Tag Archive | Firenze

A Florentine Ornament

Continuation of: The Crown at the Piazza

Concentrate all your thoughts upon the work at hand.

The sun’s rays do not burn until brought to a focus.”– Alexander Graham Bell

All those days when David remained engulfed within the scaffolding following itsdelivery at Piazza della Signoria on May 18, 1504, it was guarded round the clock. Meanwhile, a case of influenza virus had broken out in Rome which quickly spread all through Italy and beyond. In effect, it lasted for several months and on its visit to Firenze, about 90 per cent of Florentines caught on to cough and fever while few died from it.

On June 8, 1504, David was placed at the Ringhiera – at the spot where until then Donatello’s Judith and Holofernes had stood (1). A few days ago, Judith was taken off its pedestal and temporarily set on the ground within the Palazzo where it remained until it’s installation in the Loggia on May 10, 1506.

According to a book, an Order to prepare the marble pedestal for David was given to II Cronaca and Sangallo only by June 11, few days after David was installed. This indicates that David was placed on a plinth and the Order for pedestal implied only additional reinforcement of outer casing to the plinth to sustain the weight of David already on it.

In the days following the installation and it’s unveiling to the public on September 8, 1504, Firenze had days steeped in religious and cultural tradition. They celebrated the Festa di San Giovanni (Feast Day of St. John the Baptist), their Patron Saint, on June 24.

On August 10, the Florentines celebrated Festa di San Lorenzo (Feast Day of San Lorenzo) followed by the folkloric event, La Festa della Rificolona (Festival of the Paper Lanterns) on September 7, then a recently initiated tradition observed on the eve of the feast of the Nativity of the Virgin when Tuscan farmers and mountaineers carrying lanterns gather at the Piazza (transforming Piazza Santissima Annunziata into a giant market for their produce) fronting the Church of Santissima Annunziata in Firenze to celebrate the birth of the Madonna by singing hymns.

All through these days, Michelangelo was engaged with the finishing touches to the sculpture which remained surrounded by scaffolding. While the work on the pedestal also progressed, it was reportedly during this time David was provided with the sling, tree-stump support, and a victory-garland.

During one of these days Piero Soderini (Piero di Messer Tommaso Soderini, 1450-1522)(2),Florentine gonfaloniere di Giustizia who held Michelangelo in great esteem, thought David’s nose too thick and shared this observation with its creator. Giorgio Vasari relates about this occurrence in his book, Vite de’ più eccellenti pittori, scultori et architettori. Knowing that Soderini’s point of view from beneath David still within the confines of the scaffoldings prevented him from seeing properly, Michelangelo, who didn’t want to prolong a satisfactory response to the remark of Soderini who had contributed in no small measure to the development of Florentine art, mounted the scaffolding to the level of David’s head and pretended to chip away at the surface of David’s nose with his hammer and chisel while letting drop some marble dust concealed in the hollow of his palm. Soon after, leaving the surface of the nose untouched, Michelangelo looked down and said to Soderini: “Look at it now.”

Soderini appeared pleased: “I like it better. You have given it life.”

The unveiling of David was specifically done on September 8 which marks the Nativity of the Virgin Mary in whose honour Santa Maria del Fiore, the ecclesia maior of Firenze is dedicated – the edifice upon which David was originally meant to be put up.

In reality, the ecclesiastical and civic authorities have seen another righteous opportunity to honour the Virgin who is widely respected as a mediator between God and the Florentines – a belief once echoed by Girolamo Savonarola (1452-1498) as well, and that, looking further back, one could notice that the cornerstone of Santa Maria del Fiore was also laid on September 8, in 1296.

Unlike the happy-with-his-triumph posture of the elegant and slender David depicted in the statues by Donatello (1386-1466) and in Andrea del Verrocchio’s (ca. 1435-88) clothed version of David holding a short sword at a negligent angle; the pose and composition of the David by Michelangelo heralded a stately grandeur and dignified solemnity.

Raphael (Raffaello Sanzio da Urbino, 1483-1520) came to Firenze in 1504 after the installation of the David – during the time when a galaxy of eminent artists were congregated there amidst an artistic atmosphere caused by the potent rivalry between Leonardo da Vinci and Michelangelo. Raphael was one amongst the first to study the David (3) – the symbol of freedom and dynamism of the Florentine republic.

