Posts Tagged ‘Strozzi’

Florence: Overview of Major Museums

Kicking off my new Travel Reviews section, a quick review of some centerpieces among the many, many, many attractions Florence offers her visitors.  Please keep in mind that times and prices change constantly, so always check before you plan:

Uffizi Gallery:

  • The city’s great painting collection, housed in the offices built by Vasari for the Medici dukes.  Arranged in mainly chronological order, the collection chronicles the progression of art out of the middle ages through the Renaissance.  This is where you find the big names: Giotto, Filippo Lippi, Botticelli, Raphael, Titian, Michelangelo, all in halls decorated with Romanesque grotesque ceilings, covered with portraits of everyone who was anyone in the Renaissance, and crammed with classical sculpture, including the Medici copy of the Laocoon.  Highlights include the three big Madonnas, the Botticelli room featuring the Madonna della Magnificat and the Birth of Venus, Raphael’s portraits of popes Leo X and Julius II, and Michelangelo’s Holy Family With Gratuitous Naked Men.  Endless gift shop including a huge room of academic books.  Fantastic venue for Spot the Saint.
  • Cost:  11 euros plus 3 or so extra for making a reservation.
  • Time required: 6+ hours if you can stand up that long.
  • Hours: 8:15 am to 6:50 pm Tuesday through Sunday.  Closed Monday.  Sometimes open late Tuesdays.
  • Website:  http://www.uffizi.firenze.it/en/index.php
  • Notes: The Uffizi has an infinite (3+ hour) line during peak season, so it’s a very good idea to make a reservation.  It also has very few places to sit, no water fountains (they scan your bag as you go in so you can’t bring water), and a very inconveniently-located bathroom.  So enormous and exhausting is it that it’s very difficult to go through in one day.  If you’re in Florence for a week, I highly recommend getting a Friends of the Uffizi pass, which costs 60 euros at present (40 for student-age) and gives you unlimited access plus line skipping at the Uffizi and the Pitti Palace.  The card, which can be purchased at an office at the Uffizi, gives you the leisure to go to the Uffizi for half a day, then go do something else, then return.  In my experience a typical visitor does not quite get 60 euros out of the pass in a single week, but it comes close, and the convenience makes up the difference.

Accademia:

  • The other most famous and frequently-visited museum in the city.  The Accademia hosts the original Michelangelo David and Michelangelo Prisoners, plus a great collection of Renaissance paintings, and, in the upper floor, a great Saint Spotting area including a huge collection of icons of Saint Zenobius.  Michelangelo’s fame means the Accademia is always extremely crowded, and there are always mobs around the David.
  • Cost: also 11-ish, 14-ish with an appointment.
  • Time required: 5+ hours
  • Hours: 8:15 am to 6:50 pm, Tuesday through Sunday.
  • Website: http://www.polomuseale.firenze.it/musei/?m=accademia
  • Notes:  The Accademia is great, but it’s also a lot of hassle and chaos, especially during peak season, and it’s not actually that much better than most of Florence’s other, less popular great museums.  As with the Uffizi, make an appointment, but honestly, if you are only in Florence briefly and need to choose carefully, there are other things you can see that are just as fabulous and a lot less difficult.

Bargello:

  • Formerly the prison and seat of the city’s chief of police, the Bargello is a fabulous fortress, with battlements and hundreds of coats of arms of knights who served in it.   Now it houses the city’s Renaissance sculpture collection, including Donatello’s David and Cellini’s Ganymede.  Easy to reach and inexpensive, this little museum takes a comfortable half-day to see thoroughly, but is crammed with  world-class pieces.   Also contains collections of ceramics, a chapel whose fresco includes the oldest surviving portrait of Dante, and assorted “stuff” ranging from Roman cameos to an ivory and ebony medieval portable backgammon set.
  • Cost: 8 euros
  • Time required: 3-4 hours.
  • Hours:  (sigh) 8:15 AM to 1:50 PM, closed the 2nd & 4th Monday and 1st, 3rd & 5th Sunday of each month and randomly selected holidays.
  • Website: (the official one seems to be down) http://en.wikipedia.org/wiki/Bargello

Palazzo Pitti:

