Villa Salviati

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A couple of weekends ago, I had the pleasure of visiting a famous villa in Fiesole, the Villa Saliviati.

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Of course the villa has its own (gorgeous) chapel; here is a detail of the ceiling:

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And the villa also has a grotto:

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There is a lot of interesting interior detailing:

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So, now you’ve seen my pictures, let’s get some info from Wiki on the Villa:
From Wikipedia, the free encyclopedia.

History [ edit | wikitesto change ]

In the 14th century, the castle of the Montegonzi was built on this property land already belonged to the Del Palagio. In 1445, Arcangelo Montegonzi sold it to Alamanno Salviati , the man who introduced the cultivation of salamanna and jasmine grapesin Tuscany.

 

Alamanno commissioned Mielcozzian workers to reduce the castle to a villa, with a garden and woods . In 1490, the nephews of Alamanno, dividing their uncle’s assets, and gave the villa to Jacopo, who was related to Lorenzo de ‘Medici.

 

In 1493, new, considerable renovations were undertaken, to which perhaps Giuliano da Sangallo took part and which lasted about a decade.

 

Giovan Francesco Rustici also took part in the works. Between 1522 and 1526 he created for the villa a series of terracotta roundels with mythological subjects (such as Apollo and Marsyas or Jupiter and Bellerophon ).

Today the Villa’s  Limonaia is the the headquarters of the Historical Archives of the European Union.

In 1529, the house was sacked by the anti-cult faction and between 1568 and 1583 Alamanno di Jacopo Salviati and his son Jacopo further enlarged and embellished the villa, with the gardens ( 1570 – 1579 ) and the buildings that border the northern border and create a scenic backdrop connected to the villa.

New Year’s eve, 1638, was an event to remember. That evening, in this villa, the severed head of the lover of Caterina Canacci, was brought to the villa, hidden under the linen that the wife of Salviati, Veronica Cybo, sent him weekly.

The villa then passed to the Aldobrandini – Borghese and on December 30th 1844 it was bought “with a closed gate” (ie with all the furnishings) from the Englishman Arturo Vansittard.

Then came the tenor Giovanni Matteo De Candia aka Mario, who lived there with his wife, the soprano Giulia Grisi , the Swedish banker Gustave Hagerman and finally, in 1901, the Turri.

The grotto: 

During the WWII, the grotto was used as the post of an allied command: Lensi Orlandi recounted the memory of nocturnal visits of “kind and rich Florentine, often mature matrons”, who “crossed the threshold of those rooms to give honor to the admired winners” [2 ] .

There followed a long semi-abandonment, in which the villa was not accessible even to scholars (he visited Lensi-Orlandi in 1950, but could not Harold Acton in 1973 ).

In 2000 the monumental complex, together with its gardens, was purchased by the Italian Government to be destined for the European University Institute , which made it the seat of the Historical Archives of the European Union ; one can mention, among the various documents contained in them, the personal papers of the founding fathers, such as Alcide De Gasperi , Paul-Henri Spaak , Altiero Spinelli and Ernesto Rossi .

The end of the renovations took place in October 2009 and on December 17, 2009 the President of the Republic Giorgio Napolitanoinaugurated the Historical Archives of the European Union .

This villa was in communication with Villa Emilia (which was higher up) – which in ancient times was a convent of Cistercian nuns suppressed in 1453 – through an underground gallery : hence the other name with which the villa is known, “del Ponte at the Badia “.

Architecture [ edit | wikitesto change ]

The courtyard

The main body of the villa reveals its military origins, especially in the two crenellated turrets, in the corner, and in the crowning with the walkway on corbels , very similar, for example, to that of the villa of Careggi . It is made up of two adjacent buildings, but with similar architectural features: the east one is more massive and tall, the west one is of smaller volume and height.

The building is arranged around the central courtyard, portico on three sides with columns in pietra serena with Corinthian capitals ;the entablature towards the inside is decorated with graffito friezes, with the rounds of the Rustici inserted into this strip in correspondence with the round arches.

The interiors are often covered by vaulted , barrel and cross vaults .

Gardens [ edit | wikitesto change ]

The gardens

You get to the south facing of the villa through a long cypress avenue that once led to the Via Faentina and that after the construction of the railway was modified, creating a passage on it.