On a professional perspective, the sculpture looks different close up than it does when viewed from the ground. From the ground, one can see the rigid and turgid tendons of the neck – the sling resting on his shoulder – the forehead furrowed with threatening wrinkles, his flared nostrils and, that defiant look as David measures the distance of his antagonist – to throw the slingshot from the accuracy of his hand. At close up, the furrowed brows protrude from the forehead and there is variation in the gaze direction of the two eyes – all optimised for visual effect.

On that note, one could visualise Michelangelo’s great ability to look at things – of how he could take a thing in mind, turn it over and see so many facets and focused on the desired shape to carve out of the block of marble. A quote attributed to Michelangelo summarised his work: “I created a vision of David in my mind and simply carved away everything that was not David.”

While Michelangelo’s public sculpture remained outdoors for 369 years (4), by and by, it attained great prominence not only as one of the most historically and aesthetically significant sculptural works of the Renaissance but also turned itself into the second symbol of Firenze, next to the fleur-de-lis (giglio bottonato, the official emblem of Firenze).

With La Pietà in Rome and David in Firenze, Michelangelo’s pre-eminence was established as a sculptor. Even though he was accepting commissions for work even while working on David, (5), the latter half of 1504 saw Michelangelo, at the behest of Piero Soderini, embark on the creation of historical compositions on the wall of the Sala del Gran Consiglio in the Palazzo Signoria (Vecchio) (6) where Leonardo da Vinci was already engaged in the design of another cartoon on the opposite wall.

As it turned out, this work was left unfinished by Michelangelo early in 1505 having opted to proceed for his second journey to Rome at the invitation of Pope Julius II (Giuliano della Rovere, 1443-1513, pope from 1503)

Earlier, on August 12, 1502 while the work on David was in progress, Michelangelo was given a commission to make a copy of Donatello’s David within six months. This bronze figure was meant for Pierre I. de Rohan (Pierre de Rohan-Guéméné, 1451-1513), son of Marie de Montauban and Marechal de Gié, who greatly desired to own it. Rohan was highly favoured at the court of popular King Louis XII (Le Père du Peuple/Father of the People, 1462-1515) of France. Naturally, Signoria was eager to comply since an alliance with France was considered of the highest importance for the Florentine Republic.

During the next two years, while the bronze-casting of the statue was done with the assistance of special master, Benedetto da Rovezzano (Benedetto Grazzini, 1474-1552), unforeseen developments in France occasioned Pierre de Rohan to fall into disgrace having been charged with treason in 1504 after he became Duc de Nemours in 1503 as a result of his marriage with Marguerite, heiress of Armagnac and a sister of Louis d’Armagnac (1472-1503), Duc de Nemours.

Eventually, Florimond Robertet (1531-67), the Secretary for finance who was influential with King Charles IX (third son of Henry II and Catherine de’ Medici) was afforded the mental pleasure as well as spiritual benefit from this sculpture. After 1566, Robertet placed it in the courtyard of his Château de Beauregard, near the city of Blois until more than a century later, it was removed to Château de Villeroy (Villa regis), Sète (Cette), owned by great art lovers Nicolas IV de Neufville (1543-1617), Seigneur de Vlleroy and his wife Madeleine de L’Aubespine (1546-96, poet and lady-in-waiting to Catherine de Medici), from where it eventually disappeared. The only evidence left of this sculpture is a fine pen-and ink drawing by Michelangelo

Besides Michelangelo’s tomb at the Franciscan Basilica di Santa Croce, scattered around his city of Firenze are several of his creations. And what tribute more graceful and intimate to the memory of Michelangelo could be conceived than to visit and appreciate the creations of Michelangelo in the delightful radiance of Florentine ambiance? Ascribed to his atelier are: David at the Galleria dell’accademia; the Medici tombs at Basilica di San Lorenzo; mallet and chisel works at the Casa Buonarroti and Museo dell’Opera del Duomo; Tondo Doni in the Galleria degli Uffizi. Then, there is the site of his fortifications at San Miniato.

