June 25, 2015

Florence, Italy

An equestrian statue in the Piazza della Signoria with the Palazzo Vecchio in the background.
An equestrian statue in the Piazza della Signoria with the Palazzo Vecchio in the background.
'David' by Michelangelo (1501-1504 AD) - on display inside the Galleria dell’ Academia.
‘David’ by Michelangelo (1501-1504 AD) – on display inside the Galleria dell’ Academia.
'St. Zenobius Raises a Boy from the Dead' by Ridolfo del Ghirlandaio (1516 AD).
‘St. Zenobius Raises a Boy from the Dead’ by Ridolfo del Ghirlandaio (1516 AD).
'St. Matthew', an unfinished sculpture by Michelangelo (1503 AD).
‘St. Matthew’, an unfinished sculpture by Michelangelo (1503 AD).
Plaster model for the 'Rape of the Sabines' by Giambologna (1582 AD).
Plaster model for the ‘Rape of the Sabines’ by Giambologna (1582 AD).
'Resurrection of Christ' by Raffaellino del Garbo (ca. 1500-1505 AD).
‘Resurrection of Christ’ by Raffaellino del Garbo (ca. 1500-1505 AD).
'Deposition from the Cross' by Filippo Lippi (ca. 1503-1507 AD).
‘Deposition from the Cross’ by Filippo Lippi (ca. 1503-1507 AD).
'Saint Mary Magdalene; Saint John the Baptist' by Filippo Lippi (1496 AD).
‘Saint Mary Magdalene; Saint John the Baptist’ by Filippo Lippi (1496 AD).
'Saint Stephen between Saints James and Peter' by Ghirlandaio (1493 AD).
‘Saint Stephen between Saints James and Peter’ by Ghirlandaio (1493 AD).
'Annunciation' by Filippo Lippi (ca. 1475-1480 AD).
‘Annunciation’ by Filippo Lippi (ca. 1475-1480 AD).
Closeup of a violincello crafted by Nicolo Amati (ca. 1650 AD).
Closeup of a violincello crafted by Nicolo Amati (ca. 1650 AD).
A pair of hurdy-gurdies crafted by Jean Nicolas Lambert (1775 AD).
A pair of hurdy-gurdies crafted by Jean Nicolas Lambert (1775 AD).
An upright piano built by Domenico del Mela (1739 AD).
An upright piano built by Domenico del Mela (1739 AD).
'Venus and Cupid' by Jacopo Carrucci (1532-1534 AD).
‘Venus and Cupid’ by Jacopo Carrucci (1532-1534 AD).
Many plaster models inside the Galleria dell’ Academia.
Many plaster models inside the Galleria dell’ Academia.
Plaster model for 'Monument to Adam Albrecht Adalbert, Count of Neipperg' by Lorenzo Bartolini (ca. 1829-1841 AD).
Plaster model for ‘Monument to Adam Albrecht Adalbert, Count of Neipperg’ by Lorenzo Bartolini (ca. 1829-1841 AD).
Plaster cast for 'Monument to Sofia Zamoyska' by Lorenzo Bartolini (ca. 1837-1844 AD).
Plaster cast for ‘Monument to Sofia Zamoyska’ by Lorenzo Bartolini (ca. 1837-1844 AD).
Plaster model for 'Penitent Magdalene' by Luigi Pampaloni (after 1847 AD).
Plaster model for ‘Penitent Magdalene’ by Luigi Pampaloni (after 1847 AD).
Plaster model for 'Nymph of the Scorpion' by Lorenzo Bartolini (before 1837 AD).
Plaster model for ‘Nymph of the Scorpion’ by Lorenzo Bartolini (before 1837 AD).
Plaster model for 'Juno' by Lorenzo Bartolini (ca. 1823-1830 AD).
Plaster model for ‘Juno’ by Lorenzo Bartolini (ca. 1823-1830 AD).
Plaster model for 'Reclining Venus, after Titian' by Lorenzo Bartolini (1821/1822 AD).
Plaster model for ‘Reclining Venus, after Titian’ by Lorenzo Bartolini (1821/1822 AD).
Plaster model for 'Daphne and Chloe' by Ulisse Cambi (1834 AD).
Plaster model for ‘Daphne and Chloe’ by Ulisse Cambi (1834 AD).
