And Then Came Giotto

I am not an art historian; far from it.  I don’t even claim to be a serious student of art.  And yet, it is impossible to live in Italy and not develop a profound appreciation for art. There are museums full of ancient art – Etruscan and Roman – displaying artifacts from those eras, from tiny jewelry pieces to funeral urns, mosaics, and classic statuary.  And though there were also Roman painters, the examples that have survived are relatively few.  In contrast, paintings from the late Medieval (Middle Age) and Renaissance periods fill Italian churches and museums.  The differences between the two eras can be appreciated by even an untrained observer like myself.

Madonna and Child ca. 1300 artist: Duccio. (photo from Wikimedia Commons Public Domain). An example of painting from the Medieval era.

Prior to the Renaissance, Medieval paintings were characterized by religious subjects, often a single figure filling the center of a painting.  The figures were flat and the faces often expressionless.  The human form was not natural looking or sensuous.  These were icons, not neighbors.

Backgrounds and perspective were not very important components of medieval painting.  And all that gold!  Gold shows up everywhere in Italian art of the middle ages.  In backgrounds, in halos, in elaborate detailing.  Imagine how that gold appeared – as the richness of God, the divine light – and also, perhaps, an symbol of the wealth of the patron or church who commissioned the work.

In contrast, paintings from the Renaissance era (1400 – 1600 AD) make wonderful use of perspective and often place subjects in natural settings.  The figures are realistic, their human-ness evident.  The clothing drapes and swirls, the faces show a full range of emotions.  The subjects are still largely religious, though portraits were also painted, usually for wealthy patrons (think of Da Vinci’s Mona Lisa, painted in 1503).  The names of Renaissance artists are familiar: Donatello, Da Vinci, Michelangelo, and Raphael being perhaps the most widely known artists from the 1400’s.

An unfinished Da Vinci portrait painted between 1500 - 1505. La Scapigliata (the word scapigliata refers to her disheveled hair) hangs in the National Museum in Parma, Italy. The difference between this Renaissance painting and earlier Medieval ones is pretty clear!

And in between the two periods, the Medieval and the Renaissance, came Giotto di Bondone (1267-1337). Giotto was that rare artist who was appreciated, even famous, during his lifetime. He even merited a mention by his contemporary Dante in The Divine Comedy. 

 Giotto revolutionized Italian art, creating life-like figures and placing them in more natural settings. Giotto’s figures show a full range of emotions through their facial expressions. No flat, lifeless saints and madonnas here!   Giotto’s scenes are populated by people who look like the neighbors down the street (at least what the neighbors would have looked like in 1300).  His men are placed in realistic poses and settings, his ladies have (gasp!) breasts over which their garments drape. His angels fly, his flames flicker.  And while the saints still have halos of gold, their clothing is colorful and the background is the most heavenly blue. 

Panel # 34. Weeping over the Body of Christ. Scovegni Chapel.

Sadly, much of Giotto’s work has been destroyed, by time and by fire.  Of the works that remain, the Scrovegni Chapel in Padova is Giotto’s capolavoro (masterpiece). A chance to see the frescoes there was the main reason for my trip to Padova last fall. The church is small and intimate, built as a private chapel for the Scrovegni Family.  The frescoes are in wonderful condition, the figures beautiful, and the colors spectacular.

Panel #35. The Resurrection

The frescoes wrap around the chapel, in a three-tiered series of panels, telling stories from the life of Joachim and Anne, Mary, and Christ. The scenes are full of life, there is movement and emotion, the figures pull you in to their story. Through it all Giotto proves to be not just an accomplished artist but a master storyteller as well.

Panels #8 (Presentation of the Virgin), 21 (Baptism of Jesus), and 33 Crucifixion (top to bottom)

The far end of the chapel has the largest scene - the Last Judgement. It is stunning in both its beauty and its brutality. 

To the left, heaven. To the right, a hell that is terrifying!

 Look closely and you will find Enrico Scrovegni, offering up the chapel in atonement for the sin of usary (the Scrovegni family were money lenders). This is no doubt an attempt to avoid Giotto’s graphic depiction of hell.

 Aside from bible tales, the allegories of Virtues and Vices are fascinating. Simplistic in design and color compared with the rest of the frescoes, without much adornment, the contrasting figures are as relevant and thought-provoking today as when painted in the early 1300’s.  Pictured below (left to right): Hope, Envy, Justice, Despair.

The Scrovegni chapel is simply astonishing (my photos can’t capture its majesty).  One does not have to be an art historian, a religious scholar, or even a believer, to appreciate Giotto’s artistic brilliance and the power of these frescoes.  And for anyone with an interest in art, or simply in beauty, the Scrovegni Chapel in Padova is an experience not to be missed.