Although monuments, museums and galleries aren’t the only reason to visit Firenze, a stay in Firenze is incomplete without a look at the original David of Michelangelo. Its heightened reputation since its installationbefore Palazzo Vecchio overlooking the Piazza della Signoria, the center of political life in Firenze, has influenced successive generations – blazing a trail of appreciation amongst kings and emperors, dukes and marquise, knights and counts, scholars to the general public.

Of David’s influence, a book relates a diary entry of Ukraine-born ballet dancer Vaslav Nijinsky (1889-1950) mentioning about how he allowed French sculptor Auguste Rodin (1840-1917) to photograph and sketch him in nude to create a sculpture inspired by Michelangelo’s David. Then there were those who considered David a provocatively sexual portrayal of idealised male beauty. Sometime after its completion, Michelangelo was disgusted to witness a fig-leaf attaining a new use on a certain part of his David which remained unrectified until the early years of the 20th century.

A plaster cast (six metres in height) by Florentine cast-maker Clemente Papi based on the original statue of David presented by Leopold II (1797-1870), the Grand Duke of Tuscany in 1857 to Queen Victoria (Alexandrina Victoria; 1819-1901) was outfitted with a plaster cast of a fig leaf of appropriate size and hung at a certain place with clips during early years.

Then again, not to anyone’s surprise, there were also those contemporary rivals who squared their shoulders and detested the talent of Il Divino.

Foremost amongst such high-handers of malcontent tracking Michelangelo quietly and silently as a snake sloughing off its skin, was Florentine sculptor Baccio Bandinelli (1493-1560), son of a famous goldsmith and the prospective creator of Hercules and Cacus (Ercole e Caco), whose impending efforts to outdo Michelangelo Buonarroti would generally ricochet to strike back on himself – but that’s another story…. Jo

This concludes PART ONE.

Notes:

Commissioned by the Medici as a metaphor of their rule in Firenze, Judith and Holofernes was a freestanding companion figure to Donatello’s David. The original is presently in Sala dei Gigli in the Palazzo Vecchio.
Piero Soderini was appointed as Gonfaloniere di Giustizia for life August 1502 following completion of the regular two month period as Gonfaloniere.
A Study of Michelangelo’s David by Raphael (during 1504-08) is at the British Museum in London.
Although the sculpture was periodically taken care of and its surface waxed many times during its long exposure to all injuries of rain and frost, the left arm of David was broken by a huge stone during the popular riots of 1527. Giorgio Vasari relates how he and friend Cecchino Salviati gathered the scattered pieces, and the arm was restored in 1543 under the care of Cosimo I de’ Medici (1519-1574), first Grand Duke of Tuscany. As related in a book, there is photographic evidence suggesting that David was slightly moved forward from its original position in early 1870s to align the pedestal with the new stairs of the Palazzo. Upon David’s removal to Galleria dell’accademia in Firenze on July 31, 1873, the space where it stood at Piazza della Signoria lay empty for almost 37 years.
Due to lack of space, this series of posts cover only selected creations of Michelangelo in its chronological order. Thus, Madonna of Bruges (c. 1501-04) and some other works are omitted.
The frescoes created by Michelangelo and Leonardo da Vinci depicted Florentine victories in the battles of Cascina (Florentine victory over Pisa in 1364) and Anghiari (Florentine (League of Italian states) victory over Duchy of Milan in 1440). Michelangelo discontinued this work when he left for Rome to fulfil the commission granted to him by Pope Julius II (1443-1513) to do frescoes on the ceiling of the Sistine Chapel and to design the pope’s tomb. A fine copy from Michelangelo’s cartoon of Cascina by Aristotele (Bastiano) da Sangallo is at the Earl of Leicester Collection at Holkham Hall, Norfolk, England and a Study for Leonardo’s Battle of Anghiari is at Galleria dell’Accademia, Venice.

(© Joseph Sébastine/Manningtree Archive)

Distant Fire, Delightful Gleams

Jun5

I have come where I have long desired to be…. – Charles V

Within the wide Piazza della Signoria and its Loggia dei Lanzi (1), the open-air museum on the southern side, there are many sculptural art from a time when Arts enjoyed extensive prosperity in Firenze (Florence), Italy.

This area was frequently bustling with activity before the outbreak of Covid-19 pandemic took over globally and triggered significant precautionary restrictions such as traveller mobility, health-related formalities, border closures, travel bans, etc.

