Emporio Duilio 48, Firenze

The “Emporio Duilio 48,” was founded in Florence (in the current Coin department store building, in Via de ‘Calzaiuoli) in 1902.  The sales formula was, everything was under the price of 48 cents.

It is a fascinating story about early 20th-century Florence, with the tragedy of WWII a part of it.

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The creator of the formula “all at 48 cents” was Joseph (Giuseppe) Siebzehner who was born in Vienna in 1863 and died in the Milan-Auschwitz route in the train departed on 29 January 1944 from platform 21).  He was a Jewish merchant of a large Polish family, originally from Kańczuga (south-eastern Poland), married to Amalia Koretz (born in Plzeň on 15 March 1871 and dead in Auschwitz), daughter of Ferdinando.

The Siebzehner, already active in trade in Vienna at the end of 1800, took over the commercial activity called Grande Emporio Duilio and founded in Florence in 1888 by the Papalini brothers, who in turn had taken over the renowned Bazar Bonajuti, founded in 1834 by the architect (son of merchant) Telemaco Bonajuti.

The expansion of the Florentine headquarters in 1907 gave rise to the new name Emporio Duilio 48. This was soon joined by the two more stores in Montecatini and Viareggio; the latter was initially located in a bench where today stands the renowned shoe store Gabrielli, next to Magazzini 48.

It seems that after 1911 there were also 2 stores in Bologna, named simply: Emporio Duilio.

It’s clear that Giuseppe Siebzehner was a cutting-edge merchant, ahead of his time in Italy.

In fact, from the family archive (owned today by Count Federico di Valvasone and the last descendant, Riccardo Francalancia Vivanti Siebzehner), it emerges that Giuseppe already had two exclusive contracts at the end of the 19th century.

One with a comasco producer of festoons, lights of paper and decorations for the holidays.

The other, even more important, was with the great Bolognese blacksmith, Giordani, who built prams, tricycles, and especially bicycles for which he became a famous producer after WWI.

Even more avant-garde, Joseph was the first to produce a product catalog with mail order, a forerunner of today’s online shopping phenomenon.

The activity later passed into the hands of Giuseppe’s sons: Giorgio Vivanti Siebzehner (born in Florence, 1895 and died in Florence, 1952), lawyer and author of the Dictionary of the Divine Comedy and his brother Federico (born in Florence, 1900 and died in Florence in 1978), an electronic engineer who was among the first in Italy to conduct extensive experiments on ceramic resistance at the Italian Ceramics Society – Verbano. He, was awarded the honor of Knight to Merit of the Italian Republic in 1956.

Over time, the Francalancia Vivanti Siebzehner heirs of Valvasone and Bemporad took over the property until the commercial activity was sold to Coin Department store in 1988. The Viareggino building was instead ceded to the Fontana family in the 1990s. They later opened the Liberty Store, one of the most famous record and video games stores in the city.

 

Celebrating women art patrons: Gertrude Stein

Gertrude Stein (1874–1946)

Expat American writer who hosted the avant-garde art world at her Paris salons

Screen Shot 2019-09-05 at 08.18.50Through collecting art, American writer Gertrude Stein solidified her position among avant-garde artists in Paris, and found a community that was supportive of both her experimental work and her lesbian lifestyle. In 1901, Stein dropped out of Johns Hopkins Medical School and followed her aspiring-artist brother, Leo, to London and then Paris.

Through Leo, Stein began to acquaint herself with the bohemian artists living around the Montmartre neighborhood. In 1905, Stein met Pablo Picasso. He began to paint her portrait, which he finished the next year. It was a crucial step in the development of modernism: In the picture, Stein’s face adopts a flatness and mask-like quality that Picasso would soon push to the extreme in Les Demoiselles d’Avignon (1907), the firstCubist painting.

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Stein’s patronage helped Picasso to continue painting throughout the early 1900s before he received international acclaim. His portrait of Stein is seen above her left shoulder in the photograph below.

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Stein also collected work by Paul Cézanne, one of the great Post-Impressionist painters, renowned for his radiant landscapes, intense portraits, and complex still lifes.
,Juan Gris and Henri Matisse also benefited from her patronage. Meanwhile, Stein produced her own groundbreaking body of literature, which grew to include Three Lives (1909), Tender Buttons (1914), and The Autobiography of Alice B. Toklas (1933).