  • This enormous palace in the across-the-river (Altrarno) area is where the Medici dukes moved once the Palazzo Vecchio proved too cramped for their royal style.  It contains seven museums in one, which are confusingly grouped into two separate tickets.  They are constantly rearranging what is on what ticket, so this info may be out of date:
  • Ticket 1 is for the Palatine Gallery, which includes yet another collection of extraordinary paintings, including a lovely Raphael holy family, a great Filippino Lippi madonna, Titian’s extremely sensual Mary Magdalene, and elaborate baroque frescoed walls and ceilings.  It also contains some of the finest examples of Pietra Dura, the Florentine art of making elaborate images out of inlaid semi-precious stone.  It also includes the Royal Apartments, with all the fancy furniture.
  • Ticket 2 is for the Argenti Museum, or silver museum, which houses the ridiculous treasures which belonged to the Medici family.  When I say ridiculous I mean it, and the endless cases of ivory vases, gilded cups, huge amber reliquaries and elaborate hand-carved rock crystal dishes leaves one completely overwhelmed by the opulence of wealth.  Prepare to be stupefied by the sheer genius of human opulence.  This collection is very different from anything you meet at a typical museum, and I recommend it highly as a break from too much art.  The first few rooms also feature truly astounding fake-perspective frescoes, and one of my favorite fresco cycles of all time, depicting Lorenzo de Medici inventing the Renaissance.  There are also frequently interesting temporary exhibits in the initial rooms.
  • Also on Ticket 2 are the Boboli Gardens, the large, meandering Italian gardens behind the palace.  These are great for a quick stroll, or for getting really winded on the endless slopes and stairs.  At the river end of the gardens is the grotto, an elaborate Renaissance fantasy of a fake excavated ancient Roman villa, covered with fake mud and fake ruins and rustic mosaics made of seashells.  It is only open for brief intervals at unpredictable times of day, so if you go, ask an employee when it will be open that day, to make sure you don’t miss it.
  • Minor museums included in one ticket or another are the Modern Art gallery, the Costume Museum (disappointingly small and modern), the Porcelain Museum, and the Carriage Museum.
  • Cost: 8.5 euros for the Palatine, 7 for the Argenti. Or free with the Friends of the Uffizi xard.
  • Time required: 3-4 hours for the Argenti, another 3-4 for the Palatine, 1-2 each for the others.
  • Hours: 8:15 to 6:50, closed Mondays.
  • Website: For the Argenti: http://www.polomuseale.firenze.it/en/musei/?m=argenti, For the Palatine: http://www.polomuseale.firenze.it/en/musei/?m=palatina

Museum of the History of Science (Museo Galileo):

  • A phenomenal collection of scientific instruments from the Renaissance through 19th century, though mostly 17th and 18th.  Astrolabes, sextants, orreries, clocks, barometers, telescopes, electrostatic generators… These are pieces from the period when scientific demonstration models were designed to impress aristocratic patrons, so gold and engraving are the norm.  Highlights include Galileo’s telescopes (and finger and thumb in a reliquary), apothecary’s work table, the Military Compass (dagger with built-in compass and other mathematical tools), and a gruesome collection of 18th century full color obstetric models showing dissected female torsos and the various ways babies can be laid wrong in them.
  • Cost: 8 euros.
  • Time required: 3-4 hours.
  • Hours: 9:30 AM – 6:00 PM, except on Tuesdays, when it closes at 1:00 PM.
  • Website: http://www.museogalileo.it/en/index.html

Museo del Opera del Duomo (Museum of the Cathedral Corporation):

  • The construction of Florence’s massive cathedral, which was, at the time, the most spectacular church in Christendom, was an incredibly expensive undertaking, and the Renaissance corporation created to oversee it survives to this day.  This museum showcases the art and artifacts which belong to that corporation, including numerous sculptures from the old early Renaissance facade which was later torn down in favor of a more modern one, the wooden models of different designs for the church, and many of the tools used for it.  Highlights include Donatello’s stunning wooden sculpture if Mary Magdalene, the reliquary from the Baptistery containing the right index finger of John the Baptist, and the original Baptistery sculptures and (once they’re done cleaning them) the real Gates of Paradise.
  • Cost: 6 euros
  • Time required: 2-3 hours.
  • Hours: 9:00 AM – 7:00 PM, except on Sundays, when it closes at 1:45 PM.
  • Website: http://www.operaduomo.firenze.it/ There does not seem to be an English version of this website.