As in the case of Italy, the world’s fifth-most visited destination, the crisis inflicted a heavy toll on its tourism, plunging it into the worst recession since World War II. But the recent popular expression, “Even George Clooney doesn’t come anymore with this pandemic,” is now giving way to optimism among the population as there are efforts to reopen the country to tourism from June forward owing to the progressive easing of restrictions and the awaited EUDCC (EU Digital COVID Certificate) Gateway for safe movement between countries.

Being constant visitors, Firenze is always linked to our minds with summer and sunshine. When the blue Tuscan sky is magically clear or whenever we do not entertain any intention to swap Firenze (its palaces, monuments, galleries and piazzas, etc) for a full-field investigation of the towns and cities nestling in the hillsides of Tuscany, this here is one of the places where we often spent time during the Florentine leg of our visits.

A certain pleasing ambiance prevails at this sprawling Piazza with its public-space displays which are more conducive to us for serious reflection than just to sit elsewhere in Firenze and people-watch – even though, at times, with the pleasure of listening through earphones to the delightful masters of Italian opera: Gaetano Donizetti (1797–1848), Vincenzo Bellini (1801-35), Giuseppe Verdi (1813–1901), or Giacomo Puccini (1858 –1924), in their home settings.

Compared to the public squares of Firenze such as Piazza del Duomo, Piazza Santa Croce, Piazza della Repubblica, the show-place of Firenze is Piazza della Signoria. This is reputedly the place where almost all the Florentine history probably has passed.

Adding to its plus side are all those strenuous sculptures executed with the most delicate mastery, as well as the great “Neptune” fountain (Fontana del Nettuno/il Biancone) of Bartolommeo Ammanati (1511-92). In many instances, it leaves distinct impressions and memories on the visitors.

During high tide of visitors in the Piazza, few may fail to notice an inscribed circular plaque on the pearl grey Pietra Serena (2) paved pavement which marks the spot of the Cimento di Fuoco, the ordeal of fire on May 23rd, 1498 when Girolamo Savonarola (1452-98) was hanged and burned.

Before the Loggia became a day-to-day controlled area for certain hours following an episode of vandalism to the marble statue of Pio Fedi’s “The Rape of Polyxena” (3), we used to sit on the left stone-terrace that runs between the two Corinthian columns, closer to the lion by F. Vacca (4), one of the two colossal marble Medici lions which flank the entrance of the Loggia.

The imposing Palazzo Vecchio loomed to our right. Its principal doorway with an overhead decorative fronton is conspicuous in the center of the two “termini” posts, which formerly served as supports to the chain to bar the entrance.

From where we sat, it was easier to clearly admire the topic of my present write-up located on our right side of Palazzo’s entrance: the white marble sculpture of the most celebrated of all the heroes of antiquity in the Renaissance’s colourless view of the Classical nude: Hercules.

Continued in Part 2: “A Procession of One”

Notes:

The loggia was variously known as Loggia dei Priori, Loggia della Signoria, Loggia dei Lanzi, Loggia di Orcagna, D’Orcagna – not necessarily in this order. By Benci di Cione and Simone di Francesco Talenti, the Loggia (1376-82) was originally designed to shelter the Signoria from adverse weather conditions during civil and religious ceremonies or to accommodate the Priori for their convocations of the people. In contemporary times, it suits as a venue for Live Orchestra concerts, etc.
Pietra Serena: Sandstone typical of Florentine Renaissance architecture and building mainly extracted from the hills of Settignano and Gonfolina area/Lastra a Signa, in the northeast and in the west of Firenze.
Pio Fedi’s “The Rape of Polyxena” (1865/6) depicts Achilles receiving Trojan princess Polyxena when she offered herself for the return of her brother Hector’s body. Having secured Polyxena in his left arm, Achilles’ sword is raised to beat Queen Hecuba, who is desperately trying to protect her daughter. The dead person under Achilles’ feet is the corpse of Prince Hector.
The right lion is of Grecian origin brought from Rome together with the 6 antique sculptures placed against the inner wall.
This is for Carina, my travel companion and wife, who understands perfectly what ‘dedication’ means.