The American Memorial Chapel at London’s St. Paul’s Cathedral

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The website of  St Paul’s proudly states that “the UK has had a long relationship with the American people, formed largely after the Second World War, a conflict in which thousands of Americans based within the UK were to give their lives.”
The most visible striking reminder of this sacrifice and subsequent deep friendship can be found beyond the High Altar at the very east end of the Cathedral, in the American Memorial Chapel, a space rebuilt after being destroyed in the Blitz and dedicated in its entirety to the American dead of WWII.

 

At the heart of the chapel sits a huge, 500-page, leather-bound book; a roll of honor to the 28,000 Americans – from Aaberg to Zingale – stationed in the UK who gave their lives throughout the War. The book opens:

Defending freedom from the fierce assault of tyranny

they shared the honor and the sacrifice.

Though they died before the dawn of victory their names and deed

will long be remembered where ever free men live.

Thousands of the men named in the roll of honor died on the Normandy beaches on D-Day, as well as in training operations in the lead up to the campaign and in the subsequent battles on the European mainland, right up until the day on which the Allies celebrated Victory in Europe.

The book was unveiled in 1958 at a service to dedicate the Chapel, attended by The Queen and American Vice President, Richard M Nixon.

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A year later, President Dwight D Eisenhower visited the Chapel and the roll of honor. Words in the book written by the President, who as a soldier commanded the Allied troops on D-Day, read:

Each name inscribed in this book is a story of personal tragedy and a grieving family; a story repeated endlessly in white crosses girdling the globe. The Americans, whose names here appear, were part of the price that free men have been forced a second time to pay in this century to defend human liberty and rights.

Fittingly, this roll of honor has been enshrined by the Mother Country of all English-speaking democracies in this special chapel of St Paul’s, once a target of barbaric attack. Here, we and all who shall hereafter live in freedom will be reminded that to these men and their comrades of all the Allies we owe a debt to be paid with grateful remembrance of their sacrifice and with the high resolve that the cause for which they died shall live eternally.

St Paul’s proudly states that the chapel itself is truly a place for all Americans. The three stained-glass windows contain the state symbols of every American state. The wood carvings contain the birds, plants and flowers of America and hidden away in one panel are a space rocket and stars – a nod to the space program that was being developed at the time the Chapel was completed.

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Each November, St Paul’s holds a US Thanksgiving service, to which all Americans in London are invited.

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I visited this august memorial last month and was struck by its peaceful majesty.  In this calm, quiet space, the American war dead are remembered.  The inscription in the floor tells the story, simply and beautifully. It reads: “To the American dead of the Second World War from the People of Britain.”

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Sad and true, the anti-reforms in Italy’s art world

https://www.telegraph.co.uk/news/2019/08/22/director-florence-museum-home-michelangelos-david-forced-italys/?fbclid=IwAR0VBbAXxL02sU8ye1FYAl8aL-ioU3lh5xhR0t8DkPeQxebVbk4qUAwWEwg

 

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Sadly, the reforms that allowed even foreign art world personnel to guide Italian public museums have been repealed. You can read about it here:

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https://www.ft.com/content/61380d42-c33b-11e9-a8e9-296ca66511c9?sharetype=blocked&fbclid=IwAR2aJOQH_BnAQRoeT849n6zEwKkJ0J1KH1gQdEMsos4s7bJMk4qoqw67RgA

Il Duomo, Prato

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The Prato Cathedral (Cattedrale di San Stefano) is a handsome Roman Catholic Church in Prato, Tuscany, Central Italy. It is one of the most ancient churches in the city, already in existence in the 10th century. It was built in several successive stages in the Romanesque style. The church contains a number of notable works of art, in particular fine sculpture.

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Prato’s church of Saint Stephen was built in a green meadow (in Italian: prato) after an appearance of the Virgin Mary near the village of Borgo al Cornio (the present center of Prato). The first building was a small parish church. which the earliest document dates to AD 994.

The expansion of the church began in the 15th century and transformed the modest building into one of the most lovely Gothic-Romanesque buildings in Tuscany.

The video below shows the annual celebration during which the relic, the so-called “sacred belt or girdle” of the Virgin Mary is shown.

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The church we see today dates from the Romanesque period of the 12th century: the nave, side walls and greater part of the bell tower remain from this date. The upper stage of the bell tower was constructed in 1356.
The church’s exterior pulpit by Donatello and Michelozzo:

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In the 14th century, the cathedral obtained a relic, the so-called Sacra Cintola or “Holy Belt” of the Virgin Mary and the church was re-envisioned.  The 2nd facade was built, allowing a transept to be constructed between the old facade and the new one. This space gives way to a new, exterior pulpit, built by Michelozzo and decorated by Donatello, between 1428 and 1438.

