Probably way past time.
Piazzale di Porta Pia, Rome
The Capture of Rome on September 20, 1870, was the final event of the long process of Italian unification, known as the Risorgimento. It marked both the final defeat of the Papal States under Pope Pius IX and the unification of the Italian peninsula under King Victor Emmanuel II of the House of Savoy.
The capture of Rome ended the approximate 1,116-year reign (AD 754 to 1870) of the Papal States under the Holy See and is today widely memorialized throughout Italy with the Via XX Settembre street name in virtually every considerable town. Rome has a major thoroughfare named Via XX Settembre of course, and so does Florence. I happen to live on the Florence street.
Of course it was important for this important event to be memorialized in Rome and the Piazzale di Porta Pia was the result.
Just outside the Porta Pia stands the Monumento al Bersagliere, erected in 1932 by Publio Morbiducci on a commission from Mussolini. Moreover, the building between the two arches facades of the Porta Pia, the internal and external facades of the gate, houses the Historical Museum of the Bersaglieri, with the monumental tomb of Enrico Toti. The Bersaglieri (means sharpshooter in English) are a speciality of the Italian Army’s infantry corps.
A marble monument from 1920 and a commemorative column commemorate the event. Even today the signs of the fighting are visible on part of the Aurelian walls and on the door itself. In front of the external door, in eternal memory of the liberation of the city from the Austrian troops during the First World War, in 1932 a monument to the bersagliere was placed by the sculptor Publio Morbiducci.
HISTORICAL MUSEUM OF BERSAGLIERI
Between the two facades that make up the door, connected by small buildings originally having a defensive function, there is a small courtyard which now houses the Historical Museum of the Bersaglieri, inaugurated on 18 September 1932 , which preserves memorabilia and memories related to the institution and the evolution of the Bersaglieri body.
In the courtyard of the Museum there are bronze busts of the most illustrious representatives of the Corps, including that of Enrico Toti , hero of the Risorgimento. In the Hall of Honor, among the various precious memorabilia, there is the original Proposition, a handwriting written by La Marmora to obtain the constitution of the Corps from King Carlo Alberto. The ground floor houses the Shrinededicated to the over one hundred thousand fallen for the homeland. At the center of the room is the saber that La Marmora wielded on 8 April 1848 in Goito. In the rooms on the first floor, memorabilia are exhibited, such as uniforms, firearms and side arms, documents and memories relating to the campaigns of the Risorgimento, from 1848 to 1866. The upper floor is dedicated to the colonial campaigns , from the first landing of the bersaglieri to Massaua, on February 5, 1885, to conquer East Africa in 1936. The lower floor is dedicated to the 1st World War with plaques, photographs, department pennants, celebratory statues, portraits and medals of commanders and simple bersaglieri, Italian weapons and Austrian. To the 2nd World Warthe ground floor where the memorabilia and objects relating to the numerous operational theaters in which the bersaglieri fought are dedicated and dedicated.
Palazzo Corsini, Firenze
Originally, the magnificent Palazzo Corsini began as a casino (a small house surrounded by a large garden) that extended to the banks of the Arno River where Lungarno Corsini is located. The casino belonged to the Ardinghelli family, then to the Medici, and finally to the Corsini: in 1649 the wife of the Marchese Filippo Corsini, Maria Maddalena Macchiavelli, purchased the palace from the Grand Duke Ferdinando II de’ Medici. Today it is in the hands of the Corsini descendants: Miari Fulcis and Sanminiatelli.
The Palazzo today appears as a late Baroque building; one sees Baroque details throughout, from the roofs decorated with statues and terracotta vases – a novelty for Renaissance Florence – and the main, U-shaped courtyard that opens towards the riverbank. The two men responsible for the way the Palazzo Corsini looks today were Bartolomeo Corsini (1622-1685), the son of Filippo Corsini and Maria Maddalena Macchiavelli and, Filippo son of Bartolomeo’s son (1647-1705) who expanded the portion of the Palazzo that extends towards Ponte S. Trinita.
The construction continued non-stop for 50 years. The magnificent interior decorations, which were completed between 1692 and 1700, belong to one of the finest and most intense moments in Florentine painting.