Detail from panel #33. The Crucifixion

 Even the smallest decorations - such as these quatrefoils - have incredible detail and depth. I could spend hours here looking at everything from the largest scene to the smallest detail. I think I’ll need to go back to Padova before too long.

Note: The Scrovegni Chapel is open to the public with advanced reservation tickets only. Before entering the chapel itself there is a short video (with subtitles in English) which gives a good history of the chapel. Admission is limited to about 25 people at a time with a time limit in the chapel of 15 minutes per group. A short time, but well worth it and sufficient to see this small space (especially after some pre-visit reading).

San Quirico d'Orcia

The small villages in the Val d’Orcia have much in common.  They sit on hilltops and look out over rolling hills, olive groves, vineyards, and cypress trees. They are often fortified by city walls, the legacy of ancient conflicts. The street plans are mostly Medieval, often with a single main street and a large main piazza ringed with stone and brick buildings. They are filled with churches large and small.

Classic Val d’Orcia scenes, in the village of San Quirico

And the history!  From Etruscan tombs to Roman roads, from Medieval streetscapes to World War II bombs, the history of these villages is rich and fascinating.  That they have so much in common, and yet each village has its own unique character, makes a trip through this area especially wonderful. Think of Monticchiello with its Teatro Povero and stone houses, Montalcino with its famed Brunello wine and steep streets, Bagno Vignoni with its thermal pools, and Pienza - the perfect Renaissance city - with its pretty houses and flowers filled window boxes.

 San Quirico d’Orcia is yet another of the villages found in the Val d’Orcia. Named after a martyred child saint, it lies between Montalcino and Pienza, situated along the ancient Via Francigena, the pilgrim’s route between Canterbury and Rome.  Today, modern pilgrims and adventurous walkers still pass through San Quirico as they follow the ancient path. Other tourists arrive more conventionally by car and stay to enjoy the many things that make this a most pleasant spot.

The ancient wall around San Quirico

Most of the wall surrounding the city remains, with 2 gates providing entrance to the historic center of town and several of the former watchtowers still standing (though now repurposed, some into tall and narrow homes).  The Porta Cappuccini is the old and most historic gate – a lovely way to enter the town.

 The best way to explore San Quirico is to simply wander.  A stroll along the main street, Via Dante Alighieri, takes you both along the route of the Via Francigena and past most of the main sights in town. At one end, just inside the city walls, is the Collegiata Church (12th century) with its interesting shape, three very different entrances, and beautiful bell tower.  

The Collegiata Church (also known as the church of Santi Quirico e Giulitta)

Further down the street is the church of San Francesco, with its famous terracotta della Robbia madonna (moved here from the Chapel of the Vitaleta) and its combination bell and clock tower. In front of the church is the Piazza della Liberta`. This lively square is the center of town and a hub of activity.  It’s a great place to stop for a coffee or a glass of wine and to soak in the atmosphere. 

Piazza della Liberta` and the Church of San Francesco

In this square is also the entry to one of San Quirico’s special spaces – the Horti Leonini, a 16th century garden.  The centerpiece is a statue of Cosimo III di Medici. All around him is classic Italian garden design. 

Stepping back into the Piazza della Liberta`, and continuing down Via Dante Aligheri, are two of my favorite spots.  One, is a hidden courtyard which contains an old well and the pilgrim’s refuge the Ospedale della Scala.  The other, right on the street, is the small church of Santa Maria Assunta, which is over 1000 years old (but no interior photos allowed!)

The old well in front of the Ospedale della Scala

 It’s also fun to wander the small side streets.  On my most recent visit, during the height of the olive harvest, I found an active but very old frantoio (olive press) which was still using old stones to grind the olives.  The friendly staff invited me inside to watch the process.  The smell of the fresh olive oil was delicious!

And on a side street just along the church of San Francesco is the wonderful Trattoria al Vecchio Forno, built on the site of the old town bakery (forno).  I’ve eaten here on previous visits and it’s a place that never fails to please.  My lunch, a honey drizzled sformatino and a pappa al pomodoro, eaten outside in the garden on a warm fall day, was delicious.

 Heading back to Pienza, the Chapel of the Madonna of Vitaleta is visible from the road.  It is well worth the detour to stop and visit this tiny chapel, which is one of the most photographed spots in Tuscany.   The chapel itself is not usually open, but the surrounding vistas are spectacular.  

 San Quirico was the last stop on my trip through the Val d’Orcia.  There are so many other places left to explore, among them the famous wine towns of Montalcino and Montepulciano (which is just outside the Val d’Orcia) and also the gardens at La Foce.  

