and 1456, adding some Renaissance modules. In 1503 Michele Sanmicheli finished the central gable and added the right spire, which was finished by Antonio da Sangallo, Junior in 1534.
Final touches to the façade were made by Ippolito Scalza by adding the right pinnacle in 1590 and the left in 1605–1607. All in all, the succeeding architects kept a stylistic unity to the façade.
The Gothic façade of the Orvieto Cathedral is one of the great masterpieces of the Late Middle Ages. The three-gable design is attributed to Maitani, who had clearly undergone some influence by the design scheme for the façade in Tuscan Gothic style of the Siena Cathedral by Giovanni Pisano (1287–1297) and the plan for façade of the Florence Cathedral by Arnolfo di Cambio (1294–1302).
The most exciting and eye-catching part is its golden frontage, which is decorated by large bas-reliefs and statues with the symbols (Angel, Ox, Lion, Eagle) of the Evangelists created by Maitani and collaborators (between 1325 and 1330) standing on the cornice above the sculptured panels on the piers. In 1352 Matteo di Ugolino da Bologna added the bronze Lamb of God above the central gable and the bronze statue of Saint Michael on top of the gable of the left entrance.
The bas-reliefs on the piers depict biblical stories from the Old and New Testament. They are considered among the most famous of all 14th-century sculpture. These marbles from the fourteenth and fifteenth century are the collective and anonymous work of at least three or four masters with assistance of their workshops, It is assumed that Maitani must have worked on the reliefs on the first pier from the left, as work on the reliefs began before 1310. The installation of these marbles on the piers began in 1331. They depict from left to right:
Stories of the Old Testament: Book of Genesis the Tree of Jesse with scenes from the Old Testament with messianic prophesies of Redemption. scenes from the New Testament with below Abraham sleeping: episodes from the lives of Jesus and Mary
Last Judgment: Book of Revelation Above this decoration are glittering mosaics created between 1350 and 1390 after designs by artist Cesare Nebbia. These original pieces have been replaced and redesigned in the centuries since, particularly in 1484, 1713 and 1842. Most of these mosaic represent major scenes from the life of the Virgin Mary, from the “Nativity of Mary” in the lower right gable to the “Coronation of the Virgin Mary” in the topmost gable. One of these glassmakers is recorded as Fra Giovanni Leonardelli.
Central to the mosaics is the large rose window built by the sculptor and architect Orcagna between 1354 and 1380. In the niches above the rose window stand the twelve apostles, while in niches on both sides twelve Old Testament prophets are represented in pairs. Statues in niches is typical for French Gothic cathedrals. It is therefore likely that the sculptors have undergone some influence. Eight statues have been attributed in the records to Nicola de Nuto. The spandrels around the rose window are decorated with mosaics representing the four Doctors of the Church. The frame of the rose window holds 52 carved heads, while the center of the rose window holds a carved head of the Christ.
The newest part of the decoration are the three bronze doors which give access to the entrance of the cathedral. These were finished in 1970 by the Sicilian sculptor Emilio Greco (1913–1995) depicting mercies from the life of Christ and are surmounted by a sculpture of the Madonna and Child created by Andrea Pisano in 1347.
The cathedral’s side walls, in contrast to the façade, are more simply furnished with alternating layers of local white travertine and blue-grey basalt stone.
The next few pictures were taken from my hotel room. I had a stunning view of the cathedral.
Last month I had the pleasure of visiting this private palace in Florence with a group of friends. It is still the hope of the Capponi family and so closed to the public. However, Stanford University is fortunate to call the palace home in Florence.
The curator of the palace showed us some holdings in the library, including an autographed copy of a book by Mark Twain. In the inscription, Twain recalled the character of Huck Finn. I wanted to take a picture, but this tour was very closed and it wasn’t allowed.
The 15th century façade of the palace on Via de’ Bardi.
Palazzo Capponi alle Rovinate is a late-Gothic and early Renaissance-style residential palace located on Via de’ Bardi in Florence. There are apparently three other palaces once associated with the Capponi family: Palazzo Capponi, Palazzo Capponi-Vettori, and Palazzo Capponi-Covoni.
The palace was built, perhaps by Lorenzo di Bicci (although other scholars have attributed it to Filippo Brunelleschi) for Niccolò da Uzzano. It was finished around 1426. After his death a few years later, it was acquired by the Capponi family
It has a 15th-century late-Gothic façade with a sober rustication at the lower floor, surmounted by irregular rows of mullioned windows (some closed and replaced by rectangular openings). The plan is nearly square, with a central courtyard in Renaissance style. This has porticoes on each side, with graffiti decorations dating to the 1450s and octagonal capitals in a still late medieval style. The porticoes are cross-vaulted.
The entrance on Via de’ Bardi has fresco, attributed to Lorenzo di Bicci himself, with two flying figures holding the Uzzano coat of arms. Internally, at the feet of the main staircase, is a porphyry lion, an ancient Roman sculpture from the 2nd century AD.
In the piano nobile is a small chapel with an altarpiece by Pontormo, perhaps taken from the Barbadori Chapel of the church of Santa Trinita. There is also a stained glass window, with the Deposition from the Cross, by Guillaume de Marcillat (1526).
The rear façade, added in the 19th century, overlooks the Arno River.
I was recently lucky to travel to Emilia Romagna for a few days and a highlight of that journey was time spent in Parma. I fell under the spell, while there, of the Parma violet and its association with the history of this town. You can nowadays find it in the soaps, the perfumes, the candies, and even the savory foods of Parma. Please enjoy!