The Italian garden , in front of the villa, is built on three terraces at different levels and, although it is being restored, it is made up of geometric flower beds in boxwood with flowery essences. The property is then surrounded by a large English park , where there are, among other things, a bamboo grove, two ponds and, scattered here and there, various items of furniture, such as statues, temples, caves, fountains, pavilions and more.

Villa Salviati , or villa of the Ponte alla Badia , is located along the homonymous street near via Bolognese in Florence , [1]

 

When I grow up…

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I want to live here, in Florence:

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Or, maybe I’ll live here, which is right next door:

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Yes, I think I’ll choose the 2nd one, because it has a fantastic glass house and room to garden right next to it:

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If I can live in Florence, in one of these 2 neighboring houses, I think I could just spend my days reading and writing and gardening and listening to the birds, inhaling the roses and jasmine. It looks to me like paradise.

And, lest I forget where I found this place, which could happen because every day brings new wonders and it is hard to keep track of all this splendid stuff:

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Palma Bucarelli

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Palma Bucarelli (1910 –  1998) was an Italian arts administrator, the director of the Galleria Nazionale d’Arte Moderna (GNAM) in Rome from 1942 to 1975.
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Early life

Palma Bucarelli was born in Rome. She earned a degree in art history at the Sapienza University of Rome.[1]

Career

As a young art historian she worked at the Galleria Borghese and in Naples. During her thirty-three years as head of the Italian National Gallery of Modern Art, Bucarelli was responsible for protecting the gallery’s collections from damage while it was closed during World War II; she arranged to place paintings and sculptures in historic buildings including the Palazzo Farnese and Castel Sant’Angelo.[2] She was one of the Italian delegates to the First International Congress of Art Critics, held in 1948 in Paris.[3]

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After the war, she oversaw such events as exhibitions of works by Pablo Picasso (1953), Piet Mondrian (1956), Jackson Pollock (1958), Mark Rothko (1962), and the Gruppo di Via Brunetti (1968). She defended controversial works such as Piero Manzoni‘s ‘”Merda d’Artista” and Alberto Burri‘s “Sacco Grande” (1954).[1] Her strong support for abstract and avant-garde works made international headlines in 1959, when she was accused of a bias against figurative art in a public debate.[4] In 1961 she was in the United States, where she gave a lecture in Sarasota, Florida[5] and attended the opening of a major exhibit on Futurism at the Detroit Institute of Arts.[6]

Personal life

Palma Bucarelli married her longtime partner, journalist Paolo Monelli, in 1963. She died in Rome in 1998, from pancreatic cancer, aged 88 years. Her personal collection of art was donated to the National Gallery. Her famously elegant wardrobe was donated to the Boncompagni Ludovisi Decorative Art Museum in Rome. A street near the GNAM was renamed in her memory.[2] The Gallery mounted a show about her influence, “Palma Bucarelli: Il museo come avanguardia”, in 2009.[7]

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References

  1. ^ Jump up to: a b Lucia Livia Mannella, “Palma Bucarelli” Vogue Italia Encyclo.
  2. ^ Jump up to: a b “Palma Bucarelli” Dictionary of Art Historians.
  3. Jump up ^ Denys Sutton, “The First International Congress of Art Critics” College Art Journal 8(2)(Winter 1948): 130.
  4. Jump up ^ Paul Hofmann, “Art Impartiality Pledged by Italy” New York Times (March 7, 1959): 43.
  5. Jump up ^ “Italian Art Expert’s Talk is Tonight” Tampa Bay Times (9 November 1961): 13. via Newspapers.comopen access publication – free to read
  6. Jump up ^ Kathie Norman, “VIPs Impressed” Detroit Free Press (17 October 1961): 17. via Newspapers.comopen access publication – free to read
  7. Jump up ^ Laura Larcan, “Un Direttore di nome Palma Bucarelli, la Guggenheim di Roma” la Repubblica (26 June 2009).

 

https://en.wikipedia.org/wiki/Palma_Bucarelli

Florence, an open-air museum and a protected UNESCO site

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I think it is always worth reminding ourselves that Florence, the Renaissance city, is one of the most beautiful and visited art cities in the world. It is truly an open-air museum, placed in the UNESCO’s World Heritage List in 1982. Let’s make a quick rundown of some of the major sites within the city.