The exterior pulpit was constructed on the right front corner of the facade.

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The seven original reliefs of the parapet were removed from the pulpit in 1967 and can be seen today in Prato’s cathedral museum.  Here they are, photographed inside the museum:

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The church was built with a Latin cross ground plan in Romanesque style.  The aisles are separated from the nave by elegant columns of green serpentine, the capitals being attributed to Guidetto. The vaults, designed by Ferdinando Tacca, were added in the 17th century.

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The north aisle houses a notable Renaissance pulpit in white marble (1469–1473). The base is decorated with sphinxes. The parapet has reliefs by Antonio Rossellino, portraying the Assumption and the Stories of St. Stephen, and by Mino da Fiesole portraying the Stories of St. John the Baptist.

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The Assumption Chapel in the transept was frescoed in 1435-1436 by the so-called Master of Prato and by a young Paolo Uccello, who painted the Stories of the Virgin and St. Stephen. They show a bizarre fantasy of enchanted figures caught in a wide range of brilliant colors, and surrounded by Brunelleschi-like architectures.

In the main chapel, or chancel, Filippo Lippi and Fra Diamante painted the Stories of St. Stephen and St. John the Baptist.

On the lower north wall are depicted the Obsequies of St. Stephen, in which Lippi portrayed Pope Pius II, set in a Palaeo-Christian basilica, as an imposing figure in scarlet costume. On the right is the artist’s self-portrait. On the opposite wall is Herod’s Banquet, showing a large hall in which Salome is performing her ballet, and the handing over of the head of John the Baptist to Herodias. The altar is by Ferdinando Tacca (1653).

The Manassei Chapel was frescoed by a pupil of Agnolo Gaddi in the early 15th century with Stories of St. Margaret and St. James. The last chapel on the left, the Chapel of the Inghirami, houses a funerary monument attributed to Benedetto da Maiano and a stained glass window from the early 16th century.

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Villa Palmieri in the 19th century, including visits by Queen Victoria

Queen Victoria paid three extended visits to Villa Palmieri in Florence. Florence was one of the favorite holiday locales for the British monarch.  Some labels on trees at the villa record three visits of Queen Victoria to Villa Palmieri in 1888, 1893 and 1894.

In 1888, the New York Times published an article about the Queen’s visit to the villa, giving us an amazing window into 19th-century life. From it we learn that before arriving at Villa Palmieri (she typically came for about a month) sent her personal items. Here’s the Times article:

Queen Victoria’s private apartments at Villa Palmieri, on the first floor, were almost entirely furnished by the Windsors. Her majesty sent the bed, the furniture, a bathroom, with all the bathroom fixtures, a rocking chair, two armchairs, a sofa, a desk and a desk, as well as two portraits of the Prince Consort, a box of photographs of the members of the family and a basket of books. (…) that a kiosk on the ground floor of the villa, with a beautiful view, and here the Queen spends most of the time and during sunny days a tent is mounted above the terrace of the living rooms on the ground floor, overlooking the garden, with a large balustrade to which are hung vases full of flowers.” New York Times, April 29th 1888.

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The view above is of Villa Palmieri from a late 19th-century postcard, showing us how the villa looked as the Queen arrived.

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Data dell’opera: 1873
Collocazione: Firenze, Villa Palmieri
Fotografo: Pachò Lodovico

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Data dell’opera: 1873
Collocazione: Firenze, Villa Palmieri
Fotografo: Pachò Lodovico
Data dello scatto: 1920-1930
Luogo dello scatto: Firenze
Collezione: Collezione privata-ex Collezione Malandrini/Deposito Raccolte Museali F.lli Alinari (RMFA), Firenze

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Veduta parziale del laghetto e del giardino, di Villa Palmieri, a Firenze.
Credito fotografico obbligatorio:
Archivi Alinari, Firenze
AVVERTENZA:
Autorizzazione obbligatoria per utilizzi non editoriali: rivolgersi ad Archivi Alinari
Data dell’opera: 1873
Periodo e stile: Romanticismo
Collocazione: Firenze, Villa Palmieri
Fotografo: Brogi, Giacomo
Data dello scatto: 1920 – 1930 ca.
Luogo dello scatto: Firenze, Villa Palmieri
Collezione: Archivi Alinari-archivio Brogi, Firenze