Parma violets belong to the more exotic branch of the violet family. First appearing in Italy, in the 16th century, most types of parma violets have lavender flowers of varying sizes, which have an attractive fragrance.
The origins of the parma violet are unknown, though they have been shown to be derived from two different Viola alba strains, and more closely resemble, in flower colour and odour, Viola odorata. It was first imported into Naples in the latter part of the 19th century, when Filippo di Brazza took the plant to Udine. There are no records of his work, though it is widely believed that he deliberately crossbred to produce at least two varieties of parma. One of these is still available, whereas the other one is romantically believed to languish in some forgotten back garden somewhere, just waiting to be rediscovered.
Parma violets are widely believed to be sterile, and there is much store laid by their reproduction through cuttings. Armand Millet, a French violet grower, proved this belief to be a myth, however, and with the right conditions any sturdy violet could well produce a seed pod.
Parma violet is a deepish shade of violet descriptive of these flowers.
The delicate purple flowers of the parma violet plant also give their name to a delicate, violet-scented sweet Parma Violets, manufactured by Swizzels Matlow.
These are the words of Francesca Sandrini, Director of Glauco Lombardi Museum, where all of Maria Luigia’s relics are kept, a sentence that perfectly portrays the relationship between the Austrian Duchess and the violetta, which even adorned her wedding dress.
The sovereign, the second wife of Emperor Napoleon Bonaparte, became regent of the Duchy between 1816 and 1847, governing wisely and spreading her love for beauty.
She dedicated herself personally to the cultivation of this plant, as is demonstrated by the words that she wrote in Vienna in 1815, before settling in Italy: “Please let me keep some plants of Parma’s Violets with written instructions on how to plant them and make them flourish; I hope they will grow well, because I am becoming a botany scholar and I will be happy to grow this graceful little flower … “.
She showed unconditional love for this elegant flower that soon became her hallmark, to be found, engraved or painted, on plates, china, fans, thimbles, writing paper, even reaching the point of replacing her signature or monogram. Purple were also the garments and clothing of her servants and courtiers.
Not content with using violetta as a decorative pattern only, Maria Luigia even decided to make it her personal scent. Thanks to the patient work of the monks in the ancient convent of the Annunciation, the essence was extracted and the Duchess could bring her violetta everywhere, making of this scent the official perfume of the court. In 1870, after her death, the secret formula invented by the monks passed on to Lodovico Borsari, who produced and marketed the ducal essence transforming his company into the largest Italian nineteenth century perfume industry – and its success still continues today.
Besides being used for decoration and as a sedative and detoxicant in herbal preparations, the candied violetta is one of the ingredients used in confectionery to garnish desserts, ice-cream, cakes or simply to be enjoyed with coffee.
Recipe for Candied Violets
And now, the sweet conclusion of this story is the original recipe that women peasants used to prepare irresistible candied violets. After washing the flowers, they were made to dry in dark rooms and then treasured in glass jars away from light.
Ingredients:
1 cup of violets (50 Flowers)
a sufficient quantity of water
a sufficient quantity of sugar.
Wash violet flowers without removing the stem and put them down to dry on a cotton cloth.
Meanwhile, put a saucepan with sugar and a few tablespoons of water on a low fire until it gets brownish; don’t let it get caramelized.
Take violets from the stem, dip them into sugar and place them on a plane surface, covered with wax paper. Once cooled, they are ready to be used according to your fancy.
A simple recipe, whose sweet and romantic notes preserve and embody the essence of spring and of Parma!
Last month I had the chance to made a quick survey of the favorite places in Rome, just to see how the Eternal City looked at Christmas (such a luxury to be able to quench that particular thirst).
High on that list is this incredible piazza, the Piazza di Spagna. Ah, Roma! You look good: winter, spring, summer, or fall. I’d happily take any season with you!
I took these pictures last month on my whirlwind trip to the Eternal City. This hotel occupies a sweet spot in my heart.
When my son was 10 years old, I took him on his first trip to Europe. Of course it was to Italy! Where else?! We stayed at this prestigious old hotel, so centrally located, and we have very fond memories.
It was funny because at the time of our visit, some bigwig from Korea was a guest in the hotel. His/her room was opposite ours. There were armed guards watching that room 24/7. When we checked in, the clerk told us that this would be going on. He told us we’d be safer than normal. It was kind of strange, because several men would be sitting in the room across from our door; they would have their door open all the time and were usually playing cards. It reminded me of the mafia.
When I was in Rome last month, the hotel was closed. Is it closed because of Covid, I wonder? I do hope it returns when the world returns more or less to normal!
My son and I also recall fondly that on our first morning on our trip, we woke up really early (jet lag) and left the hotel to go to the Rome zoo. It was the hottest June on record (at the time), and we were at the zoo when it opened. After the zoo, James spotted a stand selling enormous balloons. He really wanted a red one. This was my first trip to Italy after the Euro was introduced and, being bad at math and conversions, I wasn’t sure what the actual cost was. I later figured it out: I paid about $40 USD for that silly balloon!
But, it turned out to be a great investment and he kept that balloon with him on our trip and even took it on the train with him to Florence. When we were at the Minerva, he let go of it accidentally and it flew to the terribly high ceiling of the lobby. We assumed it was gone to us forever, but the hotel staff insisted on finding some long sticks and brought it down for him. I always knew Italian loved children, but this moment is especially sweet in my memory. My blue-eyed, red-haired, beautiful boy was immensely happy at that time.
When you walk out of the Minerva hotel, this is your incredible view! Not bad.
get back, lauretta! 
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