I guess I’d better start planning a return trip!

The Luminaria of Santa Croce - 2020 Style

 In Lucca, September is traditionally a month of festivals including street fairs, music performances, and – most importantly – the Festival of Santa Croce. The Santa Croce festival venerates the Volto Santo (Holy Face), an ancient wooden crucifix which is the most important religious relic in Lucca. The famous crucifix is housed in a small chapel within the larger Cathedral of San Martino.  For most of the year it is viewed through the openings in the small chapel walls, beautiful in its simplicity.

The Volto Santo dressed in gold vestments for the Feast of Santa Croce on September 13th.

 But for the September festival the crucifix is anything but simple. Instead, it is adorned with gold vestments – from crown to shoes – and the small chapel is opened for up-close encounters with what is, depending on your personal beliefs, a holy religious artifact or an important cultural and historical object. (For a more detailed description of the legend of the Volto Santo see “The Legend of the Volto Santo” post from September of 2017). Unfortunately this year, while the gold vestments are in place, entrance to the cathedral is limited which means that most of us will have to make do with memories and photos from past years.

The beauty of a candle-lit piazza during the 2016 procession

The highlight of the festival is the September 13th luminaria procession through the historic center of Lucca.  It begins in front of the Basilica of San Frediano and slowly makes its way across town, illuminated by the sea of candles which line the buildings along the narrow streets, and ends with a special ceremony upon its arrival at the Cathedral of San Martino.  

Imagine thousands of these luminaria lighting the streets of Lucca. Magic!

The luminaria procession is an important event - calling home from around the world those with Lucchese roots - and has only rarely been cancelled. The last two cancellations were due to a terrible storm in 1976 and before that a disruption towards the end of World War II.  This year the cancellation of the procession is due to concerns about the potential spread of COVID-19 through the crowds of on-lookers that typically line the streets and the many participants in the procession. The candles were lit, but there was no procession this year.

The beginning of the 2017 procession, on the steps of the Basilica of San Frediano.

 Although we could not witness the luminaria procession, and could only watch today’s religious services via Italian TV rather than from inside the Cathedral of San Martino, a look back at previous processions can remind us of the beauty of the event. With luck, we will be able to experience the joy of the luminaria once again next year. Let’s make a date for September 13, 2021 in Lucca.

A banner with the representation of the Volto Santo begins the procession each year (the actual crucifix is too large, and too valuable, to be part of the procession).

Museo dell’Opera del Duomo (The Museum of the Works of the Cathedral, Florence)

Many years ago, on my first visit to Florence, I visited the Museo dell’Opera del Duomo (the museum associated with the Cathedral of Santa Maria del Fiore, usually referred to as “the Duomo”). At that time (1996), the museum was a jumble of a space, small and crowded with poorly displayed art and artifacts from the famous cathedral. I was not inspired to return.

Detail from a sculpture by Ticciati, once part of the main altar in the Duomo, now in the redesigned museum entry

 In recent years, the museum has been enlarged and has undergone a top-to-bottom renovation (completed in 2015). On a recent trip to Florence I decided to revisit the museum to see the changes – and my only word is WOW - what a change! 

16th century bust of Mary Magdalene, Giovanni Bandini

The museum is now an amazing space, full of light, open galleries, and fascinating art and artifacts from throughout the cathedral’s history.

The displays are well organized, beautifully presented, and provide good historical context.

Many of the pieces are original, moved from the cathedral itself. These include Ghiberti’s bronze baptistery doors, an evocative Pietà by Michelangelo, a carved wooden Mary Magdalene by Donatello, and portions of a larger-than-life sculpture from what was once a main altar in an earlier version of the cathedral (top photo).

A reproduction of the church facade, lined with statuary, fills the long, high gallery on the ground floor. How wonderful to get a closer look at these examples of statues that are so high up on the actual cathedral’s exterior. The facade can also be enjoyed from a viewing gallery on the floor above, which provides an even closer look at the statues high up on the recreated facade.

Statue gallery

 Across from this wall of statues are the two massive bronze baptistery doors by Ghiberti. I could spend hours looking at the details of the panels that make up these doors. Each panel tells a story in intricate detail.

Detail of panels from the north baptistry doors

Wooden model of the lantern that rises above the cupola

Central to the history of the cathedral is the building of the cupola (dome). Designed by Brunelleschi, it is a marvel of engineering and architecture.

The museum has an area dedicated to its construction that includes models of the dome and the lantern that caps it, a video presentation, and a display of tools used in the dome’s construction.

