Winter Reading, Italian Stories

January has finally dragged itself into February on its slow crawl out of winter.  Is it just me or did last month seem unusually dreary?  And long.  I spent all of January in New Mexico so I can’t speak for the weather anywhere else, but in New Mexico it was cloudy, gray, and drizzly for days on end which is quite unusual here in the land of sunshine.  Two light snowfalls were pretty but cold.   

Pontremoli, a city where books are everywhere.

Dreary winter days are perfect for sitting with a cup of coffee and reading a good book.  When I am away from Italy, as I have been for the last 6 weeks or so, I find myself drawn to books set in Italy. There are endless choices – memoirs, travel diaries, historical pieces. 

There are Donna Leon mysteries and Camilleri’s Inspector Montalbano.  Who hasn’t fallen under the spell of A Room With a View or Enchanted April? More recent books have been best sellers - Under the Tuscan Sun and My Brilliant Friend (though I admit I struggled a bit through that one) - come to mind.  Perhaps Umberto Eco’s Name of the Rose or Giovanni Boccaccio’s Decameron (which I found my grandson reading recently) is on your reading list.  The list could go on and on.

 I am currently enjoying two series that may not be as universally known. Both are by contemporary authors.  The two series are quite different, but if you love Italy, and especially Tuscany, then I recommend them as perfect for winter reading.

Don’t you love it when a novel takes you to a familiar location in Tuscany ?

The first is a series of historical novels by the art historian Laura Morelli.  Her well-researched novels intertwine Italian art, craftsmanship, long-ago artists, and history in compelling reads.  Through her writing I have sat by Da Vinci’s side as he painted, walked with Lisa Gheradini through Florence, hid vanities from Savonarola, and worked alongside a gondola craftsman in Venice.  Parts of her novels are set in 15th and 16th century Italy, but the stories often move between time periods - from Renaissance era Italy to World War II when Italian masterpieces were being hidden from, or acquired by, the Nazis. If not familiar with her books, The Stolen Lady, which revolves around the painting of the Mona Lisa and life in Florence during that time period, and how the painting was hidden during WWII, is a great place to start.   If Venice calls to you, then The Gondola Maker will transport you to the 16th century workshop of a family of gondola craftsman.   

A very different series is written by Camilla Trinchieri.  Set in the present day, her 3 novels are what the Italians call gialli.  The word giallo literally means “yellow” (the plural is gialli), so called for the yellow covers that were traditionally used for Italian mysteries. 

Trinchieri’s protagonist is a very likable retired American cop, widowed and living in the Chianti region.  There is an appealing Italian maresciallo (a type of local policeman) stationed in Greve, his endearing young second in command, and a host of interesting Italian characters.   Reading these novels are like taking a vacation in Chianti, one where you recognize the towns immediately and feel right at home.   Best to read these in order, starting with Murder in Chianti.   A 4th book in the series is due out this year, so I am rereading the series this winter in preparation.

What’s next on my reading list?   I have just started The Sixteen Pleasures, set in Florence after the big flood of 1966. So far I’ve learned quite a bit about the restoration of water damaged books and an American book conservator volunteering in a convent library. A scandal is just unfolding - a book of erotic drawings hidden away in the convent’s library. I wonder where that will lead?

I head back to Italy soon and there will still be a month of winter ahead. I am looking forward to starting the Bookseller of Florence by Ross King.  It is sitting by the reading chair in my Lucca apartment just waiting for me.

Do you have favorite books set in Italy?   Please share your favorites on the Two Parts Italy Facebook page.   Happy winter reading!

The Basilica of San Lorenzo in Florence

It’s hard to have a favorite church in Florence.  It may even be wrong to choose a favorite considering the number of historic and significant churches in the city.  The Duomo, officially the Church of Santa Maria del Fiore, with its magnificent façade and campanile, is famous for good reason.  Consider Santa Maria Novella, Santa Croce, Santissima Annunziata – and those are just the basilicas inside the historic center.  Add in smaller churches, chapels, baptisteries, oratorios, bell towers and wonderful churches outside the center and, well, it would take years to explore them all.  How could anyone choose a favorite?