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Cortile di Villa Palmieri, a Firenze, con al centro una vasca circolare attorniata da vasi di fiori.
Credito fotografico obbligatorio:
Archivi Alinari, Firenze
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Data dell’opera: 1697 ca.
Periodo e stile: Tardo Barocco
Collocazione: Firenze
Fotografo: Brogi, Giacomo
Data dello scatto: 1890 ca.
Luogo dello scatto: Firenze
Collezione: Archivi Alinari-archivio Brogi, Firenze

 

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Credito fotografico obbligatorio:
Archivi Alinari, Firenze
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Fotografo: Brogi, Giacomo
Data dello scatto: 1890
Luogo dello scatto: Firenze
Collezione: Archivi Alinari-archivio Brogi, Firenze

 

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Credito fotografico obbligatorio:
Archivi Alinari, Firenze
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Fotografo: Brogi, Edizioni
Data dello scatto: 1880-1890 ca.
Luogo dello scatto: Firenze
Collezione: Raccolte Museali Fratelli Alinari (RMFA)-collezione Malandrini, Firenze

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Una stanza arredata in stile ottocentesco a Villa Palmieri, Firenze
Credito fotografico obbligatorio:
Archivi Alinari, Firenze
AVVERTENZA:
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Fotografo: Alinari, Fratelli
Data dello scatto: 21/03/1893
Luogo dello scatto: Firenze, Villa Palmieri
Collezione: Archivi Alinari-archivio Alinari, Firenze

 

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Credito fotografico obbligatorio:
Archivi Alinari, Firenze
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Fotografo: Borgiotti, Fratelli
Data dello scatto: 1880 ca.
Luogo dello scatto: Firenze
Collezione: Raccolte Museali Fratelli Alinari (RMFA)-collezione Malandrini, Firenze

 

 

 

 

 

Mary Quant

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Last month I got to see the Mary Quant exhibition at the Victoria and Albert Museum in London.  It was a childhood dream to wear Mary Quant fashion.  Her work was not for sale in the small interior West American town where I grew up.  But, my mother could sew anything and she fashioned some Quant designs for me.  It breaks my heart that we didn’t keep all of those great things my mom sewed. But, they are stored in my memory and I remember how I felt when I wore them.  That suffices in a pretty big way.  Thanks mom!

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But Mary Quant’s fashions, along with Twiggy and the Beatles, were a big part of my burgeoning (teenage) identity.  Well, I mean that’s obvious.  The name of my blog is from the Beatles: “Get back!”

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The photo above of legs and the next 3 of hair were the kind of thing that fired my imagination.  I couldn’t buy her fashions in South Dakota in the 1960s, but I could wear the tights and haircuts she inspired!  And I did!

 

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The rest of my pictures of the V & A exhibition are in no particular order.  It was a great and very fun show, and I loved seeing and snapping pix of it.

 

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The next photo was completely my scene.  I wore these styles, these colors, and this vibe.

 

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I didn’t know about Mary Quant’s paper dolls, or sticker books, or I would have been seeking them out.  We didn’t have the internet back then, but I bet I could have figured it out, long-hand, so to speak.  I guarantee you that I would have placed an international order with my babysitting money and waited for months to receive my treasures.  This is how I honed my long game, which I still use with great results.

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The jersey dress changed fashion.  I’m a big fan and I still wear it.

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Was Villa Palmieri the setting for Boccacio’s Decameron?

In Boccaccio’s literary masterpiece, The Decameron, three young Florentine nobles and 10 of their friends (the Decamerone) take refuge from the Black Plague in a villa outside Florence.  It is believed that the actual location for the story was the Villa Palmieri, which still stands today in the village of San Domenico, near Florence.

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An aerial view of the Villa today.

The history of the villa is fascinating. We know that it was in existence at the end of the 14th century, when it was owned by the Fini family. They sold it in 1454 to the noted humanist scholar Matteo di Marco Palmieri, whose name it still bears. Palmieri was a Medici family friend.

One of the descendants, Palmiero Palmieri, restructured the gardens in 1697, sweeping away all vestiges of the earlier arrangements to create a south-facing terrace, an arcaded loggia of five bays, and the symmetrically paired curved stairs (tenaglia) that lead to the lemon garden in the lower level. The lemon garden survives, though postwar renovation stripped the baroque décor from the villa’s stuccoed façade.

In the later 18th century, the house was acquired by a newly ennobled 3rd Earl Cowper.