'Tree of Life' by Pacino di Bonaguida (ca. 1310-1315 AD).
‘Tree of Life’ by Pacino di Bonaguida (ca. 1310-1315 AD).
'Annunciation with God the Father Blessing Surrounded by Angels and Saints' by Giovanni del Biondo (1385 AD).
‘Annunciation with God the Father Blessing Surrounded by Angels and Saints’ by Giovanni del Biondo (1385 AD).
'Coronation of the Virgin Between Angels and Saints', an altar front on linen and embroidered with silk, gold, and silver threads - by Jacopo di Cambio (1336 AD).
‘Coronation of the Virgin Between Angels and Saints’, an altar front on linen and embroidered with silk, gold, and silver threads – by Jacopo di Cambio (1336 AD).
'Christ as the Man of Sorrows with Symbols of the Passion' by Maestro della Madonna Straus (ca. 1400 AD).
‘Christ as the Man of Sorrows with Symbols of the Passion’ by Maestro della Madonna Straus (ca. 1400 AD).
'Coronation of the Virgin with Angels and Saints' by Rossello di Jacopo Franchi (1420 AD).
‘Coronation of the Virgin with Angels and Saints’ by Rossello di Jacopo Franchi (1420 AD).
'Perseus With the Head of Medusa' by Benvenuto Cellini (1545 AD) - on display in the Piazza della Signoria.
‘Perseus With the Head of Medusa’ by Benvenuto Cellini (1545 AD) – on display in the Piazza della Signoria.
'Spoon - I Eat Earth' by Simone d' Auria and located on the Gallery Hotel Art in tribute to Expo 2015.
‘Spoon – I Eat Earth’ by Simone d’ Auria and located on the Gallery Hotel Art in tribute to Expo 2015.
The Ponte Santa Trinita.
The Ponte Santa Trinita.
The Ponte Santa Trinita with the Ponte Vecchio behind it, seen from the Ponte alla Carraia.
The Ponte Santa Trinita with the Ponte Vecchio behind it, seen from the Ponte alla Carraia.
The Chiesa di Santa Maria del Carmine, a church of the Carmelite Order.
The Chiesa di Santa Maria del Carmine, a church of the Carmelite Order.
The Brancacci Chapel inside the Chiesa di Santa Maria del Carmine.
The Brancacci Chapel inside the Chiesa di Santa Maria del Carmine.
'The Tribute Money' (top) and 'The raising of Theophilus' Son; St. Peter Enthroned' by Masaccio (on the left wall in the Brancacci Chapel).
‘The Tribute Money’ (top) and ‘The raising of Theophilus’ Son; St. Peter Enthroned’ by Masaccio (on the left wall in the Brancacci Chapel).
'The Expulsion from the Garden of Eden' by Masaccio.
‘The Expulsion from the Garden of Eden’ by Masaccio.
The right wall of the Brancacci Chapel with ‘The Healing of the Cripple; The Raising of Tabitha’ (top) by Masaccio, and ‘The Crucifixion of St. Peter; St. Peter and Simon Magus before Nero’ (bottom) by Filippo Lippi.
The right wall of the Brancacci Chapel with ‘The Healing of the Cripple; The Raising of Tabitha’ (top) by Masaccio, and ‘The Crucifixion of St. Peter; St. Peter and Simon Magus before Nero’ (bottom) by Filippo Lippi.
A street in Florence.
A street in Florence.