Piazza Duomo is the religious centre of the city, featuring the Cathedral of Santa Maria del Fiore and the majestic Brunelleschi’s Dome, Giotto’s Bell Tower, and the Baptistery of St. John the Baptist, with its world renowned bronze doors.

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The square is surrounded by wonderful palaces, such as the Archbishop’s Palace, the 14th-century Loggia del Bigallo and the recently renovated Museo dell’Opera del Duomo (Museum of the Works of the Cathedral) which recreates the original feeling of the 14th-century façade according to the first project by Arnolfo di Cambio with great technical virtuosity.

The absolute masterpiece housed within the Museo dell’ Opera is the Deposition (or Pietà) sculpted by Michelangelo for his own grave.

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In the sculpture, Nicodemo, represented at the top centre, has Michelangelo’s facial features. Some parts of this marble sculpture are unfinished, as Michelangelo often did in order to witness the spirit struggling to break free from block of stone. In 1555, in an outburst of rage, the same artist partially damaged his own sculpture with a hammer.

Piazza della Signoria is the heart of the socio-political life, as well as the seat of civil power with Palazzo Vecchio (previously known as dei Priori and della Signoria). The square hosts important works of art such as the equestrian monument of Cosimo I de’ Medici, by Giambologna. Next to the palace, you can admire the fountain of Neptune by Bartolomeo Ammannati, also called the ‘Biancone’ due to the huge white marble statue of the sea god at the centre of the fountain, riding in a chariot roomed by four horses.

In front of the main entrance of Palazzo Vecchio, you will find copies of two sculptures by Donatello: Marzocco (the lion symbolising the city of Florence) and Judith Beheading Holofernes, in addition to a copy of the David by Michelangelo, whose original statue is preserved inside the Galleria dell’Accademia (Gallery of the Academy of Florence). Next to David, the statue of Hercules and Cacus by Baccio Bandinelli, symbolises strength and ingenuity prevailing over evil.

On the right, facing Palazzo della Signoria, you will find the Uffizi Gallery, one of the most important museums in the world, which once hosted the offices and the state archives of the Grand-Duke. The museum boasts an incomparable collection of Italian and European art from the 13th century on.

In addition to masterpieces by Cimabue, Giotto, Masaccio, Botticelli, Leonardo, Piero della Francesca, Michelangelo, Raphael, Titian, Caravaggio, Dürer, and many others, there is also a remarkable collection of ancient sculptures.

The Vasarian Corridor is a spectacular elevated enclosed passageway, connecting Palazzo Vecchio with Palazzo Pitti and offering, from above Ponte Vecchio, a breath-taking view on monuments and on the Arno with its bridges. The corridor hosts a collection of self-portraits, in addition to an important 17th and 18th-century collection of paintings.
The Galleria dell’Accademia hosts the highest number of sculptures by Michelangelo, such as the Prisoners, St. Matthew and the famous David, in addition to important paintings from the second half of 13th century to the end of 16th century, as well as the Musical Instruments Museum.

The National Museum of the Bargello, located inside a palace built in mid-13th century for the Capitano del Popolo (Captain of the People), boasts some of the most important statues of the Renaissance by Ghiberti, Donatello, Verrocchio, the Della Robbia family, Michelangelo, Giambologna, and others. Do not miss the prestigious collections of little bronze statues, maiolica, wax models, enamels, medals, ivory, tapestry, furniture, seals and textiles coming from the Medicean collections or donated by private collectors.

Palazzo Pitti, with its wonderful Boboli Gardens, represents one of the most important monumental complexes with its museums – the Palatine Gallery, the Monumental Apartments, the Silver Museum, the Modern Art Gallery, the Costume Gallery, the Porcelain Museum and the Carriages Museum.

Among the most representative testimonies of the Florence Renaissance, the city boasts some masterpieces planned by Filippo Brunelleschi (in addition to his world renowned Dome) – the Ospedale degli Innocenti (Hospital of the Innocents) and the two churches of San Lorenzo and Santo Spirito – and by Leon Battista Alberti – the façade of the Santa Maria Novella church and Palazzo Rucellai.
Piazza della Repubblica is the “élite square” of the city, with its great historic cafés and 19th-century buildings. The historic centre of Florence is a shopping and entertainment paradise, with the most famous fashion designer boutiques, traditional handicraft workshops, historical markets and typical restaurants, as well as American bars, lounge bars and discos.
Do not miss the churches of San Miniato al Monte, Santa Croce and Santa Maria Novella, as well as the great masterpieces of Italian 20th -century architects, such as the Central Railway Station of Santa Maria Novella and the Artemio Franchi football stadium, respectively by Giovanni Michelucci and Pier Luigi Nervi.