Palazzo Strozzi:

  • An enormous city palace built by one of Florence’s leading merchant families, the Palazzo Strozzi hosts a circuit of temporary exhibits, usually pretty good, but each is unique, so check it each time you consider coming. The Strozzi family were never the most powerful, but generally the biggest wealthy merchant family, with the most individual households, so widely feared (and often exiled) by the Medici and other rivals. This palace was built after a return from exile, and celebrates their presence in the city.
  • Cost: Variable by exhibition and greed.
  • Time required: 2-4 hours depending on exhibit.
  • Hours: 9:00 AM – 8:00 PM, Thursdays 9:00 AM – 11:00 PM.
  • Website: http://www.palazzostrozzi.org/index.jsp?idProgetto=2&idLinguaSito=2

La Specola (Museo di Storia Naturale):

  • All major cities have natural history museums, but not ones founded by the Medici.  La Specola hosts eighteenth-century specimen collections, including skeletons and dissection models, many many more elaborate wax surgical models than the science museum, and the Medici’s pet hippo (stuffed).  Not for those with weak stomachs.
  • Cost: 6 euros, 10 euros for museum and exhibition.
  • Time required: 2-4 hours.
  • Hours: 9:30 AM – 4:30 PM, closed Mondays.
  • Website: http://www.msn.unifi.it/mdswitch.html
  • Notes: Some ticketing connection with Pitti Palace which I don’t quite understand. (Quoth the website in two contiguous lines: disabled access: YES / disabled access: NO)

Read about Florence’s Churches and Monuments.

Arbitrary Pricing

Drum roll please… time for the results of my Guess the Purse – Guess the Price challenge:

 

Purse #1: the unnecessarily quilted reptile purse
Purse #2: The inconveniently small reptile purse (giant clutch)
Purse #3: the crumpled trashbag look purse

 

I often stroll through what I call the “thousand dollar purse” district, but even I stopped short the first time I spotted Purse #2 in the window.  Did they put in an accidental extra digit?  I was used to trying to guess from a distance whether any given purse cost 200 or 400 or 600, but nothing had quite prepared me for quintuple digits.

This thousand-euro dress is made of hand painted art nouveau velvet lace and is beautiful and obviously very labor-intensive and I am totally comfortable with it costing a thousand euros.

I had known fashion items in the ten grand range existed, so it wasn’t that which shocked me as much as my complete inability to tell why that particular purse cost ten times what its neighbor did.  Not only did I not know, but I couldn’t even begin to understand how I might know, yet at the same time I’m very aware that for people connected with the world of fashion, all it would take is a glance to tell.  It was a language barrier.  Like how an architect fluently interprets the vocabulary of a facade, a mechanic the sounds of an engine, or a medieval person can recognize saints at a glance.  A moment of feeling what illiteracy must be like.

If these purses came with the chicken feet, and if they would run around and follow you and fetch your bag whenever you wanted... no, it still wouldn't be worth 2000 euros!

Except at the same time, Reason rebels:  10,900 euros!  It’s a purse!  It’s a glorified sack!  I could make one in 20 minutes out of fabric or duct-tape, and the materials can’t possibly cost more than a few hundred.  Nice ones are nice, and I have some bags I’m very fond of, but… is it from the Moon?  Made of the hide of the last surviving wyvern?  Does it cure disease and repel undead?  Is it electronically synched with a satellite which will shoot pickpockets with lazers from space?  Was the leather bathed in the healing liquor which drips from the tomb of Saint Catherine of Alexandria ?  Is it perhaps like George Jetson’s suitcase, and folds out into a car?  I’d pay fifteen grand to never have to park again, but anything less…

Apparently crabby thirteen-year-olds shop at Prada

Now, I don’t dislike fashion.  I quite enjoy looking at interesting clothes, studying costume history, making costumes, looking at shop windows, get excited over a particularly rich fabric or elegant coat tail, and I do pay serious attention to how I myself dress.  Fashion is a form of communication.  That’s how I primarily think of it: a social tool whose vocabulary of gender, class, situational, ethnic, geographic and subcultural cues let people communicate to others a kind of instant introduction and self-presentation.