The family commissioned several artists to decorate the noble apartment on the first floor, that includes Galleria Aurora, the Salone, the ballroom and other important rooms; the outstanding painters include Anton Domenico Gabbiani, Alessandro Gherardini and Pier Dandini.
Let’s start at the GROUND FLOOR: consisting of the Summer Apartments and Halls of the Nymph. The decorative scheme here reveals the most romantic and decadent side of the Palazzo with the impressive frescoes and of the evocative grotto built by architect Antonio Ferri.
One level up, the main floor: from the lower floor one reaches the “noble” floor through the imposing grand staircase. From the hallway open the doors to rooms and rooms filled with beautiful frescoes and stuccoes, perfectly preserved. The coup de gras is the majestic Throne Room (320 square meters) where you can feel the ambience of noble antiquity.
Una cornice sfarzosa che si affaccia direttamente sul Lungarni e una vista intrigante. A magnificent setting overlooking the Lungarni and an intriguing sight.
Few among the private palaces of Florence are as gorgeous as the splendid Palazzo Corsini, also called “al Parione” and belonged to the famous Corsini family, in the 17th century the richest and most important of all Florence after the Medici. An ascent that culminated in 1740 with the election of Lorenzo Corsini to the papal throne with the name of Clemente XII.
With such prerequisites, it is not surprising that the building with its grandiose façade overlooking the Arno is an architectural masterpiece rich in precious jewels and a collection of paintings, the Galleria Corsini, which can be considered the most important private art collection in Florence. His style (the villla was built at the turn of two centuries, between 1656 and 1737, with at least fifty years of uninterrupted work) is that of a flourishing and decided baroque: each element is stunning scenery and decoration, with a grand façade to the front, from the terrace to the attics with balustrades, until reaching the perfect expression of the “marvelous” in the large helical staircase attributed to Gherardo Silvani.
The building is divided into three main bodies that surround a large courtyard, and among the first things that jump to the eyes there is the obvious asymmetry between the two side parts; according to the original project, in fact, the left wing had to be as big as the right one (ie about twice the current size). Also worthy of note is the crowning of the roof, with the terracotta crater vases and the balustrade decorated with stone statues, following suggestions similar to those that animated the classic “Italian gardens” destined to be famous throughout Europe.
The interiors of Palazzo Corsini at the Parione show once again the best and most fascinating insights of the baroque period, with a great work of stuccos and decorations; Particularly striking is the artificial grotto on the ground floor, designed by Antonio Maria Ferri, an artist who was also the architect in charge of permanently closing the villa’s works; to him the merit for today’s appearance of Palazzo Corsini. In addition to the Silvani helical staircase there is also a monumental staircase made by Ferri that culminates in the staircase of Pope Clement XII.
The rooms of the building are full of original decorations, with frescoes, stuccoes and decorations: especially the Salone del Trono and the Ballroom stand out, truly immense rooms (the Salone del Trono measures about 320 square meters) with rich frescoes on the ceilings, columns , eighteenth-century busts.
On the first floor, Galleria Corsini is a precious casket that holds masterpieces of timeless artists, especially relating to the seventeenth and eighteenth centuries Italian but not disdaining the Renaissance, with a prevalence of Roman, Neapolitan and Bolognese schools: among the exhibited painters, Rubens, Beato Angelico, Caravaggio, Van Dyck, Murillo, Filippo Lippi, Luca Signorelli, the Pontormo, Salvator Rosa, Luca Giordano, Gentileschi, and Giovanni Bellini. The Corsini Gallery also hosts bronzes and furniture from the eighteenth century.
Below is a history of the Palazzo Corsini from the 1905 book “Florentine Palaces, And Their Stories” by Janet Ross – some of the scholarship from that day may have changed since!