Tomb of Berta Moltke Hwitfeldt, Corbelli Chapel, Basilica of San Lorenzo

 And yet, I do have a couple of favorites.   One is the Basilica of San Lorenzo, whose 4th century origins make it the oldest church in Florence.  Redesigned by Brunelleschi in the 15th century, and completed after his death, it was the parish church of the Medici family, many of whom are buried there.

Detail, Basilica of San Lorenzo, Florence

 San Lorenzo is more than just a church – the complex also has a museum, the Laurentian Library, and the Medici Chapels.  Underneath the Medici chapels is a recently discovered hidden room with rough sketches by Michelangelo covering the walls. Right now it’s the hottest attraction in town but it was not yet opened during my November stay in Florence. The library is not always open, and a special ticket is needed for the Medici Chapel.  The entire complex is a bit too much for one visit.

On my recent off-season stay in Florence, I stopped by on the spur of the moment and purchased a ticket which included only the cloister and church, both of which were uncrowded and just right for a short visit.

What is it that makes the San Lorenzo Basilica one of my favorites?   It starts with the rough stone exterior.  Unlike the polished marble façade of the Duomo, the San Lorenzo stands unadorned and underdressed.  It was meant to have a white marble façade, designed by Michelangelo at the request of the Medici Pope Leo X.   But the pope died, the money dried up, and the façade was never installed. 

Inside, the basilica feels quiet and peaceful with its simple geometric floor anchoring graceful arches and columns in gray Pietra Serena (Serene Stone).  The high, round, windows let in light through their clear glass.  Even the ceiling, with its gold edged squares and central medallions (look for the Medici coat of arms) feels calming. Unlike more ornate churches (such as my other favorite, the very Baroque Santissima Annunziata), San Lorenzo has low contrast colors and finishes. This allows it to feel open and airy. The Basilica is a soothing space that supports quiet contemplation and an uncluttered mind. 

Another reason to love this church is the way in which it showcases the work of Donatello.  His two ornately carved pulpits, raised high atop marble columns in the center of the church, are considered his final masterpieces.

Donatello’s pulpits , Basilica of San Lorenzo

The church holds many remarkable pieces of art, but not so many as to be overwhelming.  There are sculptures, including graceful tomb markers, and some significant paintings, many of which sit in small side chapels.

Bronzino’s The Martyrdom of St. Lawrence

Perhaps the two most well-known paintings are an Annunciation by Filippo Lippi (below, right) and the Betrothal of the Virgin by Rosso Fiorentino (below, left).  Two very different styles, both captivating.   

Old Sacristy, Basilica of San Lorenzo

The biggest reason for my love of this church is the small Sagrestia Vecchia (Old Sacristy).  Designed by Brunelleschi, it was the only portion of the church completed before his death.  His perfectly proportioned design incorporates a square room with a ribbed dome on top, several graceful arches, and the same gray and white colors of the main church. 

 Opposite the entry into the sacristy is a small marble altar, its design in white marble is in keeping with the simplicity of the rest of Brunelleschi’s design.  Above the altar, in a smaller dome, is a remarkable blue and gold night sky.  There has been some debate about the date represented by the constellations pictured.  Initially it was thought to represent the day the altar was consecrated in July of 1422.  Newer theories give the date as July 6, 1439, the date of the accord uniting the Eastern and Western branches of Christianity.  Whichever date is correct, the constellations unite the sacristy with the heavens.

The constellations above the altar in the Old Sacristy, Basilica of San Lorenzo

 In the center of the sacristy is the tomb of a Giovanni di Bicci de’Medici and his wife Piccarda Bueri.  It was Giovanni who founded the Medici bank and set the stage for the Medici era in Florence.  This seems like a fitting place for him to rest.

Not part of Brunelleschi’s original design, several elements were later added by Donatello at the request of the Medicis.  These include a series of tondi (round decorations) which lie below the dome.  The 4 in the corners represent the life of Saint John the Evangelist.  

Detail, Donatello’s bronze doors, Old Sacristy

Donatello also designed the two bronze doors that flank the altar.

Apostles to the left, martyrs on the right.

The large reliefs above the doors, with St. Cosmos and St. Damian on the right and St. Stephen and St. Lawrence on the left, are also the work of Donatello.