 

Sullen vampire faeries shop at Cavalli

When a dolphin meets another dolphin the first thing they do is urinate at each other, because by tasting each other’s urine in the water they can tell a lot about each other: age, gender, health, “Hello, I’m a juvenile female who just pigged out after a long journey without enough food.”  “Well, hello, I’m a middle-aged female local to this area and in heat; get stuffed.”  Clothing accomplishes the same, in balance with function, comfort and expense, of course.  On a bus or subway one doesn’t have to be Sherlock Holmes to know a lot about what class and type of professional or hobbyist most people are trying to seem.  I have a great respect for people who manage to use clothing to present themselves in ways which make them seem exciting and also give a good sense of who they are, and I strive to do so myself, and, in my case, maintain several different wardrobes (nerd, professional, historical, otaku) for presenting myself when I hop from hat to hat among my many spheres.

This fashion succeeds in communicating: if you want to present as an Icy Big Boss Lady and bully action heroes, shop here.

Like language, clothing as communication requires one to work within a set vocabulary.  As an astute economics textbook I read on the matter once pointed out, it might be that to some person encasing herself in a two-foot-diameter aluminum tube perfectly summarized her thoughts about herself, but if she walked to a room like that no one would be able to interpret it, so it would fail as communication.  Tweed jacket with leather elbow pads = professor, black with spikes = punk with all its countercultural associations; you can’t reverse or change that until the whole culture does, or no one will know what you mean.

This outfit succeeds in communicating: wealthy, fashionable

But the fashion industry is something different: it changes constantly, every season, and it’s in its very changeability that it somehow communicates.  Bowtie = quirky/geeky/old-fashioned; wearing the latest fancy thing that’s currently in shop windows, whatever that may be = fashionista.  Thousand dollar purses do have a function, which is to communicate that this is a person of sufficient wealth and education and with the proper tastes to want one.

Returning to the familiar ground of the Renaissance, a blue garment or a lady with pearls woven through her hair is a declaration to passers-by of social class, and important for enabling the correct interaction between classes, and for making political and economic contacts and alliances.  When Alessandra Strozzi writes in her letters of having a daughter married wearing hundreds of florins worth of pearls sewn to her garment, the wedding procession was an invaluable advertisement of the family’s wealth and status and its connection to its neighbors, which played a significant role in the political interplay between Strozzi, Medici and other rival powerful families in the city.  This has a function, and even a wedding dress that cost as much as a house did have a function, and I respect that.

Here a wedding procession through downtown Florence is depicted on the Adimari Cassone (c. 1450). A cassone is a wooden chest, usually used to hold clothing, and they were often decorated with wedding images and carried in the wedding procession; another way to display the wealth of clothing involved in the alliance of great houses. You can see the Baptistery and Florentine trumpeters on the left.
I can respect these shoes. They make their owner seem like an interesting person.
I understand these shoes; they tell me a wealthy woman is going to an important, formal event.

The problem comes in contemporary fashion from the fact that now one often has to be such a fashion-conscious person in order to interpret correctly, because to the untrained eye this year’s black Gucci purse looks exactly like last year’s black Gucci purse.  It’s a private dialect spoken only among a specific type of wealthy, trend-minded elite.

 

This season’s trends prove precisely why the private dialect of high fashion baffles me where other regions of fashion seem reasonable and, indeed, fun.  This season’s “look”, as one can’t help but notice on a stroll past Florence’s boutique windows, focuses on huge, rough, bulky, shaggy knitwear, mostly in brown, beige, gray or black, with accents in orange and teal.

Huge, shaggy knitwear of precisely the style that knitting hobbyists–a slice of society associated with old-fashioned handicrafts, tradition, nerd culture, and the shy prim crafts-doing girl type–produces.  There is no way that I can perceive to tell the difference between these 300 euro Ralph Lauren shawls and scarves and something one might request from a grandmother, or see growing longer panel by panel at a con.

This tells me that the wearer is cold and slobby, not trendy and rich!
Spot the Saint! The John the Baptist Hairshirt Look is in this season.
It really is the John the Baptist Hairshirt Look!

 

 

 

 

 

 

 

 

 

 

 

The John the Baptist winterwear ensemble
The John the Baptist Hairshirt Purse, available in camel, avocado and hypercosmic cherry
Hairshirt Shoes complete the ensemble.