PALAZZO CORSINI: MONUMENTAL STAIRCASES AND PRIVATE COLLECTIONS
The Corsini become a wealthy Florentine family in 1500: Palazzo Corsini, also known as the Parione, located on Lungarno Corsini, is still a family home. The building is the result of the acquisition and merger of many historic houses built by different architects: Alfonso Parigi the Younger, Ferdinando Tacca, Pierfrancesco Silvani – author of the beautiful spiral staircase, and Antonio Maria Ferri – who finished the project by drawing the current frame. In addition to the spiral staircase made by Silvani and the monumental one by Ferri, the interior of several rooms of Palazzo Corsini and its halls are filled with frescoes, decorations and period furnishings. The Corsini Gallery, inside the building, is the most important private art collection of Florence, with works dating back to the 1600s and1700s, both by Italian and European Renaissance artists.
Art alert: another average street in Florence
Another street, another artist/artisan. Always hard at work.
Art alert: Just your average street in Florence
Walking down the street on a late summer afternoon, I noticed this artist, hard at work in his studio, bringing to life a cityscape of Florence. I love that just about everywhere one looks, one finds art.
The unmistakable fragrance of oil paint caught me first.
The Bargello is re-opened
It’s been a long wait, but today I got a ticket and visited the museum. It was like going home. And, the crowds were normal, like pre-Covid levels. That was a bit comforting as well.
Today I took an idiosyncratic group of photos, and skipped taking pictures of the usual suspects that I love so much (Donatello, Desiderio da Settignano et al). So, enjoy this random group.
And now, I get a bit more serious with great artwork:
Henry James once said that these two words, summer afternoon, are the most beautiful in the English language. I agree.
I have a lovely Florentine friend who has an amazing home in the picturesque hills just outside the city. I had the great pleasure of joining her for lunch recently, and here are some pictures of her beautiful home and gardens. I am very comfortable saying: I am green with envy! Maybe in my next life, I will be so lucky…!! What a gorgeous summer afternoon.
Arianna tole me her wisteria vine is at least 30 years old. It is fabulous! Luckily for me, it was on its second bloom of the season.
To lounge on a recliner under an umbrella tree and listen to the cicadas is about as close to heaven as I’ve ever been!
The secret garden in my neighborhood
Not far from my home in Florence lies a secret garden, the Orti del Parnaso, filled with lots of symbolism, including a ferocious snaked-shape fountain (water not playing in my pictures).
The garden’s name refers to Mt. Parnassus in central Greece.
The “snake” winds along the staircase leading to the lower garden and into the Giardino orticultura and its Tepidarium by Giacomo Roster.
You can enter the secret garden off via Trento, where an elegant iron gate leads to a beautiful belvedere. This takes you into the Orti del Parnaso, the highest part of Florence’s wonderful horticultural garden. Once inside, you find yourself on a splendid terrace overlooking a gorgeous panorama of the city of Florence.
Parnassus of course refers to the famous Greek mountain, which in ancient times was considered sacred to the god Apollo and the nine Muses who headquartered there. The mountain was the source of the river Castalia, which provided passage in mythology to the underworld and was a source of purification.
The fountain in this secret garden completed in 1990 based on a design by Marco Dezzi Bardeschi. It is meant to represent the myth of Python, the monstrous snake son of Gea. According to the legend, Python was covered with the mud of the Flood and could wrap the city of Delphi 7 times round with its coils. Python’s breath was so pestilential as to dry out all the plants with which he came into contact (in ancient Greek the verb “pyzein” means “to rot”). Apollo eventually killed Python on Mount Parnassus, near the Oracle of Delphi, and in its honor the pythic games were established. These games were some of the sacred holidays of ancient Greece.
In 2003 the Florentine Parnaso Garden became the seat of the Giardino dei Giusti, or the Garden of the Righteous, a place dedicated to the memory and commemoration of all those ordinary people who tried to save other human beings from persecution, genocide and acts of violence.
In recognition of this status, in the upper part of the park there is a Carob tree about 60 years old. This tree is symbol of the Garden of the Righteous of Jerusalem, dedicated to the memory of Chico Mendes, a Brazilian trade unionist killed in 1988 for his defense of the Indians of the Amazon.
In the same area there is also a 40 year old crepe myrtle, dedicated to the memory of the Tuscan cyclist Gino Bartali, who during the Nazi occupation courageously helped the Jews persecuted by the regime, an action that in 2013 earned him the appointment of “Just among the nations. ”
And, finally, here’s a video I found on Youtube:
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