Katherine Dunham and Bernard Berenson

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It had been a kind of liberation, of both mind and desire, that Berenson had discovered in reading the works of Walter Pater and in beginning to study the paintings of the Italian Renaissance, and this still rang through to his visitors seventy years later. Lewis Mumford wrote to Berenson of a visit in 1957, “To behold your own spirit burning so purely and brightly still, gave a new meaning to Pater’s old figure: ‘a hard gem-like flame.’”

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With Katherine Dunham, the African American anthropologist, choreographer,and dancer, Berenson had a sort of platonic love affair when he was just shy of ninety. He wrote that Dunham “is herself a work of art, a fanciful arabesque in all her movements and a joy to the eye in colour.” She from the first felt in him the “vitality, charm, and wisdom that are found only in truly great people” and would eventually write to him, “I left a part of myself that is deep and inner with you.”

Rachel,Cohen. Bernard Berenson (Jewish Lives)  Yale University Press. Kindle Edition.

Florence used to have a palio too!

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Do you know about the annual horserace in the heart of Siena?  Have you been?  I have and it is crazy and wonderful, and, for the horses and riders, quite dangerous.

But, did you know that Florence had its own Palio?

Above: The Florentine palio in a print by Jacques Callot

It did and the race was called the Palio dei Berbieri.  And, there were other horse races as well in Firenze.

This jockeyless horse race was held until 1870, with the course running from via Ponte alle Mosse to porta alla Croce, the site of the present day Piazza Beccaria. The empty stables and antique carriages still exist within an old palazzo, but are unfortunately closed to the public.  They are a reminder to us of those lost, glorious equestrian days, in Firenze.

Here’s what Wiki has to say about the race: (Google translation)

Race of the barberi

 The Palio dei Barberi or the Barberi race was a horse race and a popular festival in various cities, including Rome , Florence , Padua , Chieti , Pistoia (today the bear’s joust ). A version is still held today in Ronciglione .

In Florence [ edit | wikitesto change ]

The race has very ancient origins, certainly medieval, as also testified by Dante Alighieri , who in the Paradiso tells the great-great-grandfather Cacciaguida :
“My ancients and I were born on the spot
where the last sixth is to be found
from what runs our annual game. »
( Paradise XXVI , 40-42 )

Traditionally it was held on June 24, the day of St. John the Baptist and was one of the many palios that animated the Italian festivals. In particular, similar to the Palio of Siena, a specific type of equine breed was run, the Berber (the name later transformed into a barbero by the people), but did not include any participation of jockeys.

The race started from via Ponte alle Mosse, which owes its name to the fact that it was the starting point, that is, the moves were made, to pass from the Porta al Prato along the Prato’s clearing, where the race was staged for the Grand Duke , the Royal Lodge. From the nearby Palazzo Corsini al Prato, nobles could watch the race from the specially built terrace.

The race continued through the streets of the center, with Via Palazzuolo, then Via degli Strozzi, then Via del Corso (which perhaps is called so for the course of the race), then to the arch of San Pierino and the door to the Cross, where the finish line was and the horses were “sheltered.”

An ingenious system got the race results reported back to the Grank Duke, through a system of colored smoke and messengers with mirrors who were placed upon the rooftops and city bell towers.  The Grand Duke in the stands in Via il Prato and the rest of Florence didn’t have to wait long to hear the news of the winning horse.

The ambitious prize for the winner consisted of a cloth of considerable value (the “palio”), decorated with the Florentine lily and the red cross of the people.

The race took place regularly until 1858. When Florence was later made the capitol city of the newly formed Italy,  demolition took place in the city center, and thus compromised the route. Thus, the long-running Florentine race came to an end.

The race used a particular breed of horses, the Berber, who – in the vernacular became  “Barbera” – gave the name to the competition: Palio dei Barberi, in fact, also called the race of the Barberi .

According to several sources, the origin would be medieval: even Dante quotes this game in the 26th canto of Paradiso.

The departure was always in the same spot, Ponte alle Mosse (the little bridge on the Mugnone from which the street of the same name took its name): from here the race took off .