With Holier Heavens Above

Apr29

During a stay in the Italian city of Firenze some years ago, it was on an April day we visited the medieval city of Siena.

Of the many Tuscan cities we covered during this visit – unlike Pisa with its historic churches, medieval castles and the Leaning Bell Tower of Pisa Cathedral; – or the gorgeous Lucca, the “city of 100 churches”, which does not occupy a hilltop position but takes pride for being the birthplace of the opera composer Giacomo Puccini; – or the port city of Livorno with its great seafood dishes and “Quartiere La Venezia”, – it was in Siena we dedicated more days on our itinerary to explore the marvels that awaited us.

It was whilst in Roma years ago, when the idea first entered our minds to include Siena in our bucket-list of places to visit.

At Roma, we had chanced upon the statue of the she-wolf who supposedly suckled the twin brothers Romulus and Remus, the legendary founders of Roma. This saga of Romulus and Remus holds the myth that Siena is founded by Senius, the son of Remus, and that Remus was, in the course of founding Roma, slain by Romulus. Yet another tradition has it that Siena’s name is related to the Gallic tribe of the Senones.

Located in the heart of Tuscany and enclosed within medieval walls, the city of Siena which rises up on the ridge of three hills has its ancient aspect still intact. Rich in medieval histories significantly from the Middle Ages, Siena is renowned for its time-honoured traditions, works of art and architecture, churches, museums, old patrician villas, brick-red buildings, narrow winding streets and alleys, fine cuisine, etc.

Unfortunately, our visit didn’t coincide with the traditional bareback horserace il Palio de Siena held two times every summer around Piazza del Campo, Siena’s main square where the old Roman forum once stood.

One of Europe’s greatest medieval squares, UNESCO has declared this historic city center as a World Heritage Site. Siena is featured in many movies including in one of Daniel Craig’s James Bond outing “Quantum of Solace” which shows snippets from the Palio race.

It is said that the herring-bone pattern of brick paving of the shell-shaped Piazza del Campo also symbolizes the cloak of the Madonna which shelters Siena.

At one of the restaurants in Siena where we dined twice, one could hardly miss a marble placard hanging behind the drinks counter. Its contents read:

Salve, Regina, mater misericordia,

Vita, dulcedo, et spes nostra salve

Ad te clamamus, exules filii hevae. (1)

This placard initiated a friendly conversation with the “happily unmarried” owner of the restaurant who went on to explain that, ever since the battle of Monteaperti (September 1260) between Siena and Firenze, the Blessed Virgin had been the patron saint of Siena and the town had assumed the designation of Civitas Virginis. He was steadfast in his conviction that Siena is not only blessed by the Virgin Mary’s cloak, but also by two other saints of this city who were exalted by signs from God – i.e., St Catherine (1347-1380), a tertiary of the Dominican Order at Siena, and St Bernardino of Siena (Bernardino degli Albizzeschi, 1380-1444), the mighty preacher.

A Franciscan preacher and prominent proponent of devotion to the Holy Name, Bernardino is also credited as the creator of the YHS (or IHS) trigram from which the rays shine forth.

Siena is simply the town of Caterina Benincasa, better known as Saint Catherine of Siena. She was the twenty-third of twenty-five children of Lapa di Puccio dé Piacenti and Giacomo di Benincasa, a dyer by trade from the district of Fontebranda in Siena, a place permeated by the odour of tanning and dyeing.

A bundle of love and joy, Catherine embodied all the feminine virtues expected in a little girl. Living within close proximity to the convent church of Dominicans, she felt drawn to the morals and values of Christianity, and from the early age of six, experienced mystical visions. In 1363 at the age of sixteen, she received the habit of the Sisters of Penance of St Dominic, called the Mantellate. During the course of her life she practiced severe austerity and combined with prayer, self-denial and works of charity became an outstanding figure of medieval Catholicism.

It is written that Christ’s stigmata were imprinted on her body on April 1, 1375 during a visit to Pisa where for the first time she saw the sea. Fond of definitions, she would later record her mystical experiences in writing in addition to nearly four hundred letters she brought forth to people of Italy and Europe as a whole.