 Considering that the cupola was built in the 15th century, is this impressive engineering or miracle?

 One of my favorite displays was the reproductions of the stained glass windows.  More than a static display, the dynamic technology brings the windows up close, allowing the brilliant colors and designs to unfold before one’s eyes to be viewed in detail.

Of course a cathedral must have music and  the museum includes beautifully illustrated books of sacred music and two marble choir lofts (actually designed for organs not choirs). One loft was designed by della Robbia and the other by Donatello.  Both are beautiful but quite different in character.

Joyful children play across della Robbia’s sculpted choir loft

Detail from large book of sacred music

To end a visit here, be sure to view the actual dome from the viewing platform on the museum’s top floor.

The redesigned Museo dell’Opera del Duomo is nothing short of marvelous. Kudos to the redesign team - what a gift they have given us.   - Post by JMB

Location:   Piazza del Duomo 9, 50122 Florence, Italy

Hours:  Sunday through Saturday 9 a.m. to 7 p.m., Sunday 9 a.m. to 2 p.m.  Closed Mondays and first Tuesday of the month.  Hours subject to change; best to check ahead of time

Cost: an 18 euro ticket allows access to the museum and baptistery .  Several combined museum tickets also area available 

An Introduction to Verona

Travel poster from the 1930s

My idea of a perfect trip to Italy involves time spent in my home base of Lucca along with a visit to a place that is entirely new to me. On my latest trip, that place was Verona.

Verona, in the Veneto region of northern Italy, is less well known to visitors (at least to American visitors) than nearby Venice. The two cities have distinctly different characters and it's fun to experience both of them when visiting the Veneto region. Verona may not have Venice's famous canals, but it has a charm all its own and is a UNESCO World Heritage Site. Most of the historic old town is nestled into a bend of the Adige River, with some of the old city lying just across the river.

Historically, Verona was a Roman settlement. It has a long history of rule by various invaders (Visigoths, Longobards, Venetians, as well as by France and Austria), all of whom influenced Verona's art, architecture, and culture. Parts of the city were destroyed over time - by floods, earthquakes, conquering armies and, most recently, World War II bombs. Fortunately, many reconstructions  maintained much of the structure and character of the old city.  It is still possible to see everything from Roman ruins to Medieval and Renaissance structures. But Verona is not just a living history museum; it is a thriving city combining history, tradition, and modern life (including some high-end shopping).

With just three days in Verona I barely scratched the surface, but I did find much to love about this historic, thriving city.

Some highlights:

The fountain in Piazza Bra with the Roman arena in the background

Piazza Bra and Piazza delle Erbe are  beautiful spaces, full of activity and history. Piazza Bra is remarkable for the beautiful arches that mark its entrance and the well-preserved Roman Arena (amphitheater), which dominates the piazza. The piazza is lined with cafes and includes a green space that provides a perfect oasis of calm in the busy square.

Piazza Erbe is the place to feel the city's Medieval vibe. It is a thriving marketplace and the busy hub of the old city. Here you will find beautiful old buildings, the tall Torre Lamberto, and the ornate Palazzo Maffei.

While these piazze are the two main squares, there are many smaller ones that are also lovely. In fact, I think the piazze of Verona deserve a future post of their very own!

Busy Piazza Erbe

The city of Verona, viewed from an opening in the Ponte Scaligero. 

The River Adige flows through the heart of the city. Its bridges (ponti), including the Ponte Pietra and the Ponte Scaligero, have interesting histories, great beauty, and provide wonderful views of the city. The river also defines the city boundaries and helps make Verona a very walkable city. 

Verona is full of arches. Some are grand portas (doorways) through old city gates, others are small and mark entry into a piazza or a small vicolo (lane). Strung from them often are stunning light fixtures or cascading plants, which give the city a graceful air. 

There were more interesting churches than I could see in a short visit. The two I visited - the Chiesa del Duomo and the Cathedral of San Zeno - were architectural masterpieces filled with fascinating art and history.  . 

Cathedral of San Zeno, Verona

I can't talk about Verona without mentioning the fabulous dining. There is great variety in the dishes found here, and lots of seafood. My friends and I had several fabulous meals, including grilled shrimp, delicate pumpkin-filled ravioli, and a fabulous guanciale di manzo (beef cheek). The local white wines were similar to those of Bologna (slightly fizzy Chardonnay and Trebbiano) and there were full-bodied reds too (Amarone and Valpolicella). And of course there is great gelato to be enjoyed! 

Fine dining at Ristorante Torcolo, Verona. 

That's just a snapshot of my quick visit to Verona - there is so much more to see and experience that I can't wait to return!   -Post by JB