The route of the palio passed from Porta a Prato, then winding along the streets of the center (via Palazzuolo, via degli Strozzi, via del Corso, arch of San Pierino). The finish line was at Porta alla Croce , in the center of Piazza Beccaria. Those who arrived first received as prizes an expensive cloth decorated with lily, which was replaced with a cash prize since the 18th century.

The Palio of Sant’Anna in Florence

Less well-known, but equally ancient, is the palio that was held in honor of Sant’Anna, every year on July 26th . The celebrations were decided, as our Mattia wrote in a post dedicated to the Florentine festival of Sant’Anna , to commemorate the expulsion of the Duke of Athens Gualtieri di Brienne, on 26 July 1343, the day of Sant’Anna.

The Saint was proclaimed protector of the city and the day became a party, with the celebrations that took place around Orsanmichele and with a prize that included a prize of 32 gold florins.

Feast and Palio of Sant'Anna in Florence - Orsanmichele

And the other palios of Florence

Florence was full of horse racing : they represented one of the greatest entertainments for popular festivals. Palios were held for June 11 (San Barnaba), eight days later for the feast of Santo Noferi. And again on 29 June for San Pietro and Paolo, on 12 July in honor of San Gualberto, on 29 July for San Vittorio, on 10 August on the occasion of the feast of San Lorenzo , co-patron of Florence.

During the summer there were other types of races. On June 23rd, on the eve of San Giovanni, there was the Palio dei Cocchi , a race between 4 wooden carriages along an oval path set up in Piazza Santa Maria Novella, around the two obelisks that still exist today.

Palio dei Cocchi - Giovanni Signorini (Florence 1808-1862) The Palio dei Cocchi in Santa Maria Novella, 1844, oil on canvas

On July 25, San Jacopo, was instead the day of the Palio dei Navicelli : since 1250 the boatmen competed in a “regatta” on the Arno, between Ponte Vecchio and the fishing of Santa Rosa. Departure from the Church with the ass in the Arno , as the church of San Jacopo Soprarno is called in Florence.

http://www.teladoiofirenze.it/storie-firenze-2/anche-a-firenze-si-correva-un-palio-anzi-10/

Jacquie and Lee Bouvier meet Bernard Berenson in Florence in 1951

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This is just something I never would have believed had happened, but it apparently did. It is discussed in a very interesting book on Berenson by Rachel Cohen, which I quote below. Lee Radziwill left her impression of the sophisticated but very much older Berenson:

“Nicky Mariano [Berenson’s amour and assistant) was sometimes jealous…of Berenson’s flirtations and affairs and of the great many women who made up what she called ‘B.B.’s Orchestra.’ “

In fact, as he aged, Berenson’s seductive power became somewhat legendary. Lee Radziwill (Lee Bouvier when she visited Berenson in 1951 with her sister, who became Jacqueline Kennedy Onassis) still thought of Berenson as “one of the most fascinating men I ever knew,” sixty years later. She compared his powerful appeal to Jawaharlal Nehru’s: they were “seductive mentally, rather than physically.”

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Berenson’s catalog of mistresses and of epistolary romances, like all his other collections, was exhaustive. He had first found both sexual tolerance and a large network of youthful romantic friendships with women and men in bohemian and Edwardian circles, and among the expatriates in Italy.

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In the years of his maturity, he found a similar atmosphere among his mistresses and flirtations in the aristocratic milieu of the European art world. Berenson adored, and was adored by, titled women, and he was interested in beauty wherever he saw it. Attractive young women who visited I Tatti were regularly surprised by his physical attentions.

After WWII…Berenson nce again he appeared to be a magician. There were those who found his presence staged, but others felt that even to be near him was a magical experience.

The young sisters who became Jackie Kennedy and Lee Radziwill wrote to their mother of visiting Berenson in the summer of 1951 and of how they saw him approaching through the woods at I Tatti. Berenson sat down and immediately began to speak to them of love, distinguishing between people who are “life-enhancing” and “life-diminishing.”

“He is a kind of god like creature,” they wrote. “He is such a genius, such a philosopher, such a pillar of strength and sensitivity, and such a lover of all things. He is a man whose life in beauty is unsurpassable.”

Rachel,Cohen. Bernard Berenson (Jewish Lives)  Yale University Press. Kindle Edition.