 

 

 

 

 

 

 

 

 

 

Communication has failed.  Generally speaking,the presumed goal of a fashionable trendy dresser is to communicate to the layman that they’re generically nicely dressed and upper class or upper middle class, while to communicate to the expert that they’re savvy enough to know that boutique X rather than boutique Y is the correct space to spend a few hundred on sunglasses in 2011.  This season’s fashion accomplishes B but fails at A, since passing such an outfit in the street, my first thought would be “oh, that person knits or knows someone who does,” not, “ah, that person is a fashionable dresser.”  The vocabulary of fashion has left communication behind.  The dialect is now incomprehensible to the bulk of the country.

As for the extreme edges of fashion, and fashion advertising, which too often leaves you uncertain even what they’re selling, there one can only revel as in surrealist art.  Here are two choice specimens from the Milan train station billboards.  What am I supposed to want to buy?

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Joust of the Star (la Giostra della Stella)

I am comforted by the fact that the official website doesn't have good photos either.

I mentioned a few weeks ago a busy week including a Joust.  The Joust in question was the Giostra della Stella (Joust of the Star), is held in Bagno a Ripoli, formerly its own town, now legally a Florentine suburb.  When it was annexed (20th century) in order to maintain civic identity it started having a reconstructed joust every autumn.  This is not a tourist event–indeed it is hard to reach by any means, and nearly 100% of the audience were locals–but a civic pride event, and competition.

The town of Bagno a Ripoli is divided into four historic quarters, the quarters of the Mill, the Horse, the Tower and the Standard-Bearer, each with its own crest and coat of arms, and horseman.  The four competitors, professionals brought in from out of town, joust for the honor of the four quarters, to loud and enthusiasm from the spectators.  Shields and pennants bearing the quarters’ arms decorate the field and street, and the townsfolk dress in t-shirts and colors to designate their sides.

The Team of the Horse gets my "biggest flag" award

The joust is held at night, in the dark, hence the lack of good photos.  One reason for the darkness is the temperature and blazing sun, but the other is that the afternoon is reserved for a different contest: an old-fashioned sports day competition between the quarters’ teams.

This I do have photos of, as the warring quarters compete at tug-of-war, sack races, a race with an egg balanced on a spoon, and, on the nearby roadside, running while pushing a wooden hoop along with a stick, and running while pushing a partner on a wooden cart.  The tug-of-war was by far the most dramatic competition, with much preparation and debate and measuring to the inch where each starting foot is placed, while each actual competition lasted only a few seconds before one side fell, grumbling, in the dust.

The Tower team, best use of cardboard
The Mill team, content after the cart race

 

Junior flag-tossers enter the field
I wish we did this in MY middle school

 

The flag tossers were also extraordinary, with an exhibition by the junior trainee flag tossing team, and a stunning performance by the adult team with double flags, one in each hand, which were tossed and spun in mesmerizing close-quarters patterns and tossed from person to person in complex, interwoven dances.

 

One participant enjoys a panino before the procession

I have no decent photos of the joust itself because this is a night joust, held by electric light in a charming field well after dinner, so crowds can enjoy the late summer outdoors without baking in the sun.  I can only describe, therefore, the stunning costume pageant which precedes it, in which at least a hundred participants in perfect sixteenth century costume parade along the street to take their seats in the reserved stands.  The thoroughness and variety of the costuming puts most Florentine pageants to shame.  Musicians in the town livery began the parade, and the town militia, and the Podesta of the town with his ministers following behind the city standard.  Monks and an abbot joined them, touch-bearers, peasants with baskets of harvest foods, and a portable maypole which skilled children circled even as they processed.  There were noble representatives of specific grand houses of Florence and its allies too, each group including lord, lady, clients, servants, even children in tiny doublets or toddlers’ bodices, all led by a standard bearer with the family crest, so a sharp eye might pick out a Strozzi and a Medici among the crowd.  The detail was exquisite, from the strings of pearls woven through the ladies’ hair to the heavy texture of the gentlemen’s trailing sleeves. Many of the lords’ and ladies’ costumes were recreations from specific portraits, and even the gems embroidered onto layered pleats were executed to perfection.  To perfect the display of civic pride, the part of the Podesta, in his long velvet, was played by the actual top official of the town, and several other leading magistrates participated as his entourage.