I woke up today at 06:40, showered, dressed, and got ready to see the relatively crowd-free streets of Florence. I walked out to Ponte Vecciho Bridge and then to the Palazzo Vecchio, where I too some pictures. I then walked to the Plazza della Repubblica and to the Florence Cathedral and its campanile to take some more pictures (mostly selfies with my tripod) before heading on to the Galleria dell’ Academia, reaching it by 08:00. I then waited in line to enter the Galleria, unfortunately it would not open until 09:55 due to a staff meeting, but since the line was already long and few people were leaving it, I decided to stick it out and stay for nearly two hours before it opened. In the meantime, I read some of Casanova’s Memoirs to amuse myself. Finally, the doors opened at 09:55 and the line started sifting in. When I finally made it to the ticket booth, I bought my ticket, entered inside, and walked directly to Michelangelo’s ‘David’, the star attraction inside the Galleria. ‘David’ was magnificent, tall, and beautiful to behold (very well done). After taking many photographs of the statue, I returned to the first room of the Galleria and began to digest the various paintings and sculptures on display. I then walked to a section of the Galleria dedicated to musical instruments (mostly from the sixteenth- and seventeenth-centuries AD, with some odd pieces on display); I then returned to the main part of the Galleria, continued to look around, and viewed a special exhibition of art on St. Francis. Next, I walked through, back to where ‘David’ and several paintings were, before continuing on to a room with many sculptures and plaster models. Then, I walked through a couple more rooms before heading upstairs to see the remaining artworks in the gallery (many of which were fourteenth-century AD triptychs and the like). After about two hours, I had finished touring the Galleria Academia and I exited the museum. Overall, it was a relatively (by Florentine standards) small museum. I then walked southward, crossed the Arno River, and made my way to the Chiesa di Santa Maria del Carmine, a church of the Carmelite Order that is famous for having the Brancacci Chapel. I reached the church and then entered inside the museum area in the cloister adjacent to the church. I walked around the cloister, entered inside the Room of the Last Supper (which has a fresco of the Last Supper on its wall that was painted by Alessandro Allori in 1582 AD), and then entered in to the Brancacci Chapel within the church (though the rest of the church was closed (roped off) for visitors, so I could only see so much of the actual interior of the church). Construction of the chapel was commissioned by Pietro Brancacci and begun in 1386 AD; later, Felice Brancacci, a wealthy merchant, commissioned the decoration of the chapel in 1423 AD and he hired Masolino da Panicale to paint his chapel; Masolino’s associate, a 21-year-old named Masaccio (18 years younger than Masolino), assisted, but during painting Masolino left to Hungary, where he was painter to the king, and the commission was given to Masaccio; by the time Masolino returned he was learning from his talented former student; however, Masaccio was called to Rome before he could finish the chapel, and died in Rome at the age of 27; later on (1481-1483 AD), portions of the chapel were restored and completed by Filippino Lippi. Masaccio’s application of scientific perspective, unified lighting, use of chiaroscuro, and skill in rendering the figures naturalistically established new traditions in Renaissance Florence that some scholars credit with helping to found the new Renaissance style. I was glad to see the fresco depicting the expulsion from the Garden of Eden – a painting I was very familiar with from Art History back in high school. After spending a great deal of time viewing the Chapel and its historically important frescoes, I exited the church and walked back to the hostel. On the way back to the hostel, I stopped at Gusta Pizza (a renowned pizzeria in Florence for its cheap and purportedly great pizzas) and ordered a Napoli pizza (anchovies, capers, and oregano), which I then brought back to the hostel. I ate the pizza (it was okay, not that great, and the best thing about it was the use of fresh cracked black pepper; of course, compared to most places in Florence, it was cheap – so I understand its popularity, especially amongst the young tourists). After eating my pizza, I ended up taking an afternoon nap, sleeping for over two hours and waking up after 16:00. After wasting some time reading up on current events, I got to work going through my photographs and typing away on my digital journal (I had gotten far behind due to the long days in Italy – there is a lot to see in this country and doing so easily takes up one’s entire day and leaves you exhausted at the end). Later on, I worked in the common room and talked with the Russian guy, a Dutch woman, a Belgian man, two Turkish men, some others, and the owner. Everyone except the owner and I were going out for food and then to the Piazzale Michelangelo to watch the sunset; I would’ve liked to join them, but chose work instead. Before they left, the Russian poured everyone a cup of limoncello and we all drank it down. Later on, I went out to grab some more cash from an ATM, as well as dinner. For convenience – not taste -, I returned to Gusta Pizza and bought a bottle of their house wine and a pizza with cherry tomatoes, arugula, and parmesan. I brought the wine and pizza back with me to the hostel and consumed my late-night dinner (it was around 23:00 at this point). The Gusta Tuscany red wine I had bought was dry and tannic and tasted of blackberries and black cherries – like their pizza, it was okay. I then went on working, this time to opera music, which the hostel owner seemed to enjoy, since he would sing along with the Italian classics anytime he happened to be in the room. I worked late and typed out quite a bit, but I was still behind and would be for days to come. I finally went to sleep around 02:00.

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An open journal or an exercise in narcissism.