Museo Bardini has re-opened in Florence

And I paid a visit.  It was not like the old days, where you could wander at will, which is very sad.  Now they have a “percorso” or path, which you have to follow and they have guards in every room watching you like a hawk.  It didn’t feel like they were watching out for Covid.  It felt like they thought I was going to damage or steal the art.  I didn’t care for it.  Plus, I was one of 3 visitors.  I mean, really?

Despite my complaints, the museum is still a wonderful place with a fascinating collection. It is one of my favorite museums in Florence.  Here are a few of my favorite things:

 

 

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The unusual sculpture above, showing a woman breast feeding 2 children at once, is explained in the label above.

 

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Here’s some info about the collector for whom the museum is named:

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And here are some of his eclectic objets:

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It’s official.  My new favorite art form is medieval sculpture.  I mean, look at the examples above and below.  Did you ever see a sweeter angel above?

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And, above, check out the lion caryatid figure.  Notice that he has a poor ram pinned below his feet, for all eternity.  The poor ram.  I love the primitive charm of these sculptures!

 

 

When I backtracked to take a picture of this gorgeous Renaissance doorway was when I knew my visit yesterday was not going to be the carefree affair of the olden days.  A mean, older woman reprimanded me for taking a few steps back towards where I had come from (although how you would notice the far side of the doorway you are walking through is beyond me), cackling at me that you must follow the path forward (I saw no signs showing me the path ahead either).

But, forget about her…look at the sumptuous doorway.  Wow.  What it must have felt like to use such casings.

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Going upstairs, like a good girl, I arrived in the room for which I had come.  I could spend hours in this gallery, if they would turn on all of the lights and get rid of the guards acting like I was going to damage the artworks.

 

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Donatello’s Madonna and Child with the Apple

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Donatello’s Madonna and Child, known as the Madonna and the Ropemakers:

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And then there are the cassone, or the wooden chests (like a hope chest for an aristocratic Italian woman), that Bardini collected.  If they would turn on the lights in the gallery and let me get close to the works, I would be in heaven.  As it is, I’m halfway to heaven, just looking at the furniture and thinking about the girls/women whose lives they represent.

 

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And then there are the cornice: the incredible frames that Bardini collected. Any American art museum would give eye teeth for one of these marvelous frames.

 

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Moving into another gallery, I pass through another sumptuous doorway casing:

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Beautiful painted crucifixes were also collected by Bardini.  Below them, more cassone.

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I could spend a day in this museum just studying the ceilings:

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Or the Sienese sculpture:

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Below, you might think you are looking at a rug on a floor, but it is a ceiling:

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Upon leaving my favorite galleries, I go down this stairway, lined with rugs hung on walls.  Very effective.

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What a collection.  Despite the guards, I love this museum!

San Giovani Day, June 24, 2020

The Feast of St. John, a Public Holiday in Florence

Today, June 24, is The Feast of St. John the Baptist, and therefore a public holiday in Florence. It is a day off for the general population, with schools and most businesses closed.

In Florence, a parade traditionally occurs at the city center, followed by fireworks in the evening.

This year, with social distancing, will be quite different:

On June 24, San Giovanni, the city’s patron saint, is usually remembered by the pomp and circumstance of a parade, the final of bombastic local sport Calcio Storico and a spectacular late-night firework display. For obvious reasons, crowds will not be cramming the streets this year. Instead, an impressive combined celebration is in the making by Florence, Genoa and Turin, who share a patron saint in St John the Baptist [read]. Florence will be illuminated by a light show instead of fireworks, lasting from sunset until midnight. Porta San Gallo, Porta alla Croce, Torre di San Niccolò, Porta Romana, Porta al Prato, Porta San Frediano, San Miniato al Monte and Istituto degli Innocenti will all act as canvases for the illuminations, but the highlight is likely to be three streams of light cast onto the lantern at the top of Brunelleschi’s Dome.

June 24 will be a day of culture for all, with free entrance to the Museum of the Palazzo Vecchio Museum (10am-3pm), the Bardini Museum and Novecento Museum (both 3-8pm). In terms of music, singer-songwriter Irene Grandi will perform in the Palazzo Vecchio’s Salone dei Cinquecento and Zubin Mehta will conduct the orchestra of the Maggio Musicale Fiorentino opera house in the Duomo.

St. John the Baptist (San Giovanni) is Florence’s patron saint. He was beheaded around the year 30 CE, having been a preacher and religious leader during Jesus’ lifetime. Baptism rituals in the Jordan River were an important part of his ministry. St John’s birthday is celebrated on June 24 in many churches.

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Images of St John the Baptist often depict him wearing a camel-skin robe and with a cross and a lamb. He is often shown baptizing people, particularly Jesus. Below is Giotto’s imagining of the event:

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It is believed that the Cathedral of San Lorenzo in Genoa keeps relics such as John the Baptist’s ashes.  Florence’s cathedral also is said to own some of his relics.

On my recent visit to the Palazzo Vecchio in Florence, I happened upon this interesting fresco which shows the celebration of St. John in the 1500s.  I guess this fireworks tradition is truly an old tradition.

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So why is St. John the patron saint of Florence?
Well, it happened so long ago we really can’t know for sure, but there are some theories. After their conversion to Christianity (yes, that is how long ago we are talking), the Roman Florentines selected the patron saint that correlated to their original pagan patron, the god Mars.

To make conversion easier, Christians came up with a clever way of associating certain saints with a Roman counterpart.

St. John must have seemed pretty rugged, hanging out in the desert with his hairy undergarment, so maybe that’s why he got matched up with the God of War.

According to tradition, the new Christians then re-founded their main temple to Mars, what we now call the Baptistery, as a church to St. John. The dating is problematic, but we won’t get into that now. Let’s just note that Dante called the building the “beautiful San Giovanni.”