(Note: There is also a New Sacristy but it is not accessible from inside the church, only from the Medici Chapels)

One of the relief decorations by Donatello above the bronze doors in the Old Sacristy.

The Basilica of San Lorenzo is not the largest or most ornate church in Florence.  It wears no colorful marble facade. But it is stunning in its simplicity and is of great historical and architectual importance. When visiting, don’t miss the literature with a QR code which links to an audio guide. The audio descriptions greatly enhanced any visit.

Entry and Exit to the church is through the cloisters.  This green space, surrounded by a two-story loggia, is a destination all of its own. The lower floor of the loggia surrounds a neatly kept space with low hedges and a big central tree.  Under the arches is a walkway with walls filled with memorials to long ago Florentines.  It’s a moving space embracing both the quiet of the church and views out into the “real world” of Florence.  You can almost hear the rustling robes of those long ago monks as they walk through the cloister.

Cloister, Basilica of San Lorenzo

 Hungry afterwards?  Just outside the front entry is a wonderful lunch spot – the Trattoria San Lorenzo.  A perfect way to end a visit to the church, enjoy a meal, and have time to organize memories of the basilica.

Palazzo Davanzati. A Glimpse into a 14th Century Florentine HOme

A madonna and child tucked away in a painted niche at Palazzo Davanzati.

There are so many museums and historic buildings in Florence that it is all too easy to overlook some of the city’s lesser-known places. One of those is Palazzo Davanzati, the Museo della Casa Fiorentina Antica (Museum of the Antique Florentine House). The Davanzati is one of Florence’s “minor” museums, which has fewer visits by tourists but is much loved by locals. Step inside and be immediately transported back in time as you visit a 14th century home in Florence. 

The palazzo was constructed in the mid-14th century and purchased by the Davanzatis, a family of well-to-do merchants, in 1578.  It is their coat of arms that rests above the entry doors. The family occupied the residence until 1838 when it is said that Bernardo Davanzati ended his life by jumping from the loggia. A tragic ending to the families ownershop. Might his spirit still roam the palazzo?

After the Davanzati’s time, the building was broken up into separate spaces, used for various purposes, and eventually abandoned.  1904 it was acquired by Elia Volpe who restored the property and opened it as a private museum.  Unfortunately, Volpi auctioned off most of the property’s contents, including furnishings and art.  But, importantly, he did not allow the frescoed walls, which had been covered in plaster prior to his restoration efforts, to be removed.  We should all be eternally grateful to Volpi for that decision, because the paintings on the walls are spectacular and one of the best examples of such work from that time period to be preserved. 

Parrot Room, Palazzo Davanzati

The palazzo changed hands after Volpi’s time, eventually purchased by the Italian State in 1951.  Since that time it has undergone a series of preservation efforts. Today, the entry courtyard andnupper floors are open to visitors. The furnishings are not original to the palazzo, but are characteristic of the periods in which it served as a home. The painted rooms have been carefully restored. 

The architecture of the palazzo is remarkable. The facade with its coat of arms and open loggia up top, the large arched entry doors, and the columned courtyard add up to a truly grand entrance. Inside, the courtyard is open to the floors above and a massive stone staircase leads the way to the family quarters. The floor plan is symmetrical with one large reception room on each floor surrounded by dining rooms, bedrooms, and many with unique painted wall decorations.

Detail, Chatelaine de Vergy fresco (photo from Museum of Florence website)

The painted rooms boast colorful and intricate patterns.   I wish I had read the legend of the Chatelaine de Vergy, beautifully depicted in one of the former bedrooms, before my visit.  A tragic tale of love gone wrong, it is beautifully depicted in painted panels around the room.  

And the Sala dei Pappagalli (Parrots Room) is not to be missed!   

Detail, Sala dei Pappagalli

I am always most interested in the way that an old dwelling reflects how life worked during a specific time period. At Palazzo Davanzati, two things that reflected everyday life were the most intriguing to me. One, a well which runs from the top floor kitchen all the way down through the house with an opening on each floor.  What a luxury during medieval times to have such a supply of water. 

The other was the kitchen, located on the top floor.  With a large fireplace, cooking utensils, and sewing tools, the room held the spirit of those long ago Davanzatis (or at least of their household staff).