One of my less bad photos; here you can see the maypole, and the monks

The Joust itself was a style I had never managed to see before myself.  I am, of course, serious about watching jousts, both from attending numerous Renn Fests and from calling Maryland home, whose state sport is still jousting (though in 2004, despite the noble efforts of many, this noble remnant of grander days was perniciously adulterated by the election of lacrosse as the state “team sport”).  I may not be so elite a jousting snob as I am a gelato snob, but I am picky, and this was excellent.

The primary banners that follow the Podesta into the grand arena are those of the city of Bagno a Ripoli, of the allied City of Florence, and of the Guelph party

The “star joust” uses small, light horses, trained for speed, who race full tilt around a small looped race course while the rider attempts to capture a metal star with a hole in the center using–not a lance–but a sword.  The rider must make two loops in 30 seconds, making one attempt at a star each time, receiving points for each star captured, and in case of a tie in points, speed is the tie-breaker.  Three rounds of increasing difficulty are held, using stars with smaller and smaller center holes, and the later stars give more points.  So trained for speed are these slim horses that, unlike the heavy, docile animals used at American fairgrounds, these were spirited to the point of disobedience, balking from unfamiliar objects, bursting into short jolts of speed without instruction, and one knight needed five attempts to get the beast to take him close enough to his lady to receive her favor.

The display of athleticism, on the part of horse and rider, was gorgeous, and in the electric light the smooth backs and haunches of the horses rippled and shimmered like silk, especially on the pale gray one that looked like polished pewter.  One could see through the thin fur and taut skin the motion of the muscles, and, since the horses went one-by-one, the gallop was all startlingly quiet, not the thunder of hooves one generally hears with many horses racing, but a light percussion, barely audible except when the horse passed close.

The crowd during the athletic festival - very vocal, very local

Equally fascinating was the cheering, or rather the booing, of the crowd.  The math will tell you why.  In a town divided into four quarters with one rider representing each, three quarters of the audience are disappointed whenever one rider does well.  Thus, the booing will always be as loud if not much louder than the cheering, and however much praise may rain down from sympathetic slopes, the capture of a star always solicits a general moan.  Given the usual adrenalizing effect cheers have on an athlete, I do wonder what chill a string of gasps and curses instills.  This was ever so much more true of the rider in red and white representing the quarter of the Standard-Bearer, because, (as a kindly old local rumormonger explained) due to one of those sorts of dramatic falling out incidents that often destroys a school club or bowling team, that quarter did not have a team in the earlier day’s athletic contests, and had no team spirit.  Thus, when that rider succeeded, everyone, the whole crowd, booed, or condescended to recognize his skill with a spattering of disjointed, grudging applause.  In fact, it was this lest popular horseman who triumphed that evening, to the general satisfaction of… me?  No one else?  The rider cast in that role was, in fact, the most experienced, and this was his eighth victory at this particular joust, though a different rider was riding the horse which (with a different man on his back) won last year.

Victory in the athletic contest is also announced at the finale of the joust. This year it was the Mill team. Motto: "We grind all year, and today we'll grind you!"

A true shadow, which very nearly thwarted the joust entirely, fell across the camp mid-way through, and incited a half hour of eerily legend-like suspense.  The sword broke.  Mid-way through, it got dinged or bent or something, and the announcer in his grand robes declared a halt.  Men in colorful livery scattered across the grounds checking equipment.  They didn’t have a spare.  There was only the one sword, and without it the jousters milled aimless in the courtyard, their horses becoming increasingly touchy and obstreperous as they milled the hedged waiting box.  It was at this point that it occurred to me that we were at a joust, and somebody lost the sword, and squires were off looking for one, and while Italy seemed an unlikely place for a boy to suddenly become King of England, this was still quite the circumstance.  In the end they turned to the costumed crowd, and asked all the gentlemen, the Medici, the Strozzi, the knights and guardsmen, to all bring their swords to the front so the officiators could select the one most physically similar to the lost official version.  Thus we confirm that it is vital for half the crowd to come to any joust in costume.  The sword replaced, the joust concluded with the victory of the very excellent knight-whom-no-one-liked, and fireworks.  And a long, awkward attempt to get a taxi home at midnight.