Other than St Bridget (Swedish princess Birgitta Birgersdotter, 1303-1373, the patron saint of Sweden) the mystic and foundress of the Order of the Most Holy Saviour; it was Catherine who predominantly prevailed on the deeply religious Pope Gregory XI (Pierre Roger de Beaufort – Pope from 1370-1378) to end the Avignon Papacy and return the papal court from Avignon to the Tomb of Peter, Roma, which the Pope did during mid-January, 1377 –the main and courageous event of his reign.

Both Catherine and Bernardino have encountered the flywheel of the great Pestilence that devastated Europe during their respective life times. They indulged in taking care of the sick and the poor, nursing the unfortunate multitudes of plague victims around them. We could relate to that situation owing to its similarity to what our world is experiencing now as the spread of Covid-19 achieves exponential acceleration.

Today, 29^th marks the 641^st year since St Catherine of Siena, the greatest of Christian mystics, died in Roma on April 29, 1380. She is enshrined in Basilica di Santa Maria sopra Minerva in Roma while, among other relics, Her Sacred Head brought to Siena from Rome in 1383 is housed in a reliquary inside St Catherine’s Chapel at Basilica Cateriniana San Domenico in Siena. In June 1461, Catherine was canonized by Pope Pius II when with great solemnity the body of the saint, exhumed for the purpose, lay before the Pope holding a spotless lily (an attribute scarcely ever omitted in her paintings), that was placed in her hand.

It was in 1939 when, along with San Francesco d’Assisi, Catherine was declared as the patron saint of Italy by the newly elected Pope Pius XII. Another pious occasion was at a solemn ceremony, fragrant with Catherine’s spirit, in St Peter’s Basilica on October 4, 1970 when Pope Paul VI placed her in the list of the Doctors of the Church.

In 1999, vide an Apostolic Letter, Pope John Paul II proclaimed St. Bridget of Sweden, St. Teresa Benedicta of The Cross and St. Catherine of Siena, co-patronesses of Europe. That was the victory lap of the Godliness in those great women – and a reminder that there is a God who lives on in all of us – a divinity – a power for good.

I now take leave with Catherine’s own words: “Speak the truth as if you had a million voices. It is silence that kills the world.”

Until next time, Jo

NB:

Hail, Holy Queen, mother of mercy; Hail our life, our sweetness and our hope; To thee do we cry, poor banished children of Eve.
This is dedicated to all the Covid-19 warriors, alive and dead, around the World.

MICHELANGELO – IL DIVINO

Mar6

“Painting is good to the extent that it resembles sculpture; sculpture is bad to the extent that it resembles painting” – Michelangelo Buonarroti (1475-1564) *

Pietà (1498–1499) at Basilica di San Pietro, Vaticano

A son was born to Francesca di Neri del Miniato di Siena and local Podestà, Lodovico di Leonardo Buonarotto Simoni, on THIS DAY (March 6^th) in 1475 (1474 – according to Giorgio Vasari) in the small village of Caprese (today known as Caprese Michelangelo) in the province of Arezzo in Tuscany, Italy.

Left: Rebellious Slave – Right: Dying Slave (1513–1516) at the Louvre, Paris

Second of five brothers, he will be commonly known as Michelangelo and would go on to create wonders in sculpting, architecture, poetry, and engineering. Besides being an architect in the creation of Basilica di San Pietro in Vaticano, this Italian High Renaissance artist who painted the ceiling and altar wall of the Sistine Chapel which includes “The Last Judgement” and created his most famous sculptures, “Pietà” and “David” amongst others; would capture the hearts and imagination of millions all over the world.

Michelangelo’s original “David” displayed at Galleria dell’Accademia in Firenze

The endless hours spent reading a plethora of sound biographical material on Michelangelo; the hours spent studying his arts displayed at the Louvre in Paris and at various places in Firenze and Roma; the visual documentaries and movies like “The Agony and The Ecstasy” that had flashed past before my eyes – all of these conjure up an image of an extraordinary genius with infinite talent. One this day, we salute this Il Divino (“the divine one“) of Firenze who once walked upon this Earth. Jo

Basilica di Santa Croce (Basilica of the Holy Cross), Firenze where Michelangelo’s tomb (designed by Vasari) is located right opposite to the tomb of Galileo Galilei (designed by Giulio Foggini). The cenotaph of Niccolò Machiavelli is on the same aisle in close vicinity.