Near the kitchen was another painted room, the Camera della Impannate (camera means bedroom, impannate were fabric panels uses as window coverings in place of glass). With a small frescoed fireplace and wall paintings featuring animal designs and the Florentine fleur-de-lys, I think this was the coziest of all the bedrooms.

A more recent addition to the museum is a collection of vintage lace.   With more than 2000 lace pieces, along with christening gowns, crocheted baby bonnets, and some lady’s “foundation wear”, it will fascinate anyone interested in fabrics and lace.  Many of the lace pieces are placed in pull out drawers – be sure to open them! 

I thoroughly enjoyed spending an afternoon at the Davanzati. It was uncrowded and a wonderful departure from the bigger museums. It was fascinating to glimpse into life in Florence from the 14th to the 18th century. A visit here is definitely worth adding to your next visit to Florence.

Note: There is a YouTube video of a lecture given by Paola D’Agostino, the director of the Bargello Museum, on the history of Palazzo Davanzati and its collections. A bit academic, but worth a listen to learn more about this important piece of Florentine History and the evolution of the museum’s collections. It can be found on YouTube titled Palazzo Davanzati: A Medieval Time Machine. The information on the lace exhibit is particularly interesting.

Art Nouveau in Florence

 Classic art is everywhere in Florence.   It’s there in intimate chapels and majestic cathedrals, in museums small and large, in civic buildings and Medici palaces. Outside there are fountains, sculptures, fabulous doors, and art tucked above doorways.  It is impossible to be in Florence and not encounter classic art.

 In addition to the classics, it is not unusual to find more contemporary art in the city, both in galleries and as temporary exhibits.   One such exhibit, currently on display in the museum of the Ospedale degli Innocenti, features the works of Alphonse Mucha.

 Mucha worked in Paris in the years just before and after 1900 - the Art Nouveau period.  He worked primarily as an illustrator and graphic designer but also with photography, painting, and jewelry design.  He remains one of the most influential and well-known Art Nouveau artists (though he never described himself with that label).

Mucha created theater posters and programs, magazine and book illustrations, and advertising designs.  His work from that period include the many theater posters he designed for plays starring Sarah Bernhardt.

A Mucha illustration advertising beer

Women are the subjects of Mucha’s illustrations - young, flawless, and dressed in beautiful clothing. No classic goddesses here - these are lively and sensuous ladies.

Mucha surrounds his female subjects with arches, circles, and curves.  Flowers appear in many ways – in the background, as hair decorations, and as intricate border designs.  The colors are beautiful, - soft, warm, complex, floral. 

The exhibit in Florence has several components, including multimedia experiences. At the beginning is a short film, in Italian with English subtitles, plus a timeline. Together, they set the stage for viewing Mucha’s work. 

The poster display begins with his Bernhardt theater posters – large works with fabulous costumes unique to each play.  

Moving through the exhibit you find advertising posters, other forms of advertising (perfume bottles, boxes, menus, fans), and decorative posters.

One fascinating part of the exhibit is an immersive experience. A long hallway, flanked by mirrors, filled with ever-changing projections of Mucha’s floral designs. The flowers shift and change creating explosions of color. At the far end are large projections of his works.  It’s a visually beautiful experience that puts the viewer right in the middle of a Mucha illustration. (I’ll post a short video clip on the Two Parts Italy Facebook page).

 Not all of Mucha’s works were of beautiful and serene women dressed in alluring clothing.   His posters also reflect his commitment to all Slavic peoples, their customs and their struggles.

Mucha considered his most important work to be his Slav Epic, a series of huge paintings telling the history of the Slavic people.  The project was completed over 18 years and then donated to the city of Prague.

Panel from the Slav Epic

Mucha’s political beliefs, commitment to the independence of the Slavic people, and participation in the Czech Freemasons led to his arrest by the Nazis in 1939.  He was in his 70’s at the time of his arrest and, even though he was released after a few weeks, he died of pneumonia shortly after.  The Nazis also removed his Slav Epic works and they remained hidden for many years.  They are now on display in Prague. Reproductions of several panels are included in the exhibit in Florence.