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After the mid-13th century, St. John even decorated one half of the new Florentine coin, the florin.

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It is understandable, then, that the feast day of Saint John has been celebrated in Florence from the Middle Ages and on. Traditionally, this holiday included festivities that lasted for as many as three days, corresponding to the European celebration of the Summer Solstice, which typically falls on June 21 – June 24th. Contemporary celebrations, however, tend to be condensed into one day.

So, every year on June 24th, –at least prior to Covid 19– the saint’s feast day, Florence (along with a few other pro-John cities) celebrates the feast of this great patron. The now single-day festival begins with a historic parade, which starts at Piazza Signoria and continues to the Baptistery, with an offering of candles for the Saint in his most sacred house. After the parade, there is a mass, which includes a public showing of the Saint’s relics (an event that only occurs on that day and hence is very holy).

June 24th ends with a traditional fireworks display in Piazzale Michelangelo. Crowds gather around the Arno for the best view of the hill and there is a general sense of merriment all around. These fireworks, called fuochi di San Giovanni, are pretty big and visible from quite a few spots along the water. It is a good show and a great end to a gorgeous summer day full of fun, parades, and costumes.

The Pazzi Chapel at Santa Croce

Part 6 of my recent visit to the magnificent Franciscan basilica of Santa Croce. You can find the other posts here.

Check out Santa Croce from the front.  I wonder how long we can enjoy the city before the tourists return? Not sure, but I am enjoying every second of the city in its current, quieter state.

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When you leave the interior of the church, walking into the cortile, you immediately see the splendid Pazzi Chapel.  The chapel wasn’t accessible yet when I was there, but even a look from the outside is enough to calm the soul.

 

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The Pazzi is seen in the plan below; note the circle in the plan and that’s the chapel. You can see how the green lawn in front sets it off.  Green grass is a rare commodity in Florence.

 

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Santa Croce, Part 5, June 2020

We have finally reached the final stretch of my recent visit to Santa Croce.  For the past few days, I have posted similarly on other parts of the church (you can find the posts here).

First, this tomb commemorating Rossini:

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Next up is one of the masterpieces of Santa Croce.  It is the tomb for Leonardo Bruni, created by Bernardo Rossellino:

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Then, the creme de la creme of sculpture in all of the Renaissance, in my humble opinion.  I adore this monument by Donatello.

 

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Moving further along towards the western end of the side aisle, we arrive at Canova’s tomb to Alfieri. I used to swoon for Canova and Neoclassicism.  I still like this sculptural work.

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And Dante, who was exiled and whose body is preserved in Ravenna.  In the 19th century he was given this cenotaph in the celebrity burial place of Florence, Santa Croce.

 

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I love the way the couple is admiring this monument in these pictures.

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And then, of course, there is the tomb for Michelangelo, created by Vasari.

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And, upon leaving (or entering) the basilica, the font with holy water for the faithful is perhaps the most beautifully wrought example of its kind:

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Niccolini tomb on the western wall, between 2 portals.

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Santa Croce, part 4, June 2020

Following the recent reopening of this Franciscan basilica, I continue with my first visit of the church (for parts 1, 2 and 3 see here).  We begin here at the east end of the basilica, in the chapels to the right of the Peruzzi Chapel:

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Below is a major reliquary.  I find this aspect of the Roman Catholic Church so strange.

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Looking west from the eastern wall, I see this neoclassical tomb.

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Castellani Chapel by Agnolo Gaddi and his workshop:

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Santa Croce, part 3, June 2020

Following the recent reopening of Florence’s major Franciscan basilica, this is part 3 of my first visit of the church (parts 1 and 2 are here and here).  We have reached the altar end of the basilica and here it is in all its glory!

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First, let’s have a detailed look at the altar in front of the apse:

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Also on display near the altar is this incredible Medieval painted altarpiece depicting St. Francis and scenes from his life:

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I will be writing a post on the frescoes in the main chapel behind the altarpiece.  Right now, they have it roped off and I couldn’t get into it to take decent pictures. Looking into the apse area behind the main painted altarpiece:

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OK, so now we move into the big leagues as far as art historian are concerned.  Two of Giotto’s major works are to be found in adjoining chapels in Santa Croce.  They are the Bardi and Peruzzi family chapels. The first one is the Bardi chapel, depicting scenes from the life of St. Francis:

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And now, the Peruzzi Chapel. Sadly, the frescoes are in very bad condition, having been partially painted a secco by Giotto, which means the true fresco technique did not allow the colors to become a part of the wall.  Plus, the frescoes were badly abused over the centuries, sometimes even being covered with white wash.

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Here’s an overall view of the 2 family chapels next to each other on the east end of the church. The Bardi is to the left, under the stained glass window, and the Peruzzi is to the right of it:

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Santa Croce, part 2, June 2020

Following the recent reopening of this Fransciscan basilica this week, I continue (see Part 1 here) with my  visit of the church following the quarantine.

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Below is a plan of the church.  My tour is coming from West to East along the north side of the basilica.

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Below,  I pick up my tour from the almost at the crossing. The first work on this tour today is Desiderio da Settignano’s tomb for Carlo Marsuppini. Santa Croce is rich in artworks and this is one of the best. Try as I might, these pictures do not do the tomb justice.

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Moving on to the next tomb on this side aisle, we have the monument to Raffaello Morghen, by Odoardo Fantacchiotti (1809-1877). Morghen was a celebrated engraver of Leonardo’s Last Supper in Pinacoteca Repossi. Morghen died in Florence in 1833.

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Next is a plaque honoring Raphael.  It commemorates the 500th anniversary of his death.  His tomb in in the Pantheon in Rome.

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There is more to come.  Watch this space.