By 1840, the villa was the home of French novelist, Alexandre Dumas. Dumas describes the villa in his book of Florentine travel essays, La Villa Palmieri (Paris, 1843): “It was in this house that Boccaccio wrote his Decameron. I thought its name would bring me happiness, and set up my office in the same room in which, four hundred and ninety-three years earlier, Boccaccio had established his.”

In 1873 the villa was purchased by James Ludovic Lindsay, 26th Earl of Crawford who recreated part of the grounds in the fashionable English naturalistic landscape manner of parkland dotted with specimen trees.  Lindsay also had plantings of exotic, tender plants that could not be grown in the open in England. His commissions included also the scenic basin of the Fountain of Three Faces and a little chapel in neo-Baroque manner to one side of the villa.

Queen Victoria chose Villa Palmieri as her vacation locale several times in the late 19th century, and the Villa and the Queen will be the subject of another post coming soon.

From 1907-1925, the villa was owned by Chicago industrialist James Ellsworth.

The Villetta, an outbuilding formerly part of the extensive Villa Palmieri grounds, was purchased in 1927 by Myron Taylor, the American ambassador to the Holy see, who recreated a Beaux-Arts version of an Italian terraced garden and named it Villa Schifanoia.

Below, a detail of the villa, photographed c. 1930

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Veduta del cortile di Villa Palmieri, a Firenze.
Credito fotografico obbligatorio:
Archivi Alinari, Firenze
AVVERTENZA:
Autorizzazione obbligatoria per utilizzi non editoriali: rivolgersi ad Archivi Alinari
Data dell’opera: 1697 ca.
Periodo e stile: Tardo Barocco
Collocazione: Firenze
Fotografo: Brogi, Giacomo
Data dello scatto: 1920 – 1930 ca.
Luogo dello scatto: Firenze, Villa Palmieri
Collezione: Archivi Alinari-archivio Brogi, Firenze

During the WWII the villa became a military garrison and some parts, including the baroque decorations on the façade, were destroyed.

The current owners, the Benellis, restored it.

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“Unlike the Gamberaia, ” Georgina Masson observed in her book Italian Gardens, “Villa Palmieri has suffered from having been a ‘show-place’ and the alterations of many owners to suit the fashions of their day, so that little of its original character remains.”

Today the oldest remaining parts of Villa Palmieri are the oval geometric garden of lemons which are set out in warm weather ranged round the central circular basin, itself framed in quadrant spandrels, all framed in clipped low boxwood hedging, following an 18th-century engraving of this garden space by Giuseppe Zocchi.

The upper terrace is supported on the vaults of the limonaia, glazed in the 19th century, where the lemon trees were protected from the very occasional hard frost. Some labels on trees record three visits of Queen Victoria to Villa Palmieri, in 1888, 1893 and 1894. I’m writing a post about the Queen and the villa soon.

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So, was this villa really the setting for Boccaccio’s Decameron?

In fact, we don’t know.

Describing the Third Day in the Decameron, Boccacio mentioned a paradisiacal garden on the outskirts of Florence where the young people met. From the description, it seems that the garden faces south towards Florence, therefore it would be on the slopes of Fiesole.

There are not many villas of 14-century origin in that area and so scholars believe Boccacio’s setting is almost certainly Villa Palmieri.  At that time, the villa was already endowed with large farms, meadows and water sources described by Boccaccio.

The complication is that in the neighborhood of the Palmieri, there were several annexed buildings, which in turn later became villas, and any of them were as likely to have been the setting described by Boccaccio as Palmieri itself.

Among these are the Villa Benelli from the name of the family that lives there, or Villa Schifanoia, which was once included among the properties of Villa Palmieri.

Boccacio’s description of the fictional villa in Fiesole, where his young people retreated from the Black Death raging in Florence to tell stories, is too general to identify any one villa securely.  You can judge for yourself:

To see this garden, its handsome ordering, the plants, and the fountain

with rivulets issuing from it, was so pleasing to each lady and the

three young men that all began to affirm that,

if Paradise could be made on earth,

they couldn’t conceive a form other

than that of this garden that might be given it.

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Regardless, it is an historic and highly interesting site and I recommend visiting it whenever you have the chance. It is on the outskirts of Florence and an easy bus or cab ride from the center.

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Information Sources: Jones, Ted. Florence and Tuscany: A Literary Guide for Travellers (The I.B.Tauris Literary Guides for Travellers) (p. 44). I.B.Tauris. Kindle Edition and English and Italian versions on Wikipedia.

https://www.elledecor.com/it/lifestyle/a28033941/sfilata-givenchy-firenze-primavera-estate-2020-villa-palmieri/