 The Mucha exhibit will be in Florence through April 7, 2024.  The museum is open daily from 9:30 am to 7 pm with some exceptions (be sure to check on-line for changes to this schedule). A not-to be-missed experience for those who are interested in Art Nouveau.

Varenna and Villa Monastero

A busy August day in Varenna

There is a lot to love about the town of Varenna on Lake Como’s eastern shore.  Smaller and less glamorous than nearby Bellagio, Varenna still has echoes of the simple fishing village it once was.  Quieter than some of the mid-lake towns, it is less crowded, has spectacular scenery and offers lots of opportunities to explore history, art, and nature. 

 Don’t get me wrong, there are still tourists here (especially in July and August) and the stretch of town along the small harbor can get busy.  But the crowds disappear just a few steps away from the harbor and after the last ferry leaves!

 I think of Varenna as having 3 parts.  To the north end of town, well above the lakefront, is the train station.  The ability to arrive by train is one of Varenna’s advantages, especially for those staying in town.  Most visitors arrive via ferry from one of the other lake towns and the ferry dock is also at the north end of town. I enjoyed my ferry ride from my base in Argegno across the lake to Varenna, there is just something special about those boat trips!

The Passegiata degli Innamorati, Varenna

 From the ferry dock, to the south, is the second part of town, the fishing village.  The two areas are connected by one of Lake Como’s best walks - the Passegiata degli Innamorati (the Lover’s Walk).  This passarella (walkway) is dramatic – a long pathway balanced right above the shore.  You will know it by its red railings and the big red heart at a viewpoint along the way.   Along the passarella are windswept trees, greenery, stone walls, flowers, villas, and big views.  You may even be serenaded by an accordion player as you pass by.

At the end of the walkway lies a tiny harbor full of small fishing boats and then the lakeside village.  This is the southwestern part of Varenna.  The village has nice shops, artisans, restaurants, cafes and some wonderful views over the lake.  It also has some of those typical Lake Como alleys, called contrade, with steep steps leading up to Varenna’s third part – the “upper village” and the town’s main piazza.

Rather than going straight up to the main piazza, I prefer to take a more circuitous walk.   By continuing south along the Riva Garibaldi and east along Contrade del Prestino you pass by the luxurious hotel Du Lac.  Once a villa, now turned into an elegant hotel, it has fantastic views from its terrace restaurant and bar.  Just past the hotel are more contrade leading up towards Piazza San Giorgio, the main square in Varenna, and the Villa Monastero. 

A good lunch spot along the way is the Bar Giardini, part of the Hotel Royal Victoria, reached by heading up Contrada della Fontana. Dining under the loggia, wisteria overhead, sipping a glass of wine (this is vacation after all) while gazing at the lake and the mountains beyond made for a quiet, peaceful, and elegant break in the middle of my day in Varenna.  Lunch here was a splurge but worth it!

Piazza San Georgio

In the upper village sits Varenna’s main square, the pretty and shady Piazza San Giorgio. Across from the piazza is the 14th century Chiesa di San Georgio with its tall bell tower.

 Continuing east (away from the waterfront) up Via IV Novembre is the Tourist Information Office, a good place to stop for a city map.  Further along was the main goal for my one day visit to Varenna - the Villa Monastero.  Visiting gardens, especially in Italy, is one of my favorite things to do.  I came across this one almost 30 years ago on my first trip to Italy. I was looking forward to a return visit.

Villa Monastero, Varenna

The villa, which began as a Cistercian Monastery in the 12th century, later became a private home.  The last owners donated it and today it is a public museum and botanical garden.  

The garden, which has evolved over more than a century, meanders for about a mile along the lake.  The plants, many quite unusual, have come from all over the world.  There are evergreen trees, giant cacti, palms, citrus trees, vines and flowers.  The combination of colors, sizes, forms and textures creates a truly special garden.

 The garden is more than just plants. It’s an architectural and artistic wonder as well.  The setting includes terraces, fountains, sculptures, ornately carved balustrades, ironwork, and breathtaking views. 

 I spent so much time in the garden that there wasn’t time to explore the villa museum.  That will call me back to Varenna on a future trip.

website: villamonastero.eu